You could have been working away at narratives in jewelry because you began. Exist historical precedents for this form of direct story telling in wearable work? Can you name a few?
17 April, 2014 at 1:18 am in Construction
You could have been working away at narratives in jewelry because you began. Exist historical precedents for this form of direct story telling in wearable work? Can you name a few? Kim Overstreet & Robin Kranitzky: Actually, in the beginning individuals making jewelry, our focus was within the assembling of unlike materials and objects and Pandora Crystal Charms discovering efficient and acceptable methods for getting each of the pieces and parts to stay together. Gradually, themes started to evolve, themes including holiday, Egyptian, time, animals or sports. Development continued well as over time the pieces grew more complex and matured into the narrative scenes. We've got always been enthusiastic about visiting our local art museum, the Virginia Museum of Fine Arts. Pandora Dangle Charms Viewing the Faberge collection of objects and jewellery, examining the elaborate eggs with all their color, detail and movable parts was – and is still – inspiring to us. We have absorbed the incredible craftsmanship and focus on detail, as well as the stories and photos from the close relatives, their pets and also the historical references. The museum’s African arts collection, using its good reputation for jewelry and accessories found in rituals, in healing as well as in sacred ceremonies, Pandora Animals Charms is abundant with inspiration. The symbols embellishing Egyptian jewelry, referencing stories of mummification and also the gilded objects that would accompany the dead on their afterlife, had an effect on our thoughts at the same time. Through the years we have now discovered lots of jewelry in the past which holds stories through symbolism and metaphor, such as the aesthetically designed chatelaines worn by women in the eighteenth century using many hanging components revealing stories of meaning and purpose, the crucifix worn by Priests, the charms, vials and reliquaries with the saints worn as pendants holding everlasting information about the deceased and mourning jewelry telling stories of departed family members. Robin Kranitzky and Kim Overstreet Could you describe the ideas behind this show? Kim Overstreet & Robin Kranitzky: This statement explains our thoughts behind the show: ‘It should not be hard for you to stop sometimes and appear into the stains of walls, or ashes of the fire, or clouds, or mud or like places, in which . . . many times marvelous ideas.’ Leonardo da Vinci We have now for ages been fascinated with Rorschach patterns and the idea of pareidolia, inkblot ideas have been in our sketchbook for many years. Thinking about seeing something where absolutely nothing is is fascinating and may be inspiring for the imagination. Certainly everybody is able to depend on lying from the grass and finding shapes inside the clouds. Our signature work involves storytelling through 3-D collage in miniature, available as a brooch. These mini stories are likely to be conjured up by the two of people and so are inspired by personal struggles, news stories, nature, science, religion, etc. With this Vault project we decided to ask others to suggest a tale as well as their inspiration we dedicated to the Rorschach idea. It occurred to us so it could be fun to make our personal inkblots, so from about fifty we narrowed it down to five. Family were shown one inkblot pattern outside the five and were invited to spell out what they have to saw inside pattern. We'd some wild results. From all of the interpretations we received, we selected one as inspiration to the interior scenes of with the five wall sculptures. All of them are presented here, unedited, within the walls that you can read. The five original blots were enlarged and laser cut from sheet acrylic, which has a central area open like a window for our interpretive story. This project would be a collaboration of countless minds and their thoughts about a blot of nothing . . . which brings us back to the phrase pareidolia, a random stimulus being considered significant. Could you impart us with a case in point or two from the stories represented from the brooches? Kim Overstreet & Robin Kranitzky: The brooches Symmetry #1, Symmetry #2 and Symmetry #3 were made in 2011 throughout the infancy from the Rorschach project. These three brooches within the exhibit are similar in execution, manufactured from found materials assembled to an intentional symmetrical design reminiscent of an inkblot. Each of the parts utilised in this inkblot design were painted black to illustrate that idea further. We were holding really a fitness and stimulus for that larger wall pieces and, whilst they don't tell a selected story, the same as Rorschach blots, they form patterns that may be interpreted.