Toni-Maree Savage
Weight of the World, 2023
Repurposed steel, aluminium, brass, eco paint
45 x 60 x 60 cm
History preserves the memories of the past, such as how we lived and engaged with each other and nature. When future generations look back on the present, they will see a society dominated by corporate greed, environmental destruction, pervasive narcissism, poverty, homelessness, poor mental health, and a plethora of other environmental, ethical, and social issues. Gladly, many social movements are working to make a change, but in order to keep moving forwards, we must remember to look back. With this in mind, Weight of the World, 2023, is not only a record of current issues but also a provocative call to future generations to avoid repeating previous errors. My work’s narrative is expanded through the use of dramatic photography. My model appears disheveled and uninterested to underline the statement's gloomy undertones. The disappearance of their bleached lips is meant to symbolise the significance that inaction and silence play in maintaining the world's existing issues.
Weight of the World, 2023, makes use of long-lasting repurposed materials to make a statement about contemporary issues without adding to them, and to last for future generations to reflect on. I'd like to think that when the work's message becomes irrelevant, it will be disassembled and its parts repurposed. The whole thing is put together by hand. Bolts repurposed from electronic waste, aluminium from a decommissioned outdoor heater, and steel from a local hot water installation company all found their way into the final work. The brass panels on the headband were etched in an environmentally friendly manner using a combination of salt, water, and low-voltage power from a recycled mobile phone charger. The piece was coated with water-based, low-Volatile Organic Compound (VOC) paint to reduce environmental impact. This project, like all my other work, is based on environmentally friendly and socially conscious principles that are central to my studio practice and personal ethos.
🔴 This artwork is currently not for sale.
]]>I begin by acknowledging the Traditional Custodians of the land on which we meet today, and pay my respects to their Elders past and present.
My series of lockets titled I Am Not an Object is a statement on the continuing sexual objectification of those who identify as female by heterosexual men in contemporary Australian society. Significantly, research published as recently as March 2022 indicates that Australia is one of the most sexist cultures in the Western world.
Each cat call, wolf whistle, sexual innuendo, and ogling male gaze sexualises and diminishes the female body. And, as filmmaker Laura Mulvey who first coined the term ‘male gaze’ points out, positions women as objects for the pleasure of men in an enduring patriarchal society.
The negative impact on women’s well-being, and the well-being of those who witness sexual objectification, is well documented. Treating women as objects valued only for their physical appearance and sexuality is degrading, destructive and demoralising.
In addressing this situation, my lockets are part of a narrative tradition that gives voice to a story that is relatable to a large section of the population. Contemporary art jeweller and academic Jack Cunningham defines narrative jewellery as “a wearable object that contains a commentary or message, which the maker by means of visual representation, has the overt intention to communicate to an audience through the intervention of the wearer.”
Accordingly, my lockets are activated through their wearing in a public forum where they can reach a wide audience and start conversations about sexual objectification to bring attention to this destructive behaviour and dissipate some of its negative impact on women.
To understand the narrative in its entirety, you need to look closely at my work.
Each component builds the narrative and tells the story of women’s daily struggle to just engage in everyday activities without the damaging, ubiquitous and objectifying male gaze.
Making my lockets has involved multiple techniques, including saw piercing, electro-etching, lost wax casting and vitreous enamel painting. I was inspired in my work by many artists and jewellers, both historical and contemporary.
Historically, the 16th-century miniature Italian portrait painter Rosalba Carriera has influenced technique and form. Given that many miniature painters were women, this project is also a small testament to the art form of these often-overlooked female artists.
Contemporary artists that have informed my work include American narrative jeweller Melaine Bilenker who creates artworks intended to be worn on the human body and move through space and time, telling a story. And American artist Jessica Calderwood who works across sculpture and wearable art objects exploring women’s role in society. Calderwood, like my work, uses enamel and metal, to bring her artistic visions to life.
Contemporary Spanish artist Mer Almargo has been a comforting presence on my journey to learn vitreous enamel painting, by far the most difficult technique I undertook to learn in this project. I have spent many hours watching Mer create remarkable artworks using enameling techniques and then experimenting and practicing to gain some of these skills to complete my project.
Overall, my project was much more difficult than I initially imagined. Not only was I regularly challenged on a technical level, but conceptually I have undertaken a journey of genuine discovery and have come to understand the power of art, particularly jewellery, for effecting change in the world.
My goal with my I Am Not an Object series of lockets was to:
I genuinely feel I have created a powerful series of wearable artworks with the potential to meet these objectives, especially when worn in public.
I am proud of what I have achieved and how I have grown as an artist and person while undertaking this project. I am ready to tackle the rest of my life as a creative and continue to tell narratives through art.
⭐Some pieces are still available for sale. For further information please contact me.
]]>Top two rows
Toni-Maree Savage
Experimental Works, 2022
Oil on canvas
40 x 40 cm each
Bottom row
Toni-Maree Savage
Unprepared to be Trampled by Bulls, 2022
Oil on canvas
101.6 x 101.6 cm
Toni-Maree Savage
Bull Scar, 2022
Oil on canvas
101.6 x 101.6 cm
When I think about the bullying I experienced at work, it sometimes makes me feel small and scared. Other times, I want to confront my bullies with anger. Regardless of my feelings, there is always an underlying sense of sadness and helplessness. After researching, I learned that these reactions are common for people bullied at work. To express the emotional impact of workplace bullying, I decided to use paint as my medium for my studio thesis this trimester. I started by creating a series of small experimental works, which allowed me to think more deeply about my topic. As I painted, I changed the composition, colour, and brushstrokes while considering what worked and what didn't. Through this process, I built a meaningful resolution to my studio thesis and produced six experimental works before finalising my major projects.
For my first major project, I created a piece called Unprepared to be Trampled by Bulls, 2022. This work built on my previous experimentation with a bull motif that represented the disempowerment of bullies. As I worked on this project, I realised I needed to focus on emotions like sadness, frustration, disbelief, and distress to effectively address my studio thesis. My teachers advised me to push conceptual boundaries and avoid being too literal in my composition. I kept the square canvas to reinforce the feeling of being "boxed in" as a target of workplace bullying. As I painted, the figure in the piece became a self-portrait, and I used loose brushstrokes and distorted features to convey my emotional state. I minimised detail and left white edges to create visual interest and allow for open interpretation by viewers.
I aimed to advance my studio thesis in my second major project, Bull Scar, 2022. Building on the techniques I discovered in my first major work, I created a painting that reveals a deeply personal side of myself. It is my most successful piece of the trimester, and I was pleased to hear guest artist David Humphrey (b. 1955) echo that sentiment in our one-on-one feedback session. I attribute the success of this final painting to the time and effort I invested in creating experimental works, challenging myself to produce my first large-scale piece from a vulnerable place, and reflecting on my progress and direction each week. This trimester has taught me the importance of taking the time to experiment and reflect on my art-making process and the value of being open and creating connections with viewers through my work.
During this trimester, my appreciation for figurative expressionists has grown significantly. Artists such as Frida Kahlo, Charles Blackman, Robert Dickerson, Alice Neel, and Noel McKenna have influenced me the most. I aim to depict my subjective experiences in my paintings, similar to these artists. To enhance emotional impact, I make my figures slightly distorted and naïve. Recognising the similarities in my work, I am motivated to explore figurative expressionist painting further and challenge myself. I have been painting for three years, and I am excited to see where my work takes me in the next three years.
⭐Some pieces are still available for sale. For further information please contact me.
]]>Mirror Twins, 2022
Charcoal and oil on canvas
121.8 x 91.4 cm
Intertwine II, 2022
Charcoal and oil on canvas
121.8 x 91.4 cm
Single Womb, 2022
Charcoal and oil on canvas
121.8 x 91.4 cm
A visual exploration of the identical twin relationship
As the mother of monozygotic [identical] twins, I am fascinated with their relationship. I have wanted to explore this in visual art for some time and have decided to take the opportunity in this project.
My research to date has revealed that much visual art representing monozygotic twins is focused on the similarities between them. In contrast, I'm more specifically interested in exploring this theme through the intimacy of the relationship, particularly the connection and support that my sons share. Consequently, my studio thesis for this project is to represent the identical twin relationship through paint.
In exploring my theme, I created four preliminary works before moving on to my project works. My experimental works allowed me to think about how I could use composition, colour, texture, medium, line and mark making to represent my studio thesis. I completed the project with three finished works that meet my studio thesis in terms of concept and process - Intertwine II, Mirror Twins and Shared Womb.
Intertwine II, 2022 uses intertwined hair that wraps around the twins from a central ball to symbolise the single womb from which two umbilical cords emerged to create identical beings. Mirror Twins, 2022 plays with a distinctive element of some identical twin's relationship. Mirror twins are opposite each other in many physical characteristics, such as one is left and right handedness, hair swirls in different directions, and even the heart can be on opposite sides. Shared Womb, 2022 extends the concept of a single womb as the origin of the twin's relationship. The twins are depicted in a supportive, warm relationship in each project work.
Primary exemplars for my work in this project include Lucian Freud, Alice Neel and Anders Zorn. Freud and Neel's ability to capture psychological depth in their subjects is a continuing source of inspiration to me. While Zorn's ability to capture humanness through colour and light is something I continue to strive towards.
I am happy with my conceptual and technical progress in this project. In my three works, I decided to use a Zorn palette and an organic freehand background to bring a natural and spontaneous sensation to the works, much like how identical twins are created. I found it beneficial to research exemplars and techniques and experiment with composition and mediums. The results are thoughtful works. I will continue to follow this process for my future work.
⭐This artwork is available for sale. For further information please contact me.
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Toni-Maree Savage
Necklace: Family Portrait, 2021
Sterling silver, found Eucalyptus wood
Last trimester I saw a necklace by the Italian designer Marisa Angelucci that incited my creative impulse. Shimmering silver forms, predominantly hearts and human shapes, begged me to investigate further. I found that the work was founded in traditional symbolic Italian ex-voto and Mexican milagros thought to ward off evil, show gratitude or bring about positive change.[1] The primary techniques used in its creation was the ancient practices of repousse and chasing. The work is highly symbolic and this, along with the beautiful artistry, intrigued me. In particular, I adored how the metal, a naturally stalwart material, appeared soft and subtle in its conversion through the hands of skilled artists. I was also excited by the possibilities for narrative storytelling created in the necklace’s layered ‘charms’.[2] I wanted to create a work inspired by what I observed and sensed.
Angelucci’s stunning silver necklace invaded my thoughts and dreams for many weeks. It gradually became clear to me that what I wanted to create was a stylistically similar family portrait necklace that told the story of my immediate family using symbolism and portrayals of family members. Like a family portrait oil painting by an Old Master, my work would hold the fundamental essence of my family. [3] However, instead of hanging on a gallery wall, my necklace would be a wearable work of art held intimately against the body, heightening the connection with family.[4] It would also be displayed in the public exhibition space, inviting interaction with viewers whenever worn.[5] At its core, my necklace would embody the love, support, joy and affection that forms the foundation of my family unit. While not a mainstream activist concept, I believe rejoicing in positive family relationships and strong emotional connections in a world fraught with unhappiness and discontent is equally important and compelling.
My research unveiled so many extraordinary exemplars technically, visually and conceptually. Visually, Italian designer Marisa Angelucci and Mexican jeweller Federico Jimenez were strong influences with works grounded in Italian ex-voto and Mexican milagros, respectively. Technically, the breath-taking skills of American metalsmiths Victoria Lansford, Nancy Megan Corwin, Linda Kindler Priest, Sue Urquhart, David Huang and Italian jeweller Fabrizio Acquafresca encouraged me to be ambitious and determined with my project. I studied the works and techniques of each artist in meticulous detail in the hope that I would absorb something of the magic for transforming flat sheets of metal into beautiful works of art.
Conceptually, my family portrait necklace is influenced primarily by symbolism and narrative jewellery. Specific jewellers who have been critical to the conceptual development of my work include American Sally Bass, who creates individualistic pieces rich in character that tell a unique story through an unconventional mix of different eras, different cultures and seemingly disparate materials. Bass’s Charming Treasures, 2017 is an inspiring example of jewellery that creates narrative through symbolism and “abundant charms [that] draw the eye and the ear, and begin a conversation before a word has been spoken.”[6] American jeweller Nancy Worden also continues to be a conceptual inspiration. Her work is dense with symbols that carry social meaning and demand attention through their grandeur.[7] Worden’s work The Revenants, 2011 exemplifies her conversation starter style, which depicts a family history in gold-plated sterling silver, brass, copper, acrylic, and photographic prints.
My family portrait necklace also aligns conceptually with my belief that jewellery is more than simple adornment but is a vessel for keeping our emotional connections close and storing our memories. The idea of memory trace as the phenomenon of remembering is fast becoming a central principle in my artistic practice.[8] Exploring this concept through jewellery is exciting and fulfilling. Jewellers who have inspired me in this endeavour include American Peggy Johnson, known for her HouseWearables Jewellery Collection of house and food-inspired works that evoke positive memories of hearth and home.[9] Johnson’s Great Cook, 2001, is a delightful example of her work. Australian jeweller Marion Marshall with her exploration of personal and public space, has also stimulated the discursive impetus for my current work.[10] Marshall’s Ceremonial Marriage Ring, 2007 uses traditional Jewish symbolism to create a contemporary object embued with sentiment and familial promise.
The learning curve in the creation of my family portrait necklace was steep. As a means of support, I have often returned to the wise counsel of Japanese jeweller Hiroko Sato Pijanowski who expounds a philosophy of spiritual expression in working with metal. Pijanowski encourages the artist to approach metal with an attitude of honesty and obedience, rejoice in traces of the artist’s hand, and remember that art is an interpretation, not an imitation of life.[11] Her encouraging words urged me to persist and muster the determination required to reach my goal of conquering repousse and chasing. When I felt my skills were reasonable, I started to practice in silver and made a pair of earrings reminiscent of my proposed family portrait necklace. I was pleased with the outcome, and this provided the necessary boost to start my major work.
Family Portrait, 2021 is a sterling silver statement necklace with found Eucalyptus wood chain. The work is highly symbolic, with each element contributing to its narrative. Figurative charms represent me, my husband and my sons. The house charm embellished with the family flower of hydrangeas embodies home as a place of comfort and support. The chicken charm denotes motherhood and nurturing. Heart charms signify love, devotion and adoration. The Eucalyptus wood was gathered on family walks in our local environment, suggesting shared memories of togetherness, warmth, and joy. My work is presented within a simple home-shaped scaffold to enhance the familial relationships central to the work.
I am proud to be continuing a tradition of the centuries-old techniques of chasing and repousse. I also delight in working primarily with my hands in the spiritual manner described by Pijanowski to draw the expressive qualities of metal. Through the creation and wearing of this work, I hope to carry a positive sentiment beyond my family unit to a world that often seems overwhelmingly pessimistic. It is a sparkle of hope in the dark.
References
[1] “Special Pictorial: Milagros,” Ornament 8, no. 4 (1985): 22-23, ProQuest.
[2] Cynthia Unninayar, “So Charming, “ JQ 119 (2005): 66-69, ProQuest.
[3] Emma Barker, “No Picture More Charming: The Family Portrait in Eighteenth-Century France,” Art History 40, no. 3 (2017), ProQuest.
[4] Jennifer Downs & Mike Press, “Heartfelt: The Possibilities for Physical Objects to Act as Mediators in Emotional Exchange and Implications for the Design Process,” in 6th Asian Design Conference, Tsukuba, Japan, 14-17 October 2003, http://shura.shu.ac.uk/15896/.
[5] Roberta Bernabei, “Jewellery Can Be Worn Too,” in Exhibiting Craft and Design: Transgressing the White Cube Paradigm, 1930-Present, ed. Alla Myzelev (London: Routledge, 2017), 108-125, ProQuest.
[6] Morgan Pearce, “Wearable Art: An Interview with Arizona-Based Jewelry Designer Sally Bass,” The Met Store Magazine, accessed October 8, 2021, https://www.metstoreblog.org/wearable-art-2/.
[7] Matthew Kangas, “Dark Victory: The Oracular Ornament of Nancy Worden,” Art Jewelry Forum, accessed August 30, 2021, https://artjewelryforum.org/articles/dark-victory/.
[8] Felipe De Brigard, “The Nature of Memory Traces,” Philosophy Compass 9, no. 6 (2014): 402-414, ProQuest.
[9] Kelly Kim, “Personal Memories: The Jewellery of Peggy Johnson,” Ornament 14, no. 1 (1990): 44-47, 75, ProQuest.
[10] Helmut Lueckenhausen, “Marion Marshall: Jewellery, Myth and Memory,” Craft Arts International 81, (2011): 70-74, ProQuest.
[11] Hiroko Sato Pijanowski, “Artistic Research into Spiritual Expression,” Ganoksin, accessed August 30, 2021, https://www.ganoksin.com/article/hiroko-sato-pijanowski-artistic-research-spiritual-expression/.
⭐This artwork is available for sale. For further information please contact me.
]]>Toni-Maree Savage
Necklace: I Know I'm Home, 2021
Aluminium, eco paint, hemp cord
70 x 35 x 8 cm
I have always tried to live a life with a minimal negative impact on our earth and fellow humans. As a fledgling jeweller, I'm still finding my way to establishing an ecologically sustainable and ethical jewellery practice. This trimester, I decided to review my responsibilities as a jeweller.
Last year I became a member of Ethical Metalsmiths, and over the past months, I have been reading articles and watching documentaries suggested by the group. Combined with my belief that one person can start to make a difference, I began researching practical choices I could make towards developing an ethical and ecologically sustainable jewellery practice. When the 7th Generation Principles theme for Ethical Metalsmith's international competition and exhibition So Fresh + So Clean 2021 was announced[1], I wanted to join the challenge to see how far I could push the goal of making ecologically sustainable jewellery and creating a jewellery studio that supports this aim. My project is a response to this call out.
In terms of a framework, I am again and again drawn to the value of art as a psychological and emotional support. As I mature as an artist, I see this concept invades almost all my artworks. I have also observed that I am frequently drawn to nature and organic forms as an inspiration for my designs. Given that jewellery design has a long history of functioning as an aid to well-being[2] and as a representation of the natural world,[3] I decided to follow my instincts and create a work inspired by my beloved Australian flora that would provide calm and comfort to the wearer.
I began my journey by exploring the works of one of my favourite Australian jewellers, Julie Blyfield. Blyfield makes stunning jewellery and small objects founded in native Australian plants. In particular, I am interested in Blyfield's use of texture to create organic forms from metal. I read about her making process involving long treks in the Australian landscape collecting natural objects; sketching ideas that developed as she gazed at these pieces on her workbench; making detailed paper models of her sketches; and finally crafting her pieces from metal. I was inspired to follow a similar path for my project.
I spent several weeks collecting samples of native flora, poring over images of Australian plant life and obsessing about jewellery designs. I returned again and again to works of not only Blyfield, but also the sumptuous organic forms of Korean jeweller Seulgi Kwon, the oversized wearable artworks of UK based jeweller Alison Brown, the nature-inspired necklaces of American jeweller Maia Leppo, the exquisite paper works of Israeli jeweller Inbar Avneri, and the handmade jewellery of British jeweller Faye Hall. However, when I discovered the works of Norwegian jeweller Anna Talbot and Swedish jeweller Hanna Hedman, my design came to life.
Anna Talbot makes vibrantly coloured wearable art from aluminium, wood veneer, brass, gilding metal and silver. Her pieces involve building up layers of material to create scenes inspired by nature and fairy tales[4]. The use of layering and her coloured metals intrigued and inspired me. Similarly, Hanna Hedman makes complex jewellery and objects from silver, copper, steel, leather, fibres and paint. Her work, which is created from many detailed patterned layers, is inspired by her interest in storytelling and fantasy worlds[5]. I find her use of pattern and form to tell a story and evoke an emotional response in the wearer and viewer exciting.
I went through a series of design ideas, seeking something that expressed my conceptual sentiments and met my sustainability goals. To satisfy my 7th Generation Principles theme, I aimed for a project that used cold connections and 'green' materials, was easily reusable or recyclable in the future, did not use coatings that created toxic fumes in application or removal, did not use harmful chemicals, and limited use of non-renewable resources.
I discovered that aluminium is less resource-intensive and uses less energy to recycle than most other metals. For example, silver is 10,000 times more resource-intensive and ten times more energy-intensive to recycle than uncontaminated aluminium[6]. Gold and platinum are even worse. This piqued my interest, and I conducted further research to determine if aluminium would be a suitable option for my project. I found this wasn't a straightforward decision. Although aluminium was per se a responsible recycling option, future metalsmiths were not likely to refine it in their studio. In addition, recycled aluminium can also contain impurities and alloys that make it unsuitable for wearing close to the skin[7].
Consequently, I agonised over whether sterling silver was a preferable option, despite its more significant environmental impact during primary and secondary refinement. In particular, sterling silver would be more likely to be refined in a future jeweller's studio, and it did not have potential toxicity issues. In the end, I made a call to focus on aluminium because of the prohibitive cost of sterling silver. I decided to use uncontaminated aluminium sheet from Capral Aluminium. Capral, although a primary producer, had chemical analysis reports available that indicated that the aluminium I could purchase was approximately 99% pure aluminium, making it optimal for secondary refining and less problematic in terms of toxic impurities and alloys[8].
My reading of William McDonough's Cradle to Cradle cemented my determination to produce a project with environmental sustainability as a fundamental principle[9]. In a few words, McDonough puts forward a production framework focused on design that returns all products safely to the soil as nutrients or high-quality materials for reuse in new products. McDonough's circular economy model was entirely aligned to my 7th Generation Principles theme, but more than that, it offered life-changing principles that completely altered my view of waste and sustainability.
My final project, I Know I'm Home, 2021, is a Eucalyptus-inspired necklace made from uncontaminated aluminium combined with sterling silver wire. Happily, I achieved my goal of submitting the piece to So Fresh + So Clean 2021. Included with my submission were brief artist and responsibility statements that summarised the conceptual basis of my work and the measures I took to achieve an environmentally sustainable and ethical art practice. For example, in support of 7th Generation Principles, my work uses only cold connections in the form of flush riveting. It is also a single metal to enhance reuse and recyclability by future metalsmiths. I strived to avoid toxic chemicals and made limited use of non-renewable resources. I planned my making to be only during daylight hours, avoided using electric machinery, and predominantly made by hand. I limited the use of gas to annealing my metal in scheduled bulk sessions. I researched extensively for an eco-friendly paint option that did not produce harmful fumes either in application or removal, and I was excited to find a paint product that is water-based, 100% free of Volatile Organic Compounds (VOCs), and can be removed using non-toxic household vinegar[10]. I also sourced my hand spun hemp cord from a sustainable, fair trade supplier.
My necklace design is inspired by one of my favourite Australian natives, the Eucalyptus. It encompasses stylistic representations of Eucalyptus flowers, leaves and bark, as well native beehives. I used a 'corrugated' texture on the leaves to highlight the Australiana theme. A monochromic green colour scheme represents the flora's organic nature, as well as symbolising calm and peacefulness. For me, the necklace is a constant reminder that in a chaotic world, there can be tranquillity.
My jewellery journey this trimester has been intensive and fulfilling. I have expanded my technical skillset to include enamelling, chasing and repousse, as well as initial attempts at raising and planishing. But perhaps most significant is a more comprehensive understanding of the issues involved in committing to an environmentally sustainable and ethical jewellery practice. Through my research and experience, I have reaffirmed the environmental sustainability and ethics of many of my existing practices, as well as adopting several new approaches to jewellery making that will stay with me for the entirety of my jewellery career.
I understand that every time we design a project, select materials and embrace a making process, there is an opportunity to make a choice that cares for our earth and fellow humans.
References
[1] “So Fresh So Clean – Call for Entry 2021,” Ethical Metalsmiths, accessed March 1, 2021, https://ethicalmetalsmiths.org/em-students-call-for-entry.
[2] Rock Hushka, “Holding Objects: The Psychoanalytic Mechanisms of Wearing Jewellery,” Art Jewelry Forum, accessed March 11, 2020, https://artjewelryforum.org/articles/holding-objects-psychoanalytic-mechanisms-wearing-jewelry.
[3] Maura C. Flannery, “For the Love of Nature,” Metalsmith 28, no. 3 (2008): 34-41.
[4] “Anna Talbot: Jewellery from Fairy Tales,” TLmag Norwegian Crafts, accessed March 22, 2021, https://tlmagazine.com/anna-talbot-jewellery-from-fairy-tales/.
[5] Bella Neyman, “Hanna Hedman: Voyage to a New World,” Metalsmith 36, no. 2 (2016): 36-43.
[6] Jeremy Faludi, “Choosing Greener Metals,” Instructables, accessed March 29, 2021, https://www.instructables.com/Choosing-Greener-Metals/.
[7] Charles Lewton-Brain, “Metals Safety Information,” Ganoskin, accessed April 3, 2021, https://www.ganoksin.com/article/metals-safety-information/.
[8] “Alloy Specifications,” Capral Aluminium, accessed April 5, 2021, https://www.capral.com.au/wordpress/wp-content/uploads/2019/03/Capral-Alloy-Brochure_Dec2020.pdf.
[9] William McDonough & Michael Braungart, Cradle to Cradle: Remaking the Way We Make Things (New York: North Point Press, 2002).
[10] ecolour, accessed April 19, 2021, https://ecolour.com.au/.
So Fresh So Clean 2021 online exhibition available on the Ethical Metalsmiths website.
⭐This artwork is available for sale. For further information please contact me.
]]>Backyard Dreaming, 2021
Acrylic on aluminium panel
61 x 45 cm
While listening to the audio Backyard Reckoning by Brisbae-based artist Sally Molloy, I visualised two children, one Indigenous Australian and one Caucasian, lying peacefully in an Australian backyard under a Jacaranda tree with cockatoos watching from the branches. In the mid-ground a broken fence represents that barriers can be broken.
I’ve returned to a larger format painting for this work and a smooth aluminium panel. From previous experience, the aluminium panel works best with an acrylic background. Hence, I decided to use acrylic for this composition. I started with a red background and built up the layers over the top. I wanted to experiment with this technique to see what happened to the colours in the upper layers.
I’m pleased with the final result of this work. Starting with the red background gave the colours a warm richness compared to working on a white background. I also enjoyed using a ‘rough’ expressionistic and painterly style. I thoroughly enjoyed painting this work.
🔴 This artwork has sold.
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Toni-Maree Savage
Brooch: Waterlily #1, 2020
Sterling silver with cubic zirconias
5.5 x 5.5 x 2.5 cm
Toni-Maree Savage
Brooch: Waterlily #2, 2020
Sterling silver and bronze
7.5 x 7.5 x 2.5 cm
Toni-Maree Savage
Brooch: Waterlily #3, 2020
Sterling silver with cubic zirconias
7.0 x 10.0 x 1.5 cm
Many of us wear jewellery that provides warmth and comfort when we sense it against our skin. For example, for me, my engagement ring and wedding band are powerful pieces of jewellery. They embody promise, adoration and love. As curator Rock Hushka suggests in his fascinating essay about the psychoanalytic mechanisms of wearing jewellery, these pieces help me to “navigate the complexities of the world” at an emotional level.[1]
There is a long history of people imbuing jewellery with strong sentiments to help fortify and protect. Many ancient cultures had much faith in amulets, talisman and charms.[2] Often these pieces would include traditional symbols of good luck such as the four-leaf clover or icons to ward off negativity such as evil eye jewellery.[3] Nowadays, many people imbue less didactic adornments with their own beliefs and values. Much like the power I find in my engagement ring and wedding band, the wearer adds their own personal meaning to pieces which can become strong emotional and psychological supports. Whether explicitly protective or not, the belief is this jewellery can empower the wearer to face the obstacles of everyday life, boost positivity and reduce anxiety.
In her seminal work, author and editor of Metalsmith magazine, Suzanne Ramljak, presents many magnificent examples of contemporary jewellers who include protection jewellery in their collections. For instance, several well-recognised jewellers are represented including Americans Kathleen Kennedy with her Protection Device, 2007 featuring stylistic-chainmail, Robert Ebendorf with his Necklace with Pendant, 1995 a more subtle protective amulet, and Dauvit Alexander with his Mace (necklace), 2003 a brutal-looking neckpiece with a weighty spiked ball.[4]
Other jewellers of renown that have investigated protection jewellery include Swedish silversmith Torun Bullow-Hube and American jeweller Nancy Worden. Bullow-Hube’s understated designs and use of non-precious inclusions such as quartz and pebbles particularly resonate with me for its organic quality. Her Neckring with Crystal Pendant, c. 1950 is a typical example of her powerful minimalistic statement jewellery with protective qualities founded in an alluring feminine sensibility.[5] In contrast, many of Worden’s designs for her protection jewellery are startling and eye-catching that originated in her exploration of world cultures and modern social issues. For example, her Sexual Harassment in the Workplace Neckpiece, 2018 features a striking mass of materials styled like a Pacific tribal neckpiece designed to protect the wearer against evil.[6]
While many contemporary exemplars employ a literal form of physical protection in the design of their adornments such as chainmail or mock weaponry, Everyday Armour, 2020 uses more subtle devices to evoke psychological and emotional protection. Inspired by a desire to create pieces that boost optimism and positivity at a time of tremendous global disruption and tension, Everyday Armour is a series of three brooches which empower the wearer.
Everyday Armour is based on time-honoured waterlily iconography that bestows hope, pleasure, peace and new beginnings on the wearer.[7] Just as a waterlily can bloom from a murky and muddy foundation, so too can the wearer emerge from daily hardships and move towards a positive life. Like Lorena Lazard’s Spinning Heart, 2007, Everyday Armour aims to provoke “moments of happiness” in the wearer’s day through visual delight and soothing or mediative touch.[8]
Everyday Armour aims to actively provide a positive psychological stimulus to the wearer and, like the examples of protective jewellery created by Alexandra Hart, create a “psychic transformation” through awareness of the adornment. For instance, Tacey Rosolowski describes Hart’s Necklace, 1999 a spiked, curving creation that ensures the wearer’s mindfulness of the object, and introduces the philosophical concept of “present-to-hand.” As Rosolowski explains, an object is considered present-to-hand when the wearer is conscious of it. This contrasts with the traditional way of wearing jewellery which can often be considered “ready-to-hand” or worn without real awareness. [9] Consequently, the physical weight and dimensions of the Everyday Armour pieces, like Hart’s jewellery, are potent reminders that the wearer is protected.
The carefully selected waterlily iconography of Everyday Armour is also worn intentionally against the breast as a brooch (or pendant with convertor) to imbue the pieces with the strength that this powerful site of womanhood carries. As Hushka tells us, “the juxtaposition of jewelry and breasts has profound implications in understanding how the jewelry functions.” [10] By placing an object on or between the breasts, the power of the conceptual message grows exponentially as our associations with nurturing, sensuality and womanhood rise in a swirl of turbulence and feminine power.
The works in Everyday Armour are predominantly sterling silver with a dark patina to maximise the visual strength of the pieces and the potential transference of this energy to the wearer’s psyche. Gems are employed to enhance the visual appeal and the positive and prosperous sentiment that underlies the designs. Imperfections in construction add to the character of the pieces and remind us that the road to happiness is not flawless.
The pieces are primarily influenced visually and technically by the work of contemporary American jeweller, Susan Wachler. Similar to the Everyday Armour series, Wachler has a distinct, highly textured style that is dominated by silver patina works. Wachler’s Melange Ring, 2020, is a superb example of her style and artistry.[11] The Everyday Armour series is accompanied by a number of experimental pieces that helped to build my skills and techniques.
Everyday Armour empowers the wearer to meet the stresses of daily contemporary life through an assimilation of the positive meanings embodied in the symbology and wearing of the pieces. The works provide a powerful sense of safety as well as self-expression without being overtly defensive. The series personifies a keen recognition that jewellery, as Ramljak reminds us, “is a necessity, not an accessory when it is protective.”[12]
References
[1] Rock Hushka, “Holding Objects: The Psychoanalytic Mechanisms of Wearing Jewellery,” Art Jewelry Forum, accessed March 11, 2020, https://artjewelryforum.org/articles/holding-objects-psychoanalytic-mechanisms-wearing-jewelry.
[2] Valda Roric, “Warding Evil and Welcoming Luck: Protective Amulets of the Ancient World,” Ancient Origins, accessed November 19, 2020, https://www.ancient-origins.net/myths-legends/warding-evil-and-welcoming-luck-protective-amulets-ancient-world-005019.
[3] Beth Berstein, “New Takes on Tailsman and Protective Jewellery,” Forbes, accessed March 4, 2020, https://www.forbes.com/sites/bethbernstein/2020/08/01/new-takes-on-talisman-and-protective-jewelry/?sh=257f3b9977ab.
[4] Suzanne Ramljak, On Body and Soul: Contemporary Armor to Amulets (New York: Schiffer Publishing, 2014).
[5] “Necklace Designed by Torun Bulow-Hube for Georg Jensen, Denmark, 1950s,” 1st Dibs, accessed November 2, 2020 https://www.1stdibs.com/jewelry/necklaces/pendant-necklaces/necklace-designed-torun-bulow-hube-georg-jensen-denmark-1950s/id-j_8310401/.
[6] “A Catalyst for Change,” Ornament, accessed November 2, 2020, http://www.ornamentmagazine.org/a-catalyst-for-change.
[7] “Meaning of Waterlily Flowers,” ewaterPlant, accessed October 5, 2020, https://www.ewaterplant.com/meaning-of-water-lily-flowers.
[8] Susan Cummins, “Protective Ornament: Curated by Suzanne Ramljak,” Art Jewelry Forum, accessed November 5, 2020, https://artjewelryforum.org/protective-ornament-curated-by-suzanne-ramljak.
[9] Tacey Rosolowski, “Consciously adorned,” Metalsmith (Spring, 2000), 14-27.
[10] Hushka, “Holding Objects.”
[11] “Susan Wachler Jewelry,” accessed March 3, 2020, https://susanwachlerjewelry.com/.
[12] Cummins, “Protective Ornament”.
⭐This artwork is available for sale. For further information please contact me.
]]>Toni-Maree Savage
Rings and choker: Coral Persistence, 2020
Choker diameter: 17 cm
Ring diameter: 8 cm
Coral Persistence, 2020 is a set of wearable art jewellery pieces that explore the theme of repetition from a visual, repeated use of technique and process, and psychosocial perspectives.
In terms of visual repetition, Coral Persistence is inspired by micro-repetition in coral cellular structures. My primary interest in nature-based repetition is founded in the presence of variation. I feel that this irregularity creates a more interesting visual display as compared to more consistent human-made repetition. In particular, like Australian jeweller Julie Blyfield, I would like to include something of my personal connection to Australia’s natural environment in my work.[1] Coral is particularly relevant to me as I have a special interest in the protection of coral reefs. This relationship will allow me to create a more personally meaningful work of art. And, like jeweller Helen Britton, I will be able to infuse my work with the narrative of its creation.[2]
Coral Persistence also addresses repetition in terms of practice, or the repeated use of technique and process. I have created many smaller pieces in the process of designing and making my project. I see these smaller pieces as essential components of my art practice as they have allowed me to acquire the essential skills I needed to complete Coral Persistence. In addition, as my proficiency increased, my concept for Coral Persistence evolved. I wanted to challenge myself such that a single ring became a set of three pieces - two rings and a choker. This expansion of ideas is directly related to the repeated use of technique and process that provided me with the confidence to strive for an expanded goal.
From the beginning of my project, I had a vision that I could use Coral Persistence to spread a valuable message about coral protection to the public. I found author and jewellery curator Kevin Murray’s statement about jewellery being a mechanism to create social connections and calls for action highly stimulating. In particular, Murray spoke about the “power” of jewellery in his article The Change We Can Wear. He said, “Once attached to a human host, jewelry has great potential power”.[3] I aligned to this message immediately and wanted my project to function in this capacity.
After much research and thought, I decided the way forward for my project in order to meet my psychosocial goals was to add a participatory component. This would function as a repeated reminder to the wearer and the public that we are the temporary caretakers of coral reefs during our lifetimes just as we might be the temporary caretaker for an object. Hence, one of the rings from the Coral Persistence set would be freely bestowed on a series of temporary caretakers who would wear the ring according to a set of caretaker guidelines.
This concept is significantly inspired by jeweller Vicki Mason’s Broaching Change project.[4] In Mason’s project, a temporary owner would care for a brooch that was imbued with messaging about national independence. The temporary owner was required to visit a website within two weeks of receiving the brooch and write about their experience. In addition, the temporary owner agreed that if someone else expressed interest in the brooch and agreed to the covenants of ownership, they would freely give the brooch to that person who would become the new owner. Similarly, temporary caretakers in the Coral Persistence participatory project would have access to a website with full details of the project and caretaker guidelines. They would also need to pass on the ring to the next temporary caretaker who agrees to abide by the caretaker guidelines.
The idea of giving away an object that a visitor expresses interest in has a foundation in several cultures. For example, Kevin Murray identified a custom of hospitality in Papua New Guinea called “hamal” that requires the homeowner to give a visitor an object that they express interest in.[5] This concept of giving away our possessions is unfamiliar in contemporary Western society. However, as jeweller Bridget Kennedy reminds us, we need to change our way of thinking to create a more sustainable community. This transformation is key to the success of the messaging being delivered by the Coral Persistence project.
Kennedy is involved in many participatory projects, but one in particular I feel is highly relevant to Coral Persistence. Kennedy offers a pop-up jewellery repair café in her home town of Sydney.[6] This is a free service that involves the participation of a jeweller and owner to repair a piece of jewellery or small object. The project addresses the modern “throw-away” ethos where objects are discarded even if there is very little wrong with them. Kennedy points out that repairing an object allows us to use it for longer and reduce greenhouse gas emissions by decreasing the need for the manufacture of replacement objects. The participatory component of Kennedy’s model aligns with my goals of using jewellery as a communication vessel for environmental action and social change.
Other contemporary jewellers who are employing jewellery as a communication tool to develop a relationship between the wearer and a social, environmental or political message have emerged over the last decade. For example, local jeweller Clare Poppi created a series of “growing jewellery” during her Home Residency Program at the Museum of Brisbane.[7] Clare’s jewellery which combines a living plant in a wearable object requires the wearer to care for the plant and encourages a greater connection with nature. Relatedly, jeweller Roseanne Bartley also uses jewellery to promote environmental awareness. Specifically, Bartley conducts urban explorations with groups of participants in search of discarded materials for jewellery making. Participants are also invited to join a jewellery making session using their found objects. Bartley enjoys sharing her jewellery making skills in this environmentally conscious manner and believes that “jewellery can be a way to make change in the world, one step at a time.”[8]
Coral Persistence is created from copper - a pinkish-orange coloured metal that reminds me of the colour of some corals. The process of creation involved saw piercing coupled with drilling, metal forming, disc cutting, soldering, sanding and polishing. With each piece, my familiarity with the metal and its attributes has increased. Having overcome several stumbling blocks as I progressed towards my vision, I am feeling more confident as a metalsmith, and I am now at a stage where the challenge of manipulating this sometimes temperamental material to my desired outcome is highly enjoyable.
I look forward to continuing my jewellery journey and adding to my skills set and understanding of the conceptual aspects of jewellery design and making, particularly in regards to participatory possibilities.
References
[1] Susan Cummins, “Julie Blyfield: Second Nature,” Art Jewelry Forum, accessed April 4, 2020, https://artjewelryforum.org/julie-blyfield-second-nature.
[2] Andrea Dinoto, “Helen Britton: Narratives of Creation,” Metalsmith 34, no. 3 (2014): 44-51.
[3] Kevin Murray, “The Change We Can Wear,” Art Jewellery Forum, accessed April 4, 2020, https://artjewelryforum.org/articles/change-we-can-wear.
[4] Vicki Mason, “Broaching Change Project,” accessed 5 August, 2020, https://broachingchangeproject.wordpress.com.
[5] Kevin Murray, “Every Brooch has a Catch,” Craft Unbound, accessed 6 August, 2020, https://www.craftunbound.net/exhibition/every-brooch-has-a-catch.
[6] Bridget Kennedy, “Pop Up Jewellery Repair Café, “ accessed 6 August, 2020, https://bridgetkennedy.com.au/pop-up-jewellery-repair-cafe.
[7] Museum of Brisbane, “MoB Artists @ Home Residency Program,” accessed 6 August, 2020, https://www.museumofbrisbane.com.au/whats-on/artists-at-home-profiles/#2.
[8] Museum of Applied Arts & Sciences, “‘Found out - floral brooches’ brooch by Roseanne Bartley,” accessed 8 August, 2020, https://collection.maas.museum/object/466607.
⭐This artwork is available for sale. For further information please contact me.
]]>Toni-Maree Savage
21st Century Beauty, 2020
Mixed media on hardboard
61 x 61 cm (individual pieces)
21st Century Beauty, 2020 is a series of four Pop Art-inspired works that explore contemporary concepts of beauty in the mass media. In particular, the series reflects upon messaging about beauty ideals that are heavily reliant on unrealistic body shape.
21st Century Beauty had two primary purposes. First, to permit a conceptual exploration of a relevant contemporary issue. And, second, to allow a technical exploration of mediums and surfaces outside my comfort zone as a painter.
Considering the series from a conceptual perspective, 21st Century Beauty aspires to challenge mainstream benchmarks that foster issues of body image which are linked to consequential eating disorders, depression and low self-esteem. The series asks the viewer to question the mass media’s inaccessible beauty standards by highlighting the emblematic unreasonableness of the imagery. I feel this is a significant social issue given we are bombarded daily from a very early age with media messaging that encourages this damaging way of thinking about our bodies.
Considering the series from a technical perspective, 21st Century Beauty has allowed me to push past self-imposed boundaries in my painting and sample the flat, coloured shapes of the historical Pop Art style. As a painter who generally prefers realism, this was a considerable leap. Overall, I enjoyed discovering Pop Art and found it interestingly a less demanding experience to paint using such a highly unrealistic approach.
21st Century Beauty also allowed me to discover the splendour of painting on a smooth hardboard as compared to my standard canvas surface, and I was provided with the opportunity to return to acrylic paints after a long hiatus dominated by oils. I had forgotten how quickly acrylic dries and, although this was a struggle at first, I enjoyed revisiting the more rigid plasticity of acrylic paint temporarily compared to the buttery smoothness of oils.
⭐This artwork is available for sale. For further information please contact me.
]]>Toni-Maree Savage
Bloom, 2020
Aluminium. copper, found plastic, leather cord
Bloom, 2020 is a response to the COVID-19 Coronavirus pandemic of 2020. The medical mask has become somewhat of a symbol of the pandemic. The sight of the mask often induces fear and anxiety. I have taken the concept of the medical mask and created a piece that instead aims to promote an uplifting and positive response. A mass of blooming flowers emerges from the mask. The blooming flowers represent growth and life. They are a reminder to us that we will get through this pandemic if we work together.
I wanted my piece to encourage positive thoughts, especially to help people who have been experiencing mental health issues in the pandemic. The social isolation and anxiety forced by this pandemic have significant mental health issues for many people. We need to remember to care for our physical health, our mental health and each other during and after this traumatic event.
Bloom, 2020 is a saw pierced piece created from my pile of discarded aluminium and copper. I have also incorporated recycled plastic as an additional layer of the flowers. I used surplus aluminium wire to create the chain and hand rivet the flowers into position. The leather cord was left-over from a previous project. It was important to me that I did not leave my home for any materials for this project as I wanted to create a piece from what I had cast-off and was lying around my house. As a community, it has been vital that we stay at home and only leave our houses for essential supplies. This project helped me to be productive and support this essential prerequisite for managing COVID-19 and safeguard the health of our communities.
Academics in Pandemic online exhibition available on the Ethical Metalsmiths website.
⭐This artwork is available for sale. For further information please contact me.
]]>Toni-Maree Savage
Portrait of Tyson and Ashton, 2019
Digital photograph
I wanted to create a character portrait of my identical twin sons that portrays the powerful connection between them. I am fascinated by their similarity in appearance and personality, and I wanted to reveal this to the viewer.
I feel my portrait communicates the incredible emotional bond that the sitters' share with each other; they are two people but sometimes think and behave as one. I asked the boys to go shirtless so that the fusion and personality were the primary focus of the image without any distraction. I asked the boys to position themselves to merge their two faces. The effect is fantastic with the chins, mouths, noses, moustaches, beards, eyes, eyebrows and foreheads entwined. I was careful to include their beautiful long hair that contributes so much to their narrative and helps to define their character.
I used soft light in this portrait as I wanted to diminish the separation into two separate people by avoiding any harsh shadows. I think the final portrait is highly emotive and intriguing.
In this portrait photography, I have used the speedlight as the mainlight to help merge the two sitters' faces (identical twins) into a single portrait. The image was taken late at night, so there was no natural light. I experimented with turning on the ambient overhead lights and using the speedlight at different powers and angles. I found that setting the speedlight at maximum power and positioning it to reflect light from the light-coloured ceiling with the soft ambient overhead light turned on created the effect I was seeking. The speedlight evenly filled the faces of the twins. I made sure that the catchlight in the sitter's eyes was still visible to ensure the image had a sense of life and dynamism which would be missing without this important feature.
Again, I wanted to include as much detail and clarity in the portrait as possible. With this in mind, I selected ISO 100 to avoid any loss of detail, a mid-range aperture of f11 to permit an appropriate amount of light to reach the camera's sensor, and accompanied this aperture with a low to mid-range shutterspeed of 1/60. The speedlight and settings allowed me to create a photograph that captures every detail of my sitters' faces while fusing them seamlessly.
⭐This artwork is available for sale. For further information please contact me.
]]>Toni-Maree Savage
Contessa the wood nymph, 2019
Mixed Media
40.6 x 40.6 x 1.6 cm
Artist Toni-Maree Savage enjoys making original artworks that inspire the imagination. This work evokes the ambience of a mysterious and mystical forest. Lustrous gold, bronze and red merge to create a luxurious wood nymph portrait conjured from her dreams.
🔴 This artwork has sold.
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