Archives for category: research folio 3rd year

ARI direct references ( indicated by this highlight “ARI”)

ARI related references and further explorations (indicated by this highlight “ARI”).

ARI: “Information  about  NorthCity4.”  blog

NorthCity4  website

ARI: Seminar  and  workshop  events.”  Pieces  of  Eight  gallery  blog

(all  accessed  March  23,  2012)

ARI: NorthCity4  website

ARI: “Access  workshop  information.”

ARI: Bowman,  Katherine,  “Honouring  Women  in  Moreland  Awards  2012.”  NorthCity4  blog

ARI: Davern,  Anna,  “Plumbing; Brunswick  Foodstore.”  NorthCity4  blog

ARI: “Class  information.”

ARI: Project  Space  information.”

ARI: “Seminars.”

ARI: “Studio  Tenancy  information.”

ARI: Tenancy  applications.”

ARI: “The  Board  of  NC4.”

ARI: “Seminar:  Vicki  Mason  Jemposium  NZ  2012.”

(all  accessed  March  30.  2012)

ARI: “Ali  Limb.”

ARI: “Anna  Davern”.

ARI: “Caz  Guiney.”

ARI: “Katherine  Bowman.”

ARI: “Romani  Benjamin.”

(all accessed  March  31,  2012)

ARI: Bachelor of Arts(Fine Art) (Honours). “Gold and Silversmithing Department, RMIT.” RMIT;ID=BH052

(accessed June 25, 2012)

ARI: Bachelor of Visual Arts (Honours). ” Jewellery and Object Department, Sydney College of the Arts.” SCA

(accessed June 25, 2012)

ARI: “First Draft Gallery.”

(accessed June 25, 2012)

ARI: “Gaffa Gallery.”

(accessed June 25, 2012)

ARI: Jewellery course. “Jewellery Manufacture.” Enmore Design Centre.

(accessed June 25, 2012)

ARI: “Square Peg Studios.”

(accessed June 25, 2012)

Genre Classification direct references (indicated by this highlight “GC”)

Genre Classification related references and further explorations (indicated by this highlight “GC”)

Part 1:

GC: Austen, Jane. Persuasion: Oxford World Classics. Oxford: Oxford university Press, 1998.

GC: Carmody, Isobelle. The Obernewtyn Chronicles books 1-6. Ringwood: Penguin Books; Camberwell: Penguin Books, 1987-2011.

GC: Evanovich, Janet. The Stephanie Plum series books 1-14. Ringwood: Penguin Books; London: Hodder Headline, 1994-2007.

GC: Fforde, Jasper. The Thursday Next series books 1-6. London: Hodder and Stoughton, 2001-2011.

GC: Hartnett, Sonya. Black Foxes. Ringwood: Viking/ Penguin Books, 1996.

GC: Tolkien, J.R.R. The Lord Of the Rings. London: HarperCollins, 2001.

Part 2a:

GC: Alcott, Louisa May. Little Women: a new method supplementary reader. London: Longmans, 1959.

GC: Delamare, François and Bernard Guineau. Colour Making and using dyes: New Horizons. London, Thames & Hudson, 2002.

GC: Hartnett, Sonya. Black Foxes. Ringwood: Viking/ Penguin Books, 1996.

GC: Language of Flowers. London: Michael Joseph Ltd, 1977.

GC: Riley, Judith Merkle. The Oracle Glass. New York: Viking Books, 1994.

GC: Sedgewick, Marcus. Blood Red Snow White: a novel of the Russian Revolution. London: Orion, 2007.

GC: Taylor, Ingrid, translator. The Treasury in the Munich Residence. Munich: Bayerische Verwaltung der staatlichen Schlösser, 1998.

GC: Youtube. “Fan Language.” Horrible Histories.

(accessed June 21, 2012)

Part 2b:

GC: Callery, Sean. Codes and Ciphers: Collins Gem. Glasgow: HarperCollins Publishing, 2006.

GC: Clifford, Helen. “The Power and Allure of Gold.” World of Antiques and Art 82 (2012): 42-45.

 GC: History of Geometry is the driving force for this jewellery show. “In Geometry I Trust-Melissa Cameron.” Studio 2017. March 3, 2012. 

GC: History of the wedding dress and its construction. “Unveiled: 200 years of WeddingFashion from the Victoria and Albert Museum, London.” Te Papa Museum of New Zealand. February 13, 2012.

GC: Research of whispering walls. “Whisper Pitch-Robyn Backen.’ Carriageworks. May 5, 2012. 

Part 3a:

GC: Art Gallery of New South Wales. ” Come of Things.” Del Kathryn Barton.

(accessed June 21, 2012)

GC: Bolton, Andrew. Alexander McQueen Savage Beauty. New York: Metropolitan Museum of Art; Distributed by Yale University Press, 2011.

GC: Froud, Brian. The World of the Dark Crystal. New York: Harry N. Abrams, 2003.

GC: Grimm, The Brothers with Errol Le Cain, ill. The Twelve Dancing Princesses. London: Faber and Faber, 1978.

GC: Kuijer, Guus. The Book of Everything. Translated by John Niewenhuizen. Crows Nest,N.S.W: Allen & Unwin, 2006.

GC: Museum of Contemporary Art. ” EXoEoAXIS, 2005.” Nick Mangan.

(accessed June 21, 2012)

GC: The Dark Crystal Collector’s Edition. DVD. Written and directed by Jim Henson. 1982; Culver City, CA: Sony PIctures, 2003.

GC: Tunnicliffe, Wayne, curator and ed. Wilderness: Balnaves Contemporary Painting. Sydney: Art Gallery of New South Wales, 2010. 

Part 3b:

GC: Bettelheim, Bruno. The Uses of Enchantment: The meanings and Importance of Fairytales. London; Ringwood, VIC: Penguin Books, 1978.

GC: Creed, Babara. ” The Monstrous Feminine: stereotyping against the grain.” Broadsheet 41.1 (March 2012), 30-31.

GC: Friedmann, Jessica. “Del Kathryn Barton is an Artist.” Dumbo Feather 30 (First quarter 2012): 104-127.

GC: Installation using light, water and perception.”Our Frozen Moment-Michaela Gleave.” Carriageworks. May 5, 2012.

GC: Jewellery based on text by Edgar Allan Poe. “Night’s Plutonian Shore-Julia deVille.” Photospace New Zealand. February 11, 2012.

GC: Rozin, Paul; Jonathan Haidt and Clark R.McCauley.”Disgust.” In Handbook of Emotions 3rd. edition, edited by M. Lewis; J.M. Haviland-Jones and L.F. Barrett, 757-776. New York: Guildford Press, 2008.

Part 4a:

GC: Alt, Matt and Hiroko Yoda. Hello, Please: Very Helpful Super Kawaii Characters from Japan. San Francisco: Chronicle Books, 2007.

GC: Coerr, Eleanor. Sadako and the Thousand Paper Cranes. New York: Putnam Group, 2002.

GC: Iwamiya, Takeji and Kazuya Takaoka. Katachi: Classic Japanese Design. San Francisco: Chronicle Books, 1999.

GC: Rosalie Gascoigne. “Monaro, 1989.” Roslyn Oxley 9 Gallery.

(accessed June 21, 2012)

GC: Wikipedia. “Japanese Aesthetic.”

(accessed June 21, 2012)

GC: Wikipedia. “Kubota Itchiku.”

(accessed June 21, 2012)

GC: 2011 Itami International Contemporary Jewellery Competition. “Mari Oogi, One Day Fly, 2011.” Museum of Arts and Crafts Itami, Japan.

(accessed June 21, 2012)

Part 4b:

GC: Definitive monograph. Morris, Frances. Yayoi Kusama. New York: D.A.P./Distrbuted Art Publishers, 2012.

GC: Gellatly, Kelly. Rosalie Gascoigne.  Melbourne: National Gallery Of Victoria, c2008.

GC: Ikegami, Eiko. Bonds of Civility:aesthetic networks and the political origins of Japanese culture. Cambridge, UK; New York: Cambridge University Press, c2005.

GC: Nicholson, Geoff. “Mariko Mori: The Art Seduction.” Art Review 3 (September 2006), 114-121.

GC: Tsukada, Kyoko. ” Beauty in Frugality: Harmonious paths to the fullest use.” Kateigho International Edition: Japan’s Arts and Culture vol.28 (Autumn/ Winter 2011), 34-37.

GC: Youtube. “Kimono as Art Parts 1-3.” Itchiku Kubota.

(all accessed June 25, 2012)

Part 5 and Conclusion

GC: Doherty, Paul and Pat Murphy. Traces of Time: the beauty of change in nature. San Francisco: Chronicle Books, 2000.

GC: Swedish Folksong. Who’s Going to Heat up the Sauna. From 4-The soundtrack.Pekka Kuusisto (violin/ vocals). FFC, NSWFTO, Vast productions/ Australian Broadcasting Coporation. 2007, compact disc.


This image was chosen as a relflection of the winter landscape.WIlliam Neill, Burnt Trees and Shadows on Snow, Blacktail Plateau, Yellowstone National Park, Wyoming, c2000. Reproduced courtesy of the artist and The Exploratorium®, San Francisco by Paul Doherty and Pat Murphy, Traces of Time: the beauty of change in nature (San Francisco, Chronicle Books, 2000), 11.

 Genre: The Cultural Scavenger

Overall this has made me aware that it is “The Otherness” that intrigues me. And in trying to give myself a label I came up with “Cultural Scavenger”, that I’m continually scrapping away at these influences to get to a point of resolution. In some ways this is best summed up by Pekka Kuusisto when he talks about the inspiration and influences of landscape and music to his creativity and relates to how I feel about my own creativity in the art realm:

“This landscape, you can feel that’s been here for ever and this puts things into perspective, and that we are only here for a very short moment in time. And the same thing with music as well, cause it’s been around forever and I’m sort of touching it just a little bit and then I’m gone but music is going to be forever.”¹

The responses that were received in regards to both the ARI report and the presentation were both interesting and varied. With the ARI report on Northcity4 two questions were raised. The first was, “What are the advantages of pooling resources with other jewellers and object makers?” And I think it comes down to two factors, they are economics and space. With regards to money by pooling resources amongst a few people there is a greater chance of being able to afford bigger tools and equipment that if you yourself tried to buy, it may take some time to afford. The only draw back is that it needs to be made clear to all involved that an agreement is made if anybody should leave the studio and their monetary share  of it. And with the ability to share space this comes down to able to go somewhere that hasn’t the distractions of home and if you wish to make something using metalsmithing techniques having proper soundproofing. The second question was, “What are the advatages of being in hte proximity of other creative fields of practice?”³With the second question for myself, I think sharing a workshop with others already working in their chosen areas, would be both instructional in a technical sense and moral support as well. I know from experience that when you first finish any sort of creative course that unless you have some sort of network to be able to access that it can be hard to continue  being creative without sacrificing it to living and trying to make enough money to get by. I hope that by being around like-minded people that I will still get enough impetus to continue on regardless of that.

For the presentation most of the feedback I received was based on how I had structured the talk and my rather large collection of books. Through basing the presentation on book genres to give it a grounding and a mapping this made it clearer for those to understand how I came to the key themes that are important to my work. By also declaring my obsession for book collecting I made myself as a person accessible and heard more than a few stories of others and their book collecting or people that they knew that also collected and were readers.

In conclusion what I gained from doing these two parts from the folio was a greater clarity of what are the driving forces and influences in my work and what types of outcomes I can possibly expect when I finish my degree.

1. Swedish Folk Song, Who’s Going to Heat up the Sauna, from 4-The soundtrack. Pekka Kuusisto (violin/ vocals). FFC, NSWFTO, Vast Productions/ Australian Broadcasting Corporation, 2007, compact disc.

2. Oliver Smith. email message to the author, April 19. 2012.

3. Oliver Smith, email message to the author, April 19, 2012.

Eleanor Coerr, Sadako and the Thousand Paper Cranes; Matt Alt and Hioko Yoda, Hello Please; Takeji and Iwamiya Takaoka, Katachi.

The juxtaposition of whimsy and nature in this work is what epitomises for sense of the Japanese aesthetic that appeals. Mari Oogi, One Day Fly, 2011. 2011 Itami International Contemporary Jewellery Competition. Reproduced from the Museum of Arts and Crafts, Itami website, (accessed June 21, 2012)

Japanese Aesthetic

Having an in interest in Japanese aesthetics began from reading Sadako¹ and continually asking my mum about “what is a kimono” and the significance of cherry blossom trees and Hiroshima, and she suggested I go to the library and read books on Japan. And over the years I’ve gradually come to appreciate the ideas of asymmetry, wabi (transient & stark beauty), sabi( the beauty of natural patina and aging), yugen (profound grace and subtlety), and shibui (simple, subtle and unobtrusive beauty)². Their skills in craft are also important to me and this kimono by Kubota Itchiku is an example of this. It is from a series of works that he created based on views of Mt Fuji and uses a technique called Tsuijgahana which he re-dicovered and revived. It is a late 15th century-early 16th century textile dyeing and decorating technique³.

This example of a craftsman at the height of his technical ability and deep interest in his chosen theme is what draws  me to this work. Kubota Itchiku, Kimono taken from a series based on Mt Fuji. Reproduced from postcard.

Clare Hooper, Nocturnal Blossom necklace detail, 2010. Fine Silver, shibuichi. Collection of the artist.

Both of these pieces are my interpretation of having a “Japaneseness.” In the example of  the ring it is the Japanese 100 yen coin and with the necklace it is the use of asymmetry, shibuichi (a Japanese alloy of silver and copper) and the patination of shibuichi after it has been heat treated.

Clare Hooper, Yearning ring, 2010. Brass, Japanese 100 yen coin, Sterling silver. Collection of the artist.

1. Eleanor Coerr, Sadako and the Thousand Paper Cranes. (New York, Putnam Group, 2002)

2.Wikipedia, “Japanese Aesthetic.” (accessed June 21, 2012).

3. Wikipedia, “Kubota Itchiku,” (accessed June 21, 2012)

Fantasy and Fairytales:

Brian Froud, The World of the Dark Crystal; Guus Kuijer, The Book of Everything; Bros Grimm with illustrations by Errol Le Cain, The Twelve Dancing Princesses

The next big influence is of the otherworldliness of fantasy and fairytales. It was this particular version of The Twelve Dancing Princesses¹ that I vividly remember from my childhood especially as it has a section about the girls going through forests where the leaves on trees were made from gold, silver and diamonds. The Dark Crystal² was one of those movies that was just magical to me when I first saw it. And The Book of Everything³ although not a long book, that when finished made me look at the world around me anew. The other artworks that I have chosen relate back to these influences.

The transformation from one form to another related to themes in all three books and was what drew my attention to this dress. Alexander McQueen, Horn of Plenty Dress, A/W 2009-2010. Black duck feather. Reproduced Andrew Bolton, Alexander McQueen Savage Beauty (New York: Metropolitan Museum Of Art; Distributed by Yale University Press, 2011), 72.

Strange worlds with hybrid creatures was one of the elements that drew me to enjoying The Dark Crystal and is one of the reasons why I am attracted to Barton’s works. Del Kathryn Barton, Come of Things painting, 2010. Synthetic polymer paint, gouache, watercolour and pen on polyester canvas. Two parts: 150.0 x 360.0cm overall. Reproduced from the Art GAllery of NSW site, (accessed June 17, 2012)

The magical, transformational qualities that make up fantasy and fairytale are the inspiration for this necklace series. It is from ideas such as  of opening a rock and finding hidden crystals inside, the use of paint and heat-treating metal to bring about the transformation from its original state that are important function of  fantasy for me.

Clare Hooper, Fresh taken from Flesh Necklace Series, 2012. Copper, enamel paint, silk cocoons, black glitter. Collection of the artist. Reproduced by Hannah Waughman

1. The Brothers Grimm with Errol Le Cain, ill., The Twelve Dancing Princesses. (London: Faber and Faber, 1978)

2.  The Dark Crystal Collector’s Edition. DVD. Written and directed by Jim Henson. (1982; Culver City, CA: Sony Pictures, 2003.)

3. Guus Kuijer, The Book of Everything, trans. John Nieuwenhuizen ( Crows Nest: Allen & Unwin, 2006).

Clare Hooper, Decay taken from Flesh Necklace Series, 2012. Copper, enamel paint, silk cocoons, black glitter. Collection of the artist. Reproduced by Hannah Waughman.

Clare Hooper, Bruised taken from Flesh Necklace Series, 2012. Coloured titanium, silk thread. Collection of the artist. Reproduced by Hannah Waughman.

Clare Hooper, Diseased taken from Flesh Necklace Series, 2012. Heat-treated copper, silk cocoons, copper. Collection of the artist. Reproduced by Hannah Waughman.


Sonya Hartnett, Black Foxes; Louisa May Alcott, Little Women; Marcus Sedgewick, Blood Red Snow White.

The first theme is history and what is fascinating to me about it is that it helps to explain what has happened and what is also taking place right now. We can have a link to how our ancestors lived through the objects that they lived with. I first became aware of this when I read “Little Women” and what held my attention was the details of what people wore and how different they were to my own, the differences in regards to social expectations and many varied cultures. Another example of this was with novel  “The Oracle Glass¹” which is set in the time of Louis the Fourteenth and talks about the hidden language of fans. This lead to project that I created last year that dealt with hidden languages of fans, flowers and colour.This link goes to someway to explain my facination for hidden languages.

Insignia of the Order of the Knights of St George. Various dimensions. The Treasury, Munich. Reproduced from a private photo collection

Clare Hooper, Pilgrimage Series, 2011. Brass, copper, enamel paint, sterling silver, stainless steel. Reproduced by Hannah Waughman.

This interest in history prompted me to see the Treasury at the The Residence when I was in Munich last year. While there I saw a large collection of Orders and that gave me the inspiration for the “Pilgrimage” series.

1. Judith Merkle Riley, The Oracle Glass  (New York: Viking Books, 1994), 265.

Once upon a time …

there was a girl…

whose first object love/ obsession was…

books (And lots of them!)

Clare Hooper. Image of book collection as of the 6th of April, 2012. 2.1m x 1.3m x 0.6m. Collection of the artist.

When I started to try and figure what genres that I am drawn to, the first thing that came to me was that genres more than anything were book related. And since I was a book collecting tragic, I had noticed over my years of collecting that there were specific areas I gravitated towards. So generally speaking in non-fiction it is craft; art; nature/gardens; jewellery; interior design; Japanese aesthetic & French aesthetic. In fiction it can range from  Lord of the Rings¹  to Jane Austen², to Jasper Fforde’s Thursday Next series³, to children’s books such as the Obernewtyn Chronicles¹ and Sonia Hartnett². Plus a few of what I call ‘junk food for the brain” type books like Janet Evanovich’s Stephanie Plum novels³. So over the two days it took me to set up and put away this installation, what I came to realize was that there were specific themes that I am continually drawn to and influenced by.  And that these major influences come from when I was growing up. They are history, fantasy & fairytale and the Japanese aesthetic. Each of these themes will show books that have been inspirational to me as well as artwork by others that tie into those themes and artwork that I’ve created that show links to these themes.

1. J.R.R Tolkien, The Lords Of the Rings. (London: HarperCollins, 2001), 22-1129.

2. Jane Austen, Persuasion: Oxford World Classics. (Oxford: Oxford University Press, 1998), 9-238.

3. Jasper FForde, The Thursday Next series books 1-6. (London: Hodder and Stoughton, 2001-2011).

1. Isobelle Carmody, The Obernewtyn Chronicles books 1-6. (Ringwood: Penguin Books; Camberwell: Penguin Books, 1987-2011).

2. Sonya Hartnett, Black Foxes. (Ringwood: Viking/Penguin Books, 1996), 3-446.

3.Janet Evanovich, The Stephanie Plum series books 1-14. (Ringwood: Penguin Books; London: Hodder Headline, 1994-2007).

Caz Guiney, Badges for Opening night at NorthCity4, 2012. Reproduced from NorthCity4 blog entry by Romani Benjamin “Badges! Badges! Badges!,” (accessed May 26, 2012)

The  ARI  that  this  report  will  be  focusing  on  is  the  newly  set-up  not-for-profit  organization  NorthCity41  based  in  Victoria.  The  areas  covered  in  this  report  will  be  based  on  how  the  organization  is  run,  who  are  the  practitioners  that  run  the  organization  and  how  these  points  have  influenced  my  decision  on  focusing  on  this  particular  ARI.

As  NorthCity4  is  based  in  Victoria,  the  opportunity  to  visit  the  space  hasn’t  occurred  at  present,  but  from  the  information  gathered  this  particular  space  was  of  interest  because  of  how  it  has  been  arranged  and  the  goals  that  the  board  hope  to  achieve.  They  have  created  a  space  for  makers  to  share  tools  and  bench  space  for  both  long  term  and  short  term  rental,  will be  providing  classes  on  various  techniques  and  will  also  hold  talks  on  range  of  areas  of  interest2.   Their  aim  is  to  ‘…educate  and  be  educated’3  by  providing  for  the  making  community  a  place  that  is  involved  in  both  the  arts  community  and  further  afield.  This  is  shown  through  one  example  which  is  their  involvement  in  the  Moreland  Women’s  Business  Network4.  They  are  also  interested  in  the  issue  of  being  sustainably  focused  in  both  workshop  practices  and  supporting  local  businesses5.

The  artists  who  have  set-up  NorhtCity4  and  who  are  also  the  board  members  are  Romani  Benjamin,  a  glass  artist  and  consultant  for  Media  Arts  Lawyers6;  Katherine  Bowman,  a  jeweller, painter  and  mixed  media  artist7;  Anna  Davern,  a  jeweller  and  teacher8; Caz  Guiney,  a  jeweller  and  educator9,  and  Ali  Limb,  a  jeweller  and  co-founder  and  director  of  gallery  e.g.etal10.  This  diverse  group  are  approximately  in  the  mid-point  of  their  careers,  which  gives  the  organization  a lot  of  expertise  to  draw  on  for  the  running  of  NorthCity4  and  also  their  outside  influences  can  help  it  continue  to  be  relevant  to  the  making  community.

With  these  facts  in  mind,  my  decision  to  focus  on  NorthCity4  also  stems  from  my  personal  needs  as  an  artist  whose  career  as  at  a  point  is  in  advancing  from  being  a  student.  The  types  of  tenancies  available  at  this  ARI  mean  that  I  could  take  part  in  medium  term  lease  of  approximately  six  months  and  still  be  within  an  environment  of  continual  learning  and  mentorship11. The  other  points ,  which  have  influenced  me,  are  as  follows.

These  are  that  they  are  a  diverse  range  of  makers  whose  careers  have  interested  me  in  both  their  practice  and  in  the  work  that  they  have  made.  Also  the  opportunity  to  try  and  be  part  of  collective  of  like-minded  individuals  but  in  different  surrounding  and  place  from  what  I  am  familiar  with.  By  doing  this  I  would  be  challenging  myself  further  out  of  my  comfort  zone  and  possibly  stretch  myself  artistically  in  ways  that  are  as  yet  unforeseen.

In  this  report  I  hope  I  have  shown  how  NorthCity4  is  run  and  how  these  practitioners  have  chosen  how  to  run  this  ARI  based  on  their  own  experiences  both  in  a  professional  capacity  and  their  personal  choices.  I  also  hope  that  I  have  conveyed  the  reasons  for  my  choice  in  focusing  on  NorthCity4.

1.  Taken  from  Anna  Davern, “Plumbing,”  NorthCity4  blog,

(accessed  March  30, 2012)

2.  Taken  from  “Tenancy,  classes,  Seminars,  About  NC4,” NorthCity4  website

(accessed  March  23,  2012)

3.  Taken  from  “The  Board,”  NorthCity4  website,

(accessed  March  30,  2012)

4.  Taken  from  Katherine  Bowman,  “Honouring  Women  in  Moreland  Awards  2012,”  NorthCity4  blog,

(accessed  March  31,  2012)

5.  Taken  from  entries  from   Anna  Davern, “Plumbing, “  and  “Brunswick  Foodstore,”  NorthCity4  blog,

(accessed  March  30, 2012)

6.  Profile  “Romani  Benjamin,”  NorthCity4  website,

(accessed  March  31, 2012)

7.  Profile  “Katherine  Bowman,”  NorthCity4  website,

(accessed  March  31,  2012)

8.  Profile  “Anna  Davern,”  NorthCity4  website,

(accessed  March  31,  2012)

9.  Profile  “Caz  Guiney,”  NorthCity4  website,

(accessed  March  31, 2012)

10.  Profile  “Ali  Limb,”  NorthCity4  website,

(accessed  March  31, 2012)

11.  Article  on  “Project  Space  Tenancy,”  NorthCity4  website,

(accessed  March  30,  2012)