DOES A MATERIAL MATTER IN ACHIEVING CONTEMPORARY JEWELLERY’S VALUE

There has been incremental attention given to what could be called the immateriality of jewelry, it has been defined by its semiotic and commercial value, instead of focus by its materiality. Despite the fact that contemporary jewelry has undergone its development since 1960’s, it is still equivocal defined. But what does the material work in assisting？ In order to construct the framework of contemporary jewelry, it conveys the concept and idea of a piece of work. Use of material, forms the purpose to create meaning, as physical media is necessary to concerned (Bernabei, Wallace, and Wilson, 2018:1-11). Each maker’s choice of materials in his/her work is an important part of contemporary practice, driven by the cognition above, it can be observed that the core section in today’s jewelry is ‘material in use’ as well. Recur to “immateriality”，Contemporary jewelry show estrangement with symbolism and abatement its motivation of emblematic in status, wealth or power. The purpose of jewelry transforming from ostentatious decoration, display of wealth or commercial values and shown further experimental and conceptual form, focus of jewelry in nowadays is shifted from symbolic identity to its content, as the result of this approach, what it represents becomes more pronounced. Jewelry as intermediary engaged between maker, wearer and material needs to be understood, in this condition, insight into today’s broader contemporary contexts that now define the function of contemporary jewelry (Sjørslev, 2016).  My intention is analysis its artistic value and deepen involve the triple relationship that resonates in-between and how material participate with this evolution. 

Jewel expression is often used present days to express something of great value and related to preciousness, hence we need to understand that concept is linked to something special which differentiates itself from other daily objects, but jewel is an ornament of adornment (Takamitsu, and Menezes, 2014:2). By adornment we refer to something generally used in the body that uses gems and materials characterizing itself as an artifact port aesthetic values, figures considered embellishments at the time it was developed. The physical part question should be configured in a way one perceives that is using the jewel by impression it refers but rather not to experience its physical properties that relate to its finish and weight. Jewelries are viewed as body extensions as they have to have physical properties that bring out this feeling. Contemporary jewelry may be perceived as the production of jewelry on the basis of an inventive and an exceptional design sustained by the manufacture. The procedure is a type of artistic display whose creation, both technical and aesthetic uniqueness receives supreme status as well as a clear position to the artistic atmosphere. Amid noble metals as substitute innovative materials, rubber, polyester, acrylic, resin crystal, among other materials which give ornamental items a contemporary concept can be used. Contemporary Jewelry constitutes of a physical platform to demonstrate, challenge and debate issues, due to use of unconventional materials whose commercial values is at times underestimated (Takamitsu, and Menezes, 2014:2). Santos (2013), describes that Jewelry designer is usually present throughout the whole process of production from commencement to finalization. The whole process is characterized by survey of shapes, materials and techniques, requiring creativity, patience and skills. The new aspect of contemporary Jewelry enables the utilization of various materials and shapes leading to innovative projects in format and use (Takamitsu, and Menezes, 2014:5). These parts may not be considered commercial products but rather the work of art since they express artistic view. Among the many types of jewelry in the market, most are not always related to criteria conventionally related with them, it is possible to see a linked fashion production flows where the preciousness of the materials is replaced by the values of the trend, the design and novelty. 

Main Body

Many artists overthrow traditional and popular ideas of jewelry which challenge the generally accepted definition. Material application takes vital link which reflect to the spiritual production for the purpose to meet individual expression. That converts more like creative activities that founding an open attitude in contemporary practice. Dissect case of materialism of jewelry, the physical matter, by question how material substance stand in contemporary field (Adamson G, 2007:1) and investigation through the broad and various uses of materials that made by contemporary practitioners. Then compare the advances or contradicts with its historical use method. I intend to analysis how contemporary practice define today’s jewelry and the reason result it. Look closely at the way by which material reflects a society’s attitude to the environment difference, in addition to culture influence. The use of Jesmonite shall stand the subject of partial investigation, considering how it relates to context surrounding my current practice.

Adamson opens his book “Thinking through craft” by questioning the concept of craft. “Isn’t craft something mastered in the hands, not in the mind? Does it consist of physical actions rather than abstract ideas?” (Adamson G, 2007:1). He leaves the reader speculating on his ideology with regard to craft and art in general as whether it is much concerned with Materialism or immaterialism. The book is written in the spirit of instigation and brings about interesting ideas concerning craft. 

In figure1, Adamson brings about the idea of autonomy in craftsmanship and precisely on jewelry; here he recognizes the work of Margaret DePatta. DePattas’ attitude towards Jewelry making were thoroughly conceived and well articulated as she employed a range of compositional strategies (Adamson G, 2007:23). Though in his writing, Adamson has emphasized on the work, practice and station, here he recognizes the value of ideas in conjunction with the ideas towards sculpturing a good jewel. The well conceived ideas by Margaret together with her keenly collected materials bring about an adorable crafts. 

  Figure1. Whitegold, faceted quartz pendant. Margaret de Patta, 1956.

Although material is not the only way to let the wearer to see its value, for particular group (my practice is focus on the touch sense and make research from blind disability group) they still think beside shape, material will be the only value matter to them as Illustrated in figure2, the Resin Earring Designed by Redka Stuff that even the blind can feel and relate the jewel to something learnt in his or her life experiences.  It is in such way So; I choose the component materials (Takamitsu, & Menezes, 2014, 3-5). Fascination of Geometric structure and shape makes me consider ways to construct the intriguing object and finding diverse method to set them together. This is the reason for the aim to design with variables and not limited to a fixed form. Working with composite materials such as Jesmonite and silicone needs mass of practical processes to achieve the versatile nature of it. By making a solid material to have its flexible quality by adding assemble-able ideas to explore its potential possibilities to be experimental in material is the main part of my practice, as the physical media is necessary to concerned. What does the role of material work in assisting? To construct the framework of contemporary jewelry, it conveys a concept and ideas.

In my studio practice, I consider the theories of Materialism and Immaterialism. Materialists proponent perceive that the whole world is made up by physical substance and thus it is a material world. They deny existence of non physical things including non-physical mind and relate the cognitive functioning to physical states. To the contrary, Immaterialist believes that the world is made of non-physical substance, they deny of the existence of the universe beyond the mind and thus they believe the universe exists in the mind (Santayana, 2017:165-170). In an artistic world, both philosophies hold one does not exist without the backing of the other. Though the universe is physical its aesthetical value is a result of creative thought. In the Art industry one has to bridge between the two philosophies the use physical materials blending it with innovative thinking to bring out outstanding artistic work. Basically, without the material world we luck the primary objects and luck of ideas would lead to a shoddy world. 

Figure2 shows “Tactile Communication”, the idea of enhancing interaction with objects through ‘touch’ and present that verbal languages are not the only vehicle of people. Synthetic materials are mainly utilized within studio practice, descript the role of ‘touch’ with material in jewelry subject and to frame the communication through sense of touch. The sense of touch understands as language added to the object, assist in the expression of selves, reveal the most fundamental communication way. Non-verbal contact makes communication fluent, touch is a silent language that strengthens the information in the process and shortens the distance in-between. It is an effective way of interacting, between the three perspectives to make communication in pour the role of perception. The object carries the maker’s thought in the process and is given the wearer’s understanding. With action, display, overlay or assemble-able, contemporary jewelry not exists independently, there is expectation waiting to communicate with people (Takamitsu, & Menezes, 2014, 3). The communication and interaction between the piece and the wearer are closely integrated and there is no exact rule or an accurate way to achieve it.

Figure2. Resin Earring – Design Redka Stuff

The exposition on the material value takes into perception and ideas about resources used in making the jewelry and allow inquiry on their value as well as their symbolic worth. Jewelry can be made from various materials which include and not limited to textile, wood, stones, plastics, and papers, man-made or natural materials and all kinds of metals. Without the limitation of high valued and precious resources, there is liberty in questioning the ordinary perception about Jewelry. Should the kind of material used have to be much recognizable? Artists are regularly questioned on the permanence of materials as people expect that the jewelry should last forever (Cherry, & Hinchliffe McCutcheon, 2012: 1).  However, materials change with time though given the right circumstances even feathers and paper will last long enough. Jewelry in this paper have been selected from creation of artists’ well chosen materials and made through well thought techniques that produce their values and identity. With them, the viewer appreciates their value which is beyond the material used while the wearer feels it.

Figure 3, Necklace ebony felt silver

For figure 3 Janet Hinchliffe McCutcheon says;

“I enjoy jewelry as both wearable pieces and as an object for contemplation. The challenge presented is to combine these functions in each piece of work and evoke an intuitive response in the wearer. Materials are chosen for their contrasting and tactile qualities. Combining perceived durable and perishable materials satisfies my curiosity to solve practical problems. The solutions are the visual and functional details which invite the wearer to touch and in some instances rearrange. It is the physical presence and connection that moves the jewelry from maker to wearer bringing a new sense of value.” Cherry, & Hinchliffe McCutcheon, 2012:6)

The Jewel is handmade in silver, gold leaf, Japanese paper, carved ebony and textile cord. This Jewelry by McCutcheon is worn by individuals who are creative, forward thinking, fashionable and who appreciate originality. 

Figure4. Silver pearl ring by Julie Whitelaw

 According to Whitelaw Frances, physical features of the jewelry are essential to the wearer, it goes beyond the palpable needs of relieve and expediency to replicate style and individuality. He exploits the prospective of the resource to apprehend design ideas but also get forms as well as textures that are enticing to the hand and eyes. Figure 4, is made in wire that brings its own opportunities and technical restrictions. As a metal artist, he focuses on working with silver which is still his favorite medium of expression Cherry, & Hinchliffe McCutcheon, 2012:6). It has many properties which make it exciting and dynamic to work with although it is also a valuable material too. The surface goes against traditional expectations. Objects appear functional but, one of their purposes is to be desirable, sensual and to be a source of contemplation.

Figure5, Yoko Izawa stream bracelet

Figure5 is Jewelry by Yoko Izawa expresses her take that the sense of value and beauty within her culture shape and influence her work and brings out a quality of ambiguity. Her procedure commence with a fabric design. By the use of an industrial size knitting machine she converts nylon and lycra thread into tubular makeup. The artifact is then painted and the whole piece of jewelry is habitually formed using one piece of cloth (Cherry, & Hinchliffe McCutcheon, 2012:8). The fundamental element materials visually mix in ones eye creating a harmonious structure. The jewel has an uncertain quality with which one may see divergent features, outside and inside, flexible and rigid and also visible and hidden. 

History of jewelry design during the post war period usually stress the present day divert from the rare metals and gems as a democratic show as artists try to make good designs from affordable and available materials and the free will to chose materials to use. Even after Peter Dormer theorized what is seen as New Jewelry, those in this area are still searching for allusive new viewers and asking how to open up contemporary Jewelry to more than just the enthusiast. This remains a fight since jewelry is much a daily routine without focus on the changes and appreciation. In the struggle to change from the conventional nature and conservative attitude, jewelry can portray self-assurance in the wearer and at times knowingness (Cherry, & Hinchliffe McCutcheon, 2012:4). The modern Jewelry has a thing to converse with its wearer who ought to be ready to respond after listening to it. Far from concerns about non-preciousness or preciousness the jeweler will often ask how the resource used can be used as storage for thoughts. This thought maybe those vested in silver and gold whose association resembles wealth but can also be in things that we face in our daily routine. 

“Jewellery often functions as a symbol of self, as a signifier of aspects of identity, as a conduit to transport us to other times, places and people, and as a receptacle for our feelings of that associated other” Jayne Wallace, 2007

In the late 80’s, design and craft community was alerted of a prospective dematerialized product landscape. It was portrayed that the future would consist of the virtual of miniaturized as well as less physical artifacts. In this world of digitalization, the mimetic and real would be rendered alternatives and un-envisioned scenarios for socializing with our world (Cherry, & Hinchliffe McCutcheon, 2012 pg5). The experience will be, computers replacing face to face human interactions and technologies being more powerful and competent in their tasks. What had been known to be physical and mechanical experience and actions would be immaterial and invisible due to the new tools of communication. This calls for high level creativity and innovation in how makers and designers create and engage their audience. 

Figure6, A digital Purple locket, by Purple Technologies, LLC 2014. Concept prototype

The Purple Locket (2015) in figure6 by Purple Technologies is a concept prototype of a digital locket that stores digital picture. The Purple Technologies takes into account the history of lockets to remember the memory of loved ones and become a sign of affection. Purple locket bridges the gap between craftsmanship of ornament making techniques and design. The unique chain hook, curved lid and the clean lines reflect the modest aesthetic approach that makes the experience discreet. Platinum, gold, silver and bass have been used to compliment the smooth black glass back that is necessary for its inductive charging system. The locket helps the wearer to remember significant things in his or her life (Bernabei, Wallace, and Wilson, 2018:27). The interaction with it relies on familiar interaction and the environment one is in. The piece reflects the essence of the materials used to make it, its interaction with the wearer and how digital knowledge has been built-in to bring out a fine jewel. 

Conclusion

The idea behind a given Jewelry is as important as the materials used to make it. The contemporary jewellery’s value is a whole sum of the material used to in conjunction with the material used. Jewelry value also involves the perception it is received by the wearer in addition to what the viewers perceive. There has been technological advancement that has brought about change in the contemporary art jewelry practice. Even with digitalization in jewelry practice, material value as describe by Purple Technologies through their purple locket as it is completion of Platinum, gold, silver and bass materials that gives it aesthetic value. Nevertheless, it is evident that the idea behind creation a given jewelry plays a critical role in the eyes of the wearer who can associate with it. Even those made from less valued materials, they gained value if given an outstanding presentation in their making and design. This gives even weak materials a durable context if well designed and made. Jewelry viewers here appreciate its value beyond its material as the value is more of a feeling. Exhibition in this paper portrays two things, material values as well as how it relates with the user and the jewelry, it is also about the value of the material and individual perception of its worth. Basically, jewellery value is about, what it is made of, who made it, who wears it among other accompanying factors. By both materialism and idealism theories, Jewellery is a creation in the mind that utilizes available resources; the idea behind the artifact gives the jewel its value. Jewelry made from gold and silver are conventionally viewed as more valuable compared to others, nevertheless, a well crafted Jewellery gives a great value to the materials used to make. 

Illustration list 

 Figure1. Margaret de Patta, 1956.Whitegold, faceted quartz pendant.

Figure2, Design Redka,.   Stuff Resin Earring

https://www.researchgate.net/figure/Resin-Earring-Design-Redka-Stuff_fig2_316704605

Figure 3, Janet Hinchliffe McCutcheon, 2012. Necklace ebony felt silver

https://www.pinterest.ch/pin/489344315740739357/

Figure4. Julie Whitelaw, 2011. Silver pearl ring.

https://www.axisweb.org/p/francesjuliewhitelaw/workset/103451-silver-pearl-ring/

Figure5, Yoko Izawa, 2012. stream bracelet.

https://www.plymouthart.ac.uk/blog/calendar/echo-exhibition

Figure6, Purple Technologies, LLC 2014. A digital Purple locket https://www.pinterest.com/pin/319755642270596950/?lp=true

Bibliography 

References 

Adamson, G., 2007. Thinking through craft (Vol. 159). Oxford: Berg.

Bernabei, R., Wallace, J. and Wilson, S., 2018. Editorial of the Journal of Jewellery Research.

Cherry, N. and Hinchliffe McCutcheon, J., 2012. Material value.

Santayana, G., 2017. Character and opinion in the United States. Routledge.

Santos, R., 2013. Joias, fundamentos, processos e técnicas. São Paulo: Senac.

Sjørslev, I. 2016. Makers Move Matter. 1st ed. Amsterdam: Makers Move.

Takamitsu, H.T. & Menezes, M.D.S., 2014. The Use of Alternative Materials in Contemporary Jewelry.