2 KITCHENER ST / CNR KHARTOUM PLACE
AUCKLAND CENTRAL
OPENING HOURS
MON - FRI 10AM - 5.30PM
SAT & SUN 11AM - 4.30PM
Current (orange) 2011, Neckpiece
Current (orange) 2011, back detail
Rocket 2011, Button hole BroochMonday, November 7, 2011
Fingers Group Show 2011
Fingers Annual Group Show October 31st - November 11th 2011
2 KITCHENER ST / CNR KHARTOUM PLACE
AUCKLAND CENTRAL
OPENING HOURS
MON - FRI 10AM - 5.30PM
SAT & SUN 11AM - 4.30PM
Current (orange) 2011, Neckpiece
Current (orange) 2011, back detail
Pinch Me 2011, Neckware
Rocket 2011, Button hole Brooch
2 KITCHENER ST / CNR KHARTOUM PLACE
AUCKLAND CENTRAL
OPENING HOURS
MON - FRI 10AM - 5.30PM
SAT & SUN 11AM - 4.30PM
Current (orange) 2011, Neckpiece Current (orange) 2011, back detail Rocket 2011, Button hole Brooch
Winner of the New Zealand Jewellery Show 2011
See winning images;
http://www.jewelleryshow.co.nz/media-1
Media Release: 09 September 2011
Diamonds and Twine
Opposites attract judges eyes at the New Zealand Jewellery Show Design Awards.
You wouldn’t find two more polar opposite pieces: a fine jewellery flower ring that transforms at the flick of a hidden mechanism into a pendant studded with almost $30,000 worth of sapphires and diamonds, and a contemporary pendant made using wooden kitchen utensils, firewood, garden twine and nuts and bolts, but both of them were winners at the New Zealand Jewellery Show Design Awards last night.
WINNER – contemporary: Sarah Walker-Holt for: ‘Timekeeping’.
The contemporary judges were looking for a piece with x-factor and found it in Timekeeping. “We were looking for individualism confidently expresses through media, that is – a unique piece that has conceptual and aesthetic resolve.” Timekeeping excited the judges with the way in which Walker-Holt treated the recycled household materials the same way precious metals and stones are treated in the best of fine jewellery.
“The solutions Walker-Holt used to construct her piece are not accidental, but in fact are the result of careful decision making. The aesthetic seems to come out of a DIY vernacular, and assemblage of parts reflects a resourceful keen eye and hand.”
Walker-Holt explains the inspiration behind Timekeeping “The worn and used aesthetic I create is reflective of my ethics. I want value to ultimately lie in an objects sense of endurance through its patina and though time honoured craft techniques.”
Judges; Karl Fritsch and Areta Wilkinson
http://www.jewelleryshow.co.nz/media-1
Media Release: 09 September 2011
Diamonds and Twine
Opposites attract judges eyes at the New Zealand Jewellery Show Design Awards.
You wouldn’t find two more polar opposite pieces: a fine jewellery flower ring that transforms at the flick of a hidden mechanism into a pendant studded with almost $30,000 worth of sapphires and diamonds, and a contemporary pendant made using wooden kitchen utensils, firewood, garden twine and nuts and bolts, but both of them were winners at the New Zealand Jewellery Show Design Awards last night.
WINNER – contemporary: Sarah Walker-Holt for: ‘Timekeeping’.
The contemporary judges were looking for a piece with x-factor and found it in Timekeeping. “We were looking for individualism confidently expresses through media, that is – a unique piece that has conceptual and aesthetic resolve.” Timekeeping excited the judges with the way in which Walker-Holt treated the recycled household materials the same way precious metals and stones are treated in the best of fine jewellery.
“The solutions Walker-Holt used to construct her piece are not accidental, but in fact are the result of careful decision making. The aesthetic seems to come out of a DIY vernacular, and assemblage of parts reflects a resourceful keen eye and hand.”
Walker-Holt explains the inspiration behind Timekeeping “The worn and used aesthetic I create is reflective of my ethics. I want value to ultimately lie in an objects sense of endurance through its patina and though time honoured craft techniques.”
Judges; Karl Fritsch and Areta Wilkinson
Wednesday, August 3, 2011
2011 Graduating Students Award
1 August to 12 August 2011
Thanks to all those who came to the opening on Monday night, it is nice to know I am well supported by friends, peers and lecturers especially Fran Allison and Mary Curtis. It was also great to meet and catch up with the other graduates; Kvetoslava Flora Sekanova, Jessica Winchcombe and yang Zhang.
Check out the awesome images courtesy of Fingers;
http://www.fingers.co.nz/exhibition_program.htm
Thanks to all those who came to the opening on Monday night, it is nice to know I am well supported by friends, peers and lecturers especially Fran Allison and Mary Curtis. It was also great to meet and catch up with the other graduates; Kvetoslava Flora Sekanova, Jessica Winchcombe and yang Zhang.
Check out the awesome images courtesy of Fingers;
http://www.fingers.co.nz/exhibition_program.htm
Wednesday, July 13, 2011
New Zealand Jewellery Show 2011
Some quick fire images of my piece before it flew to Wellington for the 2011 Contemporary Jewellery Awards where I am one of four finalist in this section with; Jane Dodd , Matthew McIntyre Wilson, Kvetoslava Flora Sekanova.
Monday, July 11, 2011
Neckware 8, Masterworks
Sarah Walker-Holt, Fiddlesticks, 2011wood, vintage thread, copper, brass
Embracing my bricolage practice, I have utilised and dissected wooden kitchen utensils and reconfigured them into a single piece of jewellery. By giving the wearer options as to how it can be worn initiates a relationship with the piece. I have not dictated which is the back or the front while at the same time it can be worn either around the neck, by unravelling the cotton, or as a brooch. The brooch pin is not apparent as it is a nut and bolt that is hidden within the two pieces that complete it. The nut and bolt are a motif within my work that once again speaks of bricolage, by taking this mechanism from its everyday context and subjecting it into another where it is not ordinarily understood.
Lucy Pierpoint is also in Neckware 8, demonstrating her desire to transform obsolete technology materials into something precious by unearthing a form of splendour that lies within.
Lucy Pierpoint, Defy Obsolescence ,2011, audio tape, silver plate
Lucy will also be exhibiting her exciting and alluring current exploration with discarded Television sceens at Masterworks. Thu, 28 Jul 11 - Wed, 24 Aug 11
Sunday, July 10, 2011
Brooch of the Month Club 2011
http://broachofthemonth.com/2011/06/29/sarah-walker-holt/
Currently I am pleased to relay that Kristin D'Agostino and her entourage have invited me to participate in the 3rd Annual collaborative BOM project. Having watched the scheme grow over the past 3 years I can see how it has evolved nicely, as I expected Kristen intended, bringing New Zealand Contemporary Jewellery makers together with it’s patrons and admirers, that in turn expose our unique creations to a broader audience.
In Peter Dormer’s and Ralph Turners 1994, Jewelry as Theatre: Radical Departures, they state that,
“We all know that jewelry, like anything else a person chooses to wear, tells us about that persons taste and personality. But jewelry is rarely used by jewelers to make comment about the conventions and taboos surrounding the making or wearing of it”.[1]
They go on to applaud Otto Künzli for, unlike others, addressing this as his context. As New Zealand contemporary jewelers of the 21st century this idea still prevails, purely from the perspective that as a culture the unawareness that is present around contemporary jewellery can be rather exasperating; I find myself consistently resisting the urge to justify to the layman why my art sits on the body.
People generally ask “why wear it?” but I ask “why not wear it?” One of the reasons I create my own pieces is a response to rejecting the “norm” or the “beige-ness” of a society in which I see us consumed. Just because a material object is created for a particular purpose doesn’t mean to say that this is where it should stay, I’m all for appropriating.
Doing something different takes courage and it is with great pleasure that I witness the pieces bravely worn by the wearers, commandeered by BOM, paraded in the wider community. I hope that this project antagonizes perceptions of what is acceptable or overlooked in our everyday, in the same way that fine art is used as a tool to question our awareness. Different isn’t something that should be treated with contempt but something that should be embraced and Kristen’s project definitely encourages this while exposing a great opportunity to constructively critique both the wearing and making of our work and hearten the contemporary jewellery community aspect of the applied arts.
[1] Dormer, P and Turner, R. (1994). Jewelry and dissent: Recent directions. In The New Jewelry: Trends+Traditions (rev.ed) (p178-184). London, England: Thames and Hudson
Currently I am pleased to relay that Kristin D'Agostino and her entourage have invited me to participate in the 3rd Annual collaborative BOM project. Having watched the scheme grow over the past 3 years I can see how it has evolved nicely, as I expected Kristen intended, bringing New Zealand Contemporary Jewellery makers together with it’s patrons and admirers, that in turn expose our unique creations to a broader audience.
In Peter Dormer’s and Ralph Turners 1994, Jewelry as Theatre: Radical Departures, they state that,
“We all know that jewelry, like anything else a person chooses to wear, tells us about that persons taste and personality. But jewelry is rarely used by jewelers to make comment about the conventions and taboos surrounding the making or wearing of it”.[1]
They go on to applaud Otto Künzli for, unlike others, addressing this as his context. As New Zealand contemporary jewelers of the 21st century this idea still prevails, purely from the perspective that as a culture the unawareness that is present around contemporary jewellery can be rather exasperating; I find myself consistently resisting the urge to justify to the layman why my art sits on the body.
People generally ask “why wear it?” but I ask “why not wear it?” One of the reasons I create my own pieces is a response to rejecting the “norm” or the “beige-ness” of a society in which I see us consumed. Just because a material object is created for a particular purpose doesn’t mean to say that this is where it should stay, I’m all for appropriating.
Doing something different takes courage and it is with great pleasure that I witness the pieces bravely worn by the wearers, commandeered by BOM, paraded in the wider community. I hope that this project antagonizes perceptions of what is acceptable or overlooked in our everyday, in the same way that fine art is used as a tool to question our awareness. Different isn’t something that should be treated with contempt but something that should be embraced and Kristen’s project definitely encourages this while exposing a great opportunity to constructively critique both the wearing and making of our work and hearten the contemporary jewellery community aspect of the applied arts.
[1] Dormer, P and Turner, R. (1994). Jewelry and dissent: Recent directions. In The New Jewelry: Trends+Traditions (rev.ed) (p178-184). London, England: Thames and Hudson
Sunday, March 20, 2011
Objectspace; Best in Show
2011 has brought a significant start to my professional development, as I was one of sixteen applied arts graduates chosen from tertiary institutions around New Zealand to exhibit in Objectspace’s - Best in Show 2011. http://www.objectspace.org.nz/programme/show.php?documentCode=2550
http://www.objectspace.org.nz/programme/works.php?documentCode=2556
Curator Matt Blomeley puts this annual event together and it is well worth visiting as it exposes New Zealand’s most recent emerging practitioners in their individual fields. Along with this years exhibit the students are to be showcased in the latest Threaded Magazine (issue 10).
http://www.objectspace.org.nz/programme/works.php?documentCode=2556
Curator Matt Blomeley puts this annual event together and it is well worth visiting as it exposes New Zealand’s most recent emerging practitioners in their individual fields. Along with this years exhibit the students are to be showcased in the latest Threaded Magazine (issue 10).
Images courtesy of Objectspace
Subscribe to:
Posts (Atom)