Maybe we're all born with a spoon of some kind in our mouth?

It must be in the blog air, the reminiscing about our paths to jewellery and looking at the very early work (something that's still very recent for me, a latecomer to the field). I had just been thinking about my first silversmithing pieces and how I got here when I was further inspired by the recent posts by Melissa Cameron and Karen, Melissa (previously a designer) talking about the events that lead her to seriously pursue jewellery as a career, and Karen (the amazing host of Melbourne Jeweller blog) showing her first year, first semester RMIT silversmithing pieces.

So here's something from my first months at RMIT in 2008 when we were introduced to silversmithing by the lovely Beatrice Schlabowsky. The making of a copper spoon from scratch was especially a tough one for me, and I remember being very proud at the end, of having been able to forge something that resembled a cutlery piece even vaguely. I'm always amazed and impressed when I now see other spoons from the first year projects – they're so beautifully designed, all really original, and perfectly finished! (This is not to say we weren't taught well, but more a realisation that while some possess natural abilities for shaping metal, others like me have to learn them from the very, very, very beginning! : )

Our briefs that semester were to design and make a "Filter" and "Spoons". Here's some:



Seven Characteristics in Spoons (2008)
Stainless steel teaspoons, steel wire, adhesive (yes! supaglue!), magnet, shrink wrap
These seven spoons are a playful take on modifying an industrial object, always identical in the hundreds and thousands that are produced, to speak about individual tendencies.

I thought about the states of being 'Discontent', 'Enlightened', 'Charismatic', 'Self-Obsessed', 'Fragile', 'Pessimistic' and 'Optimistic'. See if you can spot which is which.

Looking at this image has also given me an idea for something that a friend in the virtual sphere, Eddy, asked me to do a while ago …



Japanese Laundry (2008)
Roller-embbossed copper, brass, black pebbles, thread, glass
This was my filter. I can't remember exactly anymore what the rationale for being a filter was, but somehow I arrived at a mobile-like solution that plays with the sense of gravity and proportion. It has stony weights hovering just above the ground, attached to the wing of a mute and blind house (no entry, no exit, only form). The oxidised tones and patterns of copper and brass reminded me of silk, and the black pebbles of garderns; water of East – the reasons for the name. I wanted to present the piece standing on a pond, for the reflection – so I placed it on a tray with cardboard and water for the assessment. Oops … spillage and tearing that I can now laugh about … Here's a detail from a picture I took later on:



Then, there was a spoon that I created on the morning of assessment, in the usual panic.
But I like it! Maybe it's dedicated to Yoko Ono?




Breathe (2008)
Qantas plastic spoon, nylon netting,
grapevine twig, mother of pearl, copper

And then a few cast spoons:


Atmo-sphere (2008)
A gasket and a plastic Qantas spoon cast in fine silver



Childhood (2008)
Thread lace and wax – this image is taken before casting in fine silver



And finally, a nameless copper spoon that I will keep forever : )

Out of the fire: New work, 4

1. Enamel added, waiting for the kiln

Now here's a piece of work I have quite mixed feelings about!

This piece is based on a simple black and orange close-up portrait of a cajon player, and while the design, model making and welding of the mild steel for the pendant went all smoothly, the rest of the process was riddled with trouble. Or shall we say CHALLENGE.




2. Fired pendant with enamel painted and fired orange back
3. The textured back of the main pendant part

After firing the main pendant, everything was looking OK and I liked the textured back that shows the brushstrokes as dark marks on oxidised steel. I would have been happy to leave the design at this, but thought that an extra layer would bring solidity, and I could avoid riveting the necklace attachment directly onto the pendant.



3. Back of the back, clear liquid enamel on steel, 925 attachments soldered


Soldering the silver bars to the back of the orange base (seen from the front, painted with orange, red and yellow enamel paints), to be riveted to the pendant, however was a real adventure: I had to use IT solder for it to last the heat of a kiln. On steel, making the "harder than hard" IT solder go required a true blast of heat. Luckily, nothing melted though – at this stage.

Then it came to riveting the pendant onto the base. It had warped slightly due to the many layers and firing process, so the rivets had to be firm and a little longer than usual to keep the pieces together safely and without bending the parts, thus risking breakage of the enamel layers. First I tried to hammer the ends of the rivets (1.2 mm 925 wire with 18c gold balls at the ends; this too was a bit of an accident, but gold's not so bad ; ), but found that I couldn't position the pendant anywhere securely enough, for the brisk and accurate hammer blows the riveting process requires. This I'm sure is dependent on my skill level, not the actual logistics of the piece, but neverthless, it was late at night, and …



5. The same back, after some … eventful events …

At this stage I'd used microtorch exactly once in my life. Somehow, in my desperation, I got an idea to ball BOTH ends of the wire. We had talked about this, speculating if it would work neatly should the rest of the piece be immersed in water. But no time for water at this stage, straight to the flame! The first rivet was successfull … until I smelled something burning … Yes, it was the orange enamel paint on the other side I'd forgotten about!!

I took a look and had to be optimistic in those "am" hours; I thought that a bit of flaking and ash might look OK. Hehe. "The fire of flamenco"??!

So then I decided to ball the rest of the rivets, too. What the heck! I could always repaint the enamelled orange side, as I ended up doing. But for some reason, the wire would not make a ball this time, no matter how hot I had the microtorch flame on! I even tried with a bigger torch, but to no avail. Everything just melted into soft hills. So, I decided that this shall be the look, then. Don't anyone dare call me a perfectionist, or INflexible! : P The final rivet is hammered in a traditional way, it was in the outside edge of the layers, so I could somehow manage.

After this treatment, the beautiful back was stained with black marks and melted silver. You can kind of see that for yourself in the photo. I thought that a slight sand / polishing might help it look more together, and was happily surprised that the marks from enamelling still came through after emerying the back quite heavy-handedly. Otherwise, it's a mess! : D

And the chain?
I made one, but am not happy with it really. So I'll re-make it over the break, and then present before and after images.

xx IK