'Hold' vessel exhibition at Gallery Funaki

April 18 - May 27, 2017

Curated by Natasha Sutila, Gallery Funaki presents a survey of contemporary vessels by Australian and international makers David Clarke, Sally Marsland, Robin Bold, Christina Schou Christensen, Marian Hosking, Barbara Schrobenhauser, Lindy McSwan, David Bielander, Vito Bila, Inari Kiuru and Peter Bauhuis. 

As a prevailing form in craft tradition and daily life, the vessel affirms itself as unparalleled in the consideration of function, materiality and domestic ritual. A finely tuned relationship with material and process forms a common thread amongst this diverse group of artists (www.galleryfunaki.com.au).

So happy and proud to be a participating artist. My vessel contemplates the rapid mutation observed in butterflies, sensitive indicator species, in the Fukushima area in the wake of the nuclear accident in 2011. It is presented with water in it, interacting with thin blades of steel. The form and function of the vessel are also a respectful nod to the old Japanese tradition of mizusashi, fresh water jars.

Inari Kiuru

'Heavy water (Fukushima butterflies)'

2017

concrete, iron oxide, mild steel, pigments, iron filings, wax 

120 x 120 x 140mm

Heavenly Vessels exhibition at AVID Gallery, New Zealand

Inari Kiuru
Blink
2017
mild steel, found object, enamel, pigment, wax, human ashes

Blink is a contemplation of the passing of time and the cyclical nature of all life.

AVID Gallery, Wellington, New Zealand / 08 - 22 April 2017
Raewyn Atkinson, Barry Clarke, Inari Kiuru, Elizabeth McClure, Lindy McSwan, Mark Mitchell, Masahiro Sasaki and Layla Walter

Heavenly Vessels is a collection of vessel objects worked in glass, metals and ceramics. Eight artists from NZ, Australia and Japan have explored a range of ideas in their work for this exhibition: the passing of time, feelings relating to connection with place and the beauty and materiality associated with the medium they are using. www.avidgallery.co.nz

 

 

Night falls over Brunswick, concrete brooches

These three brooches from the Night falls over Brunswick-series were my entry to this year's Mari Funaki Award for Contemporary Jewellery at Gallery Funaki, Melbourne, Australia. From the top:

Suburban moon, close and distant (2016), concrete, mica, pigment, stainless steel pin

A tree and the night's edge (2016), concrete, glass fragments, pigment, paint, stainless steel pin

The Universe sees us asleep (2016), concrete, copper, enamel, glass, paint, stainless steel pin

Blue and orange earrings

Three pairs from the Industrial Lightscapes-series 2015-16, all in steel, paint and gold.

Winter neckpiece

Inari Kiuru, Winter (from Winter Thoughts-series) 2010-14

Stainless steel and brass safety pins, sterling silver and 9c gold catch, enamel, enamel paint, varnish.

300 mm x 150mm x 80mm.
Articulated.

Winter is an interpretation of the artist’s native Northern European urban landscape in late December. Tree branches dark and bare; old stone buildings wet with rain, now newly covered with snow. And underneath the cool surface, hundreds of lines follow and cross each other, bound together, layer upon layer, perhaps with a little sting inside. Like people, like cities, like history.
Season upon season ...  - Inari Kiuru

This piece was exhibited last spring (October 2014) as part of M.contemporary gallery's Intimately Connected-exhibition, curated by Michelle Paterson, in Woollahra, Sydney.

"Jewellery art like many other forms of fine art has the intention to express a sophisticated and well-developed concept or narrative through its display and materials. Artists investigate different topics to create individual pieces covering a broad spectrum of ideas and motivations; a piece of contemporary jewellery has the ability to take on the role of adornment with charisma, class and presence." - Gallery exhibition media

The safetypins have been woven together by interlinking (lock & secure). Liquid, industrial white enamel–powdered glass with a clay like agent– has then been painted onto the structure, and the piece has been fired with a big gas & oxygen torch to fuse the enamel onto the steel at approximately 800 degrees Celcius. Enamel paint has been applied at places to add bright highlights. The catch is hand forged from 9 carate gold and sterling silver.

The very happy new owner of the piece, Dr Gene Sherman of the Sherman Contemporary Art Foundation (Dr Sherman also opened the exhibition) with the artist who's gone quiet with joy. I'm wearing a brooch from the same series, fabricated similarly to the neckpiece.

Mari Funaki Award for Contemporary Jewellery

These are the last days to see an interesting, beautiful collection of contemporary jewellery from international and Australian, established and emerging, artists at Gallery Funaki, Melbourne:
The Mari Funaki Award for Contemporary Jewellery exhibition.

I am over the moon and very humbled to be a part of this amazing show (insert muffled screams of happiness onto the serious text here!!!). Two of the brooches below from my Evolution-series, the larger steel piece and the brooch in the lower image, were selected to participate. They received a Judges' Commendation for emerging jeweller's work (more screams!!!). 

A heartfelt thank you to the Gallery Director Katie Scott, Award Manager Chloe Powell, and the Judges Julie Ewington, Warwick Freeman, and Simon Cottrell.

The exhibition closes on September 13. Be quick!

PS. More images with details also here on Klimt02.

Brooches from the Evolution-series, 2013
Stainless steel, mild steel, crystals, iron, clay, patina, paint
70x130x70mm; 70x120x60mm

A pair of pairs; earrings

Inari Kiuru, Dreamer's opals (2012) Mild steel, galvanised steel,
synthetic opal, 18ct gold. Created for Part B's exhbition Oh Opal!
and also shown at Studio 20/17 in Sydney.

Inari Kiuru, Earrings (2013), Mild steel, 18ct gold, crystal

Enamel animals for Heat Exchange in Arizona

What's been happening?

Now that Heat Exchange-exhibition at the Shemer Arts Center & Museum in Phoenix, Arizona, is over (and has moved across the Atlantic to Erfurt, Germany), I can publish my whole post for the HE-blog here, too (see below).
However, please click on the link below as the collective body of work created for the exhibition by international artists is nothing short of amazing – fascinating in its range of techniques and concepts, and for those interested in contemporary enamelling, a must see! 


* * *

Enamel animals

Originally posted to the Heat Exchange-blog on April 27, 2012


Edited 20 February 2017 to remove corrupted image links.

As a metalsmith, I’m currently interested in different types of steel which can be welded into structures that safely withstand the heat of the kiln, and the application of liquid enamels which allow me to paint metal surface like canvas. The solid structure of steel and the fluid patterns of liquid enamels create a challenging, fascinating combination for ongoing investigation.

My starting point was a steel model from last November, based on studying forms at airports. I wanted to see how I could use similar angular shapes in slightly larger object-based work. Initially, my plan was to continue developing pieces on the airport theme, but as I begun sketching, the idea of movement and a more playful concept about “flight” emerged. I decided to make two winged containers, “enamel animals”, balanced with weights in hidden compartments. I thought they could softly move, if touched, upon their curved bases.

Above are some initial sketches and cardboard models of different wings, and the following images show the evolution of the two objects after welding, going through a couple of different variations of wings and noses. Here you can also see some of my first enamelling samples with liquid enamels on steel and copper, created in 2010 during the life-changing workshop by Elizabeth Turrell in Perth. These early experiments still strongly inspire my use of layers, line and colour in enamelling.

The wings slot into the objects so that they could be inserted separately, without oxidising in the high temperatures of the kiln.

The main materials used for the work were mild and galvanised steel, welded and cold-joined, then enamelled with clear liquid #969 and P3 pigment for surface texturing,
And finally, the finished pieces:


“Enamel Animals, two figures having a conversation, are carefully balanced containers with secret compartments for weights (or any other small, heavy things you might need to hide). If touched, the animals will gently rock, perhaps nodding in agreement, with quiet knowing… “


Cheers and warm regards to everyone – can’t wait to see all the final works!
Inari

RMIT Gold & Silversmithing Jewellery Auction 2011

The much awaited annual RMIT Gold & Silversmithing students' fundraising auction is almost here again! Next week! Please click on the link below, it'll take you to the preview site for all the important details. There are amazing pieces by students and established makers alike – it's going to be a fantastic night! Hope to see you there, in adventurous spirits.

RMIT Gold & Silversmithing Jewellery Auction 2011



Inari Kiuru
january brooch (2011)

stainless steel, blue lace agate, crystals
fused, fabricated, welded
60 x 70 x 40 mm

a tiny postcard from another planet

I think it's a map.