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April 20 - June 16, 2013
Quintet is a not a theme, but the collective identity for five mid-career jewellery designers with unique and developed artistic voices. The conversational thread that connects the work is a common approach to communicating ideas through various systems of knowledge and understanding; and a contemporary exploration of jewellery materials and techniques. The underlying systems that provide inspiration for the work include the natural world, the human body, the social body, and structures of identity.
This collection of jewellery celebrates my experience as a new gardener. Owning and cultivating a plot of land is a revelation for someone that grew up in the dense urban environment of Hong Kong. The dramatic metamorphosis from Canadian winter to spring is announced by the yearly cycle of spring growth in my garden. I use silver, gold and stainless steel; traditional goldsmithing techniques; and digital manufacturing technologies to honor each plant in my garden with a unique portrait that articulates and abstracts its physical essence.
– Wing-Ki Chan
Wing-Ki Chan received her education in Hong Kong, the United States and Canada. She earned a BFA from the University of Texas at Austin and an MFA from Nova Scotia College of Art and Design University. She pursued her career as a self-employed jeweller, focusing on one-of-a-kind and limited productions. Chan has exhibited her work in the University of Texas at Austin and Canada.
She joined George Brown College as a full-time jewellery professor in 1997 and has been the program coordinator of Jewellery Studies since 2008.
For a number of years, my work has focused on the theme “angle of repose”: the maximum angle of a stable slope of granular particles. The concept of repose as a measureable attribute is intriguing, and I employ conical and angled forms in the work as physical representations of measurable repose. These pieces are realized in traditional jewellery forms and materials to illuminate the tension between the ephemeral nature of repose and the enduring nature of jewellery. The work is deliberately complex and miniature, offering repose as the viewer engages with the objects. My recent work employs the imagery of Fibonacci Numbers and Ontario wildflowers.
– Martha Glenny
Martha Glenny has been active professionally since 1974. She holds a diploma from George Brown and a BFA from Nova Scotia College of Art and Design University. She has worked as a goldsmith in Toronto, Norway and Halifax, and has taught jewellery and design at Nova Scotia College of Art and Design University and at Nunavut Arctic College. Since 1996, Glenny has been a professor at George Brown College.
Her work is represented in the permanent collections of the Nova Scotia Art Bank and the Kunstindustrimuseum (Trondheim, Norway) and has been shown in group and solo exhibitions internationally. She has received awards for her work from the Nova Scotia Designer Crafts Council, the Metal Arts Guild of Canada and Harbourfront Centre. Recent publications include The Compendium Finale of Contemporary Jewellery Makers 2008, Unity & Diversity and Quintet: A Conversation in Design.
Chasing dreams, moving in circles, following paths wherever they lead. There just isn’t time to take it all in – to sit, reflect or connect. We are constantly moving, our pace of life mirroring the creation, construction and destruction in our vibrant urban backdrop.
Yet sometimes, our paths intersect or collide with another’s, pausing us in our tracks, insisting on the here and now and reminding us that we are not alone. It is the narratives within these significant moments of connectedness that inspire my creative practice.
These pieces are visual expressions of these grounding encounters with our world.
– Shona Kearney
Shona Kearney began her professional craft career in 1997, working with some of Toronto’s top studio goldsmiths and designers after completing the Jewellery Arts program at George Brown College. Concurrently, she opened her own studio where she created a range of custom and one-of-a-kind jewellery pieces. In 2002, Kearney’s enthusiasm for teaching brought her back to George Brown College as a full-time faculty member in Jewellery Studies.
The human body is the context and content of my jewellery. The anatomical and microscopic worlds are where I find the beauty and complexity that materialize through adornment. I am intrigued by how we represent what we cannot see within ourselves through new scientific imagery and visual data. These representations of the invisible body reflect our humanity in an era of remarkable medical and biological advancement.
Historically, jewellers have often drawn upon the natural world for inspiration. The quest for knowledge in the natural sciences has revealed forms that are now known to be part of our natural world: cell structures, biomolecules, viruses and atomic orbits, to name a few. Through traditional and digital technologies I use familiar jewellery materials to render unfamiliar forms. From the fields of biology, pathology and genomics, these hybrid forms are manipulated to create a contemporary language of ornament. In wearing my jewellery, the invisible body becomes visible adornment.
– Paul McClure
Paul McClure received his training from Nova Scotia College of Art and Design University (BFA); Escola Massana, Barcelona, Spain; and National College of Art and Design, Dublin, Ireland (MA). He has been a practicing studio jeweller for over 30 years and has exhibited throughout North America, Europe and Asia in various invitational group and solo exhibitions. His work is represented in many publications as well as private and public collections including The Barcelona Museum of Decorative Arts, The National Museums of Scotland, and The Canadian Museum of Civilization.
In addition to his studio practice, McClure is an educator, curator and community arts organizer. Since 2000, he has been professor in Jewellery Studies at George Brown College in Toronto. His work is represented by Galerie Noel Guyomarc’h (Montreal).
As Canadians, our brand preferences tell a story about our culture. Brands and their logos create a common visual language, or brandscape, that re-enforces our national identity. Logos represent social issues, money matters, natural resources, the voyageur spirit, retail success, or artistic endeavors without words but with familiar meanings. In a country as large and as diverse as Canada, we create a unique, recognizable brandscape and identity.
Canadian Brandscape utilizes logos unconventionally as objects of adornment and as a foundation to explore individual personalities that make up our collective cultural personality.
Katharina Möller has been working as a practicing goldsmith since graduating with honours from George Brown College’s Jewellery Arts and Gemology programs. After working with some of the Toronto area’s finest goldsmiths, she opened her own studio in 1996, producing custom and wholesale work for shops, galleries and exhibitions such as the One of a Kind Show and Sale and the Toronto Outdoor Art Exhibition.
Her work has been featured in numerous publications including The Toronto Star and Canadian Jeweller, and was featured on Breakfast Television. In recognition of her outstanding diamond jewellery designs, Möller has received two prestigious De Beers Diamonds Today Awards. She joined the full-time faculty at George Brown College Jewellery Studies in 2002.