Give Me A Spoon, Exhibition at Atta Gallery

This Fantastic exhibition at Atta has been extended until  Sat 15th Nov! 

The jewellery gallery in Bangkok is currently home to a collection of amazing wearable objects, all developed from the idea of a simple spoon.

The artists featured all have their own unique approach to this humble utensil, demonstrating various techniques and a utilising a variety of materials.

Albert Setyawan, ceramic wearable "spoons"

Albert Setyawan, ceramic wearable "spoons"

Ho Koo's side scoop spoon and precious  "grains"

Ho Koo's side scoop spoon and precious  "grains"

Poly Nikolopoulou unusual, textured spoons

Poly Nikolopoulou unusual, textured spoons

Simon Cottrell's spoon Silver +10% Zinc alloy, Monel, Recycled woven nylon cord. You can see Cottrell's work at Schmuck Munich, where he has been selected to show next year!

Simon Cottrell's spoon Silver +10% Zinc alloy, Monel, Recycled woven nylon cord.

You can see Cottrell's work at Schmuck Munich, where he has been selected to show next year!

 

I am a lover of spoons, using them to mix and make my work which themselves become records of the colours and textures that I use.

One of my Hewn rings and a spoon from my studio.

One of my Hewn rings and a spoon from my studio.

The idea is to challenge artists to create something that they do not normally create and exercise their creativity by translating their practice into a new kind of work. Most importantly, it is for the artists to have fun!" - Vipoo Srivilasa, Curator (you can view the website here)

 

For this exhibition it was a chance to take an everyday object and explore it's shape, symbolic meanings or function with the individual artists creating their own interpretation of a spoon. The simple brief allows exploration of ideas and materials leading to a fabulous array of textures and shapes and making a familiar object into a wearable, thoughtful piece of art.

Yiumsiri Vantanapindu

Yiumsiri Vantanapindu

Whether a usable object or decorative, spoons have many meanings. Love spoons were a folk tradition, made by young men and given as a token of their affection to a woman they admired. The wooden carvings were a chance for them to show their skill, taking time and patience. The complicated shapes and symbols  communicated how deeply they admired their loved one. If a girl accepted a spoon form a suitor she might then wear it or tie it to her clothing to show that she was taken, in a similar way to an engagement ring. Even more of a reason for them being the perfect focus for a jewellery gallery!

For practical purposes wearable spoons make sense. In a nomadic lifestyle you would carry the objects that you used daily. They were useful, and therefore precious and important. 

Spoons in my studio

Spoons in my studio

Easily overlooked, the spoon is simple & reliable, perfectly formed for it's purpose and a daily necessity. I am happy to celebrate this essential tool (and I couldn't polish off my dessert without it!).

Hooray for the beautiful, useful spoon!

You can see plenty more pictures from the exhibition here on the Atta Facebook page.

 

 

 

Love Struck!

Just a few days left to see the amazing work of Bernhard Schobinger at Manchester Art Gallery!


Pearls and saw blades, brought together in a Schobinger ring at Manchester Art Gallery.

Pearls and saw blades, brought together in a Schobinger ring at Manchester Art Gallery.


The exhibition "Rings of Saturn" curated by Jo Bloxham and Gallery SO finishes on Sunday. Details can be found  HERE. Bernhard Schobinger combines exquisite skills and precious materials with unconventional objects collected for their importance to him in his jewellery work.

 
Bernhard Schobinger rings in Manchester Art Gallery

Bernhard Schobinger rings in Manchester Art Gallery

 

I find something that sets the artist apart from a more conventional maker is never being able to switch off from your desire to create, seeing "jewellery potential" in objects encountered in all the days of your life. The amazing objects Bernhard Schobinger has gathered mean that so many of his pieces have a story of how that first morsel of inspiration was discovered. Here is a closer look at the fabulous "Lightening Rod Chain" necklace which is in the exhibition.

 Bernhard Schobinger, Blitzableiterkette, 1990, necklace, copper, gold fire gilding, patina, rose quartz spheres, gold, stainless steel, photo: Gallery S O

 

Bernhard Schobinger, Blitzableiterkette, 1990, necklace, copper, gold fire gilding, patina, rose quartz spheres, gold, stainless steel, photo: Gallery S O


ZAP! A decorative lightening rod finial in an electrified shape!

ZAP! A decorative lightening rod finial in an electrified shape!

"An old lightning rod is partially a device to ward off evil, pointing back into a mythical, animistic world." Bernhard Schobinger



Lightening rod components like Bernhard Schobinger collected from a roof for his jewellery.

Lightening rod components like Bernhard Schobinger collected from a roof for his jewellery.

It seems like Bernhard is fearless in his quest for collecting objects. The lightning conducter components for his necklace he actually rescued from the roof of a building about to be torn down. You could consider them jewels worn by the building itself. Although they had a practical purpose being made from a material with properties that would assist with the safety of a building if it should happen to be struck, the rods and finials are also beautiful objects, made by skilled craftsmen so that many are collected and highly valued.

ASSEMBLED COLLECTION OF LIGHTNING ROD FINIALS, CA 1860-1920: Courtesy of Jeff Bridgeman

ASSEMBLED COLLECTION OF LIGHTNING ROD FINIALS, CA 1860-1920: Courtesy of Jeff Bridgeman

This necklace reminded me of something I learned about kerauni or "Thunder Stones". In studying early cultures an aspect I have enjoyed learning about was the history of the discovery of their objects in relation to our own knowledge and how our it has changed as we studied and learned more. Stone age arrow and axe heads were mysteries for a long time. Before we had any idea of the existence of Lithic culture, when these unusually shaped objects made from rocks were dug up by farmers they knew they had obviously been around for a very long time but without a notion of early cultures we created our own explanation for them. With a defined shape, as if crafted by a skilled hand but emerging from under the earth,  we knew they were special but we didn't know why. This is why they were often interpreted as "Thunder Stones". the explanation for their existence was that they fell from the sky, created in terrific storms. With no understanding of science, it was mythology and superstition that reassured us lightening wouldn't strike twice. This made these prized objects, and we now believe they were placed on the roofs of homes to protect them from being struck in a thunderstorm (our understanding of these stone age finds only changed much later after travelers could see these kinds of tools being used by distant tribes still utilising this technology from our pre-history).

 

"Thunderstones" Pre-historic axe-heads and arrowheads, once thought to be  fossilised thunderbolts!

"Thunderstones" Pre-historic axe-heads and arrowheads, once thought to be  fossilised thunderbolts!

 

I love this idea of knowing an object is special but not knowing it's original purpose, and cherishing it as a precious thing. It is what a lot of jewellery is about, wearing these about your person to protect, decorate and dream about.

There were many other beliefs all over the world and throughout history about these objects. If I believed in reincarnation I may well have requested some time spent as a Thunder Stone in Scandinavia. These were worshipped as sacred objects or Gods and lavished with offerings,  being poured over with beer and  annointed with butter (sounds a bit like an 18-30s).

Although these may seem unusual some to be used in a piece of jewellery, by interpreting these ancient Thunder Stones or using real lightening rods would make sense as the best gift from a partner to show a union between them. If lightening doesn't strike the same place twice, if given to the wearer it would  protect them from being love struck by someone else...

Bernhard Schobinger Rings of Saturn finishes this Sunday! Visit this exhibition on this fantastic jewellery artist while you can and prepare to be amazed by jewels which are not always what they seem.  We are very lucky to have this work in Manchester!!!

 

Here's a little more about Thunder Stones on Manchester Museum's Blog.

 

"What Is Jewellery?" Exhibition Piece No.3 Nebula Knuckleduster

Jewellery is...LOOKING BEYOND

The third ring from the exhibition "What is Jewellery?"  celebrates the stargazers, dreamers and out-there thinkers. Jewellery is not an essential item, it is a means to express ideas, to challenge preconceptions and to go further than a practical object may do.

Nebula Ring 2011, As featured on Vogue ChinaOxidised silver, resin and metal dust by jewellery artist Jade Mellor.

Nebula Ring 2011, As featured on Vogue China
Oxidised silver, resin and metal dust by jewellery artist Jade Mellor.


This piece is available to buy directly from my STUDIO SHOP along with other pieces including more from this exhibition.

This piece is available to buy directly from my STUDIO SHOP along with other pieces including more from this exhibition.

This ring fits over three fingers, binding them together comfortably, but noticably so that it you are aware always when you are wearing it and it cannot be missed by others. It makes you feel powerful, charged with the energy of the cosmos, weightier than some of my other resin pieces due to the metal dust contained within which gleams through the surface giving an uncanny appearance. 

 

 

 


 

This is a prize jewel for a space warrior, protection to travel to new planets fearlessly and push the boundaries when escaping the mundane and constraints of local convention.

 


Here is some more on the origins of this piece:

"I am fascinated by meteorites, the properties these alien rocks have, often more than meets the eye. They fall from the skies as a gift from other worlds. The exhibition "Jewels from space" at the American Museum of Natural History in New York was a huge influence on me. The Cape York meteorite housed there is the biggest and heaviest ever moved by man with a weight so great special supports were built into the bedrock of the building. Seeing such a monumental object that had arrived from so far away made me want to create something otherworldly that would have an impact when worn. In exploring resin I find I can create larger scale objects, light enough to wear which at once look familiar and perplexing."

Nebula Ring 2011, As featured on Vogue China
Oxidised silver, resin and metal dust by jewellery artist Jade Mellor.

This piece is available to buy directly from my STUDIO SHOP along with other pieces including more from this exhibition.

 


"What Is Jewellery?" Exhibition Piece No.2 Sweet Ruin Ring

Jewellery Is...JOY

The exhibition this ring is in is about answering the question "What Is Jewellery" by using unorthodox materials. With this piece I have included a marble, a lovely object to enjoy but not considered precious, or a usual material for jewellery as it is, although it is delicate and made of glass. By working in resin I also get to explore colour in my work. This sweet pink shade brings many comments on how tasty it looks, "nougat" being a word often heard from people seeing some of these pieces for the first time. 

Sweet Ruin Ring, 2014 silver, resin, glass marble, granite, Jade Mellor. Read about this ring and the Modern Ruin series in the shop HERE

Sweet Ruin Ring, 2014 silver, resin, glass marble, granite, Jade Mellor. Read about this ring and the Modern Ruin series in the shop HERE

Chanel Jelly Shoes! 

Chanel Jelly Shoes! 

Playing marbles. The milky white one above was used in the Sweet Ruin Ring!

Playing marbles. The milky white one above was used in the Sweet Ruin Ring!

One of my studio snacks, sweet dried papaya! I love the bizarre chewy, squidgy crystalline texture and it gives me a sugar buzz!

One of my studio snacks, sweet dried papaya! I love the bizarre chewy, squidgy crystalline texture and it gives me a sugar buzz!

Here's a wonderful comment from a visitor to our annual open studios last month on seeing my work for the first time:

They’re playful, not stuffy. They cheer me up.
— Michael Flood 2014

This ring is about enjoying life and celebrating and sharing the things you love! By wearing jewellery you are offering it to the world. You are communicating, you nearly always HAVE to touch it, it invites you to interact, it is playful. It is sharing a bag of sweets. It is saying to the lady on the bus, "I like your hat..." it is smiling at a funny looking sausage dog on the street. That extra effort of dressing up, to take pleasure in life and decorating the world around you, taking the time to finish off an outfit, making a statement of who you are or what you like. 

My mother was very chic and she used to say you could have a single dress but with different accessories you could have 27 different outfits.
— "Rare Bird of Fashion" The Irreverent Iris Apfel.

Even the plainest outfit is transformed with an interesting piece of jewellery, or that exquisite piece could also be the cherry on a delicious, fruity, multicoloured, hot fudge, nutty ice cream sundae of an ensemble.

Iris Apfel The "Rare Bird of Fashion".

Iris Apfel The "Rare Bird of Fashion".

So now let's spread the jewellery rainbow! If you don't do it already, or if you have gotten out of the habit (I know my studio scruffs don't always lend themselves to "accessorising" beyond safety glasses) then let's take that extra two minutes to put on something extra, not for habit or practical reasons, but just for the sheer pleasure of choosing something you like. And if you are already a strong card carrying member of the accessories club, how about acknowledging someone else you see who has worn something just for the joy of it. 

The "Sweet Ruin Ring" is currently in the exhibition "What Is Jewellery?" at Manchester Craft and Design Centre, curated by Eve Redmond. Details HERE.

"What Is Jewellery?" Exhibition Piece No.1 Gold Cubed Ring

 

Jewellery is... DESIRE

Gold Cubed Ring, metal, resin, metal dust, Jade Mellor 2014

Gold Cubed Ring, metal, resin, metal dust, Jade Mellor 2014

Box of pyrite specimens: A cube of cubes...

Box of pyrite specimens: A cube of cubes...

In the exhibition What Is Jewellery?" curated by Eve Redmond the purpose was to show unorthodox materials being used by artists today. This ring is made from resin, very different to jewellery traditionally created from precious metal. The piece is also inspired by another material which I use a lot in my work which is Pyrite...


"Pyrite is one of my favourite minerals, the cubic formation has always fascinated me, it looks manufactured with it's crisp metallic edges but builds naturally in this way because of it's unique structure. I love learning about the formation of our environment, triggered by unusual finds like this and researching in Manchester Museum's amazing stores of specimens. This ring is my homage to the beautiful mineral. If Fool's Gold is called so because it appears like gold, this must be (Fool's) Gold Cubed." (my description for this piece)


So with this first ring I want to explore the aspect of jewellery meaning DESIRE: To want something for how it looks, the glint of metallic catching your eye with the magpie's instinct to swoop in and fly off with these shiny treasures. 

This ring was inspired by pyrite. The sparkling mineral nicknamed "Fool's Gold" could be all about it's appearance for those who would be tricked into thinking it was the real thing. 


 
Five "Fool's Gold" Rings of mine,  all using real specimens of the mineral pyrite available now at Craft & Culture HERE

Five "Fool's Gold" Rings of mine,  all using real specimens of the mineral pyrite available now at Craft & Culture HERE

 


I am attracted to pyrite for how it looks*, it's natural facets twinkling and the smoothed areas gleaming make it a good choice for jewellery, as who doesn't want to wear something that lights up the room in such a way? However the benefits of using this mineral instead of expensive real gold is that I can manipulate it more and I am not afraid to experiment without knowing what the final outcome may be. Gold is a wonderful material to use, but it's preciousness makes it a material you plan for, savouring it, using just enough to make what you intend. Pyrite is much more available to me, this means the exciting part comes from how I can push it. I can smash it, I can grind it, I can use the BIGGEST GOLDEN CHUNKS of it for maximum impact. And when it is worn in this way, it is not showing off value and wealth in the way that a giant 24ct medallion might. It's golden glow is great, but after the wow of the initial impact, there's the head tilt and the chirrup of the curious sparrow. What IS it? How did that come to be? To realise these angular nuggets or magnificent cubes have formed in that shape by themselves as a wonder of nature, that is the thing that continues to excite me, the thing that I love, as well as desire which will never lose it's lustre. 

For some excellent insights into materials and exploring their values vs appearances and how they are being used in contemporary art jewellery today check out the latest CURRENT OBSESSION: FAKE  ISSUE. These guys are the cutting edge of what's happening right now...

 

 

The following posts will look at the other rings in the exhibition. It's been good for me to take the time to think about why use certain materials in my work. Be great to hear what you choose to make your work with! Sometimes having limits can even be the best way to be inventive...

 

 

*(call me a fool, but an honest fool)

 

Space Life with Die Hexen

Manchester's beautiful 1930s Library was loosely based on the Pantheon in Rome. 

Manchester's beautiful 1930s Library was loosely based on the Pantheon in Rome. 

Last night Manchester Central Library was host to Space Life to celebrate the anniversary of the launch of Sputnik Flight 1, European Space Agency and World Space Week 2014. It was an awe-inspiring evening dedicated to the beauty of our universe, featuring immersive audio-visual experiences, taking place across the library. Die Hexen created a beautifully eerie performance of haunting vocals, engulfed in darkness revealed by a lunar projection moving in and out of it's cyclical shadow. It was wonderful to see my jewellery pieces being worn by such a talented artist in this other-worldly performance. I am excited for future projects like this as my form of expression creates objects which are meant to be worn and communicate through the person it is connected to. 

Gold Shard Ring. 2014 One of the pieces worn by Die Hexen in her performance for SpaceLife at Manchester Central Library. The Gold lustre glinting under the light from lunar shadows.

Gold Shard Ring. 2014 One of the pieces worn by Die Hexen in her performance for SpaceLife at Manchester Central Library. The Gold lustre glinting under the light from lunar shadows.

Many thanks to all who worked hard on such a unique and inspiring event. Here are some links to those involved and more information. If you were there last night I hope you enjoyed it as much as I did!

 
 

What Is Jewellery? Exhibition at Manchester Craft & Design Centre

Very excited to join the work of some amazingly talented artists in this exhibition, hosted by Manchester Craft & Design Centre and curated by Eve Redmond. Showing during the Free For Arts Festival from the 3rd - 12th Oct. Preview starts at 3.30pm this Friday, event details HERE hope to see you there! 

Magnetic Attraction

I have created a new Ferromagnetic ring for the supremely creative fashion designer Charlotte Booty.

                                                                      &nbs…

                                                                                  Macramé work from Charlotte Booty

 I wanted to make her a piece that would have unique properties, as her textile work pushes the boundaries to create three dimensional "fabrics". See more of her work here.

 

The beautiful patterns she creates in her macramé are by utilising materials in repetition such as cable ties, leather and chain. They seem to me to form naturally like iron filings in a magnetic field. The new Ferromagnetic ring is set with magnetic Haematite, I hope she enjoys using it to explore her surroundings, testing and picking up more found objects for her inspiration.

If you are interested in learning more about commissioning a unique piece, get in touch! Email me at info@jademellor.com and I'll be happy to answer your questions :)

Autumn Exhibition at The Biscuit Factory

So happy to be showing in this beautiful building for their Autumn Exhibition!

jade mellor rings biscuit factory.JPG

You will see some new some of my latest work exploring natural themes and processes. The pieces on show are all available to purchase to see in the new season of crunchy leaves and hedgerows heavy with berries. The Autumn Preview is this Friday, 12th September 6pm - 9pm. More details on their website HERE.

                                                             A new ring in the exhibition crea…

                                                             A new ring in the exhibition created around a quartz geode. 

                                                                    Gold Shard …

                                                                    Gold Shard Bracelets, oxidised silver, resin, lustre.

Sign up to my "Treasure Seekers" mailing list for updates on events and new work before anyone else.

Seashells Sanctuary

Shell shapes are amazing and varied. These beautiful calcareous sculptures are each a bespoke outfit for an individual soft bodied sea creature...

Damien Hirst, "Forms Without Life" 1991

Damien Hirst, "Forms Without Life" 1991

Some new rings in methods inspired by the beautiful lumicella rock which contains prehistoric sea shells.

Joanne Stoker's shapely seashell shoe-styles appeal to me!

Keep an eye out for these new rings arriving in the SHOP! 

Kneon Magazine

Loved being part of the Dalston Tropics editorial for the latest Kneon Magazine! You can read the August Summer Supplement Issue here.

This piece is available to purchase from my STUDIO SHOP you can see more HERE.

This piece is available to purchase from my STUDIO SHOP you can see more HERE.

Marbled Black & Pyrite Hewn Ring, have yours bespoke made with a unique mineral specimen email info@jademellor.com  for detail.

Marbled Black & Pyrite Hewn Ring, have yours bespoke made with a unique mineral specimen email info@jademellor.com  for detail.

Thanks to a great team for the beautiful images!

Art direction & Prop Design: Rebecca Rose Carey,

Photography: Natalia Salminen,

Stylist: Kelly Jordan

Hair & Makeup: Eliie Blackwell 

Models: Lena Marie @Profile Model Management & Illy Jay @Body London 

 

 

A Twist on Tradition

"Something old,
Something new,
Something borrowed,
Something blue,
& a silver sixpence in her shoe"

A mixture of vintage beads and sterling silver chain with a hand engraved detail on the safety clasp to match the bridesmaid necklaces with the brides new initials as a secret personal touch to mark the occasion.

A mixture of vintage beads and sterling silver chain with a hand engraved detail on the safety clasp to match the bridesmaid necklaces with the brides new initials as a secret personal touch to mark the occasion.

Interior designer, artist, model and all round babe, Laura letting me borrow her body when I was testing out the design.

Interior designer, artist, model and all round babe, Laura letting me borrow her body when I was testing out the design.

jade mellor vintage bespoke bridal jewellery pearl silver antique beads.JPG

I enjoyed working closely with the bride to be to create something unique and special for her big day, that could also be adapted for future wear so that it could join her treasure trove of jewellery. Worn shorter for the wedding to show off the delicate décolletage of a strapless, sumptuous wedding gown I also designed it so that a long line of vintage rhinestones could drape dramatically down work as a statement with a chic sixties cocktail dress or sparkling on a long-line bold coloured dress. I researched antique jewellery sets when coming up with this piece as I love the versatility of historic fine jewellery where secrets between the master jeweller and the highborn wearer would mean pieces could be broken up or joined together to create different styles, making the most of their wondrous precious rocks and stones.

if you have some ideas you would like to chat about or know more about having your own bespoke pieces get in touch! info@jademellor.com 

Summer Celebration Ring

Let's Celebrate!

confetti_party_cake_3.jpg

Confetti Cake! Recipe can be found on Best Friends For Frosting.

My dear friend Natalie recently asked me to make her a ring for some summer parties she was going to. The dresses she had bought for these occasions were mostly a black background with splashes of gorgeous bright florals, perfect for dancing outside on balmy summer evenings, sipping champagne cocktails under colourful paper lanterns...

                                                                      &nbs…

                                                                         Photo by Tanja Lippert Photography via Bridal Guide

These studio fragments selected for their corresponding colours look just like the bits of rock left at the bottom of a sweetie jar! 

These studio fragments selected for their corresponding colours look just like the bits of rock left at the bottom of a sweetie jar! 

To stand against the black Natalie wanted something in a happy, sunny, summery yellow, and we added flecks of colour in hand picked shades that would also highlight the floral details in the fabric.

confetti hand.png

Scattering confetti in celebration!

The finished ring, the coloured and metallic fragments appear like scattered confetti!

confetti sky.jpg
yellow contemporary jewellery resin bright colour hewn ring jade mellor art piece.JPG

If you would like more information on having your own special ring made, get in touch! I'll be happy to answer your questions!  :)

You can email me at info@jademellor.com

Life's a Beach

I was recently swimming in this gorgeous Grecian sea, overlooked by the beautiful monument of The Kalithea Springs. The beach here is amazing, formed from volcanic stone making inlets and rock pools to explore and laze in. 

Fancy a dip?

Fancy a dip?

Here is a new necklace I've created from volcanic stones I've gathered as a little tribute to the beauty of the beach. 

Sunbathing, in a lunar landscape...

Sunbathing, in a lunar landscape...

This unique, summery piece has just been added to the shop, you can check it out here!

If you have your own finds you would like working into your own original piece email me at info@jademellor.com and have a chat!

One off Volcanic Pebble Necklace made by Jade Mellor, details here.

Society of Island Universes

Society of Island Universes, Produced by Lisa Denyer and Michael Thorp.

Featuring work by Holly Rowan Hesson, Jo McGonigal, Lisa Denyer, Sarah McNulty, Willow Rowlands.

Holly Rowan Hesson Spark, 2014 Acetate and glass

Holly Rowan Hesson Spark, 2014 Acetate and glass

I was so glad I made it to the preview of this exhibition last night. Produced by Lisa Denyer and Michael Thorp, Lisa was able to give me a mini-tour of the exhibition explaining how the pieces had been installed and how the space had been a big influence on the work.

The artists had use of the space for a couple of weeks beforehand,  so it became more like a residency with much of the work being influenced by being created in, or specifically for the venue. 

Holly Rowan Hesson's Riot  2014 Projects directly onto the bare grey walls.

Holly Rowan Hesson's Riot  2014 Projects directly onto the bare grey walls.

They used aspects of the architecture to their full advantage. Paintings by Lisa Denyer and Sarah McNulty were perfectly paired with breeze-block walls with left over drill holes and daubed on marks from the raw construction. This was much more interesting than a completely sterile blank space, where any object can hold your attention due to the absence of other stimulus. This made the exhibition feel like one whole installation. 

Lisa Denyer, Blue Gem, 2014 Acrylic and gloss spray on found plywood 

Lisa Denyer, Blue Gem, 2014 Acrylic and gloss spray on found plywood 

"The exhibition brings together practices which demonstrate a strong interest in materiality, each piece of work provoking the viewer to examine and consider their immediate environment." Society of Island Universes, exhibition information 2014

Sarah McNulty Right Off, 2014 Gouache on Canvas

Sarah McNulty Right Off, 2014 Gouache on Canvas

I enjoyed seeing this style of abstract show, for this kind of work has a home in this landscape. These artists often work everyday in places like this, creating studios in old industrial spaces as an affordable workspace in a city centre rather than pristine, pre-packaged office spaces advertised to the businessman. Life isn't perfect, art isn't perfect but it's all about interacting with the space around you and seeing it's potential. The exhibition then invites us to find a dynamic between them.

Black acetate part of Jo McGonigal's Painting 1. Piece on wall is Sarah McNulty's Writher (El) 2014

Black acetate part of Jo McGonigal's Painting 1. Piece on wall is Sarah McNulty's Writher (El) 2014

Much of the work here had to form in this space as it is a way the artists has found a way to connect to this environment. Jo McGonigal dramatically drapes black acetate from a giant pipe overhead, showing us the materials properties. Sarah McNulty's Writher breaks down a painting into layers. Appearing to be painted directly on the wall it is an assemblage of printed acetate looming behind taut fabric.  Rather than politely ignoring a structural pillar Holly Rowan Hesson has bound it with scrolls of colour. These rolled photo-prints are so abstracted they appear like chromatography papers, a science experiment literally breaking down a painting into measures of colour.

Holly Rowan Hesson, Bubbling Under, 2014 Tracing paper, rubber bands

Holly Rowan Hesson, Bubbling Under, 2014 Tracing paper, rubber bands

 

Making up part of Painting I  this piece of carpet was found by the artist Jo McGonigal in a charity shop. Soaked in the stench of tobacco from it's last  home with a heavy smoker, you can really imagine the cumbersome weight  increased by the layers of sickly pink gloss she has coated it with, painted in-situ. 

Jo McGonnigal Painting 1 2014

Jo McGonnigal Painting 1 2014

The sticky looking gloss has helped set it into the slumping form and the fleshy tone also gives the fabric folds a slightly gruesome edge. Nestled nearby is another painted object, Orange and Purple painted stone by Lisa Denyer 2014. 

The pink painted carpet forms part of Jo mcGonigal's painting. Lisa Denyer's Orange and Purple painted stone 2014 rests discreetly against a pillar. 

The pink painted carpet forms part of Jo mcGonigal's painting. Lisa Denyer's Orange and Purple painted stone 2014 rests discreetly against a pillar. 

As Lisa had remarked on, the display of the objects at a similar height does make them look like they are having a conversation. In this part you can see stone assemblages by Lisa Denyer "chatting to" Willow Rowlands Dog Fruit 2014 watched over by Sarah McNulty's Paint II on the facing wall.

Left to right, a part of Jo McGonigal's Painting II, Lisa Denyer Temple 2014 Acrylic and emulsion on re configured cupboard door, Willow Rowlands Dog Fruit 2014 Plywood and vacuum plastic, Sarah McNulty Paint II 2014, Guache, fabric, paper. Lis…

Left to right, a part of Jo McGonigal's Painting II, Lisa Denyer Temple 2014 Acrylic and emulsion on re configured cupboard door, Willow Rowlands Dog Fruit 2014 Plywood and vacuum plastic, Sarah McNulty Paint II 2014, Guache, fabric, paper. Lisa Denyer Untitled  2014 Found brick & Omani stone, 

Jo McGonigal Painting II (It is a patch of yellow and a geometric line and hence an idea) 2014 Yellow Chair, cotton, plastic, modelling clay, acetate, tape.

Jo McGonigal Painting II (It is a patch of yellow and a geometric line and hence an idea) 2014 Yellow Chair, cotton, plastic, modelling clay, acetate, tape.

Jo McGonigal Painting II adds tension to the space. An empty chair needs to be resisted to either be moved on its casters or sat upon. Nearby a ball of clay in a co-ordinating colour perches precariously on what appears to once have been a piece of corner skirting board, with a wondrous boomerang shape. 

This kind of work needs a large space like Unit 4 to have an impact and in Society of Island Universes the artists have created their own world. Only on until Sunday, and right by Piccadilly Station, if you get the chance you should really check it out to experience it for yourself!

Society of Island Universes "explores the ideology behind abstraction".

Currently showing at Unit 4C Piccadilly Place, Manchester Thursday 17th July-Sunday 20th July,  1-6pm.

 

Collaboration! Summer Selection with Natalie Stoker

Happy International Collaboration Day! Here's a photo-shoot of some choice objects for the summer season. It's to celebrate my recent collaboration with talented textiles designer Natalie Stoker. Check out her gorgeous designs in her shop here.

SUMMER SELECTION!

jade mellor blue background still life sunglasses mermaid hair cushion necklaces white bangle ring.JPG

One-of-a-kind necklaces made from natural volcanic pebbles and antique cut glass embellishments. Swimsuit not compulsory, I'd suggest thrown over a plain white shirt where it will give a bit of beachy texture to the stuffy city commute. Keep your eyes on the SHOP for when they arrive.

A polished pairing of a hand sculpted bangle and ring in metallic flecked white resin will show off even a subtle summer glow. Finish off with your fave shades and a lick of ice-cream. (I recommend Ginger's Comfort Emporium's "White Chocolate and Pink Peppercorn"...).

The print for these scrumptiously soft cushions has been created by Natalie using photographs taken in my studio of the processes during making my objects. You can read more about the inspiration behind this collab in the new shop here.

Happy Collaboration Day! Hope you all get to spend it working on something fun with friends and family, (even if it's as simple as peeling the spuds for a nice meal together).

"Let's collaborate... You bring the G...I'll bring the T!" Wahoooo :) 

Hello (Stripy) Sunshine

Here's Heather wearing my stripy black facet chain/textiles necklace, she loves stripes (almost) as much as she loves yellow.

Here's Heather wearing my stripy black facet chain/textiles necklace, she loves stripes (almost) as much as she loves yellow.

Here's a better look at the ring in a recent shoot with another new piece, the Fragments bangle pictured with a bright little minaudiere.

You can read about the inspiration behind it here.

Hello Stripy Sunshine! :)

 

The studio was visited by this little ray of sunshine today! My dear friend and glorious fashion designer Heather!

 

She'd heard I'd made a new ring in her favourite colour-YELLOW featuring a giant gleaming Swarovski crystal so she popped by to try it on, (and a couple of other pieces) while we had a catch up.

Yellow & white Swarovski crystal Hewn ring & Fragments bangle

Yellow & white Swarovski crystal Hewn ring & Fragments bangle

 
Basking in the Mancunian Ray.

Basking in the Mancunian Ray.

 
I asked Heather where this supercute pinafore was from, it had comfy elastic straps at the back and looked great dressed down with her bright little T. It was Monki's flagship store in Stockholme. I hope there's a similar one available in the u.k!

I asked Heather where this supercute pinafore was from, it had comfy elastic straps at the back and looked great dressed down with her bright little T. It was Monki's flagship store in Stockholme. I hope there's a similar one available in the u.k!

 
 
heather bomber jacket jade mellor yellow hewn ring.JPG
 

Looks like this sunny creation might have found a new home...let's hope the weather stays bright for another fun day in the studio tomorrow!

Art in the Making. Ryan Gander at Manchester Art Gallery

Artworks that look like palettes and palettes that are spoons...Ryan Gander's exhibition at Manchester gallery has got me thinking about what art might be. 

The palette of French Romantic painter Eugène Delacroix 

The palette of French Romantic painter Eugène Delacroix 

 

Definition of a palette

 

"A palette /ˈpælɨt/, in the original sense of the word, is a rigid, flat surface on which a painter arranges and mixes paints. A palette is usually made of woodplasticceramic, or other hard, inert, nonporous material, and can vary greatly in size and shape. The most commonly known type of painter's palette is made of a thin wood board designed to be held in the artist's hand and rest on the artist's arm. Watercolor palettes are generally made of plastic or porcelain with rectangular or wheel format with built in wells and mixing areas for colors."

ryan gander palette wall manchester museum.jpg

Here's a snap I took at Thursday's buzzing preview of Ryan Gander's exhibition, "Make Every Show Like It's Your Last" at Manchester Art Gallery. My favourite part of the exhibition was this wall of colourful discs. Instead of showing the paintings behind them, these are the palettes he was using for each one. It is accompanied by a laminated diagram with fantastically detailed descriptions of the people in the phantom portraits that co-ordinate with each paint splashed platters.

"I paint myself every day but I don't show the portraits, I only show the palette. I'd have to kill you if you saw the portrait as you would know how bad a painter I am'. It is a discipline for him, as he admits he is "not a massive fan of painting", but this is conceptual work. Gander says it is "nice to have missing bits as it allows the viewer to imagine their own painting".

Gander in the studio with the Independent 2012

The collection of palettes is a wonderful sight, I enjoyed picking out my favourites from the colour combinations and abstract formations.  You can match up the palette to the description of the painting or enjoy them as they are, using your imagination to interpret them however you like. Some reminded me of petri dishes with colourful moulds and germs thriving happily. Others could be a blurred dinner plate, "On Today's menu a miscellaneous fillet and a smudge of peas".

Gander said about his approach, "You can choose to engage or not. By leaving blanks there is room for you. If I hand it to you on a silver platter you won't like it" Or maybe on a silver spoon?

I use these spoons to mix my pigments. Rather than washing off the material, by letting them harden I can then use them as colour samples, and also get the satisfaction of smashing of the solidified colour for future use.  These reminders of my past makes are my version of a palette.

This amazing formation was gifted to me by fellow Third Floor studio artist Olivia Pilling after I fell in love with these synthetic stalagmites in her workspace.

Pilling's palette started out as an old dinner plate. The shapes made by the accumulations of materials which have formed whilst she skilfully works on her paintings are quite extraordinary. In creating her expressions on canvas she has simultaneously brought a unique 3D sculpture into existence. Even though the creation of this work was secondary it could sit equal to her meticulous and thoughtful paintings as one wouldn't exist without the other, made through the colours she has chosen and mixed with her own eye and hand.

The palettes pictured below are from some of the world's most famous painters. As well as being important artefacts from their connection to the artists, they are beautiful, expressive objects in their own right.

A palette from Paul Gauguin

A palette from Paul Gauguin

Vincent Van Gogh's smudgy strokes

Vincent Van Gogh's smudgy strokes

My favourite of these is this palette of Georges Seurat, conjouring up an image of conspiring figures wrapped in colourful cloaks.

My favourite of these is this palette of Georges Seurat, conjouring up an image of conspiring figures wrapped in colourful cloaks.

                                           Hand shaping my pieces has left patterns of residue on the textured emery paper.

                                           Hand shaping my pieces has left patterns of residue on the textured emery paper.

I am really interested in the outcomes of working practices. Hands on methods of making often lead to other interesting outcomes, either forming a by-product or through observing sparking further ideas, feeding the creative process. When using wet & dry emery paper to shape my work it leaves beautiful patterns on the surface like the one above. In a strange way they are a sort of canvas, the strokes of colour made by the pieces marking the surface. It has been painted by jewellery.

These cushions using images captured in the making process are a collaboration with textile designer Natalie Stoker. They made their début in the Soho showroom, reminding me of aerial photographs of deserts and seas, or the surface of a distant planet. A limited edition will be available to pre-order for £45 each, if you would like more information email me at info@jademellor.com 

Finding Diamonds in the Debris with Bernhard Schobinger

Bernhard Schobinger curiously handling one of my pieces of jewellery at Manchester Art Gallery

Bernhard Schobinger curiously handling one of my pieces of jewellery at Manchester Art Gallery

 

I first found Bernhard Schobinger's work whilst I was studying my degree at Manchester School of Art. His use of found objects combined with a well honed jeweller's skill and thoughtful composition proved that you could create wearable pieces in your own way, with the materials that interested you personally.

 
Bottle-Neck, Saw, Chain 2014 Glass, Saw blades, Stainless Steel. Broken bottles featured in a similar Schobinger piece I was struck by when I first started studying jewellery.

Bottle-Neck, Saw, Chain 2014 Glass, Saw blades, Stainless Steel. Broken bottles featured in a similar Schobinger piece I was struck by when I first started studying jewellery.

Rose Quartz & Bottle Chain Necklace 2014, rose quartz, bottle glass, gold. These objects look dangerous, but the edges are smoothed to be safe to wear.

Rose Quartz & Bottle Chain Necklace 2014, rose quartz, bottle glass, gold. These objects look dangerous, but the edges are smoothed to be safe to wear.

 

 

It was one of his bottle necklaces that I had first discovered, its raw edges and simplicity had not been interfered with for the sake of "making it into a piece of jewellery". It was honest and unprettified. you knew what the objects were or had been. Here they were for you to wear as your statement, a concept of the jeweller's thoughts or simply because you liked the colour, shape and texture, the same as any other piece of jewellery.

 
Lens Spoon Chain 2013 silver, steel, glass, acrylicThe busts are cast from Schobinger's own daughter when she was a young girl.

Lens Spoon Chain 2013 silver, steel, glass, acrylic

The busts are cast from Schobinger's own daughter when she was a young girl.

Saw Blade Chain 2014 Steel, Stainless Steel The purity of a young form creates a beautiful backdrop to the raw edges of the found objects.

Saw Blade Chain 2014 Steel, Stainless Steel

The purity of a young form creates a beautiful backdrop to the raw edges of the found objects.

Snake Playing with Pearl 1995 steel, cultured pearl, gold, black diamond, malachite, vermillion pigment

Snake Playing with Pearl 1995 steel, cultured pearl, gold, black diamond, malachite, vermillion pigment

The other piece I remembered from my University days was the snake bangle. Almost cartoonish, it appealed to me with it's bright colour and the references to ancient jewellery, it had character. When I was looking at it more recently I noticed it had been coloured with malachite pigment. A mineral I love, the swirling greens of this marbled stone I have explored in my own work.

 

In this survey of Schobinger's work there was a vast display of techniques, materials and styles, as varied as the two pieces which stuck in my mind all these year. Much of the jewellery work featured precious elements as well as the unconventional materials which challenge perceptions of what is wearable, attractive and desirable.

Ring 2012 steel, pearl

Ring 2012 steel, pearl

 

However using a material which is rare and highly valued can reflect the time and effort put into a piece. If you are going to do something, do it well, as they say. This could mean using the best (finest?) materials possible.

 
File Ring, 2012, gold, steel, diamond

File Ring, 2012, gold, steel, diamond

 

The majority of my own work is based in resin, not a valuable material to be hoarded and hallmarked like gold but one which I can freely manipulate and create colours and textures through my personal experiments. I can then choose whether or not to combine it with precious metal or additional stones. I love the contrast of the precious components with the detritus and worn-out objects in Schobinger's pieces so I was interested to hear his thoughts on these materials so I posed the question, "Do you use precious materials for yourself, or for other people?" By this I meant, if it was up to him would he only use found objects? Was the use of precious items to make them easier to understand by a wider audience, a compromise to elevate the broken, cast away debris and display his unquestionable skills as a goldsmith, demonstrating his experience and traditional training?  Bernhard's  answer was that it was for himself, not for "investment" in the piece, it is the individual material qualities he likes not the value they have. This became evident in the talk given by himself and Jo Bloxham giving us a deeper look at some of the pieces in the exhibition...

 

 
Drop of Water at the End of a Clothes-Line, 2000, Gold, white gold, diamond

Drop of Water at the End of a Clothes-Line, 2000, Gold, white gold, diamond

 

This piece is cast in gold from a knot of plastic washing line Schobinger came across. Bernhard's Gallerist, Felix Flury from Gallery S O told me this was one of his favourite pieces as you could tell it's origins because of the particular tension in the knot. On Schobinger's precious version a single diamond moves freely from the end, his interpretation of a raindrop, suspended forever in one single drip. 

 
A little snap I took of Jo Bloxham explaining to us how Bernhard (left) created one of his pieces.

A little snap I took of Jo Bloxham explaining to us how Bernhard (left) created one of his pieces.

 

Reminiscing on his apprenticeship days he spoke of the traps in the sink to collect gold particles when they washed their hands and how the emery paper was salvaged because of it's gilded surface after smoothing the precious metal pieces. These were established places where traditional skills were taught and jewellery was their business. The contrast of Schobinger when he talks about his own workshop shows the approach of an artist. He treats all materials the same with a workbench strewn with the things he collects, ready for action, on hand when inspiration strikes him.

 
"If a cluttered desk is a sign of a cluttered mind, of what, then, is an empty desk a sign?" Albert Einstein

"If a cluttered desk is a sign of a cluttered mind, of what, then, is an empty desk a sign?" Albert Einstein

 

In this way, a wrap of diamonds is easily knocked and scattered in the creative fray. He told us he gave himself  20 minutes to find what he could. And the rest? A votive offering to the gods of tidying up. Now and again as he works he might rediscover one of these tiny jewels, a diamond in the debris.

It is the material's properties which seem to matter most to him, how they can help him best achieve his creative intentions. For his saw-blade necklace seen in the exhibition he has used diamonds set in patterns of constellations. But as he puts it:

"They are not diamonds...they are stars".

Schobinger uses the materials that are accessible to him and interest him, whether they are a piece of broken cymbol salvaged from a dustbin or a rare pearl sourced from Japan. In this way I am reminded of Hubert Duprat's caddis fly lavae I saw at Musée des Arts Décoratifs.  In Duprat's work he replaced the insects usual material of gravel, soil and organic debris, with grains of real gold and precious jewels. These little wonders gather whatever materials are available to them and form themselves their unique protective casing. By allowing them only gold and gems the results were beautiful bejewelled capsules, bespoke to each bug's design but they were oblivious to their value in our human, consumerist world.

 

I hope if Bernhard Schobinger ever reads this he takes this comparison as a compliment, as I mean it to be so. The way he creates jewellery is as natural and instinctive as the tiny creature enrobing themselves in the objects they collect, unaware of any other way of life. A natural jeweller.

 

 
 

Bernhard Schobinger, Rings of Saturn, is curated by Jo Bloxham with Felix Flury and Christopher Thompson Royds from Gallery S O. You can view the exhibition at Manchester Gallery until 19th October (details here), and also see more amazing work by artists like Schobinger at Gallery S O, Brick Lane, London (here).

Thanks for bringing such a great artist to our hometown!

 

Collection Bites at Manchester Museum

Yesterday I was thrilled to give a talk at Manchester Museum as part of their "Collection Bites" series, allowing an in-depth look at items in their collection and showing their significance.

For me, the museum has been a massive influence since moving to the city to study for my degree and learning on the courses and at the events they put on with experts and curators.

As a local artist the Museum is a fantastic resource right on our doorstep and I have enjoyed researching the amazing objects on display as well as getting deeper into the artefacts with the curators and the objects in storage.

There are so many amazing objects in the museum, I had plenty to choose from. I spoke about the pieces that had influenced me the most and some of the contemporary designers looking at similar themes, inspired by nature but using modern materials and techniques to synthesise organic processes.

I brought with me particular pieces which I had made in response to what I had learned  in the Museum and thanks to the assistance of Kate Sherburn and curator David Gelsthorpe I could show them with the museum specimens and curios that directly related to them.

The museum objects and my pieces sat side by side with other items from my studio.

I wanted to make something in the session too, as I find learning a lot more interesting if I get to create. To demonstrate one of the wonderful minerals which is a big theme and material in my work I brought along some gold cubes for people to assemble and attach together forming a pyrite sculpture, which will continue to grow and be displayed in our gallery. It s an idea I have wanted to make myself, but I didn't want it to be contrived.

By making it together with the assistance of others I like the organic way the structure develops, giving it an unpredictable shape. I am looking forward to seeing this develop and I will keep you updated on progress as more and more individuals add their own "cube".

For more events like this coming up you can join the Treasure Seekers mailing list  as well as Facebook and Twitter.

Massive thanks to Sally Thelwel, Gillian Smithson, Anna Bunney and Jamilla Howa for the Collection Bites event and everyone else making the Museum so great!