Monthly Archives: January 2013

The Making of a Masterpiece VI (Part 2)

The finished pendent, steps in making follow.

The finished pendent, steps in making follow.

The wing is constructed of separate elements to give it maximum definition. Here an individual "feather' has been cut out, drilled for the gem and is prepared to be domed.

The wing is constructed of separate elements to give it maximum definition. Here an individual “feather’ has been cut out, drilled for the gem and is prepared to be domed.

DappingBlock1

 

Here goldsmith Michael Corneau uses a steel punch to curve a single feather of the bird's wing.

Here goldsmith Michael Corneau uses a steel punch to curve a single feather of the bird’s wing.

Ancient Technique of Sand Casting:

Truly handmade jewelry is made in the ancient manner using the metal itself.

Modern commercial and some so-called handmade pieces are actually carved in wax and then cast using the cire perdue or lost wax process.  The more ancient method is sand casting.  The approach is similar, a model is made and it is impressed into a crucible.  In each case the molten gold is poured into a vacancy.  Once a mold is made, lost wax can be used to produce multiples.

The total time required for Michael Corneau to produce the Peacock Pendent was 212 hours.  This did not count, of course, the time spent developing the concept, discussion and selection of gemstones.

WaxInSand

PouringGoldSand

Sand casting the peacock’s body: Molten gold is poured into the depression made by removing the model from the sand.

Setting the gems: Once the feathers have been dapped out and soldered together and the cast body has been finished and soldered to the tail, gem setting can begin, the method is known as thread and bead setting.Peacock Pendant: Micro view, all gems set.

Setting the gems: Once the feathers have been dapped out and soldered together and the cast body has been finished and soldered to the tail, gem setting can begin, the method is known as thread and bead setting.Peacock Pendant: Micro view, all gems set.


by Richard W. Wise, G.G., A.S.G. ©2012 all rights reserved.

Treasures from Trash, What is Art?

Head of The Phoenix.  The total length of this sculpture by Chinese artist Xu Bing is 110 feet.  The weight, 12 tons.

Head of The Phoenix. The total length of this sculpture by Chinese artist Xu Bing is 110 feet. The weight, 12 tons. The head is a commercial jack hammer. Photo: R. W. Wise

by Richard W. Wise, G.G., A.S.G.

©2013 all rights reserved.

At 110 Feet long and weighing in at 12 tons each, the artist Xu Bing’s Phoenix Project currently on view at Massachusetts Museum of Contemporary Art is impressive.  It is particularly interesting given my last post in which I asked questions regarding art and the use of precious materials.

Once you get beyond the shear size of them, what is particularly striking about the twin bird sculptures suspended from the gallery ceiling, is the fact that they are totally built from construction waste.  That’s right junk!

In my last post, I showed a beginning series of images of a 4 x 1.75″ Peacock Brooch constructed of 22k gold, 18k gold, black opals, rubies & sapphires and asked the rhetorical question, can a piece of jewelry constructed out of precious materials be considered art?  Many critics hold that the jeweler’s art, if it is art at all, is a minor one.

So, when my wife Rebekah and I walked into the gallery Sunday, what to my wondering eye did appear but a huge, in fact two huge works of art made exclusively of junk, the very antithesis of or you might say the other side of the coin.  Junk had obviously been used as a material to create art, what did that say about the use of gold and gemstones?

Close up of the wing of the Phoenix, note the use of various types of waste found around construction projects.  Xu Bing lived in the U. S. for many years, when he returned to China he was struck by the magnificence of some of the new buildings going up contrasted with the dwellings of the poverty striken workers who built them.  Photo:  R. W. Wise

Close up of the wing of the Phoenix, note the use of various types of waste found around construction projects. The artist used re-bar, flashing, discarded gas bottles and shovel blades among other things to construct his birds. Xu Bing lived in the U. S. for many years, when he returned to China he was struck by the magnificence of some of the new buildings going up contrasted with the dwellings of the poverty striken workers who built them. Photo: R. W. Wise

The first thing that struck me as that the constructions themselves were quite beautiful.  It was necessary to focus, to draw the mind away from the contemplation of these wonderful works of art to be able to discern the method and materials of their construction.  First you see the whole, only later the parts.

What makes a material precious?  It is largely a question of attitude. Gold has been valued from the beginning of recorded time.  You need only to see and touch a natural gold nugget to understand the material’s appeal.    First the color, in its pure form, gold is a striking orange-yellow.  Its weight is reassuring, its touch sensual.  Are these attributes simply too seductive to the senses, do they submerge the artist’s intention and make it impossible to convey meaning?  Certainly it doesn’t help.

Given the tactile and visual qualities of gold and the connotations of wealth associated with it, it is clearly impossible for anyone to view the object qua object without reference to the material of its construction.

When you view Xu Bing’s Phoenix you are struck by his achievement.  When we view the Peacock Brooch are we simply overwhelmed by its glitter?

All That Glitters; The Peacock Pendant:  22k gold, 18k gold, opals, rubies, sapphires, spessartite garnets and natural Mississippi Pearls.

All That Glitters; The Peacock Pendant: 22k gold, 18k gold, opals, rubies, sapphires, spessartite garnets and natural Mississippi Pearls

Still, there is no denying the beauty and appeal of the Peacock Pendant.  Each bird appears to float, each has a distinct attitude, the tiny gems twinkle in the light and the peacocks magnificent  tails’ wrap themselves provocatively around a golden bower.  They eye is, of course, drawn to the center stones.  The two opals exhibit a fabulous flashing pallet of color.

NEXT POST, The Making of a Masterpiece VI (Part 2) MORE IMAGES, STAY TUNED.

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The Making of a Masterpiece VI (part 1)

22k/18k hand fabricated Peacock Pendant. The piece is accented with two black opals from the Moonshine Field at Lightning Ridge as well as rubies, sapphires, natural Mississippi pearls and spessartite garnets. Designed and handmade by R. W. Wise, Goldsmiths, Michael Corneau, designer/craftsman.

22k/18k hand fabricated Peacock Pendant. The piece is accented with two black opals from the Moonshine Field at Lightning Ridge as well as rubies, sapphires, natural Mississippi pearls and spessartite garnets. Designed and handmade by R. W. Wise, Goldsmiths, Michael Corneau, designer/craftsman.

by Richard W. Wise, G.G., A.S.G.

©2013  all rights reserved.

What is art and is the work of the goldsmith an art at all or merely a craft?  This is an ancient debate.  Some would argue that the use of precious materials, as opposed to more mundane materials, such as paint and canvas disqualifies the metalsmith and his product from the status and stature of the fine artist.  Jewelry is all about the materials, gold, platinum, gemstones, design being viewed as a secondary concern.  The objective of the goldsmith, is to decorate the body and decoration is not art.

That the piece pictured left is decorative cannot be denied.  Its inspiration hails from the Art Nouveau Movement (1900-1910), with a design iconography that evolved out of the Arts & Crafts Movement, which paradoxically stressed the use of simple non-ostentatious materials and hand craftsmanship.  Like Arts & Crafts jewelry, Art Nouveau jewelry utilized naturalistic design,  but whereas Arts & Crafts practitioners emphasized the use of unusual and relatively mundane non-precious materials,  Art Nouveau eschewed the ideological and abandoned the mundane but retained the emphasis on the naturalistic embracing a a more feminine, sensuous vocabulary partially through the use of precious materials.

It is no mistake that the Art Nouveau Period parallels what has become known as The Gilded Age—neither saw anything wrong for sumptuous decoration for its own sake.  Plato reduced art to beauty.  Is decoration art or is it something else, I guess you will have to decide.

As is often the case, we began with a client, a magnificent pair of black opals and an idea.  We worked with the client over several months.  The following images illustrate far better than any words the development of the concept.

Birth of  A Concept:

The concept began with a pair of black opals the two peacocks, a perennial part of the Art Nouveau design lexicon.  The peacock has been used as a symbol from the time of the ancient Greeks.  However, in this case, it seemed particularly useful as a naturalistic excuse to show off the the bird’s plumage using a rainbow of colored gemstones.

Second Preliminary sketch.

Second Preliminary sketch.

Completed sketch.

Completed sketch

 

Accenting Color

Finding accents for gem opal is always a challenge.  Very few gemstones find a simpatico with opal.  In this case; ruby and blue sapphire worked very well, picking up the corresponding hues in the opals, but when it came to the orange tones in the opal, orange sapphire and diamond simply did not work.  The only gemstone that the opal would accept was spessartite garnet. Here is the preliminary

layout:  In the next post, I’ll share some more images including the steps involved in the hand manufacture of this beautiful pendant.  Stay tuned…

PeacockGemLayout3