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Noovo Editions

Noovo Editions is an independent editorial project with online and paper editions. First of its kind in Spain from an unique and contemporary perspective on the international panorama,
Noovo seeks not only to be an aesthetic arbiter but also a cultural mediator at the juncture between Fashion, Photography & Jewellery.
A platform to show the highest level of creativity from around the world

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Interviews -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
 

 
-----.INTERVIEW WITH LYNSAY RAINE

"Oppositions serve as a framework for my practice. Using casting methods, I replicate recognisable objects, creating signifiers to challenge the familiar. The value of the individual components becomes obsolete as they merge into peculiar fossilisations to create dualistic tension.

I grew up in Northern Ireland, but also created another home on the other side of the world in New Zealand. This is perhaps what helps to stimulate my interests in duality.

My work is informed by my surroundings. Objects suggestive of function and structure from the domestic interior and outdoor exterior intrigue me. I process and reconstruct this visual stimulus to create my own abstracted ambiguous pieces. This is the way in which I make sense of my environment and my own sense of place within it.  I use jewellery as a means to communicate about how I perceive the world with the aim to connect with wearers who wish wear intriguing jewellery.

Lynsay trained as a metalsmith in Ireland before graduating from Unitec with a BDes (Hons) in jewellery in 2008. Since then, Lynsay has maintained a studio jewellery practice, exhibiting regularly throughout New Zealand and Australia. This year Lynsay has been selected to show at Talente in Munich and continues with HANDshake, a prentice and prodigy global jewellery project".


When and how did you decide to become a jewellery artist?

Who or what first inspired you to follow your chosen career?

During my Foundation Art and Design course at the University of Ulster in Belfast I did a short two-week jewellery block by chance as we were encouraged to work in a discipline we hadn’t tried before. I was feeling a bit lost until I came across a book in the library that really opened my eyes to contemporary jewellery. I was really inspired by conceptual and performative works by artists such as Emmy van Leersum, Gijs Bakker and Gerd Rotman. It made me realise jewellery was a medium with a lot of potential.

How was your childhood? Were you a child passionated by objects and jewellery?
I was always out in the garden making things out of mud, leaves whatever I could find. I was a bit of natural archeologist and would collect fragments of clay pipes and whatever else I found after a days digging. I was always quite obsessed with my granddads things. I would go rummaging in his tool shed or dress up with his walking stick and smoking pipe. I loved all his trinkets and now proudly keep them displayed at home as they have lots of happy memories.

You grew up in Northern Ireland, but also created another home on the other side of the world in New Zealand, how do you think this has influenced your vision and your work?
Traditional metalsmithing skills were the primary basis of my training in Ireland. When I moved to New Zealand I discovered many of the successful artists there found themselves on the international contemporary jewellery map due to the Stone, Bone, Shell movement. The thinking was very fresh and experimental.  During my studies there I found it hard to break away from the traditional skills I had learnt. I felt I should try and ‘fit in’ with an aesthetic there but it was really only a few years after graduating, having a good group of jewellery peers (a.k.a The Geeks) and creating a connection with a European jeweller through the Handshake project when I felt I could embrace both connections and make work that reflects a balance between the two.

How do you describe the main characteristics of your work?, Which is the priority in your creations?
My work always employs a level of construction, normally abstracting familiar forms from the industrial or the domestic. I like to use fragments of what is around me to create a new puzzle or sentence if you will that is open to interpretation. There is always an orderly way in that I source and create. I do draw and plan to a degree but I always like to allow for the unexpected to occur when making. The key is that there is always an element of suggestion in the work for the viewer so that is something there for them to discover for themselves.

Brutal Beauty Block Pendant H65 x W 95 x D 65 mm  
Commodotrophia Neckpiece 1 H470x W200 xD50mm  





How important is the materials in order to express yourself through your jewellery work?

The materials that are used will always play a major part in the reading of the object I feel. The material must marry with the idea, the form, the colour, all have to work in harmony to give the desired effect. I always feel there is endless potential when it comes to material. I am very easily seduced by material and there is always something in the back of my head I want to try and work with one day when it is appropriate to use in an idea. Originally when I began making jewellery I was very interested in ephemeral and performative works but soon found I wanted to be making work that more longevity and could be worn by anyone.

Is there any specific theme or story that you conceived for each series, or do you consider each a continuation from the last?
I always have an underlying concern to my practice that acts as recurring theme. However changes to my surroundings, interests and concerns about the world will always provoke a new thread, which sparks the beginning of a new series. For instance at the moment I am responding to my new environment being situated back in Belfast. When I lived in New Zealand I felt there was very much a DIY approach to everything, try to make it or mend and experiment. Here I feel there is less nostalgia or appreciation for the pre-loved and everything gets replaced with something new and shiny. A reaction to this has been a new starting point in my work.



Brutal Beauty H90x W64xD10mm  
Commodotrophia Neckpiece 2 H 400 xW 370 x D 50 mm  





Focusing on oppositions, dualisms and ambiguity are relevant questions for you, could you explain us better how these concepts have influence in your creative process?

When looking for inspiration in an object or something that is around me, I like to question what I see, look beyond the surface. I use polar opposites to bring together two sides of a story, creating an object that has an ambiguity to encourage the viewer to question my work in the same way in which we should always question the world around us. As a maker of things concerned with jewellery it is a recurring theme to start with old and new, handmade and mass-produced, playing on historical and social contexts of jewellery.

Could you explain what do you consider contemporary jewellery nowadays? or what would be the definition of Contemporary Jewellery in your own words?
Contemporary jewellery has expanded so widely and fits into many definitions. I feel inspired to work in a creative discipline in which others are working so differently. For me contemporary jewellery is a means of communication using the body as a specific site. The connection to the body is what will always make contemporary jewellery such a unique art form. It makes the concerns for making much more personal and considered I feel.

Brutal Beauty H120 xW87xD10mm  
1818045_orig  



Do you think that contemporary jewellery, as an art form, is still reserved for a few "specializated" people or do you think that is becoming an art form appreciated by the general public?

From what I have observed from attending art fairs, working in galleries and being generally involved in the contemporary jewellery community, I feel we still have quite a specialized audience. I feel as a maker one can get very close to the work but part of the challenge is also to think about what will happen once the work is made public. I feel it is important to keep thinking of new ways to promote the field, such as Broach of the Month Club to expand on our audience and work with other artists, designers and industries to expand recognition.

Regarding your selection for TALENTE 2012,  How do you feel for this and what do you expect from it?
Talente gave me confidence in feeling I am on the right track in this stage of my career. Thanks to Creative New Zealand, I was able to attend the exhibition, which was a great networking opportunity. I hope that it can help to establish recognition of my work in Europe and create more opportunities to be involved in other exciting exhibitions.


Commodotrophia Brooch H 75 x W 160 x D 50 mm  

You are involved with HANDshake, a prentice and prodigy global jewellery project, (Handshake is a mentoring project involving emerging jewellers from New Zealand matched with their chosen idols/mentors from across the globe. The project began in February 2011, and is ongoing until 2013, with exhibitions in NZ and beyond along the way),  Could you explain us your experience and how are you involving in it, now?
The creator of the project, Peter Deckers, invited myself and other emerging talent from New Zealand who had been steadily active in showing work since graduating. The timing of the project was great as I had just embarked on a jewellery Bootcamp in Christchurch and had a lot that I wanted to talk about with other Jewellers. I have found the online blog a really good way to help me clarify ideas. I often refer back to things I have noted in the past and learn a lot from what the other mentees have discussed. We are hoping to exhibit internationally and I am currently working toward a body of work that reflects on what I have gained from the project so far.

By the way, which jewellery artists do you admire now? and, who is your mentor and why?
My mentor is Andrea Wagner. I wanted to choose a jeweller who I felt was making challenging work and therefore would challenge me. At the time I was struggling with materials and was inspired that Andrea used such a variety of materials in her making. Although her aesthetic was very different, I could see something in Andrea’s work I knew I could connect with and would make for interesting discussion. I visited her in Amsterdam recently, which was amazing as I got to see her studio, various collections of her work and talk in person rather than email. It was really insightful to hear about her training with Ruudt Peters at the Rietveld Academie as he is a big hero of mine. I realized this chain of experience and knowledge being discussed and passed through a generation of jewellers if you will was a really special experience. Andrea has also been involved in a similar online project called Walking the Gray Area which I found very inspiring as it was a collaborative project in which each artist made really interesting work based on their online conversations.

Contemporary jewellery is undergoing a spectacular evolution: in recent years, it has both staked out new territories of experimentation and reveals new meanings and forms,  How would you describe this evolution?,  What is, in your opinion, the main changes that wearer and spectator have asumed/ developed in that sense?
To begin with, we have so much interaction due to the power of the internet, projects like Handshake never could have happened in the same way twenty years or so ago, everything can happen much more instantly now. We can view other jeweller’s work on multiple websites and hear about exhibitions and conference in our inbox. For the wearer/spectator jewellery is no longer necessarily something that is found hanging in a gallery. It is perhaps something you wear on loan for a month instead of a library book, something that has it’s own music video you can watch online, or worn by artists in boiler suit perhaps. For the wearer/spectator jewellery has become much more experiential, enhancing the whole purpose and social interactive role that jewellery plays.

The relationship between Jewellery art and contemporary society is evident, How do you think Contemporary Jewellery influence our society?Jewellery should be/is worn and therefore is public, rather than hanging privately in someone’s house. Being able to wear an artwork creates individuals. It can break the ice to be a conversation starter. Since the beginning of mankind jewellery has been an indicator of status, wealth amongst many other things. I feel people can begin shaping their world by what they wear. Making small statements can grow into bigger statements. I think in a small stepping stone way, our contributions can make a change. To quote a good friend and fellow Handshake jeweller Sharon Fitness we can “save the world, one brooch at a time”.

What are you working actually?
I am currently working on my ‘Commodotrophia’ series for exhibitions in 2013. I am feeling a new freedom making in my home town and want to hold onto to this feeling as I find I have a whole new excitement about making jewellery. There is no specialized contemporary jewellery gallery in Northern Ireland as there as in other parts of Europe and New Zealand and so I feel it is my role to expand upon this and promote contemporary jewellery within my local community by showing work here and also instigating projects to work with other local artists and increase the audience for local makers.

What does Jewellery mean for you? 
It is a way of meeting some of the most interesting and independent thinkers, a way to visit other countries with a purpose to seek out great events and opportunities. It is a reason to always have an active interest in being aware of what is going on in the world around me. To have the freedom to one day be a scientist, the next day a historian and the next day an inventor. To quote a badge I once saw “ Jewellery is life”.


------- More Info: http://www.lynsayraine.com

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