IMB headphones vs Noisolation Digital Jewellery - IBM - 1993
Noisolation Headphones - Alex Braidwood/ 2011
A prototype of a cell phone that consists of several pieces of digital jewelry that will work together wirelessly, possibly with Blue tooth wireless technology.
Noisolation Headphones worn by a young participant of the World Listening Day Listening Instruments Workshop
The main intention of IBM is to solve problems like forgeting passwords, pins etc.. with fashion technology. So that we can make technology as our daily ware jewellery like rings, chains with wireless networking system.
Sequenses are composed and programmed into the device/The valves open and close to allow or prevent sound from traveling to the listener’s ears, creating a constructed composition out of the surrouding noise. The listener controls aspects of the compotition.
Diabetes Neckalace and Ring - Heiss 2008-09
They allow for pain-free delivery of insulin to the body, replacing syringes. The rings are designed to keep the nano engineered insulin patches against the skin. The Diabetes Neckpiece is a wearable applicator device to apply Nanotechnology Victoria’s NanoMAPs to the skin. NanoMAPs are small (10 x 2mm) circular discs which have an array of micro needles on their surface.
Body parts apart from the body “Hair Necklace”, Mona Hatoum,1995
Rings of bone grown for couples, 2006,(Research)
Real hair in a form of string of beads. Attraction is quickly succeeded by repulsion
BioJewellery is a collaborate design and bioengineering research project with the aim to create a ring of biologically engineered human bone tissue. www.biojewelry.co.uk
Using material from the artist’s own bodies, the piece of jewellery exploers what was once self and what is now not, both a part an apart from the body. Nails and hair when seperated from the bodyare seen to be “other“ (waste)
Using bioglass, a special bioactive ceramic which mimics the structure of bone material, researchers are growing rings made out of the couples’ bone. Five couples are having the rings made. They will be grown from bone cells taken from their jawbone.
“Decadence�,Nanna Melland, 2003
Nails are cast in gold, a material inchanged in time, the discarded became iconised. Animal claws have been used in jewellery as talisman or trophies, in contrast, this piece made a memento of the mundane routine of personal care.
Florian Ladstätter
Toe and Heel Ball lenses, (2007), Naomi Filmer
A hollow metal cast of the foot encased by a ball of delicate glass. The transparent orb accommodates the precious body part, which is lined with flesh coloured flocking, giving the viewer a rare chance to really look inside themselves.
materials and jewellers’ intention
Rebecca Horn, “Finger Gloves,” 1972
Catherine Chandler “You Might Sun Kyoung Kim, “InterconNot Hear Me”, 2014 nection”, 2013
Kopfschmuck | Profilschmuck für Emmy van Leersum, 1974
Burcu Buyukunal. “Terrifying Beauty #2�, 2009 Terrifying Beauty focuses on the trends of cosmetic surgery to question conventions of beauty and challenge the function of jewellery as adornment.
jeweller as maker/facilitator Brooches - Arthur Hash, 2011
Radiolaria - Nervous System, 2012
http://www.arthurhash.com/
http://n-e-r-v-o-u-s.com/radiolaria/
Materialise your emotions (2013), Makoo
Chew your own Brooch (1998), Ted Noten
The Makoo jewelry alpha software will change the shape of the jewel according to your words and voice
You chew your gum, return it to him and get back a replica brooch cast in sliver or gold - a small sculpture fashioned by your mouth. Noten has given the chewer a creative influence on the end product and the anxiety of being an artist for a few minutes, tapping into the creative child within us and poking fun at our silliness.
message and relation with the body
“I am Human”, 2000 Auli Laitinen
“Rubber Stamp Bracelet”, Arthur Hash, 2005
“Twitter Dress”Cute Curcuit, 2012
The brooches are made for common office labelling equipment and offer no material value or skill-based surprices. usaually workspaces are not concerned with personalised needs or subjective creativity. These badges signify the wearer as social bodies.
He seeks to “question the role and value of body adornment”, finding that with the definitions of jewellery constantly changing as they are currently, he needs to rely more on his own personal inspiration.
The dress includes the latest technology, lighting up with extraordinary animations and receiving Tweets in real time. Everyone can use the hashtag #tweetthedress to see their words be part of CuteCircuit’s magic.
body as a para[site]
Janine Antoni, Ingrown, 1998
TransXtend_1, Ursula Guttmann, 2011 3D Print, stereolitography
Dust Interaction II, Linsey Bell, 2004
Usually the false nails are used to imitate and become part of the body, here the flase nails have taken control,linking pais of fingers together. The title Ingrowth suggests the body acting against itself, causing pain and discomfort.
“We heighly experience our body as a spot in which we are caught and where there is no opportunity to escape from it. This is why we imagine bodies which take place, which can grow and extend�
A body is involuntarily and gradually dispersed into immediate enviroment, in an almost negligible way. This process here is recorded to reveal it as delicate, romatic and beautiful .Particles of Human dust are captures by the use of strong light.
jewellery as a sensation
Millie Cullivan, lace collar, 2004
Ice (), Naomi Filmer
An image is traced onto the bare skin with white dust. What is left behind is a memory of touch, evidence of contact with the skin.There is an illusion of substance, but on recognition of its ephemerality, almost holding of one’s breath so as not to disturb the image.
What interests me about objects in relation to the body is the sensation of the objects, either the relation to the material sensation or also the physical sensation according to how you wear the object, or the object wears you, how the object moves, your posture or dictates your posture.
Light Projections (1994), Susanna Heron
Parasitism is a non-mutual symbiotic relationship between species, where one species, the parasite, benefits at the expense of the other, the host.
parasitism in object/body relation “Energy Addicts”, Naomi Kizhner, 2014
‘Hosting Parasites’ – Kathy Ludwig, 2011
Bio-powered jewelry that harnesses existing bodily processes to create energy.
Embody the vampiric aspect of a relationship: Latex leeches leave a red mark on the body like sucking parasites
All of the jewelry in the series is parasitic in nature and requires no effort on the part of the wearer. The E-pulse Conductor plugs into the spine via a pair of sharp pincers, drawing power from the user’s nerve activity. Blinker fits over the bridge of the nose like the bridge of a pair of eyeglasses, gathering energy every time the wearer blinks.
“‘Hosting Parasites’ consists of three smoked oak cabinets of curiosities. Each of these presentation cases contains latex, ivory, fabric, silver and porcelain objects for experimenting with, which inhabit the user’s body/support, leaving behind its imprint or fusing with it.”
Jewellery as Prosthesis (2002-ongoing), Zellewegger Extending the definition of body adornment
Zellweger works on the thesis that jewellery gradually leaves behind the stage of being an accessory, in the sense of an ‘appendage’ or ‘annex’, to potentially become an integrated component of man. Jewellery as Prostheses’ generates debate on the new direction of social rituals, the relationship between art, design and science, and the issues that arise when aesthetics meets ethics. It takes a critical stance to reflect on the essential human activity of ‘making’, of ‘designing’ the world, and develops an appropriate means for self-reflective artistic practice.
Light Brooch (Stoeber, 1997)
Rings ritual (Klooster, 2010)
Stöber‘s work encourages an interactivity at odds with much jewelery designed to be admired from a distance. The body responds to the jewellery and the jewellery responds to the body. The ligth fades gradually when the contact is broken.
A ritual during the wedding ceremony, where both hands of bride and groom lovingly and cooperatively unfold and put on the rings. designs that embody specific movement variables
jeweller as data vs data jewellery
Vanity Ring (2007), Markus Kison
“Address”, (2009) Mouna Andraos
“Data Jewels”, (2006),C.Zellweger
The Vanity Ring doesn’t have a jewel, instead it shows the number of hits one gets, when he searches Google for the name of the person who wears it, a more adequate value in our time. After the name is typed the ring will change its display to show the personal “attention carats”
This project consists of an electronic pendent with a embedded GPS which calculates the distance between a place that the user chosed as his “anchor” and the place he is now. A little display on the pendent shows the kilometeres. This piece acts as a link between us and our favourite place.
Designed on the computer, data jewels relate to the tradition of jewellery as a medium for communicating identity, beliefs, social status and taste. The minute, shiny patterns recall the sense of preciousenss and delicacy of classic jewellery while the technological aesthetics suggests newer strategies of encoding meaning.
absense/present of human/object form
Harris, Jane | textile’11: REWIND – PLAY – FORWARD
Swarms, (2008), Hazel White
Light Jewellery (2014), Pangenerator
Jane Harris Motion capture technology involves a person’s movements becoming digital data that in these examples then connects to the subsequent imagery of cloth.
Swarm is a silver chain with a digital life.As the wearer moves the chain, which acts on the computer code in the application, the application causes onscreen activity,
The phone connects via a High-Definition Multimedia Interface (HDMI) cable to a “picoprojector” – a type of small handheld projector – attached to the wearer’s chest, which shines the light onto their neck.
SENSING
Wearing embodied Emotions (2013) Ugur
MULTI-FUNCTIONAL
handheld/wearable/skin-mounted
OmniTouch (2011), Chris Harrison Wearable Multitouch Interaction Everywhere
“If you have these skin-mounted devices and an ability to locate them on multiple parts of the body, you can get a much deeper and richer set of information than would be possible with devices that are not well coupled with the skin.�
Self-Body Boundaries(Intrapersonal) Social invisibility focuses on the intimacy of the body, involing memories and physical movements.
Inner (2007), Leah Heiss
Stile, (2008), Sarah Kettley
Lens (2008) , Hazel White
The garment senses a nervous habit - in this case touching the sternum - through the sensitive gingko brooch at the neck. This information is transmuted into an internal output -and an external output pulsating optic fibre along the stomach.
As the wearer moves the head from side to side small sounds are emitted from the collar, audible to the user but not perceptible to the surrounding world. This sonic texture informed the sounds incorporated into the neckpiece. Re-experience her time in Australia; a personal environment; and a performative garment.
The pendant is evocative of sea washed glass and was made as a memento of a family holiday at Port Elgol, Skye. When it is held up to the ‘magic mirror’, images of a father and son skimming stones at the water’s edge appear, accompanied by the sounds of the waves washing the shore.
VISION
Remember, Forget, Dageurre,Orpheus
The Necklace, (2011), Van Beers
Seed Sensor, (2011-ongoing), Heiss. L
A series of four lockets, questioning the nature of digital photography, specifically loss of the preciousness of photographs due to the reproducability of the digital.
Because you keep adding new beads to ‘The Necklace’ it slowly grows and evolves over time. It therefore a symbol for your struggle against breast cancer. But what is most important, is that it also becomes a conversation facilitator for your social environment. They can now see how you are doing, and have handles to engage in a conversation.
The ‘Seed Sensor’ is a swallowable device that detects gas fluctuations in the body (methane, carbon dioxide etc) that may be a symptom of undiagnosed disease. The ‘seed’ is a swallowable tablet that unfolds like a flower once in the small intestine deploying a sensitive membrane which captures particles of gas as it moves through the digestive tract.
Jewellery as a state of encounter
Focus on the relationship between the artist and the participant. And the work is not so much out the object rather than the participation. Focus on the relationship between the artist and the participant. And the work is not so much out the object rather than the participation.
Chew Your Own Brooch (1998),Ted Noten You chew your gum, return it to him and get back a replica brooch cast in sliver or gold - a small sculpture fashioned by your mouth. Noten has given the chewer a creative influence on the end product and the anxiety of being an artist for a few minutes, tapping into the creative child within us and poking fun at our silliness.
“Swarm�, Nanna Melland, 2014 As a part of the installation the audience has been able to take with them airplanes directly from the wall. That is, they can choose an airplane and pick it directly from the installation. Hence the airplanes, and the swarm, have spread out to the general public, and the project has, and continues to have, its own life outside the gallery space.
Self-others Boundaries (Interpersonal)
Connect individuals through close/far distance by activating their senses. I use the term social visibility (Kettley, 2008) to refer to those examples, which involve delicate technologies that augment the relationship with the world and the people within it by showing evidence of the connectivity in the physical world.
Speckled Jewellery (Kettley, 2009) Participants taking part in the project Speckled Jewellery (Kettley, 2009; Figure 14) gained an understanding of how far or close they were to their friends in spatial terms, as indicated by LEDs. This information was meaningful for each of the wearers and served as an emotional connector with their friends.
Blossom(2004), Jayne Wallace
Light Brooch (1997)Nicole Gratiot Stöber Stöber‘s work encourages an interactivity at odds with much jewelery designed to be admired from a distance. The body responds to the jewellery and the jewellery responds to the body.[...] The ligth fades gradually when the contact is broken.
David Watkins Jewellery - objects whose purpose it to frame or to be frames by the body. Wearable Sculptures Early work The Body Framed - Still and Gold 1976-1980 1974-1974
New Lyricism and Symbolism Return to Gold 1990-1999
Abstraction and Mysticism Technologies and Tactics 20002006
His objects - wearable art become autonomous devices in their own right, that when worn develop into statements on the body.
He begins to play increasingly with the form of the brooch, a form that is hermetic and self contained rather than containing the body of the wearer.
he employs planar surfaces and image- collaging techniques that lead to a new concept - layered jewellery
The body was the object to be ornamented and the jewellery an object for the body - a superstructure on the body and an independent artefact in its own right.
Technological Explorations David Watkins
Christoph Zellwegger
Watkins realised the general potential of cam technologies and, more particularly, their value at the stages of design exploration and evaluation the harnessing of computing power to generate many iterations or permutations of a concept. Taking a realistic view, he explores how modern technology would interact with traditional craft processes, and reflected on the advantages and the constrains of such strategies. An important factor was of course to determine at what point in the making process the human hand could intervene.
Zellweger recognises that the shape of our future existence lies in the delicate interrelationship between nature and techology and while scientists and technologists are responsible for progressing this artists can reflect, commentate and dispute . Foreign Bodies, p/6
Watkin’s major concerns was to translate the immateriality of on-screen computer images into the qualities of real materials in the real world, whilst somehow retaining the characterises of both. "Computers have helped me to test my concepts, to make drawings and models or generate data in weights and measures and computer-assisted technologies to makes jigs for accurate handwork, or to directly manufacture parts for assembly." (retrieved from his interview)
Choosing to express his feelings views and values through jewellery, Zelleweger has consistently sought to create wearable objects to define what he calls the object landscape on a technological fast advancing world. The are speculative objects. Once you hold a piece in your hands, you start to contemplate what the future could be about.
Zellweger asks questions beyond aesthetics, wearability and function. “What is it in our lives that has real value? What defined value today?
body as an experience
Ice (), Naomi Filmer
Body Informed 3d prining, 2014
https://vimeo.com/107893901 The object of the research is exploring ways to create 3D printed garments that react to physical movement allowing the wearer to participate to the design of the shape through their own personal dynamics
personal narrative in jewellery
“Memoria”, Lin Cheng, 1999 many copies of a form
“Seven out of Fifteen Rings”, Kate Maconie, 2007, Cast silver.
20.12.53 - 10.08.04 (Moira Ricci 2005)
reproduction of a form the’ memoria’ series which is in memory of my mother. Whilst sorting out her things, I came across several ‘butterfly’ scrolls that neither belonged to an earring nor had any meaning or use on their own.
She made a cuttlefish casting of one of her late mother’s rings which had a particular emotional significance for her. It was cast using a process whereby the ring is pressed into the impressionable inside material of the cuttlefish, which has been split
This is an intimate work where the artist manipulate old photographs of your mother, including your persona in the pictures. a strong desire to go back in time and stay with my mother.
material density/value appreciation experience/value appreciation Zellewegger, Foreign
material and body,Zellweger, 1996
Light as a design material Light Brooch (1997)Nicole Gratiot Stรถber
A prototype of a cell phone that consists of several pieces of digital jewelry that will work together wirelessly, possibly with Blue tooth wireless technology. The main intention of IBM is to solve problems like forgeting passwords, pins etc.. with fashion technology. So that we can make technology as our daily ware jewellery like rings, chains with wireless networking system.
Aurora (2008), Kyeok Kim
Blossom(2004), Jayne Wallace
Family Necklace for the Schobinger Family (1998) Gerd Rothman
jewellery as emotional prostheses (act as emotional trigger)
jewellery as emotional carrier/ (act as emotional trigger)
PAST
PRESENT
jewellery captures moments in time
The fingertips prints are a personal touch and the jewel is in a relationship with the wearer. One can keep close the fingerprints of parents or beloved ones, the rings are like amulets or pieces that encapsulate one’s presence.
digital jewellery/design fabrication
Brooches - Arthur Hash, 2011
Radiolaria - Nervous System, 2012
Materialise your emotions (2013), Makoo
What does“con[tempo]rary”mean? Dinstinction between 3 critical potitions regarding the status of the jewellery object: 1. Treats the object as an independent entity maybe a piece of jewellery or clothing. Even though these objects have been generated by design processes, have definable cultural identity and can be formally analyses, they offer nothing in excess of decoration when worn on the body. 2. Occupied by a generation of artists whose conceptual concerns transgress the definable object; the object literally merges with the body. The body related but indepenent object - Body Art 3. Concerns the object in dialogue with its framing device, this might be the body itself, social or phycological phenomena or other theoretical concerns. (From:Jewellery as a fine art practise_Jivak Astfalct)
Jewellery Art : -A conceptual narrative enquiry at its core (Lin Cheng, Mah Rana) -a different strategy is more concerned with the re-valuation of material qualities and their meaning Objects are de-constructed and put to new use. The investigation of the status and value of objects is a concern shared by most jewellery artists. Things, which we are familiar with, domestic or otherwise and which often carry specific cultural meanings are taken out of their context, they are re-assembled, re-contextualised and re- interpreted. - Jewellery work turns its attention to the body itself (Naomi Filmer) It is important to point out that all Jewellery Art implies the body, but some work is specifically focused on enquires around the body, real or as culturally formulated idea.
Contemporary Jewellery, a magic discipline which speak to our feelings, open our eyes to countless sensations, explosive, sensual, eclectic…pieces with soul, creating special moments. Jewellery is a work of art, a metaphor of the attire caressing our skin. It speaks without uttering a word, appears before us and stirs our emotions. (Miquel Abellan)
Introduction Different names gained popularity in the visor to change existing ideas about jewellery and are still used interchangeably : contemporary jewellery, studio jewellery, art jewellery(mainly used in US), research jewellery (mainly used in Italy), jewellery design, author jewellery or jewellery d’auteur, new jewellery. The acceptance of the words depends on my factors and is still questionable outside the realm of jewellery. Besten endorses the viewport that contemporary jewellery (or any of the above- mentioned terms) should be presented in a broader context than the jewellery scene alone, because it has meaning as an artistic expression. What do we understand as jewellery? Jewellery originated from gordsmiths and is therefore observers as an applied art form. Jewellery are categorised within the realm of objects that beautify, decorate, signify and have a practical function. The function of jewellery is manifold and rather complex compared to other examples of applied art, craft or design. Decorating, embellishing, signifying can be the main function of jewellery.
Function, when talking about jewellery should be understood as meaning. Social and religious, economical, ornamental, Sentimental, Magical, and next to the finery, the capital investment, the decoration, the memory and the magic there is yet another function that the piece of jewellery is a sign on the body.
Jewellery is a sign that can be read : an expression of one’s social situation and identity.
Contemporary jewellery has long sloughed off the assumes connotation of wealth, luxury, durability and privilege, concentrating instead on investigations into material, form, value, colour and movement. When objects are active at the boundary of the the body - Jewellery in its widest sense - there is the potential to explore identity and meaning. Wearing something close to the body offers the circumstances and territory to explore issues that arise at this junction of the personal, social and cultural. Objects that a are used in a close relationship to an individual can indicate a personal history, declare a relationship to others, and raise issues of identity and status. What is worn is a source of constant fascination and curiosity, demonstrating the continual two-way process of expression by one person and the impression it makes upon others. How and object might merge or be on confusion with the body? From: New Directions in Jewellery I A Part/Apart Caroline Broadhead
1970s 1980s - continued the experimentation as complete freedom regarding form, material, technique production methods, jewellery relationship to the body.
Jewellery could be anything : A STATEMENT A MASS- PRODUCED PRODUCT AN ACCESSORY A DIY KIT A CLOTHING ADDITION A PHOTOGRAPHIC PROP A WEARABLE STRUCTURE A COSTUME A STAGE PIECE (Jewellery? What kind of jewellery are we actually talking about? Paul Derrez)
Books Contemporary Japanese Jewellery 739.270 952 FRA CONTEMPORARY JEWELLERY 739. 27 ABE SUSTAINABLE JEWELLERY 745.594 2 MAN New Directions in Jewellery 739.270 922 NEW New DIRECTIONS IN JEWELLERY 739.270 922 CHE FOREIGN BODIES 739.27 ZEL THE JEWELLERY PROJECT SCMUCK JEWELLERY GERD ROTHMANN 739.270 92 ROT DAVID WATKINS ARTIST IN JEWELLERY 739.270 92 WAT
data that [matter]s VISION
The Necklace, (2011), Van Beers
“Data Jewels”, (2006), C.Zellweger
“Address”, (2009), Mouna Andraos
Reading by startlight (2014 -ongoing) J.E.Thomas
cause & yvette | Brain Activity Changes The Color Of The Vicenza., 2015
John mcghee mri imaging 3D Computer Visualisation and Animation in Clinical care
jewellery as trace
Brooches (2003), K.Buck
Kim Buck brooches (2003) is series of brooches consisting of negative casts of classic jewellery designs ranging from pearl earring to a solitaire ring tell us that something was once there and this trace or a memory now preserved in a new form. In his work the negative cast was the method to create the new form as a reminder of the original piece.
Tiffany Parbs_ Skin stamps, Blister Ring and Blister Ring, 2005
ARTHUR HASH Rubber Stamp Bracelet, 2005
Inventive and conceptual, parts sees her ephemeral jewellery as “an ongoing investigation into the residue left by the jewellery, the way that the marks or the sensations resonate on the skin ling after the piece has been removed”
He seeks to “question the role and value of body adornment”, finding that with the definitions of jewellery constantly changing as they are currently, he needs to rely more on his own personal inspiration.
layers of interactionbody as a mediator
“Sediment Necklace”, Ruudt Peters, 1995. Taking one form to start off with, another is revealed as the object comes into contact with movement or body heat, or as an outer layer is gradually worn away. This genre of jewellery begs to be worn.
“String of pearls”, Maron van Kouswijk
A bar of soup gradually dissolving each time you wash might yield a hidden piece of jewellery, as in Maron van Kouswijk’s string of pearls, which lies trapped in a bar of amber-coloured transparent soap, much as an insect can be seen bought in a real piece of amber.
Pieces of jewellery such as “The Sentiment Necklace (1995) from Ruudt Peters, The Siberian Necklace (2006) from Ted Noten or the “String of pearls”from Maron Van Kouswijk reveal another piece during the interaction with the wearer. Taking one from to start of with, another is revealed as the object come into contact with movement or the reaction with other materials. Soup gradually dissolves when washed, ice melts at room temperature and the black paint gradually rubbed off. The pieces are gradually transformed and reform the relationship with the wearer.
jewellery as sensation The transiency of these pieces of jewellery challenge the wearer and the viewer to think about the object as a temporary effect with a certain durability (Manheim, 2009: 44). In a dialogue between “something and nothing”, materials such as dust, light and shadow make the jewellery ephemeral and in some way lyrical. Ephemeral works such as Lacecollar from Millies Cullivan (2004), Rash Stamps from Tiffany Parbs (2004), Susan Heron’s experiments with light projected on the body (1994), irrevocably changed works such as B.Fink’s Eis (1996), the Siberian Necklace from Ted Noten (2006), and Chalk Chain by Dinie Besems (1994) question the durability of the worn piece and oppose notions of value of the material and issues of sustainability. They shift the importance from the jewellery to the trace and question what jewellery is in
Lave Collar, Millie Cullivan , 2004
Katharina Ludwig, 2008
the end, after all.
More artist than artisan, Katharina Ludwig conceptualizes jewelry by incorporating ice into her work. I love the idea that each piece is ephemeral and unique, evolving slowly over time, with the ability to be reborn in yet another form.
digital jewllery? What I found interesting in her work is the way I started thinking about the role of the digital as a material to visualise the different lives of ounce of pure gold, or as an object with its own rights and properties, a brooch that the wearer could wear anytime. I am wondering again? If the digital exist as a “pre-material� state of the realm of the material, the body, our senses and sensory experiences will be the triggers of the interaction.
REDUNDANCY OF MATTER : ATTAI CHEN This work questions the place and meaning of matter in a digital, virtual world. I have created three series of jewels presented as computer files displayed o a digital screen brooch. All the jewels on display were made from one ounce of pure gold.The jewels were shaped to represent various processes of growth and their subsequent stages of deterioration, withering or attrition. Each individual jewel that was made was documented and saved on a computer file and than It was melted down. The recycled piece of gold was the raw material for the next jewel in the series and so on and so forth.
activating senses
“Chilli Whistle”, Nana Akashi, 2003
Shinichiro Kobayashi
Akashi’s jewellery, with its fragile arrearence and unexpected transformations, echo the natural forms they are based on, free- associating around the wearer’s senses of touch, sound and sight.
Camphor is an unusual material to work with if you can withstand its strong smell and numbing anaesthetic properties. Japanese jeweller, has used the white , crystalline resin, which comes from Asia and Australia laurel, to make a necklace which melts and reshapes itself during wearing.
She believes that jewellery should stimulate the wearer’s senses, incorporating movement and sound in her work.
Body as a site for artistic expression
Veil (Caroline Broadhead 1983)
HardWear Oral Rims (Lauren Kalman, 2006)
Body as Data
Anemone and Aliform, (Fusakul 2002) Vein2, Anemone and Aliform (Fusakul 2002) and SkinBone (Ugur 2013) are examples of digital worn objects that detect changes on emotional status of the wearer and act accordingly with movement or light.
Skin-Bone, (Ugur, 2013)
Body as participant
Breathe, (2006) L.Cheung