[E]laborate
events are a series of 'labs' run by ASCUS in which participants can experience
practical hands-on art-science interaction and collaboration. This
month our lab was based around jewellery making, featuring talks,
discussions and a jewellery making workshop with geologists and
jewellers from across the UK.
First up was
Dr. Gillian McCay, teaching support officer and assistant curator of
the Cockburn Museum at Edinburgh University's School of GeoSciences.
To a diverse audience of jewellers, designers, scientists and
children, Gillian's fascinating talk explained the processes by which
metal can be extracted from the Earth, as well as some of the ethical
and environmental issues surrounding the mining industry. This
informative session was followed by a chance to get our hands on some
of the microscopes and rock samples which Gillian had brought with
her from the Cockburn Museum. The beauty and intricacy of the samples
amazed young and old alike, and for many, the opportunity to get up
close and personal with geology gave them a new-found appreciation of
how much it rocks...
For our next
speaker, jeweller Mari Ebbitt, the appreciation of rocks was nothing
new. A recent graduate from the Edinburgh College of Art, Mari talked
us through the inspiration and creation of the final-year project –
a stunning collection of necklaces, rings and brooches incorporating
an assortment of hand-collected gem stones. Captivated by the forms
and patterns of the natural stones (gathered from Korea, gem shops
and family heirlooms), Mari had set about to design a collection of
jewellery that would complement their unique structures. In the
process, she kept a meticulous recording of her trials and errors,
and even pioneered a new way of casting using store-cupboard
ingredients.
Her talk
inspired a number of thoughts on the comparison between art and
science, which came out in conversation over the course of the day.
In particular, the differences between artists and scientists in
their approach to sharing and accrediting new discoveries was
highlighted as significant point of contrast. While scientists seek
fame and recognition through the publication of their innovations,
artists seem to be actively discouraged from advertising theirs. At
least, this was Mari's experience upon the creation of her casting
technique. Similarly, the value assigned to careful recording of
methodology and results seemed to differ between the disciplines, and
Mari was somewhat surprised to hear the scientists' enthusiasm over
her documentation. Clearly, these kind of cross-curricular
conversations are invaluable when it comes to discerning the
differences and similarities between the artist and scientific
worlds.
Our final
speaker for the afternoon emphasised another area of cross-curricular
collaboration, this time between the realms of silversmithing and
technology. Kathryn Hinton, recent artist-in-residence in the
Jewellery & Silversmithing Department at the Edinburgh College of
Art, has a passion for preserving traditional techniques through
combination with modern technologies. For the past 5 years, she has
been pioneering the development of a design software that would allow
silversmiths to create computerised model products, using the strikes
of a remote-sensored hammer to generate the desired structure on
screen. Coupled with the rapid advancement of 3D printing, this
technology has allowed Kathryn to design and print pieces that would
be practically impossible to create by hand, whilst preserving the
art and skill of traditional silversmithing. Her presentation
highlighted the importance of cooperation between the old and new,
and demonstrated the remarkable results that such collaborations can
produce.
After this
fascinating series of talks, the workshop moved downstairs to
Summerhall's own jewellery workshop, currently known as Art Clay
Scotland (or the Au lab). Here, mother and daughter team Emma and
Jill Baird talked us through the use of their favourite metal, silver
clay, after which participants were invited to try their hand at
jewellery production. An amazingly malleable substance, silver clay
consists of a clay-like bind containing fragments of pure silver,
allowing easy moulding before the clay is burnt off in the kiln and
you are left with a beautifully crafted solid silver structure. The
discovery of this remarkable material has helped Emma launch her
extremely successful jewellery line, and the pair eagerly share their skills
through regular taught classes. See the Art Clay Scotland website and
Facebook page for more information about their products and
workshops.
As a
Neuroscience student, I'm not sure which I found more complicated,
geology or jewellery design, but I'm sure I will never look at rocks
or silver the same way again. Learning to look at the world through
the dual perspective of an artist and scientist is a fascinating and
incredibly rewarding experience, and one which is guaranteed to
change the way we think, work and wear jewellery.
For news about future [E]laborate events, keep an eye on the ASCUS website and Facebook page.
Images by Emma Baird
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