An issue I have identified in my development work is the balance and placement of imagery and colour. This is particularly an aesthetic problem, on the edges of the geometric forms where two differing images meet. I decided to make my own colour chart, sampling some of my photographic decals, I could then use to reference against as I work through the module.
As paper and card is looking more and more like a permanent fixture in my studio practice, I also used the opportunity to test out two new acrylic primers as well as four new enamel varnishes and lacquers to ensure durability. This testing is really important to me at this stage as previously in my development work, I have fallen fowl of getting my paint systems wrong, as well as weighing up the pros and cons of using a faster drying acrylic paint instead of enamel paint, usually aerosol, which can take days to cure as well as being less ethically sound.
Although originally made as a reference point, there is definitely something in the overlapping images, catching the edge of the paint strokes that I would like to exploit further. I also wanted to ensure that all colours could be matched in vitreous enamel if required. I hadn’t mixed the liquid enamels before, so I had a little experiment blending some colours. I stopped after ten or so examples, as I quickly realised that any colour would be possible. Although mixing the painting enamel with the liquid enamel, didn’t work at all.
Visualising some of my drawings, I moved on to experimenting with transferring one image across each plane of the collective nine magnetic cubes. Each image representing a story that surrounds my personal jewellery. Regardless of the physical piece of jewellery or value, adopting this modular arrangement with each of the images now occupying the same size and shape, ensures each memory therefore becomes equal to another.
Feeding in from my findings in my Specialist Research Enquiry, where I have interviewed participants about the stories behind their own jewellery, I have questioned if our jewellery needs to be wearable? Looking at Laura Potter’s research project, My Life in a Sock Drawer (2007), which centered on the storage of sentimental jewellery, exploring alternative storage boxes and the relationship between unworn jewellery and identity. Many pieces of jewellery are never worn but kept tucked away in our jewellery boxes as they are imbued with memories. Can I make my memories wearable and interchangeable – like memory recall blurring and jumbling into a new story or reality.
Taking the form of my original scalloped flat base pieces from my development work, I then mocked up and experimented with various receptacles, to wrap, contain and wear individual or selections of the magnetic cubes.
The receptacles were more successful than I had initially imagined, and I really enjoyed the playful interchangeability, that I would hope would provoke audience engagement. Although still working in maquettes, I am still really bothered and unsatisfied with the edge between the image placements and will need to work on solutions to resolve this as well as what materials the receptacles could be made from.