LIST OF CONTENTS
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Page
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LIST
OF FIGURES
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ii
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1
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INTRODUCTION.........................................................................
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1
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2
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THEORIES
OF THE GAZE
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2
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2.1
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JEWELLERY DESIGNERS: WENDY
RAMSHAW AND MARJORIE SCHICK
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3
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2.2
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MY OWN WORK
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6
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3
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CONCLUSION
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9
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SOURCES
CONSULTED...............................................................
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11
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LIST OF FIGURES
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Page
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Figure
1
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Wendy
Ramshaw, 1996-97, Set of 12 Rings, 18ct white gold with marble, mounted on an
acetal stand. Rings, (Ramshaw, 1996-97)
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4
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Figure
2
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Wendy Ramshaw, 1990, Set of 14 Rings, 18ct yellow
gold, garnets and citrines, silver with orange enamel, mounted on a resin
inlay brass stand.
Rings, (Ramshaw, 1990)
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4
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Figure
3
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Wendy Ramshaw, 2002, set of 14 rings, 18ct yellow
gold and onyx, mounted on ebony stand with gold detail. Rings, 21 x 4.5 cm,
(Ramshaw, 2002)
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5
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Figure
4
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Wendy Ramshaw, 2001, set of 21 rings, 18ct white
gold and moonstone, mounted on a transparent cylindrical stand, 15 x 2 cm, (Ramshaw. 2001)
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5
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Figure
5
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Marjorie Schick, 2004, chopines and puddles (on
the body), (Schick, 2004)
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6
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Figure
6
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Marjorie Schick, 2004, Chopines and puddles (off
the body), (Schick, 2004)
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6
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Figure
7
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Marjorie Schick, 2004, Orbiting rings: Balancing
act (On the body), 21 rings, painted wood, photographer: Gary Pollmiller,
(Schick, 2004)
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6
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Figure
8
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Marjorie Schick, 2004, Orbiting rings: Balancing
act (Off the body), 21 rings with base, painted wood, photographer: Gary
Pollmiller, (Schick, 2004)
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6
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Figure
9
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Thato Radebe, 2015, Protea, woven petal ring
(Prototype)- side view (On the body as jewelley), 925 Sterling silver,
copper. Woven detail. Ring, photographer: Author, (Radebe, 2015)
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7
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Figure
10
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Thato Radebe, 2015, Protea, woven petal ring
(Prototype)- top view (On the body as jewelley), 925 Sterling silver, copper.
Woven detail. Ring, photographer: Author, (Radebe, 2015)
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7
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Figure
11
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Thato Radebe, 2015, Protea, woven petal ring
(Prototype)- perspective view (Off the body as visual artefact), 925 Sterling
silver, copper. Woven detail, Ring, photographer: Author, (Radebe, 2015)
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8
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Figure
12
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Thato Radebe, 2015, Protea petal ring stand
(Prototype)- perspective view (Off the body as visual artefact), 925 Sterling
silver. Woven detail. Ring stand
photographer: Author, (Radebe, 2015)
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8
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Figure
13
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Thato Radebe, 2015, Protea, woven petal ring and
ring stand (Prototype)- perspective view (Off the body as visual artefact),
925 Sterling silver, copper. Woven detail. Ring and ring stand, photographer:
Author, (Radebe, 2015)
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8
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Figure
14
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Thato Radebe, 2011, Woman's woven ring, sterling
silver, copper. Ring
45 x 28 mm (Radebe, 2011)
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9
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INTRODUCTION
The
aim of this paper is to explore and critically analyse the nature in which
society physically looks at objects, specifically jewellery, as well as one
another. The purpose will be to understand the stereotypes that are formed due
to what people initially see. With this paper I will briefly explore the
Lacanian gaze as well as the panoptic gaze as they focus on different
perspectives of viewing, being the viewer and being viewed.
Of
the various gaze theories that have been written about, Krips (2010:91), from a
journal article entitled The politics of
the gaze, compares the Lacanian gaze and the panoptic gaze in film theory.
Krips (2010:92) states that the Lacanian gaze is concerned with an individual
being looked at without their knowledge or consent. This renders the subject
vulnerable because of the unawareness of being looked at. The Lacanian gaze is
one of that triggers anxiety which will transform the viewer’s look into a
self-directed, passive “being looked at” gaze.
The
panoptic gaze on the other hand looks at being an individual who is viewed in a
particular way as a result of power relations in society. Krips (2010:95)
states that the “modern subject is determined as a direct reflection of the
image that is implicit in the social relations of power in which it
participates and through which it is subjected”.
My
work links very closely to theories of the gaze in that I am manufacturing
jewellery pieces that can assume the role of personal adornment to be worn on
the body as well as being regarded as an autonomous object when it is off the
body (Quickenden 2000:1) as opposed to the traditional purpose of jewellery
being to be placed on the body or attached to clothing (Metcalf 1989:1). This
results in my work being looked at for longer periods of time as it is
difficult to identify initially. In relation to the jewellery that I make, the Panoptic gaze will be more
relevant because in as much as I make jewellery that assumes another role
besides being worn on the body, it will always have the traditional primary
role of being worn on the body never the less.
Through
reviewing the literature it has become apparent that jewellery has undergone an
evolution over the last fifty years. Den Besten (2011:15) point out that
jewellery has become a lot more artistic and spontaneous. This has led to
boundaries becoming blurred in various art disciplines because artists borrow
freely from one another. As a result, jewellery has had to be viewed in a
different way to accommodate the change.
THEORIES OF THE GAZE
Of
the various gaze theories that I examined , the Lacanian gaze theory as well as
the panoptic gaze theory explore and analyse the meaning of physically and
physiologically looking at another person or at an object, all with varying opinions.
Mirzoeff (2011:1) states that “the right to look is not about seeing”. He goes
on to say that it is a personal journey that begins when looking into another
person’s eyes whether it is to affirm friendship, solidarity or love (Mirzoeff
2011:1).
Rose
(2012:2) supports the idea that the world is viewed differently by different
groups and that is how they make sense of it all. As a result, it is important
to make a distinction between vision and visuality. Rose (2012:2) also further
defines vision as what the human eye can physiologically see. Visuality, on the
other hand, would not exist without the presence of vision in that one can only
construct visuality through vision (Rose 2012:2). The manner in which one
interprets what they see, in this case my jewellery, is determined by how their
mind visualises it. This visuality goes beyond what they physiologically see.
The
ways one sees, the ways one is able to see or made to see are culturally
constructed. Gordon Fyfe and John Law (cited by Rose 2012:02) state that the
way in which human beings depict, picture and see is an ever-present feature of
how they get to know their world. The culturally constructed ways that
jewellery is being seen is the type which Derrez (2005:11) defines as “shiny,
glittering and easy-to-wear” and readily recognised as commercial jewellery. I
create contemporary jewellery which Metcalf (1995:6) believes is a catalyst for
identifying and exploring ideas. For the purpose of this study, the most
important of these ideas is the fact that jewellery can assume more than the
position of being personal adornment. When it is not worn on the body it
becomes a visual artefact that can be appreciated for its visual aesthetics.Jewellery has traditionally been made to be attached
to the body, or to clothing, hence making the human body the primary site for
jewellery (Metcalf 1989:1). It has become expected that one would see jewellery
being adorned on the body, however, Olver (2002:150) argues that jewellery can
be attractive both on and off the body and that sculptural jewellery can
maintain its own identity without blatantly referencing jewellery when not
being worn.
JEWELLERY DESIGNERS: WENDY RAMSHAW AND
MARJORIE SCHICK
A new
generation of jewellers born around the time of World War II, including Wendy
Ramshaw and Marjorie Schick was exploring the use of new materials as an
alternative to conventional precious materials. This led them to explore the
use of materials such as acrylic, stainless steel, and aluminium and as a
result it helped them discover the sculptural possibilities of jewellery (den
Besten, 2011:8). This type of jewellery had never been encountered before Picasso’s Ladies: Jewellery by Wendy Ramshaw
(1998) provides evidence of how
the traditional way of viewing jewellery had to evolve seeing that jewellery
was also evolving. The ring sets she creates are displayed on turned pillars of
acrylic so that the work has an autonomous identity beyond the wearable
(Chadour-Sampson, Greenhalgh, Turner, & Vaizey, 1998:8) (Figures 1 and 2).
Turner (1996:11) describes the ring sets as “tiny sentinels, fanciful towers
and miniature fairy-tales which are seen from a distance”. Her pieces can be
displayed free-standing or on a wall (Chadour-Sampson, et al, 1998:11)
Figure 1.
Wendy Ramshaw
1996-97
Set of 12 Rings
18ct white gold
with marble, mounted on an acetal stand. Rings
(Ramshaw, 1996-97)
|
Figure 2,
Wendy
Ramshaw,
1990
Set of 14 Rings
18ct
yellow gold, garnets and citrines, silver with orange enamel, mounted on a
resin inlay brass stand.
Rings
(Ramshaw, 1990)
|
Figure
3 demonstrates how the ring sets and ring stand fit together.
Dual-functionality is apparent in that the ring sets and stands work as “small
domestic sculptures” when not being worn (Chadour-Sampson, et al, 1998:10).
Figure 4 demonstrates how, on the one hand, the rings are individual pieces of
jewellery and, on the other hand, they form a sculpture when stacked together
on a ring stand. Wendy Ramshaw’s work is relevant to my theoretical position
because she is a jeweller who also considers jewellery function to be beyond
that of personal adornment. She uses her work to create sculptural artwork when
the work is not being worn.
Figure 3.
Wendy Ramshaw
2002
set of 14 rings
18ct
yellow gold and onyx, mounted on ebony stand with gold detail. Rings
21 x 4.5 cm
(Ramshaw, 2002)
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Figure 4.
Wendy
Ramshaw
2001
set
of 21 rings
18ct white gold and moonstone, mounted on a
transparent cylindrical stand
15 x 2 cm
(Ramshaw. 2001)
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Marjorie
Schick describes her work as “sculptural paintings to wear” Quickenden
(2000:5). Schick, (in Quickenden, 2000:5) said that her work is complete (as a
sculpture) when off the human body yet she remains conscious of what it will
look like on the body (as jewellery). It is this awareness of the duality that
Ramljak (Rosolowski, 2007:119) believes marks Schick’s work as a good example
of the duality of jewellery and sculpture. Sculpture
to wear: The Jewelry of Marjorie Schick (2007) provides evidence of
dual-functionality in her work, in addition her method of display demonstrates
both the wearable and the sculptural (Figures 5 to 8).
Figure 5.
Marjorie Schick
2004
chopines and puddles
(on the body)
(Schick, 2004)
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Figure 6.
Marjorie Schick
2004
Chopines
and puddles (off the body)
(Schick, 2004)
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Figure 7.
Marjorie Schick
2004
Orbiting
rings: Balancing act (On the body)
21
rings, painted wood
photographer: Gary Pollmiller
(Schick, 2004)
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Figure 8.
Marjorie Schick
2004
Orbiting
rings: Balancing act (Off the body)
21
rings with base, painted wood
photographer: Gary Pollmiller
(Schick, 2004)
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MY OWN WORK
When
it comes to my own work, one can view it as both personal adornment as well as
visual artefact. Figures 9 and 10 show an example of my work when it is worn on
the body as personal adornment while figures 11, 12 and 13 show the same piece
when it assumes the role of visual artefact with an autonomous identity when it
is off the body.
My jewellery practice consists of
pieces which have the dual-functionality of being both sculptural and wearable.
There is no reason why jewellery cannot make as much of a visual and sculptural
statement as fine art does, especially since it is a three-dimensional object
which immediately allows it to be accepted as a miniature sculpture (Olver
2002:150). Brundtland (2003:24) supports this statement when he states that
jewellery is now being recognised as art and not just ‘decoration’ of the body.
Figure 9.
Thato Radebe
2015
Protea,
woven petal ring (Prototype)- side view (On the body as jewelley)
925
Sterling silver, copper. Woven detail. Ring
photographer: Author
(Radebe, 2015)
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Figure 10.
Thato Radebe
2015
Protea,
woven petal ring (Prototype)- top view (On the body as jewelley)
925
Sterling silver, copper. Woven detail. Ring
photographer: Author
(Radebe, 2015)
|
Figure 11.
Thato Radebe
2015
Protea,
woven petal ring (Prototype)- perspective view (Off the body as visual
artefact)
925
Sterling silver, copper. Woven detail. Ring
photographer: Author
(Radebe, 2015)
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Figure 12.
Thato Radebe
2015
Protea
petal ring stand (Prototype)- perspective view (Off the body as visual
artefact)
925
Sterling silver. Woven detail. Ring stand
photographer: Author
(Radebe, 2015)
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Figure 13.
Thato Radebe
2015
Protea,
woven petal ring and ring stand (Prototype)- perspective view (Off the
body as visual artefact)
photographer: Author
(Radebe, 2015)
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My
initial exploration of the aesthetics of jewellery and how jewellery can be
viewed was during my BTech degree (2011) when I explored the use of weaving in
contemporary jewellery to create an aesthetically pleasing visual contrast
between the woven and solid parts of the individual pieces, while maintaining
wearablility. Figure 14 shows an example of this.
Figure 14.
Thato Radebe
2011
. Woman's woven ring
sterling silver, copper. Ring
45 x 28 mm
(Radebe, 2011)
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Aesthetics
have a substantial role to play in the defining artwork. The fact that my work
assumes the role of visual artefact, aesthetics had to be considered. A.G
Baumgarten (cited in Holly and Moxey 2002:3) coined the term aesthetics as a
way to study perception – that knowledge is derived from the senses. Holly and
Moxey (2002:3) claim that in order for the term aesthetic be used as a
description, it has to be designated as “fine” art. The work that I make
challenges that notion.
CONCLUSION
This paper briefly explored the Lacanian gaze as well as
the panoptic gaze. They were important for the paper as they focus on different
perspectives of viewing, being the viewer and being viewed. The manner in which
jewellery is viewed is dependent on how it is interpreted. In this paper I
looked at how Wendy Ramshaw and Marjorie Schick use this theory in their work.
They create work that can be worn on the body but also has the function of
being art that has an identity outside of just being jewellery.
The paper explored my own work which I define as
jewellery that can assume the role of being personal adornment when it is worn
on the body as well as a visual artefact when it is not. I describe how there
is no reason why jewellery cannot make as much of a visual statement as fine
art does.
The possible research areas that I have come from this
paper include:
·
How
has the role/function of jewellery evolved?
·
How
does the distinction between jewellery and art happen?
·
The
relationship between jewellery and sculptural art
Seeing is a very important part of development and can
determine how one comes to know their world for what it is to them. John Berger
(cited in Rose 2012:3) argues the importance of seeing stating that it is the
reason why “seeing comes before words. The child looks and recognises before it
can speak”
In
conclusion the way that human beings interact with the world is determined by
how they see it. Visuality has become the centre to contemporary life.
SOURCES CONSULTED
Besten, L. d. 2011. On Jewellery.
Stuttgart: Arnoldsche Art.
Brundtland, C. M. 2003. Tone
Vigeland Jewellery + sculpture movements in silver. Stuttgart: Arnoldsche
Art.
Chadour-Sampson, A. M., Greenhalgh, P., Turner, E. and Vaizey, M. 1998. Picasso’s Ladies: Jewellery by Wendy
Ramshaw. Stuttgart: Arnoldsche Art.
Holly, M. A., Moxey, K (eds). 2002. Art
history aesthetics visual studies. Massachusetts: Sterling and Francine
Clark Art Institute.
Krips, H. 2010. The politics of the gaze: Foucault, Lacan and Zizek. Culture bound. 2(), 2010: 91 – 102.
Metcalf, B. 1989. On the nature of
jewelry. Jewelry Australia now: 1-10.
Mirzoeff, N. 2011. The right to
look: A counterhistory of visuality. London: Durham and London.
Olver, L. 2002. The Art of
jewellery Design, from idea to reality. London: A & C Black.
Rose, G. 2012. Visual
methodologies: An introduction to researching with visual materials. London:
Sage publication Ltd.
Turner, R. 1996. Jewelry in Europe
and America, new times, new thinking. London: Thames and Hudson.
Quickenden, K. 2000. Virtual Gallery of Contemporary Jewellery: New sites for jewellery.
Birmingham: Birmingham Institute of Arts and Design.
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