The HANDSHAKE mentor and exhibition programme continues with a new cumulative two-year project for NZ jewellery makers (2023-2024).
The purpose of the two-year HANDSHAKE 8 (HS8) programme is to provide opportunities for professional development within the context of innovative art jewellery, studio, and exhibition practice using alternative and communication technologies for tailored feedback sessions and communication (e.g. Zoom, email and studio visits, if possible). At the end of each year of exploration, an exhibition will be organised.
Participating in the annual HANDSHAKE exhibitions is an integral part of the programme.
Eligibility: This call is open for NZ artists who can commit and want to refresh and/or accelerate their object-based/ jewellery-art practice with an experimental and artistic impact, professionalism, and focus with the assistance of a development and mentoring programme. Preference will be given to those with a successful degree study in visual arts with jewellery as a major and/or an extensive exhibition practice (see conditions below for more detail).
Conditions for HANDSHAKE 8 participation:
The HS8 artist must be a New Zealand citizen or NZ permanent resident and be committed to:
- A two-year studio development with additional programme schedules (masterclasses, coach sessions, mentor) during 2023-2024 (about 10 hours a week minimum).
- Make work for two exhibitions (Nov 2023 and Nov 2024, both in Auckland).
- Participate in the set-up of the Handshake 8 exhibitions and their opening (might include artist talk).
- Participate in the scheduled masterclasses from Estela Saez Vilanova (online), and in-person in Nelson with Renee Bevan.
- Travel to Nelson for Renee Bevan’s Push-Pull workshop 12 to 14 April 2023 during Nelson Jewellery week (13 to 24 April 2023).
- Participate in selected tasks, e.g. presentations and discussions at feedback sessions.
- Write a monthly blog post on the handshakeproject.com website.
- Participate in an online exhibition during 2024 (tbc). A special online masterclass in 2024 (tbc) will dedicate to alternative presentation options and techniques.
- The recording of quality (high-resolution) photography for your blog posts, your own archive, and exhibition promotion.
- Participate in Handshake fundraising (tbd) for your own travel expenses, materials, transport, etc., exhibition set-ups, promotion, and publications
- Be proactive and effective in maintaining communication with the masterclass tutors, the mentors/coaches, your HS8 colleagues, and the HS organisers through scheduled meetings and agreements.
Participation is free. Expect extra costs for materials, travel and stay in Nelson to participate in the Push – Pull workshop and the exhibition setups in Auckland. Handshake organises fundraising activities with the mentees for their travel expenses and material costs.
Your HS8 application must contain 5 parts:
1) an electronic PDF portfolio with images of selected graduate schoolwork and recent work with captions/descriptions including the dates of production (Dropbox, We Transfer, email attachments, etc).
2) a short statement of intent (could include “What would you like to get out of this developmental and exhibition programme?” “Why do you need a mentor/coach?”),
3) three consecutive nominations of possible/preferred mentors (select the best match, either nationally or internationally) with short explanations for each nominated mentor, if possible, their contact details (please expect that a famous mentor can be very busy with little, or no time left for mentoring). Your mentor nominations will be considered but could be revoked by other choices.
4) a short CV/ bio (particularly education and exhibition record) with hyperlinks and your full contact details (email, phone, postal address, website).
5) One reference letter from a professional colleague and/or former art tutor stating your artistic endeavour, realistic commitment/motivation, communication skills, professional attitudes, and capabilities.
The HS8 selector will consider your nominated mentor(s) to gauge if they fit your interest. The selector will also be your masterclass tutor and after working with you the best suitable mentor choices can be suggested.
Final selections will be made by an international contemporary jewellery judge. Results are known by 31 January 2023. The selection will be final and cannot be challenged.
HS8 programme details (tbc):
In the first half year of 2023 (March – June), you will have a series of masterclasses from a renowned international artist/tutor Estela Saez Vilanova. There will be a succession of briefs and feedback sessions that will assist you in your development processes of ideas and making. A special face-to-face JEWELcamp and the famous Push-Pull workshop of Renee Bevan will be just before the 2023 Nelson Jewellery week(end) event. It is expected that you travel to Nelson to participate at JEWELcamp, the 3-day Push-Pull workshop and be at Nelson Jewellery weekend (12-16 April).
In the second half of 2023, you will be developing ideas, and exploring materials from discoveries and masterclasses. You will get scheduled feedback sessions with three international mentor coaches (tbc), and a short masterclass focusing on blog writing, content, and artist statements (tbc).
From 4 – 29 November 2023, you will exhibit your 2023 ‘process’ work and possibly finished artwork at a public art gallery in Auckland.
The HS8 second-year programme is in development and subject to funding.
In the second year (2024), you will be matched with an individual mentor (tbc). That could be one of your recommended mentors. Your masterclass tutor will have a good overview of what mentor fits you best. The mentors will get a mentoring fee that is associated with a negotiated and committed schedule. Another masterclass is planned during 2024 that focuses on alternative presentations (e.g. with the use of images and video). The outcomes can be submitted for the HS exhibition online programme
During 2024 you develop a body of work that in November 2024 will be exhibited at an established Auckland art gallery.
A hard-working successful HS8 artist has the option to be selected for the advanced projects, like the proposed HANDSHAKE 9 (Best-Off HS) and/or any of the HANDSHAKE Alumni and/or collaboration projects with international and national exhibitions (tbc).
disclaimer: parts of HS8, HS9 and the Alumni programmes are still subject to available funding. Watch this space for more detail.
For further questions and queries: handshakeproject@xtra.co.nz
SEND your application to handshakeproject@xtra.co.nz (e.g. by We Transfer, dropbox, One drive, email attachments, etc)
deadline 17 January 2023, 5pm
APPLICATION details (pdf)
HANDSHAKE news:
No Results Found
The page you requested could not be found. Try refining your search, or use the navigation above to locate the post.
HANDSHAKE blog:
Avid
Blog 12 - July 18th, 2017 Fired & Found, Avid, Wellington, July 1 - 15 From the show at Avid. My work in the foreground and Bronwyn Cornish’s wonderful ceramics (Sirenes and Harpies) in the background. On the right is Walnuhutu 1, by Lauren Lysaght...
Clearing the decks
Blog 11 - June 18th, 2017 Clearing the decks. This weekend I realised that I was losing sight of what I was doing and removed all the extraneous bits and pieces from the desk. What a difference it made – I could suddenly see there were three distinct groups of pieces...
Blog 10
Blog 10 June 14th, 2017 Punched decoration on vintage Britannia metal teapot. Punches made from silver plate scrap. Tests of punched patterns on thin aluminium. I’ve spent a few days playing with the idea of trying to recreate some of the intricate patterns punched...
Blog 9
Blog 9 May 15th, 2017 Time in the studio – in fact lots of time in the studio – I’m there five days a week and at school two days and the feeling of pressure is growing. In the research department have gone back to look again at some artists I was introduced to in...
Questions
Blog 8, April 10th, 2017 Questions After my first conversation with my mentor there was a list of questions that sent me back to reading research. In my last blog I mentioned that I was interested in trying to form some kind of hybrid using pieces of silver plate and...
Symbiosis
Silently a flowers blooms, In silence it falls away; Yet here now, at this moment, at this place, The whole of the flower, the whole of the world is blooming. This is the talk of the flower, the truth Of the blossom; The...
Blog 7
Blog 7, April 8th, 2017 I have a number of collections but at the moment I’m focusing on two. I have been working with (and collecting) silver plate since 2013 – its perceived value, meaning and use has changed, particularly during the last half century. Developing...
make it
finding solutions
Incomplete – Unfinished – Raw
Incomplete - Unfinished - Raw When I was asked by my mentor to select the most expressive pieces from my last body of work, I chose the ones that show the rawness of fabrication, with tool marks still visible. These pieces appear to be more alive. During the creative...
Language
LANGUAGE Working with my mentor Tanel Venre, during the design phase for the exhibition at The National in Christchurch, he asked a question about the language the individual pieces, and the collection as a whole was speaking. Which language has been used and why?...
