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HSDCTC co-lab collaboration
Exhibition at the Refinery Gallery, Nelson.
Three jewellery‑artist groups from Aotearoa New Zealand, the United Kingdom, and Australia came together for the third time to explore the theme Containment / Uncontained, examining the relationships between jewellery objects and ideas of freedom and restriction. The artists shared the experience of mutual restraint during the COVID‑19 lockdowns and initiated online projects to navigate their new reality (see all).
Collaboration has long been an essential tool for creative communities. From artistic partnerships to peer collectives, working together often expands what a single artist can achieve alone. Connections and conversations allow individual ideas to grow, cross‑pollinate, and transform. Many iconic artists have sought out collaboration for both challenge and mutual benefit. Play and collective experimentation were central to historic movements such as Dada and Fluxus,, where value was found not only in the artworks produced but in the act of making together—opening pathways to new and alternative perspectives.
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Collaboration video between HandSkake (NZ), Dialogue Collective (UK), and TempContemp (AU) exploring the creative realm behind each of the artists’ doors
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In the HSDCTC co‑lab collaboration, three art‑jewellery groups (HS in NZ, DC in UK and TC in AU) joined forces to explore Containment / Uncontained, examining the relationships between jewellery objects and ideas of freedom and restriction. The exhibition traced both the turbulent journeys and the moments of triumph that sustained the artists through the global pandemic.
HSDCTC co‑lab emerged during the 2020 lockdown, coming to life across borders and boundaries while the world was at a standstill. As Covid disrupted traditional ways of presenting and experiencing art, participants were challenged—and inspired—to rethink what a jewellery exhibition could be. Containment / Uncontained – working across borders began as both an experience and an expression of lockdown intimacy, shaped by the constraints of that moment.
In 2021, the participating artists brought their early visual experiments into the public realm by populating the streets of lockdown‑restricted Melbourne with large‑scale imagery. Jewellery works responding to ideas of restricted freedom were displayed on city bollards, their scale and placement dictated by the strict rules of the time. This intervention became an ideal springboard for the next phase of the collaboration.
In 2022, HSDCTC co‑lab continued to unpack the shared experiences of the pandemic at Pah Homestead in Auckland, New Zealand. With physical and metaphysical borders beginning to dissolve, the collaborators were able to explore the theme in more symbolically inquisitive and expressive ways.
The project concluded during Nelson Jewellery Week 2023. At Refinery ArtSpace, each of the twenty artists brought their collaborative journey to a close, presenting jewellery objects alongside images, texts, and video. In the lead‑up to the Containment / Uncontained finale, participants reflected on the themes that shaped their work and shared insights into the creative collaboration that unfolded across borders and through time.
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Containment/Uncontained, a bollard exhibition for: Buildings Need Jewellery
Containment/Uncontained: Buildings Need Jewellery was in conjunction with the HSDCTC co-lab exhibition at the Refinery. For both exhibitions the artists gave their version of the ‘Containment/Uncontained’ theme. Same topic – different artists.
Click here for the Nelson bollard show.
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Containment/Uncontained, a bollard exhibition for: Buildings Need Jewellery
Containment/Uncontained: Buildings Need Jewellery was in conjunction with the HSDCTC co-lab exhibition at the Refinery. For both exhibitions the artists gave their version of the ‘Containment/Uncontained’ theme. Same topic – different artists.
Click here for the Nelson bollard show.
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HSDCTC co-lab artists:
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Mandy Flood
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Blue to Brown
Who knew a glittery translucent gem could become a murky opaque rock?
The beginning was hopeful, full of new thoughts. The present is constraining and fraught with unknowns.
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Becky Bliss
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Play Well
I’m thinking about recent weather events, infrastructure, and the instability of democracy.
Lego is a collaborative game. Now more than ever we need to play well together.
Fun Facts
Lego was founded in 1932 by Danish Ole Kirk Kristiansen. Originally called ’automatic binding bricks’ they were made of wood.
After 2 years they were renamed LEGO after the Danish phrase leg godt (“play well”).
In 1949 LEGO produced its first plastic brick, a precursor to its signature brick with interlocking studs on the top and tubes on the bottom. It was patented in 1958 by Christiansen’s son Godtfred Kirk, who replaced his father as the head of the company.
The brick has stayed the same since it was patented (Wikipaedia)
They’ve kept up with the times by creating what’s topical for kids; Star Wars, Batman, Marvel Comics superheroes, Harry Potter and Batman, but not until now have they addressed social issues.
Lego aims to make all its products including packaging, from renewable or recycled materials by 2025, and will be able to be recycled. I’m wondering what’s taken them so long.
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Caroline Thomas
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I like to think I’m in control of my life. Every day I put things into actual and mental boxes and work valiantly to manage their contents.
Meanwhile the earth growls capriciously beneath my feet and the wind chases through the trees, whipping the sea into an unchecked rage.
And the dog lies asleep in his box, twitching and scrabbling his paws, running with the wolves.
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Judy Darragh
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Rainbows are joyous events; our imaginations are sparked by the rays of colour arched across the sky.
Prisms allow us to create a rainbow at will, we can have our own power over light.
This body of work is ongoing I have used prisms in my sculptural works for some time.
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Mia Straka
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Responding to the theme Containment/Uncontained and ideas of public versus private, these new works explore the process behind creative expression; seeding an idea through an incubation period, expressing it into physical form, then releasing it into the world. For me, when functioning as it should, this is like an extended version of breathing. The neckware draws form and title from the early branching of Primitive bronchial buds in the lungs and steps further towards adornment scale from the space defining, pandemic era Cloudbubble works featured in the photographic and video works. Perhaps the act of wearing our innards outwardly might remind us to slow down and go with this flow… in and out, cyclically.
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Nadene Carr
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Within this body of work I have turned inward to my own personal environment. House, objects
and animals. Exaggerating the confinement over the last few years and the intense gathering of
clutter and madness.
I have used found painted canvases for my work to adorn the body. Once had a life but now
rendered unwanted clutter in our throw away society. Building a strong welded frame to support
the canvases, cutting up to find the sweet spot.
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Nik Hanton
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“The idea of being contained is confronting and raises many questions in an individual perhaps, largely, WHAT? What does this mean for me? What can I do within these constraints? What is the best path forward? And what next…?”
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Nina van Duijnhoven
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How to chain an elephant?
When a circus elephant is young and small, a metal clasp which is attached to a heavy metal chain is tightly closed around the baby elephant’s ankle. That ankle clasp is then hammered into the ground using a thick metal stake. The elephant keeps trying to break free, but eventually the experience of powerlessness is imprinted and he stops trying even as he grows older and stronger.
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Sarah Read
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‘The boundary between us and not-us is profoundly permeable’, writes Maria Popova. ‘We become ourselves through communion and conviviality with what is not us.’
Pre-Covid, my work often included elements of social practice. A 2019 statement reads: ‘I want my work to spark connections, force encounters, cause a pause.’
Since then, so much has fallen away. I have spent a disproportionate amount of time alone, in my studio, joining bead to tiny bead. There’s comfort and self-soothing to be found in the obsessive action of the process; the silk through the glass. In. Out. The outstretched arm, again and back.
However, enough is enough. Here we are again in Whakatū Nelson, connecting in real life.
Here’s to:
· conviviality
· craft
· generosity
· curiosity
· colour and, yes
· finding our joy
How much larger your life would be if yourself could become smaller in it.
You’d find yourself under a freer sky
In a street full of splendid strangers. —G.K. Chesterton
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Anet Wrobel
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OUT IN
TANGLED WINGS
DOTS LENSES
COLOUR SENSES
FEAR SMILE
SPACE LIE
KNOWLEDGE FLOOR
TEARS JOY
SHINE SINNER
THOUGHTS WINNER
JOY REGRET
BREATHE NET
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Petra Bishai
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My work is part of my Home Taping is Killing Music collection and reflects the
importance that music has in my day-to-day life, in both my contained and uncontained
states. My work considers how much of our identity is tied up with the
music that we listen to: the visual memories and the awareness that are evoked on
hearing certain sounds and songs; the reaction that certain music elicits in us all. What are
you listening to? Turn up the volume.
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Isabelle Busnel
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A powerful beacon of growth and new beginnings, the butterfly signifies the power of transformation and the incredible feats we can achieve when we trust ourselves.
In the series of 3 brooches featured, the blue butterfly slowly emerges from the surface, ready to spread it wings and fly.
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Annelisse Pfeifer
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Since graduation, my jewellery practice has additionally evolved into a packing and unpacking business. Working from an improvised mobile studio, I have learned to adapt to working with both old and new materials as a way to make full use of any extra time outside of ‘work’.
Time and space constitute vital elements when carrying out a creative practice and unleashing the imagination in a busy city. I have learned that having a studio space and regular time dedicated to the creative endeavor is a privilege. It is all packed in small boxes. All is stripped down to the bare minimum, becoming a constant revision of all my works created until this day – an assemblage of spare materials.
Yet I have embraced the constant hidden joy and freedom to play with tonalities, surfaces, and forms. Creating during spare time brings comfort and soothing qualities. The satisfaction of collaging, sticking, and stitching and the therapeutic opportunity that comes with accomplishing every new work. All unpacked and then packed in a constant loop.
The created piece in this context acquires new meanings; I deconstruct and reconstruct objects found in reality. I generate an amalgam together with my trusted stored friends. I reinvent their purpose, inviting a playful, more experimental, and surreal outcome. Then, my practice comes to life through curious compositions, colours, and textures packed with afresh new qualities.
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Timothy Information Limited
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Break the Chain
Ladies and Gentlemen! Roll up, Roll up!
Now you don’t see it…….. And now you do?
Hey! And if you don’t like the big, noble, nay regal, chunk of wood, hanging like a millstone around your neck, then unscrew it and attach the chain to something or somewhere else. Take some bloody control. Make your own jewellery choices. Don’t be trapped by the artist. Don’t be contained by the artist. Break free.
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Maud Traon
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For many of us COVID was a very challenging time that shifted our perception of life. With mixed feelings, the seemingly obvious elements of our daily life came shaking and with them all the personal doubts and questions that were concealed in them.
The Heart Shape Ring gives place to mourning the past but is a reminder that rebuilding oneself is sometimes a necessity to grow in life.
Heart Shape Ring, Fire Opal, Rough Ruby, Garnet, CZ Stones, Silver.
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Mary Velvet Hart
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For many of us COVID was a very challenging time that shifted our perception of life. With mixed feelings, the seemingly obvious elements of our daily life came shaking and with them all the personal doubts and questions that were concealed in them.
The Heart Shape Ring gives place to mourning the past but is a reminder that rebuilding oneself is sometimes a necessity to grow in life.
Heart Shape Ring, Fire Opal, Rough Ruby, Garnet, CZ Stones, Silver.
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Sorca
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Supplied complete with wire panels and helicoil corners for a robust construction. GALFAN-coated finish offers superior corrosion resistance. Square mesh holes ideal for use with larger gabion stones and quick filling. Wire construction offering a strong basket. Ideal for erosion control and wave absorption.
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Margot Sevadjian
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This work delves into the themes of Containment and Uncontained by using two figurines and a pearl necklace.
The black-dressed figurine embodies hidden emotions that can feel oppressive, while the second doll exudes a slimy magma made of resin and thermoplastic elastomers, representing uncontained emotions that can be overwhelming. The pearl necklace also drips with the same substance, signifying traditional jewellery that breaks free from societal norms and expectations to represent uncontained emotions.
The combination of these elements invokes complex emotions, and challenge viewers to reflect on their own relationship with containment and expression, highlighted by the significance of expressing oneself fully. It encourages to contemplate on our locked-away feelings behind closed doors with its potential consequence of uncontained emotions, even if it defies conventional beliefs of composure.
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Victoria King
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Victoria has transformed a vintage tin into a locket to be worn as a statement necklace. She found the tin in a junk shop selected for it’s decorative quality, with faded lettering and rusty colours, ones that you can see time has taken is toll, like it is telling it’s own story. Victoria loves objects steeped in nostalgia, they reflect the history of the area, taking you back in time. They entice the viewer to interact with them and find out what secrets are inside. A playful collage is hidden within the locket as if it express the subconscious of the wearer, creating dreamscapes, an alternative reality to the commercial items that were once contained inside.
Brass hinged element neckpiece with found vintage tin and artist designed collage.
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Laila Marie Costa
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TempContemp (TC) is a curatorial project experimenting with the exhibition and promotion of contemporary jewellery.
Founded in Melbourne, Australia, by Laila Marie Costa and Anna Gray in 2018, the white cube has shapeshifted into a nomadic entity seeking out space and artists in its eternal exploration and interrogation of ‘jewellery’.
With golden milk crates, digital platforms, and enthusiasm at the ready, TC has explored the notions of being contained whether it be by bricks and mortar, geopolitical borders, perceived liminal time/space continuums, diversity (& it’s lack of), beige gender expectations and future manifestations.
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