Kia ora,
It has been a few weeks now since we Handshakers opened our debut show Proof of Concept at Depot Artspace in Devonport, Tamaki Makaurau/Auckland.
It feels something of a feat in a way to be able to reflect on it in this early stage and feel at peace with the process and outcome. That may sound like a strangely pessimistic retort, but for me, the experience was surprisingly cohesive and harmonious for the most part, which trumped my anxious expectations.
Not to say there was nothing that could have been done better or differently, as there is always room for improvement. But it felt like we are all wanting to achieve the best outcome and having spent much of our time ‘together’ over the year communicating via messaging apps and Zoom sessions, it felt rather special having the opportunity to come together in person- the last and first time that happened was in April when we met in Nelson for our workshop with Renee Bevan for Nelson Jewellery week, so in effect, it was like a reunion of old friends, but also new. There is a special kind of camaraderie that develops as we all venture forward together on this program, as one but also separately on our own journey in our making.
Above: View of my installation (Photo courtesy of Peter Deckers).
The staff at Depot Artspace were also very welcoming and supportive of our craft and our vision. I feel that it was likely a bit different than what they were used to, but they also embraced that and showed their curiosity and interest in Contemporary Jewellery, reveling in the unexpected ways we produced our work.
Above: Team work going on as we get the show installed (Left to Right: Denise Callan, Rachael Chapman & Fiona Frew, Peter Deckers & Lisa van Hulst) Bottom: me installing and measuring up my wall for installation. (Photo courtesy of Peter Deckers).
Having had my last experience of installing a show earlier in the year with my fellow Jewellery compadre, Caroline Thomas for our exhibition in Nelson Jewellery Week; Moments of Jewellery: Off the Hook, it was a familiar feeling to show up not knowing what to expect in terms of how the gallery space actually was IRL or how the works would be curated. It felt strangely different though, just having to consider installing my comparatively smaller body of work as opposed to a whole show, so I feel that set me more at ease just being able to focus on my own little patch, which also enabled me to help others with their install and contribute my energy to little tasks that needed doing like helping to install name labels. I was relieved that I didn’t find myself tearing my hair out or worrying that I might lose my cool in some embarrassing way- heck, could this be some personal growth!? don’t think I’ll call it just yet…but!
I think we did pretty well too considering we lost our Curator to a resignation in the lead-up to the show and planning, so it came to be that two of our group were gratefully self-appointed to liaise with Depot, and they did their best to cover the gaps. some of which meant we had to have tighter deadlines than anticipated, but we all seemed to work our hearts out getting everything done and in order.
As it transpired, the idea of a visual “unifier” for the show that we all deliberated over for months, and I’d spent a bit of time transforming my lounge to try and envisage and test out, seemed redundant once all the works were up in the space. We did end up using some of the black nylon cord and spraypainted black nails to frame Grace’s works though, and that seemed fitting. Overall the show felt ‘complete’ in the space without an additional visual unifier, partly I think because it would have made the space too busy. It was a large Gallery space that I think we all felt we might struggle to fill, but in reality, with 11 artists contributing such different works, that wasn’t an issue.
On the day of the opening before officially opening to the public, we were faced with a more formal, yet impromptu critique session. Along with our fellow Handshakers and a guest panel of highly regarded arts professionals** were invited to contribute their feedback to us on our work. We had 3 minutes to speak to the floor of guests and everyone wrote quick bits of feedback for us as we went around the group.
As to be expected It was a rather daunting part of the process, but obviously one that we were also fortunate to have people of such high esteem in their field give time and thought to our work and our words. I find it quite hard to prepare for speeches I kept hitting a brick wall every time I tried to prepare so, in the end, I did it off the bat. I often find responding in the moment seems to work best for these more impromptu scenarios, especially given that under pressure I find it difficult to interact with bits of paper or technology, let alone words on a page. This is how I’ve always done Radio interviews too, just jump in the flow! In the end, I did find it a little difficult to construe my ideas fully but got some aspects of the background laid out.
Above: A candid moment of me speaking to the audience about my work. (Image courtesy of Peter Deckers)
Feedback was a mixed bag of impressions, but I feel that’s not uncommon. For the most part supportive. Art is up to the individual to respond to after all! After the talks, I did however have a chat with Renee Bevan (My mentor for 2024!!!!). She put me onto Judy Darragh who provided some great points of reference for further research. What treasure!
Some of the other bits of feedback suggested presenting the work in a setting that was perhaps closer to its natural found environment, some didn’t regard my use of materials as well chosen given their nature of decay. I didn’t really feel too concerned with the latter, as I feel they may have missed the point of contemporary jewellery somewhat and the show being of an explorative nature, but it did help me to reflect on my installation as I did feel a slight disconnect to my work when I saw it installed, there was something that felt a bit lacking. Observing that I had felt more excited or sure of the work when I had been with it in my studio, but now presented on a white wall it was fine, but also there was something I couldn’t quite pinpoint… perhaps too formulaic in its reading; The necklaces and pendants could have been displayed suspended from long hooks rather than discs, the sculptures perhaps were a little lost on a plinth and may have done with being on a shelf with a solid backdrop. I think I’d been envisaging I’d have a bit more space to spread out too. All in all, not disappointed with my installation but can see room for improvement.
The opening itself was a pretty cheery affair, so nice to see friends, family, and fellow Auckland jewelers and art folk amongst the crowd of faces showing their support. The weather played nicely and we had a good stream of visitors to the gallery throughout the afternoon. A much-needed drink and chill afterward with the group at a local restaurant bar was a welcome reprieve from the rush of adrenalin of the day.
Above: Entry to the show and the crowd enjoying the opening
The wind-up of our in-person segment followed the next day as we had a selected group of those of us who remained to deliver a public talk. We were so fortunate to have Handshake Alumni and contemporary jeweller Mandy Flood to MC and introduce our talks. Mandy is such a gem and did a wonderful job. She also gave us such supportive and generous feedback too, a testament to what a generous soul she is. The Sunday talks felt a bit more relaxed, though still had me on my toes. I noticed I could speak in a way that felt more true to my work than what I had delivered the day prior. It helped having done that talk to know what parts felt right to talk about and elaborate on further. Mandy also played her part in guiding us by asking a few questions in response.
I then had to jet to the airport to get my flight home and back to that other life!
It was a whirlwind time, one I’m glad went so well. A huge thanks to everyone involved!!
Above: Sunday public talk
**Andrea Daly- Contemporary jeweller; Renee Bevan-Contemporary jeweller; Judy Darragh ONZM Contemporary Artist; Phillip Clarke- Chair of Bulmhardt Foundation/ ex Objectspace; Grace, Lai-Curator Auckland Museum & Pantograph Punch; ex-Curator of Depot, Nina Dyer; Jude Chambers- Senior Programme advisor Creative New Zealand.
*Feature image courtesy of Tūī Diprose