Complete me

The overarching theme of Complete Me is collaboration. This concept came from revisiting my childhood experience in needing to make friends at school, and interacting with them through making and playing together. I responded to this idea by asking other artists to complete my unassembled metal components that I usually create to make my wearable objects.

By giving out these components, I am releasing them to the influence of other minds, techniques and materials, hoping to see new amalgamations and new compositions of ideas. This method of hybridising ideas will give the pieces a new identity.

Each artist has a specific method of making, and repertoire of materials and techniques, but they must consider how they can include an element of otherness, or someone else’s style, into their own. The collaborators complete the component/s by blending it with the nature of their own artistic practice. A series of my “incomplete” components is also displayed for the audience to complete and join to exhibit on site.

Bianca Mavrick, Oversized link necklace, 2017, elastic, hand turned and painted timber, resin, found plastic, cotton cord, paper clay; Oversized wooden necklace, 2017, elastic, hand turned and painted timber, resin, found plastic, cotton cord, paper clay

Bianca has “completed” Annie’s piece by incorporating colourful components and explore ‘maximalism’ as a contrast to Annie’ minimal piece.

Marcos Guzman, Tia Rita’s Diner, 2017, Perspex, paint and nylon; and Jerry Jerk’s Ice Cream And Soda, 2017, Perspex, paint and nylon

Marcos Guzman’s completed work represents the creative connection and friendship that he and Annie share so much over coffee and tea at local shops.

Nell Grant, Fragment For Wearing, 2017, concrete, sand, perlite, vermiculite, enamelled steel, silver, thread; Fragment For Holding, 2017, concrete, sand, perlite, vermiculite, enamelled steel.

Nell’s completed pieces have considered movement, transformation of materials from origin through various processing and also the use and then its disposal.

John Brooks, Swamp Mollusc Twins, 2017, cotton, acetate, enamel, wig hair, acrylic fur, enamel, latex, freshwater pearls

John’s twin vessels merge Annie’s geometric shapes with his organic shapes through hand loom weaving.

Louise Meuwissen, Echo, 2017, textile (polyester, glass, cotton)

Louise has used Annie’s piece as a physical base to create a large scale, floating wearable soft sculpture.

Freÿa Black, A singular and idiosyncratic understanding of the future… in relative magnitude, 2017, polycaprolactone, ABS polymer, spray paint, enamel

In completing Annie’s piece, Freÿa shares her experience in seeing the future at the moment when she first received the pieces.

Ruby Aitchison, Untitled, 2017, mild steel, eggplant, enamel

Ruby has connected Annie’s pieces with her organic materials to symbolise interconnectedness and shared cultivation of practices and friendship

Background

✿ How did you become an art jeweller?

How I found out about gold and silversmithing / contemporary art jewellery is a funny story. So, I was starting to wear more jewellery when I was doing my first year of university. I was doing architecture design at the time (it was in RMIT as well). I felt that the course was not for me, and I remember one time I thought… “I swear, if there was a bachelor degree course that is just about jewellery, I’ll transfer NOW.” I Googled it that very same time, and I found out about it. I saw RMIT’s poster/catalogue with beautiful works by the alumni and carried it with me all the time. I asked around, and everyone only said good things about it. Then I was sure, that G&S would be a better place for me.

But I have to say, I was not so passionate about the contemporary jewellery as I am now. Obviously, I was more interested to just make unique jewellery, and I didn’t think of becoming an artist at all.

✿ Is there is anyway that you could have taken the path of contemporary jewellery while still living in Jakarta or Indonesia?

Yes, I’ve met a few architects who are now jewellers.. I’m glad that I’ve made that decision though. If I was living in Indonesia, I don’t think I would have taken the contemporary jewellery path. I don’t even think that I would be an artist at all. I may be an architect who hates her job, or a designer who loves her job and owns a few small businesses.

✿ So can you say that there isn’t a path for contemporary jewellery in Indonesia? Why is this so?

I’m not sure whether it’s just because it’s not widely established or not originally established as part fine art or simply because it’s never been introduced at school. But, I have not met anyone who has the same practice as mine.

Although, I don’t think I should quickly conclude that there is no place for contemporary jewellery now and in the future. Contemporary art in Indonesia is now growing and starting to be consumed by young generations. I’m sure it took years, and a lot of effort for it to get there. So I’m positive there will be a place for contemporary jewellery in Indonesia, whether it is in my lifetime or beyond.

✿ Can you nominate five Instagram accounts from Indonesia that wou\ld be of interest to others?

@antonismael_

Anton is a great photographer, an artist and a teacher.

#Pekanbaru

A post shared by Anton Ismael (@antonismael_) on

@dnnywcksn

A personal instagram account of an architect Danny Wicaksono who has a good eye.

Masjid Raya Tubaba. Architect: @andramatin Ciamik. 👌🏻 #andramatin

A post shared by Danny Wicaksono (@dnnywcksn) on

@sejauh_mata_memandang

Sejauh Mata Memandang is a Contemporary Textile/clothing brand with batik prints that tell unique Indonesian stories.

You are my greatest adventure ❤️🙏🏽😇 @andienippekawa @theleonardi #sejauhkids #sejauhtextiles

A post shared by Sejauh Mata Memandang (@sejauh_mata_memandang) on

@sukuhome

Suku is a leisure wear and homewares brand owned by an Indonesian and made in Bali.

Author

Nurfitria Sekarwilis Kusumawardhannie (Annie) Gobel is an Indonesian artist based in Melbourne since 2004. She has been making and participating in the contemporary art jewellery field where she continually embeds the idea of reminiscing childhood times. After participating in a number of exhibitions this year, including a solo show in Sydney, Annie will continue through participating in the Radiant Pavilion festival in Melbourne, Unknown Asia Art Exchange in Osaka and Artistar Jewels Project in Milan. She hopes to exhibit in her home country (Indonesia) very soon.

https://www.instagram.com/p/BY6um1Rlglk/?taken-by=anniegobel 

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