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Vessel Pod II - Holding Place


#1

Materials: Gilding metal, powder-coating.
Dimensions: 200 x 300 x 150mm

This series of vessels explores life on a microscopic scale. Inspiration came whilst hands were immersed in hot soapy water doing the dishes. Noticing the deep intricate patterns that invite one to look further.

Photo credit: Adnan Chowdhury

Jasmine V Matus
Narwin, NT. Australia

Much of my work is experimental in terms of materials and techniques used, scale and concepts applied. It is this constant experimentation that opens up doors for new possibilities of making. I admire jewellery that causes a reaction. Not only with the work that I create but also with the jewellery that I wear, view and collect.

Pairing materials such as plastics, paint, wood, found objects and felt with precious metals and applied traditional techniques creates an interesting juxtaposition to the work that I create. I enjoy the public reaction to these non-traditional materials in contemporary jewellery.

I believe that contemporary jewellery is using the body as a walking gallery for the public display of wearable art.

Jewellery is intended for wear and display on the body. That is it’s natural habitat; where it comes alive. A piece can adopt a different personality when viewed in a gallery as to when it is on the body interacting with the world. Both are equally as interesting. I keep this in mind when designing and making.


These containers and vessels definitely hold their place in the world of stunning art objects as well as in the world of metalsmithing.

Since the dawn of time humans have created containers to hold things that were important to them, from large vessels to hold food and harvests to intimate containers for small precious things. They might hold memories, ashes, medicine, beverage, fruit or food - but all spring from the imagination and skill of the maker. Some have specific religious functions, some are meant for everyday use. When one thinks of a vessel or container the inclination is to think of something with solid walls - yet many of these works involve the exploration of positive and negative space, and the use of negative space to help create the illusion of the wall of the vessel.

As the world’s largest jewelry related internet site, Ganoksin strives to develop exhibitions showcasing work from around the world. This exhibition was open to all metalsmiths, professional and amateur, advanced and beginner. Participants are from The Netherlands, the USA, Canada, Australia, Costa Rica, the United Kingdom, Israel, Hong Kong, Colombia, Romania, Italy, Ireland, Japan, Malaysia and Denmark. While most of the pieces are by an individual metalsmith, some are collaborations, one of three artists spanning 50 years.

In total 319 artists contributed 729 show pieces for the permanent online exhibition.

Objects in the exhibition include boxes, lockets, urns, ash containers, bowls, wine cups, reliquaries, match holders, vases, teapots, pitchers, sugar bowls, baskets, nests, pillboxes, clutches and a range of sculptural forms. A variety of techniques are showcased covering a wide range of metalsmithing techniques. Materials used include everything from gold and silver to less expensive metals. Ornamentation includes the addition of enamel, chasing and repousse’, gemstones and found objects.

The exhibition was curated by Beth Wicker, President of the North Carolina Society of Goldsmiths in the United States, and Adjunct Instructor at Northeastern Technical College in South Carolina. Director of the exhibition is Hanuman Aspler, founder of The Ganoksin Project, the world’s largest internet jewelry site.