On the Verge of Motion
- Nonetheless Level introduced collectively solely 5 necklaces and three brooches by Zoë Veness in a boutique expertise at Gallery Funaki
- Shut statement of the artist’s extraordinary folded-paper approach was attainable
- The objects appeared to defy their materiality and have a theatricality or “stage presence”
Zoë Veness: Nonetheless Level
March 20–April 20, 2024
Gallery Funaki, Melbourne, Australia
On studying that jeweler Zoë Veness educated as a dancer on the Australian Ballet College earlier than learning design, I noticed that one thing in her work resonated with that of one other Australian artist—Judith Wright, who additionally studied and practiced classical dance earlier than turning into a visible artist. Whereas each artists work in vastly completely different media[1] their respective practices mirror a deep information of the self-discipline, energy, and poise required of a dancer’s physique. Additionally they have an innate understanding of composition and sculptural type, created in response to, and knowledgeable by, the physique.
Inside their works, the area between types can be unusually fascinating. It’s as if the part elements are by some means held in suspense, only for a second—lethal nonetheless, however all the time on the verge of motion. Certainly, when held, the entwined types of Veness’s necklaces appear to need to wriggle out of your fingers.
So it isn’t shocking that Veness’s exhibition, Nonetheless Level, was rigorously calibrated. It introduced collectively her work within the seemingly disparate supplies of paper and metallic in a boutique expertise of simply 5 necklaces and three brooches.
The 2 longer necklaces—Double Loop (2013) and Double Loop (2020)—had been suspended on the wall. This highlighted the sinuous high quality of the work’s design and gave a way of how they might every lie in opposition to and mould to the physique whereas worn. The remaining three works—Wreath (2020), Wreath II (2023), and Wreath (2024)—extra choker-like in type, had been displayed on tables. This allowed shut statement of the artist’s extraordinary folded-paper approach.
Veness first developed her idiosyncratic strategy whereas in residency at Edinburgh School of Artwork, in Scotland, in 2006. She has been refining her methodology of weaving tightly compressed folded strips of paper onto metal cable for shut to twenty years. Based mostly on detailed planning and exact mathematical equations, this apply is deeply iterative.The artist returns to earlier designs as an impetus for experimentation that, in flip, fuels new work. As she has stated:
This making course of is experimental and reflective with looping and weaving programs and shade combos incrementally reworked to discover new concepts. The notion of a nonetheless level alludes to the sense of coherence I search in my paper jewellery by means of harmonious synergies between the rhythmical patterns of the intricate folds, the contrasting supplies of paper and silver, and the perpetual motion of the looped types.[2]
Initially, Veness used paper in her items to equate it to supplies of jewellery which might be historically considered as treasured and precious (equivalent to gold, silver, and gems). Nevertheless, the dialogue now extends a lot additional. These works additionally maintain and convey a way of time of their intricate development, and within the repetitive however meditative act of constructing: of shifting one’s fingers in acquainted and repeated patterns to create a way of move and area. At its greatest, this course of may be described as a type of inside “stillness.”
Neither humble of their development nor bodily presence, these objects appear to defy their materiality. They learn as material somewhat than paper. Their mushy pleated folds remind one of many elaborate ruffs fashionable within the mid-16th century. Suppose, for instance, of the portraits of Queen Elizabeth I. In the identical method, their shade—each the mushy pastel gradations of Wreath II or the daring pink of Wreath (2024)—appears to have been dyed, somewhat than the results of the exact calculations of the artist and the act of weaving completely different strands of paper collectively.
Veness works with a variety of coloured cotton rag papers which might be each acid-free and light-weight resistant. She enjoys the conceptual challenges introduced by the comparatively restricted vary of hues out there. In Wreath II, for instance, the colour shifts throughout every loop end result from the artist “randomly” introducing completely different strands of coloured paper into the weaving course of. Whereas a variation of millimeters can drastically have an effect on a design and its consequence, Veness’s innate understanding of her approach ensures that her incorporation of shade will not be solely seamless however seems to move naturally from one space to the subsequent. (A way of motion is essential).
Whereas there isn’t any doubt that these items would sit elegantly on the physique and be a pleasure to put on, they’ve a theatricality or “stage presence” that clearly demonstrates their means to face on their very own as small wearable sculptures. Because the artist has defined:
Basically jewellery is a supplemental type requiring the physique to assist it with a view to operate. Can jewellery subsequently operate with out the physique? What occurs when the physique is absent, such because the case when on show in an exhibition? How does this influence on the sculptural “presence” of the jewel? These are ongoing questions in my work.[3]
Three sq. brooches displayed on a shelf full the exhibition.They create collectively Veness’s work in metallic along with her dexterous, and on this occasion, miniature, paper types. (Every bit measures 2 ⅛ x 2 ¾ x ⅜ inches [53 x 69 x 10 mm]). The metallic encompass of every brooch serves as a container for the vertical paper “ribbons.” These designs differ from the sense of seamless continuity that seems within the necklaces. The rippling impact of the “fall” of the paper folds and the colour gradations mix to create a delicate jostling impact. It feels as if the paper needs to interrupt free from its metallic encompass. Once more, Veness masterfully brings collectively the oppositional forces of stillness and potential motion. She creates works that interact and delight the attention, whereas rewarding each viewer and wearer.
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[1] Judith Wright’s work encompasses portray, drawing, video, sculpture, and set up.
[2] Zoë Veness artist assertion, Zoë Veness: Nonetheless Level, Funaki Gallery, Melbourne, Australia, March 20–April 20, 2024.
[3] Zoë Veness quoted in “Zoë Veness,” Australian Design Centre, https://australiandesigncentre.com/past-exhibitions-and-events/madeworncontemporaryjewellery/zoe-veness/.
