This thesis is available at Iowa Research Online:

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1 University of Iowa Iowa Research Online Theses and Dissertations Spring 2014 Jewelry as narrative Emily Christiana Byrne University of Iowa Copyright 2014 Emily Christiana Byrne This thesis is available at Iowa Research Online: Recommended Citation Byrne, Emily Christiana. "Jewelry as narrative." MFA (Master of Fine Arts) thesis, University of Iowa, Follow this and additional works at: Part of the Art Practice Commons

2 JEWELRY AS NARRATIVE by Emily Christiana Byrne A thesis submitted in partial fulfillment of the requirements for the Master of Fine Arts degree in Art in the Graduate College of The University of Iowa May 2014 Thesis Supervisor: Professor Kee-ho Yuen

3 Copyright by EMILY CHRISTIANA BYRNE 2014 All Rights Reserved

4 Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL MASTER'S THESIS This is to certify that the Master's thesis of Emily Christiana Byrne has been approved by the Examining Committee for the thesis requirement for the Master of Fine Arts degree in Art at the May 2014 graduation. Thesis Committee: Kee-ho Yuen, Thesis Supervisor Craig Adcock Isabel Barbuzza Anthony Castronovo Anita Jung Steve McGuire

5 To my parents for introducing me to the beauty of the world and to Slade Hovick for keeping it beautiful. ii

6 Jewelry is anything that interacts with the body. Erica Duffy Voss iii

7 ACKNOWLEDGMENTS Thank you to those serving on my committee: Professors Kee-ho Yuen, Craig Adcock, Isabel Barbuzza, Anthony Castronovo, Anita Jung, and Steve McGuire. Each of you have played a huge role in my learning and discovery here at The University of Iowa. Also, thank you to Ben Anzlec, Tony Sutowski, Adam Krueger, Laura Jorgensen, and Sarah Cavaunaugh for taking time to answer my countless number of questions. iv

8 TABLE OF CONTENTS LIST OF FIGURES: v CHAPTER ONE : WHAT IS JEWELRY?...1 CHAPTER TWO: ARTISTS OF EARLY INFLUENCE...3 CHAPTER THREE: A BRIEF EXPERIMENTATION WITH GOLDSMITHING...7 CHAPTER FOUR: AN BRIEF OVERVIEW OF UNDERGRADUATE WORK: AN EXPLORATION OF MATERIALS...9 CHAPTER FIVE: GRADUATE SCHOOL: EXPLORING NARRATIVE...14 Skin Series...20 Connections in Moss Series...29 Wear: Nature Series...31 Wear: Interaction Series...37 CHAPTER SIX: CLOSING A NARRATIVE...41 BIBILOGRAPHY 42

9 LIST OF FIGURES Figure 1 Lauren Kalman, Syphilis, Figure 2 Sun Kyoung Kim, Between Two, Figure 3 David Lee, High Heels, Figure 4 Smile Monitor, Figure 5 Engagement Ring-Understanding a Connection, Figure 6 Melted Promise, Figure 7 Precious Material (Performance Art Still), Figure 8 Geraldine Pavoey, Figure 9 Engulfed in Red, Figure 10 Honey Hives Drip, Figure 11 Hive Brooch, Figure 12 Queen Bee, Figure 13 Hives, Figure 14 Hives: Lip Swell, Figure 15 Hives: Eye Swell, Figure 16 Refocus, Figure 17 Skin Scarred, Figure 18 Skin, Figure 19 Green Grass Brooch, Figure 20 Log Necklace, Figure 21 Tea for Two-Playing in Nature, Figure 22 Pick Up Sticks Brooch, Figure 23 Moss Line, Figure 24 Grown Over, Figure 25 Grown Together, vi

10 Figure 26 Connected- Bracelet, Figure 27 Grounded Through Turbulance- Bracleet and Ring, Figure 28 Moss Ring, Figure 29 Grounded-Necklace, Figure 30 Promise Ring, Figure 31 Stillness-Bracelet, Figure 32 Interaction: Necklace (Protect), Figure 33 Interaction: Necklace (Hug), Figure 34 Interaction: Bracelet (Embrace), Figure 35 Interaction: Ring (Promise), vii

11 1 CHAPTER ONE : WHAT IS JEWELRY? Jewelry is worn to express one s self, whether that be socially, culturally, or one s personal interests. Jewelry is a visual proclamation about the wearer. What is their cultural history? What are their religious beliefs? What is their personal style? I strive to create jewelry that speaks to the reasons why people wear jewelry. As an object maker I desire to make works that interact with the wearer, as well as highlight form and movement of the body. Formally trained in the academic art world and in goldsmithing, I make nontraditional jewelry objects that speak directly to and of a moment in time. Objects that tell a story about the body while on the body. Each moment is different; these moments could be of fear, love, heartbreak, hopes, or moments of discovery. The materials used in each piece are crucial to telling each story. My choice of materials, whether traditional or non-traditional, follows my concept. I strive to create through a process of dialogue, I focus on how to maneuver the materials and alter them to speak for themselves. Using different materials and techniques to create jewelry objects allows me to tell each story differently. My work relies heavily on photographic expressions with the pieces being worn on the body. Each object is merely a piece of the story. Only when worn does the story come together as a whole. Although I no longer make commercial jewelry, the reason people wear jewelry drives me to continue as an artist working under the jeweler title. One of my favorite conversation starters is to mention something about an item of jewelry someone is wearing. It typically sparks a smile and then turns into an explanation of where it came

12 2 from or why they wear it. Jewelry is a simple removable way to modify the body. I say modify instead of adorn because it is a way to differentiate one s body from another s. The simple act of placing a ring around a finger or a necklace around the neck is really a proclamation about the wearer. You have the ability to exclaim love and devotion with a wedding ring, religious beliefs with varies symbols around the neck, or personal interests or with bracelets. As a child my mother started my sisters and I with a silver charm bracelet. For each major life event, or trip we took, my mother would be sure to add a charm to our bracelets. As I grow older, and travel on my own I still search out a silver charm for my bracelet. These bracelets were rarely worn, as they were far too heavy and loud for an 8 year old, but they continued to receive an important addition for each life event. In a way, these bracelets function as a time line of my childhood and early adulthood. These bracelets instilled in me the realization that a moment in time can be captured with a small object. Memories have the ability to be recalled when a small relic is touched. This is the reason I believe that objects held in the hand can seem almost magical. This is the reason my jewelry objects are expressed as a narrative. This is the reason I make jewelry objects.

13 3 CHAPTER TWO: ARTISTS OF EARLY INFLUENCE As a young undergraduate art major at the University of Northern Iowa I started my search to create narrative works within the photography department. At that time Professor Richard Colburn taught only film photography and dark room development. He spoke about the ability to capture emotion through light within the camera, cleaning prints to make sure that no specks of dust would inhibit the image, and most importantly proper dark room etiquette to develop the image in the truest form. Professor Colburn taught about highlighting the truth of the moment-not to alter photographs air brushed perfection. It is with this new understanding of truth storytelling through art that I enrolled in my first jewelry course. Under the direction of Professor Erica Duffy Voss my understanding of jewelry making quickly shattered. On the first day of class she defined jewelry as, anything that interacts with the body. She went on to explain that objects can be used as a narrative to tell a story about the wearer. Objects can explain emotions and history! In one class period she completely confused me. I was perfectly happy capturing photographs of moments; I was content taking portraits of skin with scars and liver spots. But, she opened a new realm of discussion and opportunities to create narrative works that seemed magical. Professor Voss not only stretched my understanding of the limitless opportunities that conceptual art jewelry could become, she also focused on the importance of craft. She would rank construction and finishing just as, if not higher, than conceptual strength. She instilled in me that craft and concept can function together. At this time I was introduced to a variety of jewelry artists working within this conceptual field.

14 4 I was strongly impacted by two artists in particular, Lauren Kalman and Sun Kyoung Kim. Both women were recent graduates working to push the boundaries of the jewelry definition. Both women were working with jewelry objects to tell stories about the body. And both women rely heavily on photography as a tool in completing their objects. Without the use of photographs, their objects are simply objects; once they are placed on the body and photographed they become a narrative about the wearer. Lauren Kalman s work is both beautiful and grotesque. Her work alters or contorts the body in an uncomfortable fashion. She recalls the craft of fine jewelry by plating objects gold or using gem stones. However, these fine materials are done in almost a mocking fashion. Gold plated inserts distort the face and ruby set acupuncture needles mimic undesirable skin infections. She poetically narrates the body through a matter of constant push and pull between what is culturally considered beautiful and grotesque. Sun Kyoung Kim approaches conceptual body-oriented jewelry from another prospective. Kim s work is sleek and elegant. She flawlessly executes sterling silver framework structures that function as a bridge between two people. Kim has the ability to construct the connection between two people. Her objects function as a sketch of the unseen bond two people have. She is able to capture a visible emotion with a simple jewelry object worn on the body and photographed.

15 Figure 1 Lauren Kalman, Syphilis,

16 Figure 2 Sun Kyoung Kim, Between Two,

17 7 CHAPTER THREE: A BRIEF EXPERIMENTATION WITH GOLDSMITHING Upon completion of my first jewelry course at the University of Northern Iowa I arranged for a semester long internship with master goldsmith and jewelry designer/ manufacturer, David Lee of david lee jewelers, in Mason City, Iowa. Lee taught me entry level bench jeweler repair requirements in addition to stone setting, working with gold, wax carving, casting, and PUK welding. Taking a leave of absence from the university setting to focus strictly on technical aspects was a decision that continues to positivity effect my personal work and teaching. Although Lee works as a high end commercial jeweler, he also takes in odd jobs like repairing silver handles for walking canes or reconstructing metal elements of antique cars. Lee filled my forty hour weeks with hands on learning and problem solving. The human form was brought up many times throughout my internship. Lee masterfully carves rings to fit comfortably on the finger, not just around the finger. He carefully creates earrings to hug the earlobe, not just hang. His attention to detail and commitment to reconfiguring small elements to make sure that the jewelry object interact with the body and shine more beautifully on the figure then in the box, is simply astonishing. Lee creates objects of beautify that speak to the body and soul of the wearer. After working under the direction of Lee, I worked as a repair goldsmith for about a year while attending school. This endeavor was short lived as I quickly realized that my love of jewelry was creating objects that tell stories, not soldering broken chains back together. It was my experience as art jewelry, fine jeweler, and repair goldsmith that

18 8 helped solidify how I define myself as a jeweler today. These first years laid the frame work for how I approach problems, construct objects, and narrate visual stories. Figure 3 David Lee, High Heels, 1998

19 9 CHAPTER FOUR: AN BRIEF OVERVIEW OF UNDERGRADUATE WORK: AN EXPLORATION OF MATERIALS Figure 4 Smile Monitor, 2008 Constructed from nickel silver wire, sterling silver sheet, and brass tubing, Smile Monitor is meant to force the wearer to smile no matter what emotion is being felt. The structure itself is a cross between orthodontic headgear and a horse bit. The two small U

20 10 shaped metal plates cup each side of the month and force the wearer into a smile. The head piece is constricting, allowing little movement. Smile Monitor can become painful when worn for too long and leaves marks on the wears face after it has been removed. This piece is meant to be anecdotal for just how far some women will go for beauty or to meet the expectations of others. Figure 5 Engagement Ring-Understanding a Connection, 2009 I have experimented with the shape of a solitaire engagement ring many times. An engagement ring is a symbol of love, a visual statement of the bond between two people. Engagement Ring-Understanding a Connection is both a visual and audible representation of this bond. The plastic diamond houses a small microphone. When placed over a partner s heart, the microphone picks up the sound of the beat, which is

21 11 then projected through the copper brooches that house two small speakers. Without a partner the piece will not function-much like a marriage. The piece was constructed using everyday materials and cost less than $75.00 to construct. By using these materials articulate that it is not the size of a diamond or the quality of metal that measures the love two people share. Rather it is the connection and the partnership that make a relationship work. Figure 6 Melted Promise, 2010 Another example of using the symbol of an engagement ring is a work called, Melted Promise. This was constructed by taking a silicon mold of a large solitaire ring and injecting the mold with lard. After the lard sets the piece is placed on the finger and quickly begins to melt from body heat. This is meant to remind the viewer that marriage/love is not always a permanent thing and relationships are ever changing. Changing the materials that are used to create something can create a large impact on

22 12 how it is viewed. This is an example of how using different materials can drastically change ones perspective. Figure 7 Precious Material (Performance Art Still), 2009 Precious Material, is an oversized necklace strung with hamburgers that forces the viewer to examine their own perspective. Other materials used are a large pearl, sterling silver, and a gem stone. This piece is meant to bring about discussion about what we consider precious in our lives and cultures. In India, cows are considered sacred and are not killed, however, in America we are the fast food capital. Our personal upbringing molds our perspective. Using non-traditional materials to discuss concept forces the viewer to step out of their own safe perspective and ask why.

23 13 Figure 8 Geraldine Pavoey, 2010 For my BFA graduation show I used vintage photographs, metal, and vintage found objects to create neckpieces that are about objects as memory place holders. The photographs were cut into shapes of an item of jewelry worn by one of the women in the picture. Then using materials that are typically associated with women s work necklaces were constructed. By mixing vintage materials with photographs and turning them into wearable art my hope was to give new meaning and more importance by placing them next to a picture. My expectations were that combining objects that normally do not relate to each other I created relics of the women in the photographs.

24 14 CHAPTER FIVE: GRADUATE SCHOOL: EXPLORING NARRATIVE Figure 9 Engulfed in Red, 2011 This large brooch was constructed using the same hexagonal mesh as the Hives pieces. However, this piece can be worn by any person, as it is not molded directly to a body. The translucent red acrylic casts a pool of red on the wearer s skin and clothing simulating a projected discomfort on the body.

25 15 Figure 10 Honey Hives Drip, 2012 The form of the necklace is simply that of a typical commercial beaded necklace with a clasp. However, the beads are bits of comb honey that has been laced onto a thread. Originally, I chose honey comb due to its similarity in color and fragility to my own skin. My goal was to create an oozing rash-like necklace. As I continued to work with the material, it became clear that the honey was acting more like various bodily fluids instead of just pus. I enjoyed the spontaneity of working with the comb honey and collaborating with the material. When worn on the body the soft color of the comb and the dripping of the honey quickly become sexual in nature. I find it fascinating how a

26 16 material s visual vocabulary can be transformed so dramatically when placed on the body. Instead of trying to shelter or force the audience from seeing Honey Hives Drip as sexual, I tried to push the viewer into a place of uncertainty. In taking the picture, and hiding all clothing from the camera s sight, I hope to make the viewer slightly uncomfortable but still curious as to what the material is. Figure 11 Hive Brooch, 2011 I view this piece as a survey of various technical skills I have acquired. The delrin piece was drawn using Rhinoceros and cut using a CNC Mill. The hornet and the clear acrylic piece was hand cut using a jeweler s saw and attached using a brass bolt that has a small cubic zirconium gypsy set into the head.

27 17 Figure 12 Queen Bee, 2012 Queen Bee was a first on a few levels for me. This was my first attempt to create a wearable fitted body piece that could be worn by various people. I was struggling with the concepts of creating work that only fit my body. So, I decided that working with fabric would be a good solution to creating fitted pieces for various body shapes. I designed the dress and Rebecca Byrne constructed the fabric elements.

28 18 Figure 13 Hives, 2011 This series is not only about how to tell a story using objects on the body, but how to tell a story about the body. Hives is an exploration of how the body reacts to outside sources such as allergens. Using hexagonal mesh and molding it directly to the contours of my upper body I was able to create a three dimensional sketch of the body s response to an allergic reaction. Using the play on words hive vs. hive I hint at the reaction of being stung by a bee. As I am personally highly allergic to bees the response the body produces not only terrifies me but also captivates me. The body produces a physical response on the skin

29 19 which in turn could be loosely defined as jewelry. By placing the hive pieces in the general area of the neck I am referring to not only the form of necklace but also anaphylactic shock. Figure 14 Hives: Lip Swell, 2012

30 20 Figure 15 Hives: Eye Swell, 2012 Skin Series Upon completion of the Hives works I quickly realized that I enjoyed working in a series style. In the past, I had stayed away from the series style of working because I viewed it as too much like production work. I realized though that through working in a

31 21 series format, I was free to fully work through a concept. This allowed me to tell chapters of a story, instead of feeling like I needed to tell a whole story in one object. Figure 16 Refocus, 2012 The first works in a series would be the following grouped under the, Skin Series. These focus on highlighting the beauty of the body. So often, as jewelry makers we cover the skin, try to make the body more enticing by adding objects to it. However, the body is something that in itself is the ultimate surface. The curves, shadows, texture, and color of the human skin is, in my opinion, the ultimate texture. It is this surface that we

32 22 clean, modify, and present every day. This is the surface that people identify others from. The following images are experimentations of how beautify may be perceived by simply viewing the neckline. Figure 17 Skin Scarred, 2012

33 Figure 18 Skin,

34 24 Artificially Green Series As an object maker, I try my best to be true to the materials I work with. Why try to reconstruct or emulate an object, if the object can be altered to work for what you need? With that being said, if I use or recreate a specific object it is usually meant in a playful or ironic fashion. The Artificially Green Series are about really capturing moments of playing outdoors as a child. Grass always seemed to be bright and soft and the lawn was full of toys. The use of pink paired with artificial grass or artificial moss is portrayed as graphic elements of childhood memories and discovery. Figure 19 Green Grass Brooch, 2013

35 Figure 20 Log Necklace,

36 Figure 21 Tea for Two-Playing in Nature,

37 Figure 22 Pick Up Sticks Brooch,

38 Figure 23 Moss Line,

39 29 Connections in Moss Series We see moss growing in areas that are typically not disturbed. Areas that mother nature has covered with a soft fabric like texture. The following pieces were construced using the same hexigonal mesh as the Hives series, dripped in latex, and then flocked. Whether viewed as blending in with the surroundings, remaining undisturbed, or creating a bond with the wear(s) the following pieces are artifical constructions of moss growing on the human form. Figure 24 Grown Over, 2013

40 Figure 25 Grown Together,

41 31 Wear: Nature Series There is always a place in our hearts that we refer to as home or comfortable. These are the places that when we interact with, we feel most at ease. This body of work explores our most childlike tendencies of playing with nature. Many children tie blades of grass around their fingers and pretend they are wearing rings. It is a common practice to make necklaces or crowns out of flowers to adorn their bodies as they play make believe. Exploring exposed root structures and running finger tips over fuzzy moss brings excitement and self-discovery! These simple moments leave an imprint in us. These are the moments that are truly more precious than gold or silver. Figure 26 Connected- Bracelet, 2013

42 Figure 27 Grounded Through Turbulance- Bracleet and Ring,

43 Figure 28 Moss Ring,

44 Figure 29 Grounded-Necklace,

45 35 Grounded- Necklace grass, earth (site specific) 2013 Figure 30 Promise Ring, 2013

46 Figure 31 Stillness-Bracelet,

47 37 Wear: Interaction Series Jewelry is often given as a gift to be a visual representation of friendship, family, or love. It is a way to express positive emotions towards the wearer while the two are apart. This series is a study of common interactions that take place between two people that are presented as varies types of jewelry. A hug between friends has the ability to transform into a necklace or sitting close to another becomes a bracelet. It is these moments you embrace and cherish in the future. Figure 32 Interaction: Necklace (Protect), 2013

48 Figure 33 Interaction: Necklace (Hug),

49 Figure 34 Interaction: Bracelet (Embrace),

50 Figure 35 Interaction: Ring (Promise),

51 41 CHAPTER SIX: CLOSING A NARRATIVE Jewelry is around us at all times. It is how we express ourselves, the objects we adorn our bodies, and the environment we live in.

52 42 BIBLIOGRAPHY Kalman, Lauren. Syphilis. Photograph. Gabriel Craig. Kim, Sun Kyoung. Between Two. Photograph. Sun Kyoung Kim. interconnection.html. Lee, David. High Heels. Photograph. david lee jeweler.