No supervision, just a stop motion camera; No monetary expectation, just trust and a box; No rules as to choice, just the restriction of one's own limbs - This exhibition was no ordinary display of jewellery.
Bridget Kennedy of Studio 20/17 has just packed up her concentric installation. Molded in just a few days, Kennedy used the shavings she collected from her other creations and mixed them into beeswax to make thousands of rings. The rings were laid out in a huge circle on the floor, forcing people to crouch as they searched for one where the shavings formed a pleasing pattern or possessed the element they desired. Humming from a charcoal centre, to a grey-blue and a cream, Kennedy placed a gold ring in the heart of this installation, testing people's greed and flexibility. Each ring, despite having gold or coal shavings, was valued at $5 and there was a box in which it was suggested that you place the $5, though nobody was enforcing this transaction.
On the opening night the Gold ring was snatched by two girls who used their entire bodies to grab the jackpot, only to find it fit neither of them. As the hundreds of people in Danks St wandered through the many exhibitions premiering that evening, they were more often than not sporting a waxy ring -men and women. Not considered by everyone making either the purchase or the steal is that the material used to make these rings could cause them to become immaterial. Just an idea that once existed. They will melt from the heat of one's skin, break if not handled carefully and crack in the extreme cold. They are somewhat destined to disintegrate in some way.
This installation may have had a simple appearance, but challenged many binaries - trust and greed; material and immaterial; surreptitiousness and surveillance; use and uselessness. Though the exhibition is over, Bridget Kennedy is one to watch, constantly changing the game of Contemporary Australian Jewellery.
All images found on http://studio2017.com.au/
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|'Just help yourself why don'tcha' by Bridget Kennedy of Studio 20/17|