Chapter 1 Introduction

Chapter 1

In this first chapter, the focus is placed on the explanations and definitions of the words of the title ‘Using Nature as a Metaphor to Create Contemporary Jewellery’. We will be exploring the definition of ‘contemporary jewellery’ as well as the functions of jewellery, organic jewellery, movement jewellery and the use of nature as a metaphor after examining various papers written by well-known academics in the field of contemporary and art jewellery including: Bruce Metcalf, Liesbeth den Besten, Jivan Astfalck, Kenneth Quickenden and Celia Rabinovitch.

Complex Ideas through Simple Imagery

Complex Ideas through Simple Imagery

A metaphor is a device that transmits a message about the object in view. The image or object in view becomes a vehicle to transmit a very complex and personal message. (Astfalck, Broadhead and Derrez, 2005)  When a jewellery piece forms a metaphor, it is up to the viewer or wearer to decide the meaning behind a piece based upon their knowledge or subjective meaning.  As a maker, one can create jewellery pieces that reflect personal metaphors that have a strong personal meaning but it does not mean that the viewer or wearer will understand this meaning. “Jewellery has the capacity to deal with complex ideas whose components are derived from simpler images or previous experience, which are then combined in new and unexpected ways”. (Astfalck, Broadhead and Derrez, 2005)

Pictured below is an image of the gooseberry pods that I made in copper. I use these pods as symbols that aid me in the creation of jewellery pieces that express personal metaphors

van der Linden, A. (2019) gooseberry pods in Copper

References

Movement Jewellery

Movement in Nature

It is very difficult to imagine the natural world without movement. Leaves and flower petals blowing in the wind, butterfly wings flapping and the rising and setting of the sun are all examples of actual movement found in nature. Other forms of movement are more subtle such as the changing of the seasons, the growth of plants and animals and their death and decay. Movement can be seen in nature in many instances, not just in its physical form but also in its more metaphorical form when observing natural processes. “The representation of vitalism is an identification with nature and biological forces”. (Quickenden 2000). Movement incorporated into a jewellery piece can aid the piece in appearing 'lifelike' or alive (Walker n. d.) and the element of movement can be brought about in many ways. (Quickenden 2000).

Ryan, J., Pendant, 18ct gold and vitreous enamel [Online]

Messages and Metaphor

Definition of Metaphor

A metaphor is an expression used to describe an object as a something else such as a symbol or representation that possesses similar characteristics (Lexico Dictionaries 2019). The metaphor is also used in jewellery design as a vehicle to transmit a complex idea through simple imagery (Astfalck, Broadhead and Derrez, 2005) and due to the close relationship between the metal and the metalsmith (Rabinovitch, 2002), jewellery has gained the ability to be used for expression. I looked at using nature as a metaphor to create contemporary jewellery to describe my personal experiences.

Pictured below is a sculptural piece that I created. It consists of five gooseberry pods in copper that have been placed on a sterling silver branch. The pods have become symbols that I use to create contemporary pieces that reflect personal metaphors

van der Linden, A., (2019)  Sculptural Piece,
Copper and Sterling Silver

Symbolism

Symbolisms

Both being vehicles of information, signs and symbols are often grouped under a similar definition. Signs are seen as images or objects that represent something else in a literal sense; a symbol is an object or image that is created to “trigger a series of perceptions, beliefs and emotional responses.” (O'Connell and Airy, 2007) We create connections between objects and emotions and these connections allow us to make sense of the world around us (O'Connell and Airy, 2007). Humans have developed many signs and symbols that are derived from nature: “ Symbols appear in nature, and may refer to pre-conscious information, as in the case of smoke signifying a fire nearby” (O'Connell and airy, 2007). Humans have a deep unconscious connection with nature and the cycles and its phenomena. (O'Connell and Airy, 2007). Nature can be a rich source of symbolism to use in the creation of contemporary jewellery pieces that reflect personal metaphors. 

Pictured below is an image of one of Walker's sunflower lockets that have become symbolic. "Sunflowers (Helianthus Annus) are known as a symbol of strength, long-lasting happiness and an instinct to seek positivity" (Walker). 

Victoria walker's Sunflower Locket in
sterling silver and gold 

Representational Organic Jewellery

The second type of organic jewellery is an item of jewellery that is made out of a non-organic material such as metal, acrylic or plastic and it is made to echo nature in a realistic way, in the shape, form, texture or colour of the jewel but also in the way that the jewel moves or sounds when worn. The wearer must be able to recognize or identify the image of nature by the way that it mimics the forms and shapes or movement of that actual object in nature.

Neckpiece by Jane Adam, anodized and painted aluminium, stainless steel and sterling silver. A piece that shows a mimic of a natural object.

Natural Object Jewellery

The first type of organic jewellery that is mentioned in the Virtual Gallery of Contemporary Jewellery’s paper on Organic Jewellery is the use of natural objects that were once living, such as bone, leaves, shell, skins and wood to create objects of jewellery. Before precious gems and metals were discovered in prehistoric times, people adorned themselves with pieces of bone, wood, teeth and animal skins to create organic jewellery. The use of natural objects in jewellery is the oldest form of jewellery known in history. When people discovered gold and gemstones, we saw a great transformation in the way that jewellery was made, people started producing jewellery from precious materials and this became the norm. Today, the bulk of jewellery that is manufactured in the world is made out of precious metals and gems, but with the rise in contemporary jewellery artists, we begin to see more jewellery that is being made with unconventional materials including natural objects.

Hilde de Decker showing a ring wearing a green tomato. This is an example of natural objects being used in jewellery

Organic Jewellery

Definition of Organic

The word ‘organic’ is defined as something that is derived from nature (Lexico Dictionaries 2019).  In terms of contemporary jewellery, organic jewellery consists of jewellery that is made from organic objects found in nature or pieces that are made to echo nature either in form, texture or movement (Quickenden 2000).

The image below shows an actual tomato growing inside the claws of a ring. This shows an example of organic jewellery.  

De Decker, H., (2004) For the Farmer and Market Gardener.
Ring, Gold and Green Tomato.
[Astfalck, J. Broadhead, C. Derrez, P., 2005] 

Kenneth Quickenden Virtual Gallery of Contemporary Jewellery

Kenneth Quickenden Virtual Gallery of Contemporary Jewellery

Contemporary jewellery is ‘contemporary’ not only because of its creation in the time of now, but also because of its non-conventional nature and that it engages with a number of “contemporary, social, environmental, technical, artistic trends” (Quickenden 2000) and that there is a similarity between the definitions of art jewellery and contemporary jewellery due to this. In this research report, there will be a focus on one main type of contemporary, Organic Contemporary Jewellery as its definition gives us a better insight into the types of jewellery that are created to echo the natural world in form and movement. 

See the image below, it shows an example of organic representational jewellery:

Dobbler, G., Brooch Oxidized Silver, Citrine

Third Position

Third Position

The third position allows the object to become a message or dialogue that uses the body as a frame to showcase the message or metaphor that is being conveyed by the object.  “Such objects can be used as devices for the visible transmission of messages” (Astvalk, Broadhead, Derrez 2005:19). Visual messages, signs and metaphors linked to the objects are used as a form of communication (Astvalk, Broadhead, Derrez 2005:19). These subtle messages are picked up by the viewer as the item of jewellery may set off an emotional response due to sensory stimulus or through a triggering of a memory or thought (Damasio 1999:56).

Pictured below is one of Kelly Jean Conroy’s neckpieces, it utilizes the actual dead body of a squirrel. The piece was made to evoke emotions surrounding the idea of death:

Figure 2 – Conroy, K., Neckpiece. 
[Online] ¹

Second Position

Second Position

The second position is occupied by objects that have been made to have concept or intention and that have been made with the body in mind is “appropriately termed Body Art” (Astvalk, Broadhead, Derrez 2005:19). This is where the concept or idea that the item of jewellery possesses becomes the main aspect of the piece. This allows the object of jewellery to merge with the body (Astvalk, Broadhead, Derrez 2005:19). 

Skubic P,. (1975) Jewellery Under The Skin  nugget of metal 
being implanted under the skin

First Position

First Position

Independent from the body is the first position that an object may take on. This does not speak about the actual position of the object but rather the role that it plays in the relationship with the body (Astvalk, Broadhead, Derrez 2005:18). Jewellery pieces in the first position are worn as a separate entity to the body that serves purposes none other than decoration and aesthetics. This type of jewellery is worn on the body, but the body has no engagement with the jewellery piece (Astvalk, Broadhead, Derrez 2005:18).



Pictured below is a Neckpiece by Kelly Jean Conroy that forms part of her 'wearable' collection that is for sale to the public.

Conroy, C., Wearable Neckpiece

Jivan Astfalck: Postitons of Jewellery

Jivan Astfalck: Positions of Jewellery

In her paper, Jewellery as a Fine Art Practice, Jivan Astfalck writes about the relationship between an object and the human body in broader terms. Astfalck sets aside three positions that jewellery may acquire in relation to the human body. These positions include the First, Second and Third positions that jewellery may take on in relationship with the human body.

Pictured below is a neckpiece by Kelly Jean Conroy. Conroy has created her jewellery to take on the third position as she works towards the concept of beautifying death.  

Figure 7 – Conroy, K., Neckpiece.
[ONLINE]7

Liesbeth Den Besten: Contemporary and Art Jewellery

Liesbeth den Besten: Contemporary Art Jewellery

There is a debate that jewellery should be considered a fine art as opposed to applied art. Some say that jewellery cannot be considered art because an art piece is made to have no practical function other than its artistic expression (Den Besten 2011:9). Yes, jewellery can be used as a medium to express an artistic concept, but in the world of art, the subject of jewellery has its limitations, jewellery has a vast number of functions and it cannot exist outside the realm of the human body (Den Besten 2011:11). A jewel is made to be worn on the body or has the potential to be worn, giving it function (Den Besten 2011:11). 

The term ‘contemporary jewellery’ does not necessarily speak about the time span that the jewellery is created in also the modern concepts that the jewellery pieces express. “Contemporary jewellery indicates that it is made in the now and that it is ‘of our time’ whereas it actually covers a period of time that spans at least forty-five years” (Den Besten 2011:9)

A contemporary brooch by Sharon Church

Contemporary and Art Jewellery

I have been exploring the question, ‘what is contemporary jewellery?’ and to answer this question, I looked at other perspectives regarding this question. Liesbeth den Besten’s paper, On Jewellery, gives her definition on various types of jewellery, including contemporary and art jewellery.. “Contemporary jewellery indicates that it is made in the now and that it is ‘of our time’ whereas it actually covers a period of time that spans at least forty-five years” (2011:9)

Spiritual Mediation

Spiritual Mediation 

Jewellery is also worn for religious, spiritual or sentimental reasons. This function of jewellery is personal as the wearer has an intimate emotional connection with an item of jewellery with a spiritual function.  The wearer may wear sacred symbols, amulets or talismans that either aids them spiritually by protecting them from evil or bringing them goodwill (Metcalf 1998:4). Jewellery containing religious symbols or that has religious or spiritual meaning is worn as a reminder of their religion or faith. A person may also wear an item of jewellery for emotional reasons where a jewellery piece reminds them of a lost loved one or an emotional event that has happened in their lives (den Besten 2011:12). People choose to wear items of jewellery that sentimental to them as they trigger a memory or emotion when seen or touched by the wearer. (Damasio 1999:56) This intimate relationship between a sentimental piece of jewellery is “significant for the wearer yet invisible for the viewer” (den Besten 2011:12).

Below is an image of a dragonfly pendant that I made for a customer. The symbol of dragonfly is significant to her as it reminds her of her late mother. 

Figure 1 – van der Linden, A., (2019) Dragonfly Pendant, 
Sterling Silver and Amethyst Cubic Zirconia

Portable Wealth

Portable Wealth

Jewellery may also function as a form of portable wealth, where the wealth is easily exchangeable and stored on the body or at close proximity for easy access (Metcalf 1998:3). The jewellery may be taken off of the body and sold during an emergency or crisis (Metcalf 1998:3,4). Jewellery pieces made from precious materials will naturally have a higher intrinsic value (Quickenden 2000) .

Pictured below is a 1/2 Oz Kruger Rand that is used to store wealth. This coin is valued at R 12250-00 (The South African Gold Coin Exchange & The Scoin Shop, 2018)

1/2 Oz Kruger Rand 2017, 22ct Gold

Status

Status


By decorating the body with specific items of jewellery, people send out a subtle message that they belong to a specific culture, class or social group (Metcalf 1998:3). This is the function of status. Without saying a word, upon one glance, other members of society can see what type of social grouping you fall under by the type of jewellery you wear (Metcalf 1998:3). 

The following image shows an Ndebele woman wearing a set of rings around her neck to show her status in her community. "The Ndebele wife would wear copper and brass rings around her arms, legs and neck, symbolising her bond and faithfulness to her husband." (Siyabona Africa 2017)

Ndebele Woman, Wearing Rings Around the
 Neck Indicating Status

Functions of Jewellery

Functions of Jewellery

There are three functions of jewellery apart from the primary functions of adornment/decoration and attracting of attention (Metcalf 1998:2,3). The functions help us to understand the meaning of the term ‘jewellery’ more clearly and these functions are not mutually exclusive from one another as they can exist simultaneously in one item of jewellery (Metcalf 1998:4). Jewellery's largest primary purpose is to decorate the human body by aiding as an accent or a focus to a specific part of the body that falls under a personal desire to seem more sexually attractive or that conforms with a specific cultural practice. Addition to these functions, jewellery also has the function to give status, a form of portable wealth and to aid in spiritual mediation.

Below is an image of a dragonfly pendant that I made for a customer. The symbol of dragonfly is significant to her as it reminds her of her late mother, thus it falls under the category of spiritual mediation. 

Figure 1 – van der Linden, A., (2019) Dragonfly Pendant, 
Sterling Silver and Amethyst Cubic Zirconia

Chapter 1

In this first chapter, the focus is placed on the explanations and definitions of the words of the title ‘Using Nature as a Metaphor to Create Contemporary Jewellery’. We will be exploring the definition of ‘contemporary jewellery’ as well as the functions of jewellery, organic jewellery, movement jewellery and the use of nature as a metaphor after examining various papers written by well-known academics in the field of contemporary and art jewellery including: Bruce Metcalf, Liesbeth den Besten, Jivan Astfalck, Kenneth Quickenden and Celia Rabinovitch.