Review: The Rhythmical Body Jewellery of Seoyoun Choi

Seoyoun Choi is a metal smith from Korea who exhibited works from her first solo show after her MFA exhibition at the JMGA (Jewellers and Metalsmith's Group of Australia) conference in January this year. Held at the Nexus Multicultural Arts Centre, Choi’s work undoubtedly raises questions regarding the conventions of jewellery practice. While she creates brooches with geometric and figurative aesthetics, her body jewellery can perhaps be described in terms of interactive or performative tools between artist and ‘user’, rather than artist and ‘wearer’. Refreshingly atypical from conventional jewellery practice, these works still rely on the body as ‘site’ or ‘context’, but in terms of interaction, movement, and engagement rather than in terms of aesthetic, ornamental, and static value. In doing so, her craft does not serve as an accessory, but as an ‘amusement form’ that explores rhythm, joy, light and simultaneously focuses on the importance of undeniable human desires to pursue pleasure.

In reviewing her works I am reminded of this question:

“Did the composition or the concept make it jewellery? Which was the focus – the adornment of the body, or the body as adorned?”

(Patricia Harris & David Lyon)

My Place in the Sun

My Place in the Sun #1 & 2

Sterling silver, titanium, cubic zirconia, transparency

(Pendants)

2007

Sister Cities Cultural Exchange Collaboration

Left to Right: Bessie Okada, Christine Elocate, Tombow Kobayashi, Etsu Okuno, Christine O'Reily, Chantelle Fisher

During July this year I participated in a collaboration with Australian Jewellery Artist Christine O’reily, Japanese Ikebana Artist Etsu Okuno San, and Japanese Doll Artist Tombow Kobayashi. This collaboration was part of the Sister Cities Cultural Exchange Programme between Tatebayashi (Japan) and the Sunshine Coast Council. Designed to create an environment for cultural experience and exchange, the Japanese artists participated in a number of activites across the Sunshine Coast, which included the collaboration with Christine O’reily and myself.

In using native Australain flora from the local area, the aim of the collaboration was for Tombow and Okuno to create a traditional Ikebana arrangement in the Koryu or ‘old school’ style. Ikebana is the traditional Japanese art of flower arranging, incoperating many rules and guidelines according to the style or particular Ikebana school. From this arrangement myself and Christine created our own ‘arrangement’ of hair pins, inspired by the proportions of the arrangement, and the individual plants and flowers used. These pins were made using sterling silver and titanium, and the processes of heat treating, saw piercing, and giving texture to the silver via rolling mill techniques.

The collaboration also took on the form of a demonstration, wherein the Ikebana arrangement and the creation of the hair pins took place in front of a local craft group. In doing so, we not only observed Okuno and Tombow working on the arrangement, but also were able to learn the step-by-step processes and problems encountered when working in Ikebana. This experience was also reciprocated, as both Okuno and Tombow learnt the same processes in our metal work, as well as the audience.

Christine and I hope to travel to Japan in 2009 to exhibit again with Tombow and Okuno. The Exchange Progaram would not have been possible without the help of Christine Elocate, and our translator, the lovely Bessie Okada.

Interview with Tombow Kobayashi & Etsu Okuno

Tombow (left) & Okuno (right)

After collaborating with Tombow and Okuno, I interviewed them to gain more insight into their respective practices.

Note: As I do not speak Japanese, this interview was translated by Bessie Okada. Due to the nature of the interview, it is not a word for word translation.

Tombow Kobayashi:

Q: From what or where do you gain conceptual inspiration?

A: From a range of sources. People, emotions, fantasy, Japanese mythology, everyday experiences, and everyday things that I see. Love also.

Q: Your dolls have a very ‘vulnerable’ and perhaps even sexual quality about them, do you intend for this to happen? Or is it an organic process?

A: Yes, I do know how I want them to turn out. But sometimes they might change.

Q: Do you plan your work? How?

A: Yes, I draw them before I make them. But they are very elaborate and realistic drawings.

To learn more about the practice of doll artist Tombow Kobayashi, visit http://www.geocities.jp/vegatalk7/enter.htm

Etsu Okuno:

Q: What is the most important aspect of Ikebana for you?

A: Definitely the flower – how to present the flower in the best way possible. This is because it is something living and I want to respect that by presenting it in the best way that I can.

Q: Ikebana is a technique that also focuses on the ‘empty space’ as much as it does around the arrangement. What is the importance of ‘space’?

A: The importance is the balance, and the space in relation to the arrangement. This is because Ikebana was developed for alcoves in traditional Japanese rooms, and rooms used in tea ceremonies. Therefore, the alcove for an Ikebana arrangement is like a frame for a painting; so you have to think about the ‘whole’ space to make it balanced and attractive, and not just the arrangement.

Q: I understand that Ikebana also values the use of ‘odd numbers’ in the arrangement. Why is this?

A: As much as Ikebana is about balance, odd numbers in arrangements (eg. 3 different flowers, heights etc.) create unbalance. Odd numbers are also connected to happiness.

Q: As an Ikebana master, do you have a favourite style?

A: Yes, it is called ‘Koryu’ for ‘old style’. This is because it is what I know best.

Void Piece # 2 & 3

Photography by Miriam Carter

Top: Void Piece #2

Copper, Sterling silver, Cubic zirconia

(Pendant)

2008

Bottom: Void Piece #3

Copper, Sterling silver, Cubic zirconia, Titanium

(Pendant )

2008