Category Archives: Heat Exchange 1

Australia, Heat Exchange 1

Enamel animals

Hello from Melbourne! Here is a short story while a tightly wrapped parcel travels over the oceans, of how my work for Heat Exchange evolved.

As a metalsmith, I’m currently interested in different types of steel which can be welded into structures that safely withstand the heat of the kiln, and the application of liquid enamels which allow me to paint metal surface like canvas. The solid structure of steel and the fluid patterns of liquid enamels create a challenging, fascinating combination for ongoing investigation.

My starting point was this steel model from last November, based on studying forms at airports. I wanted to see how I could use similar angular shapes in slightly larger object-based work. Initially, my plan was to continue developing pieces on the airport theme, but as I begun sketching, the idea of movement and a more playful concept about “flight” emerged. I decided to make two winged containers, “enamel animals”, balanced with weights in hidden compartments. I thought they could softly move, if touched, upon their curved bases.

Above are some initial sketches and cardboard models of different wings, and the following images show the evolution of the two objects after welding, going through a couple of different variations of wings and noses. Here you can also see some of my first enamelling samples with liquid enamels on steel and copper, created in 2010 during the life-changing workshop by Elizabeth Turrell in Perth. These early experiments still strongly inspire my use of layers, line and colour in enamelling.

The wings slot into the objects so that they could be inserted separately, without oxidising in the high temperatures of the kiln.

The main materials used for the work were mild and galvanised steel, welded and cold-joined, then enamelled with clear liquid #969 and P3 pigment for surface texturing,

And finally, the finished pieces:

“Enamel Animals, two figures having a conversation, are carefully balanced containers with secret compartments for weights (or any other small, heavy things you might need to hide). If touched, the animals will gently rock, perhaps nodding in agreement, with quiet knowing… “

Cheers and warm regards to everyone – can’t wait to see all the final works!

Inari

Inari Kiuru

featured in our first Heat Exchange exhibition in 2012.

Heat Exchange 1

enamel fields…

I have finally finished my work and have sent it to Elizabeth T who will kindly carry it to Phoenix. I haven’t had too much time in this project to really think and so the work is an amalgamation of ideas in progress. The blue pieces of oak are small gifts from my partner David…he works next to me and is a furniture designer and maker. Almost daily he leaves me small gifts of things/stuff that he makes or finds and these often go on to feature in my work. The blue pieces are the ends/offcuts of long planks of wood that he has been using in various commissions and projects. I have a rather nice collection of blue end-pieces in the shape of the letter H. I also had some work on my wall, some scraps of paper put together, which I had made in response to a visit to Amy Tavern’s studio at Penland a few years ago, where she introduced me to her collection of envelope papers…you can see in the image the same blue shape appearing…I hadn’t realised this until I looked back through my images. It reminded me of this blue wooden house that I have had since I was a child and a memory of these objects that kept flashing through my mind as I made this work. Finally the drawings on the enamel have been made as I walk and then repeated/scratched in the enamel. I guess this work is somehow about being home after travelling a great deal over the last few years…it’s a good feeling.

 

Helen Carnac

Heat Exchange 1

You’re invited!

If you’re in Arizona next week, please come along to our exhibition opening:

Melissa Cameron

Melissa is a jewellery artist from Australia living in Seattle in the US. Her works can be found in the National Gallery of Australia as well as the Cheongju City Collection in South Korea. Her enamel works typically display subtle enamel incursions amidst precise laser cut stainless steel layers.

Heat Exchange 1

.. a thank you to my sponsors :)

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Stephen Bottomley

Stephen Bottomley trained at the Royal College of Art (1999-2001) having also studied at West Surrey College of Art and Design and the University of Brighton, with a key period working within Rhode Island School of Designs’ metal programme (USA 1998). Stephen established his first studio in 1990 in Brighton with a Prince’s Trust Grant, exhibiting his work regularly in exhibitions and at outlets like Electrum Gallery and Dazzle. He started regular associate lecturing work around the South East coast in 1992. After twelve years lecturing and leading several courses at Hasting College of Art, with the University of Brighton, he relocated to Sheffield in 2004. Between 2004-2007 Stephen divides his time between his jewellery studio and his close involvement with both academic life and the jewellery industry, being both course leader for Metalwork and Jewellery at Sheffield Hallam University and also the fourth Chairman of the ‘Association for Contemporary Jewellery’ (ACJ). Between 2007 and afour year project researching the patterns and textiles at the Fortuny Museum, Venice and a solo shows in Venice and back at Hove Museum and Art gallery in 2008, he relocated to Scotland taking the post of Head of Jewellery and Silversmithing at Edinburgh College of Art (eca). In 2011 eca become part of the world class University of Edinburgh. Jewellery is represented by the Crafts Council and held in collections by the British Museum, Royal College of Art and the South East Arts Crafts.

Heat Exchange 1, United Kingdom

Enamel meets Aerospace: Heat Exchangers Numbers 1-6

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Heat Exchangers No. 1 – 6   2012

Copper, Bronze, Silver, Stainless Steel,

Enamel and Diamond Dust

 

 

 

 

 

Stephen Bottomley

Stephen Bottomley trained at the Royal College of Art (1999-2001) having also studied at West Surrey College of Art and Design and the University of Brighton, with a key period working within Rhode Island School of Designs’ metal programme (USA 1998). Stephen established his first studio in 1990 in Brighton with a Prince’s Trust Grant, exhibiting his work regularly in exhibitions and at outlets like Electrum Gallery and Dazzle. He started regular associate lecturing work around the South East coast in 1992. After twelve years lecturing and leading several courses at Hasting College of Art, with the University of Brighton, he relocated to Sheffield in 2004. Between 2004-2007 Stephen divides his time between his jewellery studio and his close involvement with both academic life and the jewellery industry, being both course leader for Metalwork and Jewellery at Sheffield Hallam University and also the fourth Chairman of the ‘Association for Contemporary Jewellery’ (ACJ). Between 2007 and afour year project researching the patterns and textiles at the Fortuny Museum, Venice and a solo shows in Venice and back at Hove Museum and Art gallery in 2008, he relocated to Scotland taking the post of Head of Jewellery and Silversmithing at Edinburgh College of Art (eca). In 2011 eca become part of the world class University of Edinburgh. Jewellery is represented by the Crafts Council and held in collections by the British Museum, Royal College of Art and the South East Arts Crafts.

Heat Exchange 1

Two desk system

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On the jewellery bench - this object needs a trim

There was the jewellery bench and the enamel desk in my St Kilda studio. At any time there could be a pile of metal on the enamel bench ready to go, as well as (and fed directly from this pile) a stack of enamelled segments on the jewellery bench, awaiting stringing into a single piece. By the end of my progress in making works for this exhibition, enameling and making days would alternate, which allowed my studio to cool down between firing days. It also meant that I would have to concentrate hard and think creatively on enamelling days, while on making days more dexterity, but less imagination, was needed to complete the pieces. By this point, the tethering points and fixing methods I was planning to use had been decided, just the work of ordering and joining remained.

Productive clutter on the enamelling desk
Liquid enamel, a drying piece and to the right, a container holding glass bead sandblast medium
The previous piece, fired once, with marker attaching glass sandblast beads
Freshly fired
And onto the jewellery bench, ready for the next phase

 

Melissa Cameron

Melissa is a jewellery artist from Australia living in Seattle in the US. Her works can be found in the National Gallery of Australia as well as the Cheongju City Collection in South Korea. Her enamel works typically display subtle enamel incursions amidst precise laser cut stainless steel layers.

Heat Exchange 1

last minute firings

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Hi fellow exchangers,

I have been watching the recent blogs with excitement to see the range of work that will soon arrive in Phoenix, and I feel very lucky to be travelling to USA to help hang as I will get to unpack and look at the work up close. It’s going to be an amazing show of great diversity and energy.

I was able to finally focus on making my own work over Easter because I teach full time: it’s been so frustrating but fulfilling to make sand moulds, pour iron and crack the process for enamelling a different material. My work was poured alongside 600 pounds of iron by CSG BA Sculpture department….

 

 

in exchange for a few beers,

The moulds poured more or less fine with a few air pockets that I have managed to fill with industrial iron undercoat which is very forgiving.

 

 

 


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

My results vary in success and my kitchen has had to double as a studio which has brought all attempts at cooking to a standstill: my family will be relieved when time runs out for that last minute firing as will the cats, guinea pig and my daughter’s tadpoles that vie for space on the kitchen table!

 

 

 

 

 

 

 

 

 

 

I continued to develop my coal mining theme but work has become more abstract because of exploring layering through multiple firings. I  wondered if any of you have also had no time to reflect on a new body of creative thought and physical endeavor? This show has been instrumental in keeping my practice focused on enamel and I have some important ideas about how to arrange my ‘dream’ studio next year – and navigate part time work!

I wish everyone great success for the exhibition, Cath


Catherine Fairgrieve

Catherine works across discipline boundaries, excited by the potential of combining traditional processes with new technologies. She is an artist and educator, and lives in Wales.

Heat Exchange 1

Incoming

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I am finally starting to finish this work! I apologize for the poor quality photos. There is no time to stop and fuss. In the next entry, I will post the last pieces and sort out some of my thinking about this new work.

Kathleen Browne

Kathleen Browne is an artist and educator from the USA who featured in our first Heat Exchange edition in 2012, and is back for the 2015 exhibition.