Case Study: Wendy Ramshaw

29 September 2019

“How or when my work is worn is not particularly important to me. The way in which others may organise it is an open-ended extension of its use. Such a possibility for varying personal choice is interesting precisely because it is out of my control.”

Artist’s Background:

Education in illustration and textile design; encouraged to work with Jewellery while etching copper plates for prints; later commissioned architectural projects

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• Juxtaposition of shapes and materials
• complementing colours
• almost whimsical arrangement of elements and objects (found? collected? organic, inorganic, soft, rigid)
• deconstructive approach
• Recognizable style – (Scott recognized the artist from the image instantly)
• Jewellery open to interpretation – user decides configuration

Process:

• Conceptualization – inspiration? (Columbus map – interpretation – compass – visual aesthetic – composition – urban context of Columbus courtyard at Canary Wharf; Millenium medal based upon Richard Rogers’ Millennium dome)
• Pencil drawing on graph paper
• Computer template
• Waterjet cutting (gates and screens)
• Mutual relationship with technological developments (new waterjet bed was created to accommodate the size of Double Screen at V&A)
• Optical lenses – embedded in ‘wireforms’ add a touch of intimacy, miniature versions of concept – invite people to take a closer look (inspired by science and technology?)
• Retaining elements like steel mill code (Double screens at V&A) – artistic identity – title of piece – EH9681

Comparison: Lora Nikolova

“Lora Nikolova is a brand of handmade artistic bijoux. Each piece is an exclusive work of art, inspired by an abstract design interpretation. The necklaces resemble architectural networks embroidered with various components, linked in harmonic geometries. The compositions have a particular choice of volumes and colors where black acquires a role of union and contrast. The materials range from glass, crystals, semi-precious stones, resin, metal, river pearls to hand-painted papier-mâché elements. Light and lively they are designed and conceived for elegant personalities.

Unique works of art to enjoy, wear and exhibit.“

– https://www.lora-nikolova.com/products/bijoux/

• Each piece – exclusive
• harmonic geometry
• range of materials
• More wearable than rigid metal works by Wendy Ramshaw (more pictures of people wearing these pieces appear on the internet)
• Function – more than just wearable – ‘works of art’ – exhibit, statement, playful
• More commercial, despite exclusivity of pieces; more affordable?
• recognizable aesthetic – based on composition elements structured on curved strings/wires

Artist’s Background:

Graduated in scenography, 2nd graduation in Set design; influenced by collaborations with Fashion brands, practice as stylist and assistant set designer

Observations

• Process – Concept generation (art/design) – Drawings (design) – Making Industrial/handmade (Craftsmanship)
• Lora Nikolova – Mass produced (despite exclusive compositions) – lower cost, consumerist value (design for user)
• Wendy Ramshaw – One off pieces and commissions – Jewellery not necessarily meant for wearing – artistic value (art for critics and collectors)
• Wendy Ramshaw – Industrial interventions do not seem to undermine the artistic value of the final products – elements like optical lenses, miniature concept visuals add a touch of intimacy
• Lora Nikolova – Exclusivity doesn’t undermine affordability, public interest, consumer value (validated by exhibits, instagram sales and followers)

Finally, both artists (or designers? or makers?) were pursuing other specializations of education or practice, jewellery design captured their interest by accident; does this explain their unconventional approach towards materials used (or avoided) in jewellery design?