'once a bad puddy tat, always.....' auto rosary 2013 rear vision mirror, porcelain, black onyx, 925
'mama' neckpiece 2011 brass, porcelain, goat hair
The objects and jewellery resulting from my graduate research in 2011 are sensory, narrative responses to the imagined light and dark corners of my family's rural history. They are objects of logic and absurdity, both gorgeous and cruel, fracturing the impeccable decorum and staunch morality with which my grandmother tamed the bush, the children she bore, and the history she carved with immaculate precision for future generations. These works serve as transitional objects; stand-ins; prosthetics exploring the integrating and disintegrating permutations of memory.
'earth thumbprints' bowl and coolamon brooches 2014 oxidised 925
The elaborate thumb print swirls and etchings in these works were gathered from fallen eucalypt trees during trips to the Flinders Ranges, Adelaide Hills and Bakkabakandi (Victoria Park). It was important to me that the casting process used to gather these textures would leave the environment in which I was passing through completely unchanged.
Discarded corrugated iron, 'white man's bark', and old linoleum, 'poor man's carpet', conjures notions of impermanence and desertion. The materials chosen for these works create a sympathetic connection between ourselves and the barren fringes of our backyards, townships and cities.
Jo Wilmot - October 2013
'ramblings' brooch 2013 porcelain, linoleum, 925
Jo Wilmot artist/jeweller
Adelaide, South Australia
'pendulum' neckpiece 2014 rubber, brass, latex, photo: Grant Hancock
Emerging from careers in the performing and ceramic arts, my existence as a visual artist in the art jewellery field is not shaped by any singular vision. I see it as a vast new globally aware language that questions processes and the values of all materials as they are part of a diminishing resource. Whether trawling the burnt landscape for the transformational effects of fire, casting elaborate thumbprint swirls from fallen gums, exploring vortices, casts of casts; it is the ritual performative act of clearing off the debris around an idea and finding its essence that seeds the soul. Often finding an object’s presence involves materialising what is absent.
My work is included in private collections, the Art Gallery of SA and the QLD University of Technology.
'retro fan' 2014 cast brass elements, neoprene, photo: Grant Hancock
'figurative vessel' 1994 slip-cast porcelain 26 x 11.5cm
'womb and tomb' 1994 slip-cast mid-fire 22 x 50cm
'tango teapot' 1992 slip-cast porcelain 31 x 31cm
'womb and tomb' 1993 slip-cast porcelain 10 x 8.5cm 8 x 8cm
'maternal sea' 1999 slip-cast porcelain 29 x 32cm
'porcella' 1993 slip-cast porcelain, granite, fig. bottle 9 x 12cm
Zu Design Jewellery & Objects Gays Arcade Balcony (off Adelaide Arcade) Rundle Mall Adelaide SA 5000 +61 8 8224 0433
gray street workshop's 30th anniversary 'stargazy' cake, march 2015
Children are natural story tellers and drawing is their first tangible means of recording their real and imagined worlds. From rhythmic scribble, tadpole people, to fantasy creatures.....shared drawings are proud moments for both parent and child. It is both life affirming and celebratory to work with children's drawings to create wearable poetic keepsakes that honour the love of a child's individuality and creativity. Please visit my facebook page for more information. www.facebook.com/doodleitaustralia
Email drawings to firstname.lastname@example.org
pendant 'mummy' doodle-it 2015 wood laminate 925
'best friends brooch' 2015 wood laminate, 925
'jae's dinosaur neckpiece' 2015 brass, neoprene
'joyful Lilly' Drawing and neckpiece 2015 brass, neoprene
‘’In great architecture there is constant deep breathing of shadow and light, shadow inhales and illumination exhales light’’ Junichiro Tanizaki (1977:18) ‘In praise of shadow’
So too in the natural landscape as I found whilst breathing in the moonlight shadow cast by the cliff face and ancient caterpillar rock paintings near Alice Springs in July last year. I thought about the stars guiding indigenous groups across the continent. The mother of pearl that I had sourced from secondhand shops locally, was once traded in this way. Knowledge of its long history and association with tribal law, medicine, and love magic for aboriginal people, had curbed most previous attempts to use it. After the Alice Springs experience I felt I was able to honour the material's beauty without compromising its potency.
The oxidised sterling silver and mother of pearl brooch pictured pulses softly close to the heart; a small breath of the country's timelessness, its endless shifting of land, sea and desert sand. This breath also holds a deep fear of environmental catastrophe. It is from this threshold of grief and hope for our wounded earth that I find the impulse to make.
Jo Wilmot July 2016
'folded light' 2016 mother of pearl, oxidised 925
'folded light' 2016 mother of pearl, purple mulga, 925