'once a bad puddy tat, always.....' auto rosary 2013 rear vision mirror, porcelain, black onyx, 925
'last chance to see' 2017 video installation from 'Solastalgia'
'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.
'vortex' neckpiece 2014 latex, neoprene, 925
'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', conjures notions of impermanence and desertion, creating a sympathetic connection between ourselves and the barren fringes of our backyards, townships and cities.
'folded light' 2016 mother of pearl, oxidised 925
’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’
The ebony shadow and mother of pearl pulse 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.
'dead man's fingers' neckpiece 2017 porcelain, brass, nitrile, from 'Solastalgia' photo: Sona Sood
The title for the neckpiece and installation of the same name 'Dead mans fingers' is the common name for the Codium family of Algae. Ironically it is one that may well survive into the future, thriving in low light and warmer waters.installation and the neck piece.
'attachments' neckpiece 2018 stainless steel
The paper clip, patented by Samuel B. Fay in 1867, was originally developed to attach tickets to clothing. When recognised that it could also be used to attach papers, a NY stationer distributed the new paper clip under the name 'Clinch'. Based on the original and email icon variation on the paper clip, components from this contemporary neckpiece also operate as earrings, tie, pocket, collar, hair and scarf clips.
'bent paper clip' earring 2018 brass
'black fire brooches' 2019 porcelain, silver, acrylic
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
'mummy' pendant 2015 laminate 925
'best friends' brooch 2015 laminate, 925
'Jae's dinosaur' neckpiece 2015 brass, neoprene
'joyful Lilly' drawing and neckpiece 2015 brass, neoprene
Jo Wilmot 'Ripple Effect' 2017 porcelain, brass, nitrile, leather
'Solastalgia' at Gray Street Worshop 30 Mar - 7 May 2017
'Solastalgia' Touring Exhibition
Launched at Gray Street Workshop in March 2017, Solastalgia is a collaborative touring event connecting Adelaide makers with regional artists who wish to voice their personal/political responses to lived and anticipated experiences of environmental change.
There is a collective anxiety about the passing of a once familiar and trusted experience of the natural world. Combining the Latin word solacium, meaning comfort, with the Greek root algia, meaning pain, Australian philosopher Glen Albrecht introduced 'Solastalgia' to our vernacular describing the sense of melancholia associated with the negative changes to our loved home environments.
Investigating the intersection between human activity and altered landscapes and ecologies, artists in this series of exhibitions speak from place between grief and hope to the growing movement that is driving initiatives to positively impact on our environment.
Regional artists and their communities have since gathered for ‘Solastalgia’ at Murray Bridge Regional Gallery, and the South Coast Regional Art Centre in Goolwa. Preparation is underway to launch the fourth and fifth in this series of exhibitions in 2020 at Fabrik in Lobethal and at Gallery 1855 in Tee Tree Gully. I thank the artists for allowing me to showcase a selection of the exhibited works from the previous two years.
Jo Wilmot 2019
"In the end our society will be defined not only by what we create, but what we refuse to destroy"
“Sifting through the seaweed for the thousands of the plastic fragments washed up on the beach near my hometown of Fremantle WA, is a sobering reminder of the catastrophic changes to our natural environs. Animals mistakenly ingest these lethal microscopic fragments, unable to differentiate them from plankton. Over the last few years a collated collection of this deadly beach treasure has found a safer place within wearable jewellery pieces and sculptural forms.”
Leonie Westbrook 'beyond repair' 2017 broken ceramic plates and teacup
“I want to reconnect, to regain a sense of ownership for the things we discard. Broken object 'Beach treasure' becomes desirable once processed by the elements, and is often instilled with memory. I see hope in the idea of initiating a desire for rubbish through innate human sensory reaction. (Ironically faux beach treasure can be readily purchased, desirable despite its disassociation from the natural processes.)”
Jo Wilmot 'dead man's fingers' 2017 porcelain, brass
“Early morning walks collecting and casting algae, seaweed and sea sponges washed up at Carpenter Rocks and Pelican Point in our states South East have felt like a last embrace. Embedded in the 'oil slick' black porcelain and brass exhaust tubes is a lament for the plight of this wonderfully diverse, but little known nor respected ecosystem, said to be the foundation for all ecosystems on the planet.”
Lesa Farrant ‘brown algae 1' 2016 plastic, foam, hot glue
“Using natural and unnatural found objects including sticks, shells, plastic bottles and drinking straws sourced from my local beach, my work depicts the littoral line up of introduced plants and weeds that have quietly invaded the fragile sand dunes and cliffs near my home at Willunga Beach.”
'the necklace' 2017 Jo Wilmot in collaboration with Njiree Paroolitilpa vintage MOP beads, silk, poem
“Njiree’s poems and the beaded Mother of Pearl string figure weave the vital message about our connectedness to the living beings that are the oceans, rivers and lakes with the indigenous connection to country and family past, present and future.
Like the protective layering of nacre and lustre that creates a pearl, story, poem, friendship and connections grew around this bead project to honour the hope we share in an adaptive and positive future.”
“An old tyre filled with tube-worm casings, collected from an exposed lake bed, testifies to the heart-breaking destruction of the natural environment near my home on the Fleurieu peninsula.
A fragile vessel of Melaleuca bark from remnant trees which once grew profusely along the lake shore, holds tiny seeds of hope.”
Sam Mulcahy 'Tetnesteii Riomortis' 2018 rio rod, guttering, brass, zincalume
“The Genome of plants dubbed Tetnesteii which thrived roughly half way through the Earth’s timeline, evolved from discarded materials of a long extinct race of beings that chocked the Earth for a short disruptive period. They seem not to need to photosynthesise to thrive, nor do they require nutrients from rotting plant matter, but gained sustenance from the seemingly infinite waste these humans produced.”
Evette Sunset ‘365 days of string’ 2018 suspended hand made strings made from plant materials
“Each string is unique. A visual poem, a textural compendium. A page of knowledge gleaned from time spent steeped in the heart of attention to nature. A leaf from the book of continuity, threaded back to ages when the fields, ditches, forests and wildlands were filled with useful and beautiful plants, whose names and properties people knew, as they wove them into their daily lives.”
Annabelle Collett ‘another green world dress’ 2018 vintage fabric, trimmings, buttons, paint.
“This work is about displacement, change and distress. I ask, what part of society feels the loss, when the love of a place is eroded by change, when the destruction causes so much pain?”
Jo Wilmot 'aquanimous solution' 2018 galv tank, mirror, water, antique IV bottle, Hanley's River Snail
“The changing shape and composition of waters has had a ripple effect on the lives of most in the lower lakes region. Moving water and light, taps into the innate instinct to connect natural rhythm and movement with mind, body and emotion. Embedded in this biophilic response is a sense of longing for the healing alliances that will ensure the future of this life giving resource. The health of our rivers, lakes, estuaries, and coastal waters, and the life they support are inextricably linked.”