The Jewellery Image, 2013. The Herbert Read Gallery, Canterbury.

The Jewellery Image, 2013. The Herbert Read Gallery, Canterbury.



The Jewellery Image

Among the visual catalogue of jewellery images available in the commercial field, a subconscious and often detached relationship is established between the representational image and that of the viewer or consumer. By considering the affective properties of craft-as-image has led this study to uncover a narrative that investigates the relationship between makers, object and craft image. Consideration has been made of how this chronological process, from designing through to documentation, can be perceived and understood by the viewer. 

This project uses alternative presentational methods in the form of an audio recording to depict a personal anecdote or aspect of the making process that is not evident in the replication of promotional imagery. The material for this investigation was gathered by requesting the participation of a select number of contemporary jewellers. These were drawn from jewellers exhibiting in various London galleries through the months of July and August 2011.  Each jeweller was asked to submit an image of their work in digital format, plus a written text of between 10–500 words. The call for submissions was designed to gain a collection of stories in association with the image provided by the jeweller. It aimed to provide a personal insight into the design, making, wearing or documentation process experienced by the jeweller in relation to the photographed object

The audio stream aims to present the jeweller’s text not only in an alternative format but also as a means by which to reinterpret the narrative. This was done by using the skills of a voiceover artist adopting a range of vocal styles and accents, alongside a selection of volunteers from alternative professions. This device is intended to introduce a new layer of meaning and additional characteristics to the submitted narrative, thus establishing a narrative trail from the original image, through the description submitted by the jeweller, to its display. Each step provides an alternative interpretation that is symbolic of the varying attitudes, opinions and conclusions applied to a mass-produced image as it circulates in the public sphere. 


A special thanks to Lynne MacLachlanVicki Ambery-Smith, Zoe RobertsonSato MichihiroMaud TraonJoanne Haywood and Lisa Walker.