Material Landscape.

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Front cover and above: Spoil-tip waste layers have oxidised over time at Gawton, Bere Peninsula.Front cover and above: Spoil-tip waste layers have oxidised over time at Gawton, Bere Peninsula.

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Plymouth University module MAD03.Plymouth University module MAD03.September 2014.September 2014.Report accompanying exhibition of jewellery. Report accompanying exhibition of jewellery. Maria Whetman.Maria Whetman.

Practice-based ProjectPractice-based ProjectReport.Report.

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Next to the copper and arsenic tailings at Wheal Anna Maria.Next to the copper and arsenic tailings at Wheal Anna Maria.

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Plymouth University module MAD03.Plymouth University module MAD03.September 2014.September 2014.Report accompanying exhibition of jewellery. Report accompanying exhibition of jewellery. Maria Whetman.Maria Whetman.

Practice-based ProjectPractice-based ProjectReport.Report.

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Next to the copper and arsenic tailings at Wheal Anna Maria.Next to the copper and arsenic tailings at Wheal Anna Maria.

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6 6 AbstractAbstract77 Temporal Backdrop Temporal Backdrop1111 When Jewellery speaks of When Jewellery speaks of place place1212 On Process On Process2828 Archetypes Archetypes

ContentsContents

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58 58 ConclusionConclusion6868 On site On site7474 References & Bibliography References & Bibliography7676 Acknowledgements Acknowledgements

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IntroductionIntroduction

a body of work onriginating in a site-a body of work onriginating in a site-specific locality that can evolve into aspecific locality that can evolve into acollection of jewellery identifying with thecollection of jewellery identifying with theheritage of the site in an original andheritage of the site in an original andinteresting manner. It questions andinteresting manner. It questions andsearches for an ‘essence’ that explicitlysearches for an ‘essence’ that explicitlydefines the mining district of the Westdefines the mining district of the WestDevon and Tamar Valley region and dealsDevon and Tamar Valley region and dealswith this through an exploration ofwith this through an exploration ofmaterials and processes.materials and processes.

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bstract. This project proposesbstract. This project proposes

The work is informed by a methodology that builds upon:The work is informed by a methodology that builds upon:

* * Archetypal forms, patterns and textures presented as a visual taxonomy ofArchetypal forms, patterns and textures presented as a visual taxonomy ofelements.elements.

* * Relationships between several elements and the way jewellery can be used toRelationships between several elements and the way jewellery can be used toillustrate/create aspects of human activity with materials given of the landscape.illustrate/create aspects of human activity with materials given of the landscape.My specific interests within the creative process are geological processes ofMy specific interests within the creative process are geological processes ofstratification and subsequent layered depositional re-sculpting of layers by man. Thesestratification and subsequent layered depositional re-sculpting of layers by man. Thesecan be linked to the idea of ‘solidification’ of memory defined by the span betweencan be linked to the idea of ‘solidification’ of memory defined by the span betweenHolocene and Anthropocene eras, which I unearth through process, to create aHolocene and Anthropocene eras, which I unearth through process, to create amnemonic or re-interpretation through the focus on connecting ‘elements’ throughmnemonic or re-interpretation through the focus on connecting ‘elements’ throughadditive, reductive, extractive and re-assembling techniques.additive, reductive, extractive and re-assembling techniques.

Image above: sulphates encrusted on remains of calciner at Wheal Anna Maria.Image above: sulphates encrusted on remains of calciner at Wheal Anna Maria.

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Adit outflow has cut through earth revealing layers of detritus with accumulated copper nitrate.Adit outflow has cut through earth revealing layers of detritus with accumulated copper nitrate.

Temporal BackdropTemporal BackdropThe work presented in the exhibition for my final report shows a heuristic approachThe work presented in the exhibition for my final report shows a heuristic approachtowards the use of materials and processes in illustrating the enduring connectionstowards the use of materials and processes in illustrating the enduring connectionsbetween landscape, materials and man. Growing up myself in the industrial South Wales ofbetween landscape, materials and man. Growing up myself in the industrial South Wales ofthe 1970’s amongst a family rooted in the Steel production industry of blast furnaces,the 1970’s amongst a family rooted in the Steel production industry of blast furnaces,rolling mills, cooling ponds and spoil tips, I am often captivated by the piles of materials,rolling mills, cooling ponds and spoil tips, I am often captivated by the piles of materials,remnants of structures and works which now define much of our aborted industrial history.remnants of structures and works which now define much of our aborted industrial history.Almost always there are the heaps of unwanted material all about, the world turned insideAlmost always there are the heaps of unwanted material all about, the world turned insideout, an ‘opposite mirror’ of the layered contents beneath and around us. Underfoot liesout, an ‘opposite mirror’ of the layered contents beneath and around us. Underfoot liesthe collapsed edifices of these places which housed the means of extraction andthe collapsed edifices of these places which housed the means of extraction andrefinement, themselves now nothing more than raw materials created from matterrefinement, themselves now nothing more than raw materials created from matterextracted from some other place which reflects this oneextracted from some other place which reflects this one� and so the cycle continues. and so the cycle continues.

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Centring on theCentring on thearchetypally historicarchetypally historicform of the bead form of the bead asasan elementan element which whichencapsulates theencapsulates therelationships underrelationships underexploration, I amexploration, I amattempting toattempting tojuxtapose culturaljuxtapose culturalinformation, originsinformation, originsof material andof material andmanufacture intomanufacture intoportable objectsportable objectswhich can bewhich can beviewed asviewed asornamentalornamentalexpressions or asexpressions or as

statement ofstatement ofcommitment to acommitment to alocality or culturallocality or culturalheritage uponheritage uponwhich a new futurewhich a new futureis being built. Theis being built. Thematerials I havematerials I haveused within theused within thebead elements andbead elements andhowhow they are used they are usedare as muchare as muchconcomitant withconcomitant withplace as the bones,place as the bones,nuts and shells ofnuts and shells ofthe earliest beadsthe earliest beadswhich identify theirwhich identify theirindigenous roots.indigenous roots.11

Group of stoneGroup of stoneremnants (possiblyremnants (possibly

lintels) from thelintels) from thebuildings which oncebuildings which once

lined New Quay onlined New Quay onthe Tamar.the Tamar.

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The role of theThe role of thejewellery producedjewellery producedfor this exhibitionfor this exhibitionis that of a startingis that of a startingpoint forpoint forparticipation inparticipation inregeneration andregeneration andreinvention of thereinvention of thearea in which I nowarea in which I nowlive. Jewellery haslive. Jewellery hasthe ability to unitethe ability to unitetradition andtradition andmodernity,modernity,reconciling thereconciling thewealth of our pastwealth of our pastwith the optimismwith the optimismand innovation ofand innovation ofthe future. Asthe future. Aspointed out bypointed out byHelen Carnac:Helen Carnac:

The making of objects The making of objectscomes from positions of deepcomes from positions of deepknowledge of material andknowledge of material andprocesses, with a heightenedprocesses, with a heightenedawareness of detailed materialawareness of detailed materialmanipulation, social practicesmanipulation, social practicesand locale. The process ofand locale. The process ofdoing something is a livingdoing something is a livingthing that might not be pinnedthing that might not be pinneddown – it comes into beingdown – it comes into beingover time and isn’t static. Theover time and isn’t static. Themade object isn’t necessarilymade object isn’t necessarilythe end point, but isthe end point, but isnonetheless important.nonetheless important.� 22

Broken brick factory atGawton. Materialsreturning back to theearth.

I agree with Carnac in that these are coreI agree with Carnac in that these are corevalues which apply to a hand-maker ofvalues which apply to a hand-maker ofjewellery as much as they do tojewellery as much as they do tomanufactured objects where the endmanufactured objects where the endfunction may have a more obviously directfunction may have a more obviously directand beneficial impact on the user. Jewelleryand beneficial impact on the user. Jewelleryand human interaction are inseparable andand human interaction are inseparable andincreasingly written about in contemporaryincreasingly written about in contemporaryjewellery discourse, however it is thejewellery discourse, however it is themateriality and making at the foundationsmateriality and making at the foundationsof this relationship which I seek to use asof this relationship which I seek to use asagent.agent.

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t could be argued that ‘landscape’ as at could be argued that ‘landscape’ as aconcept linked with materiality, is anconcept linked with materiality, is anentirely artificial notion constructed byentirely artificial notion constructed bythose who are detached from it; those of usthose who are detached from it; those of uswho are not miners, quarrymen, metalwho are not miners, quarrymen, metalrefiners. This detachment allows us torefiners. This detachment allows us todevelop an aesthetic appreciation of thedevelop an aesthetic appreciation of thesylvan encroachment of many of oursylvan encroachment of many of ourabandoned industrial sites, though whereasabandoned industrial sites, though whereashistorically this viewpoint has served tohistorically this viewpoint has served toprovide many classical painters such asprovide many classical painters such asTurner with symbolic source material forTurner with symbolic source material foridealized idylls idealized idylls 3,3, our modern-day society our modern-day societywith its freedom from indentured workingwith its freedom from indentured workingof the land allows us to re-focus on theof the land allows us to re-focus on thevisible attributes of the place, re-purpose itvisible attributes of the place, re-purpose itfor the future and build upon its distinctivefor the future and build upon its distinctivequalities. This is the case in the Tamar Valleyqualities. This is the case in the Tamar Valleywhere the physical and cultural landscape iswhere the physical and cultural landscape isrevealing its revealing its �sedimented historysedimented history�44 to the to theinhabitants and increasing numbers ofinhabitants and increasing numbers ofvisitors in new and sustainable ways;visitors in new and sustainable ways;through its visitor centres, film festivals,through its visitor centres, film festivals,living museums, television showsliving museums, television shows,5,5UNESCO and AONB status and evenUNESCO and AONB status and evenoutdoor sporting and leisure attractions outdoor sporting and leisure attractions

which exist because of the cut inclinewhich exist because of the cut inclineplanes, panoramic spoil heaps,planes, panoramic spoil heaps,reforestation, lime kilns, furnaces, adits andreforestation, lime kilns, furnaces, adits andchimneys. This idea of reconnectingchimneys. This idea of reconnectinglandscape with people through practicallandscape with people through practicalapplications within the context of theapplications within the context of thecultural heritage can also manifest itself incultural heritage can also manifest itself injewellery. An exhibition of jewellery canjewellery. An exhibition of jewellery canreference the geologic phenomena of areference the geologic phenomena of alocation and serve to draw a more involvedlocation and serve to draw a more involvedinterest in the place, either through ainterest in the place, either through a‘sideways’ educational context where for‘sideways’ educational context where forexample, young people may learnexample, young people may learnprocesses of making which have directprocesses of making which have directrelevance to the place and its materialrelevance to the place and its materialcontent, giving them an alternativecontent, giving them an alternativeviewpoint of their heritage, or byviewpoint of their heritage, or byintroducing modernity throughintroducing modernity throughcontemporary marketable goods.contemporary marketable goods.

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When jewellery speaks of placeWhen jewellery speaks of place

Clockw ise from top left:Han-Chieh Chuang, JHan-Chieh Chuang, J(2013-14) Brooch:(2013-14) Brooch:From the red brickFrom the red brickseries. Lacomba, Mseries. Lacomba, M(2013) Brooch: From(2013) Brooch: Fromthe Impossiblethe ImpossibleLandscape series.Landscape series.Hart, M. (2011)Hart, M. (2011)Brooch: Vermutung.Brooch: Vermutung.Junger, H (1980)Junger, H (1980)Necklace: Scrap ofNecklace: Scrap ofsteel.steel.

Recently, some jewelleryRecently, some jewelleryartists and designers haveartists and designers havebeen focusing on thesebeen focusing on theseindustrial and urbanindustrial and urbanwastelands, where depressedwastelands, where depressedenvironments provideenvironments providestimulation in the form ofstimulation in the form oftexture compositions collagedtexture compositions collagedagainst graduations of greyagainst graduations of greywith occasional accents ofwith occasional accents ofrust, brick, and watery teal orrust, brick, and watery teal orcorroded orange. Hermancorroded orange. HermanJunger made jewellery whichJunger made jewellery whichexpressed his perceivedexpressed his perceivedqualities of beauty inqualities of beauty indiscarded materials and founddiscarded materials and foundfragments. Rather than aboutfragments. Rather than aboutany place or material inany place or material inparticular, his expressions inparticular, his expressions injewellery form and morejewellery form and more

pertinently, the discards whichpertinently, the discards whichthey reference, point out tothey reference, point out tous that there is;us that there is;�no less value or standingno less value or standing[in them] than some[in them] than someexpensively workedexpensively workedartefact made of the mostartefact made of the mostcostly materials –costly materials –provided of course thatprovided of course thateach possesses the powereach possesses the powerand expressiveness of aand expressiveness of afully accomplished formfully accomplished form� 66

These pieces could beThese pieces could beconsidered as allegories forconsidered as allegories forplaces real, remembered orplaces real, remembered oridealised, where the idea ofidealised, where the idea ofjewellery as traditionaljewellery as traditionalornament has been fragmentedornament has been fragmentedand abstracted. On one handand abstracted. On one handthey point at ruins which alludethey point at ruins which alludeto former prosperity andto former prosperity andsuccess, whilst on the othersuccess, whilst on the otherhand they function as mementohand they function as mementomori to the fleeting quality ofmori to the fleeting quality ofhuman success in stark contrasthuman success in stark contrastto our seemingly agelessto our seemingly agelesssurroundings. The jewellery Isurroundings. The jewellery Ihave produced attempts tohave produced attempts toemphasise the validity of theemphasise the validity of theTamar Valley area as a placeTamar Valley area as a placewhich though once abandonedwhich though once abandonedin favour of more cost effectivein favour of more cost effectiveproducers of materials andproducers of materials andservices, is now a source of newservices, is now a source of newideas and new interpretations. ideas and new interpretations.

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icholas icholasBourriaud’sBourriaud’sconcept ofconcept of‘Relational‘RelationalAesthetics’ as Aesthetics’ as �an art takingan art takingas its theoreticalas its theoreticalhorizon the realmhorizon the realmof humanof humaninteractions and itsinteractions and itssocial contextsocial context�� 77 supports mysupports myintentions for usingintentions for usingjewellery as anjewellery as anages old device toages old device toact as metaphor foract as metaphor forthe constantlythe constantlyshifting economyshifting economywhich draws itswhich draws itslifeblood from thelifeblood from thetrading of objects,trading of objects,services, materialsservices, materialsand ultimately theand ultimately thelandscape, as welllandscape, as wellas for theas for therelationshipsrelationships

between wearerbetween wearerand landscape,and landscape,utilising ancientutilising ancientmaterials such asmaterials such asTin which was firstTin which was firstworked intoworked intojewellery morejewellery morethan 6000 yearsthan 6000 yearsago. As perago. As perBourriaud’sBourriaud’sconcept, theconcept, theJewellery here isJewellery here isproduced underproduced underthe umbrella ofthe umbrella ofthreethreefundamentals:fundamentals:conceptualconceptual works workswhich are which are relatedrelatedtoto ideas, works ideas, workswhich conveywhich conveyhuman interactionshuman interactionsupon theupon thelandscape andlandscape andworks which referworks which referto jewellery asto jewellery asbeing one of thebeing one of theultimate, purposelyultimate, purposelydesigned,designed,relational objects.relational objects.

In short, there is aIn short, there is atriangulartriangularrelationshiprelationshipbetween landscapebetween landscape: jewellery : wearer.: jewellery : wearer.However, GrahamHowever, GrahamHarman contradictsHarman contradictsthis with histhis with hisenquiries onenquiries on‘Object Oriented‘Object OrientedOntology’ wherebyOntology’ wherebyhe criticises thehe criticises thenotion that;notion that;

....a correlation between thought ....a correlation between thoughtand beingand being, [is], [is] such that the reality such that the realityof anything outside of thisof anything outside of thiscorrelation is unknowable.correlation is unknowable.� 88

On ProcessOn Process

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My personal outlook is that, as well as opposing each other in concepts, there are someMy personal outlook is that, as well as opposing each other in concepts, there are someaspects between both which I feel are shared, the most important being that;aspects between both which I feel are shared, the most important being that; �....all object relations, human and nonhuman, are said to exist on equal ontologicalall object relations, human and nonhuman, are said to exist on equal ontologicalfooting with one anotherfooting with one another�. . 99

So what do these objects produced, have to do with So what do these objects produced, have to do with placeplace? As highlighted in the? As highlighted in theprecursor work to this report, the Tamar Valley carried varying sized deposits of Tin,precursor work to this report, the Tamar Valley carried varying sized deposits of Tin,Copper, Iron, Mica, Silver and other source materials. To a lesser extent, most of theseCopper, Iron, Mica, Silver and other source materials. To a lesser extent, most of thesematerials still manifest themselves within tour surrounding today, as demonstrated in mymaterials still manifest themselves within tour surrounding today, as demonstrated in myprevious body of work where I learned to recognise Cassiterite in this landscape, thenprevious body of work where I learned to recognise Cassiterite in this landscape, thenprocessed and refined the mineral into raw tin for appropriation into jewellery designs.processed and refined the mineral into raw tin for appropriation into jewellery designs.

Tin Nugget earrings and tin, tourmaline, quartz, copper and pyrite ring.Tin Nugget earrings and tin, tourmaline, quartz, copper and pyrite ring.

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The use of pure tin is a constant in thisThe use of pure tin is a constant in thisfollow-up body of work, where the metalfollow-up body of work, where the metalacts as keynote through-out the designacts as keynote through-out the designprocess, supplying the means in which toprocess, supplying the means in which tocontinue the conversation betweencontinue the conversation betweenmaking and the place. This materialmaking and the place. This materialresounds with the history of its use inresounds with the history of its use inpure form in early jewellery as well as apure form in early jewellery as well as acritical Bronze alloy, my aim is to givecritical Bronze alloy, my aim is to giveback to this material its identity as an end-back to this material its identity as an end-use material in its own right. Pure Tinuse material in its own right. Pure Tinmetal is non-toxic to the skin, resistsmetal is non-toxic to the skin, resistsoxidisation, has the luxurious weightyoxidisation, has the luxurious weightyquality and bright sheen of prestigequality and bright sheen of prestigejewellery, does not have the productionjewellery, does not have the productioncosts of more valuable silver and is easilycosts of more valuable silver and is easilyrecycled back into stock material. I wantrecycled back into stock material. I wantto highlight the value of this material as ato highlight the value of this material as adistinct jewellery medium and of thedistinct jewellery medium and of thelandscape from which it came.landscape from which it came.Experimentation with tin in an effort toExperimentation with tin in an effort toregain integrity of its primal state hasregain integrity of its primal state hasbeen a crucial part of the making process,been a crucial part of the making process,whereby the tin has been subjected towhereby the tin has been subjected torolling, forming, casting techniques,rolling, forming, casting techniques,interventions during cooling, crushinginterventions during cooling, crushingand embossing. Overly heavy designsand embossing. Overly heavy designshave to be avoided, yet thinner than ahave to be avoided, yet thinner than acertain gauge and the soft flex of thecertain gauge and the soft flex of thematerial leads to unwelcome distortion.material leads to unwelcome distortion.Deliberate and intentional distortion isDeliberate and intentional distortion isjust one quality of the material that needsjust one quality of the material that needsfurther investigation at a future date.further investigation at a future date.The copper, iron and mica content of theThe copper, iron and mica content of thepieces discussed, arrive at the workshoppieces discussed, arrive at the workshopin the form of loose dust, so the questionin the form of loose dust, so the questionof how to unite these materials in aof how to unite these materials in ameaningful manner was the first issue tomeaningful manner was the first issue toaddress, how could these materialaddress, how could these materialingredients work together with theingredients work together with thecontent collected through photographycontent collected through photographyof the sites? of the sites?

An intensive investigation of materialsAn intensive investigation of materialspreceded the need for a definitivepreceded the need for a definitiveselection to be made from the collectedselection to be made from the collectedvisual information, and required that avisual information, and required that aformat be devised which would act as aformat be devised which would act as aset of ‘instructions’ generating designsset of ‘instructions’ generating designswhich conveyed more than aestheticwhich conveyed more than aestheticresponse. response. I began by subjecting the archive of siteI began by subjecting the archive of sitevisit photographs to a ‘linearvisit photographs to a ‘lineartransformation’ using Photoshoptransformation’ using Photoshopsoftware, in order that the initial subjectsoftware, in order that the initial subjectof my original focus in each photo (theof my original focus in each photo (theform, the surface pattern  or the edge ofform, the surface pattern  or the edge ofthe thing) could be extracted out fromthe thing) could be extracted out fromthe rest of the image content. Bythe rest of the image content. Byconverting the remaining imagery intoconverting the remaining imagery intoblack and white line, the uniformityblack and white line, the uniformityallowed me to see only what I requiredallowed me to see only what I requiredwithout distraction; a device by which Iwithout distraction; a device by which Icould filter out all other ‘content’. could filter out all other ‘content’.

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Through this process, this view,Through this process, this view,

instead becomes this,instead becomes this,

allowing me to see beyond the rock-faceallowing me to see beyond the rock-faceand towards a series of orderly, scoredand towards a series of orderly, scoredsegments surrounded by haphazard,segments surrounded by haphazard,fractured texture.fractured texture. The same process was used to establish aThe same process was used to establish acolour palette of surfaces which capturedcolour palette of surfaces which capturedthe flavour of the places, but in this case itthe flavour of the places, but in this case itwas the linear definition that waswas the linear definition that wassubtracted. In combination with the imagessubtracted. In combination with the imagesand colour palette, I collated a selection ofand colour palette, I collated a selection ofdesign-based words consisting ofdesign-based words consisting ofadjectives and verbs to act as ‘prompts’adjectives and verbs to act as ‘prompts’which could instruct and inform my next which could instruct and inform my next

moves, the intention being to providemoves, the intention being to provideemphasis on an aspect of the visuals.emphasis on an aspect of the visuals.Finally, an amount of cards was producedFinally, an amount of cards was producedwhich in conjunction with a dry-wipe pen,which in conjunction with a dry-wipe pen,could serve for rapid recording of initialcould serve for rapid recording of initialdesign ideas.design ideas.

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"Material Landscape" kit of cards, incoporating dry-wipe note cards and pen."Material Landscape" kit of cards, incoporating dry-wipe note cards and pen.

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The Material Landscape toolkit of cardsThe Material Landscape toolkit of cardsare utilised in the following manner:are utilised in the following manner: 1. Start with the monochromatic image1. Start with the monochromatic imagecards and select one which draws ancards and select one which draws animmediate interest, followed perhaps byimmediate interest, followed perhaps bymore cards which partner well with it.more cards which partner well with it.2. Keeping in view the previously selected2. Keeping in view the previously selectedimage cards, read through the design-image cards, read through the design-words cards and select out those whichwords cards and select out those whichhave an immediate, perceived connectionhave an immediate, perceived connectionwith the images.with the images.3. As the card combinations are selected3. As the card combinations are selectedand partnered, ‘instructions’ forand partnered, ‘instructions’ forapplication to the combinations come toapplication to the combinations come tomind swiftly and it is at this point thatmind swiftly and it is at this point thatnotes are made on the blank cards with thenotes are made on the blank cards with thedry wipe pen.dry wipe pen.4. Colour or tonal palettes may be implied4. Colour or tonal palettes may be impliedor additionally selected due to theiror additionally selected due to theirrelevance to the images chosen, theirrelevance to the images chosen, theirrelationship to the materials that could berelationship to the materials that could beused in making or their connection to theused in making or their connection to thelocation from which the images derive.location from which the images derive.5. A photograph is taken of the completed5. A photograph is taken of the completedset for documentation and reference atset for documentation and reference atthe workbench.the workbench.6. The note cards are then wiped clean and6. The note cards are then wiped clean andthe decks of cards are shuffled.the decks of cards are shuffled.7. The process is repeated.7. The process is repeated.

Cards selected: Cards selected: COMPOSITION:  representative outlines,COMPOSITION:  representative outlines,seeing parts as a whole. PATTERN:seeing parts as a whole. PATTERN:recurring design on the surface ofrecurring design on the surface ofundulations/ irregularity. JOIN: the wayundulations/ irregularity. JOIN: the wayelements are attached together. elements are attached together. The immediate thoughts which occurredThe immediate thoughts which occurredregarding the meanings of the words,regarding the meanings of the words,were about how they apply to the processwere about how they apply to the processwhich created the landscape in the firstwhich created the landscape in the firstplace, processes undertaken byplace, processes undertaken bymechanical means upon the results ofmechanical means upon the results ofgeological forces and in so doing togeological forces and in so doing todevelop a set of brief making instructions;develop a set of brief making instructions;* Fractured, shattered crumbs of crushed* Fractured, shattered crumbs of crushedmaterial, re-embedded into new material.material, re-embedded into new material.* Sliced. Stacking together into repeat* Sliced. Stacking together into repeatslices to make a new whole.slices to make a new whole.* Contour, create marginally different* Contour, create marginally differentwidth and depths to lay down a newwidth and depths to lay down a newsurface dynamic when all individualsurface dynamic when all individualsegments are together.segments are together.

this, becomesthis, becomesthis.this.

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This page and opposite page:This page and opposite page:Playing the cards. SketchingPlaying the cards. Sketchingout ideas generated from theout ideas generated from thenotes.notes.

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No longer seeing a scored vertical rock-face, instead the visualNo longer seeing a scored vertical rock-face, instead the visualinformation prompted my thoughts towards the stacking or repeatedinformation prompted my thoughts towards the stacking or repeatedshapes, which compelled me to turn the card around. Quick sketchingshapes, which compelled me to turn the card around. Quick sketchingbuilt upon these early thoughts and developed into ideas aroundbuilt upon these early thoughts and developed into ideas aroundindividual slabs of material, loosely stacked / threaded together. individual slabs of material, loosely stacked / threaded together. The resulting sketches for initial designs in jewellery, required that aThe resulting sketches for initial designs in jewellery, required that a‘material’ be developed from which the designs could be produced.‘material’ be developed from which the designs could be produced.The material would bring in to play the site relevant materialsThe material would bring in to play the site relevant materialshighlighted earlier and would unite the processes applied to the rock-highlighted earlier and would unite the processes applied to the rock-face, with the stacked, slush-cast tin forms created for the previousface, with the stacked, slush-cast tin forms created for the previousproject project 1010. The material itself would then be created in layers, as if. The material itself would then be created in layers, as ifdeposited over time and would be exposed to the jewellery benchdeposited over time and would be exposed to the jewellery benchprocesses which best emulated, described or illustrated those of theprocesses which best emulated, described or illustrated those of thereality which created that aspect of the visited site. First, a mould hadreality which created that aspect of the visited site. First, a mould hadto be made in which the material could be cast up into its layers. Forto be made in which the material could be cast up into its layers. Forbest use of time, a series of moulds were made at the same time inbest use of time, a series of moulds were made at the same time inwhich slabs and blocks could be cast into solid, useable material. Thiswhich slabs and blocks could be cast into solid, useable material. Thismaterial would be further imbued with embossed surfaces which almostmaterial would be further imbued with embossed surfaces which almostimperceptibly describe the actions of those who worked theimperceptibly describe the actions of those who worked thelandscape. Selected digital images were defined in Photoshop thenlandscape. Selected digital images were defined in Photoshop thenetched into copper plates which went into the masters around whichetched into copper plates which went into the masters around whichrubber moulds were cast.rubber moulds were cast.

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Clockw ise from top left: Etch resist transfer images taken from the cards toolkit are in position on copper plate. Copper plates afteretching. Mould is ready for pouring the rubber which w ill become a master mould. Rubber mould prior to dismantling.

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With the moulds completed, the next stage was to build up the strata, each layerWith the moulds completed, the next stage was to build up the strata, each layerconsisting of dusts of either, copper, iron, mica or tin filings suspended in resin asconsisting of dusts of either, copper, iron, mica or tin filings suspended in resin asthe containing medium.the containing medium.

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Slabs were cast and allowed to set before being subjected to some of the processesSlabs were cast and allowed to set before being subjected to some of the processesobserved as imprinted in the landscape during site visits. Repetition of appliedobserved as imprinted in the landscape during site visits. Repetition of appliedlayers, drilling, scoring, gouging. The slabs were cut up into ingots, then some oflayers, drilling, scoring, gouging. The slabs were cut up into ingots, then some ofthese were crushed into chunks, fragments and dust before re-embedded intothese were crushed into chunks, fragments and dust before re-embedded intosubsequent layers.subsequent layers.

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3D ‘map-forms’3D ‘map-forms’1111 created for the previous project were slush cast in tin, as created for the previous project were slush cast in tin, asbefore. Structures and remnants of structures captured throughbefore. Structures and remnants of structures captured throughphotography, were refined down and captured in Adobe Illustrator, in aphotography, were refined down and captured in Adobe Illustrator, in amanner similar to that which allowed the development of the Materialmanner similar to that which allowed the development of the MaterialLandscape cards toolkit. The Illustrator files were then cut on a laser cutterLandscape cards toolkit. The Illustrator files were then cut on a laser cutterfrom scraps of Perspex, which then became masters for further tin casts.from scraps of Perspex, which then became masters for further tin casts.The cast tin shapes were embossed with the etched copper plates addingThe cast tin shapes were embossed with the etched copper plates addinganother chapter of the story on to the existing material, before beinganother chapter of the story on to the existing material, before being

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folded and bent at angles which echoed their original sources. Finally, thefolded and bent at angles which echoed their original sources. Finally, thetin casts and broken rubble of the strata-slabs, were re-captured into newtin casts and broken rubble of the strata-slabs, were re-captured into newblocks and slabs, interspersed with fresh layers of copper leaf, copperblocks and slabs, interspersed with fresh layers of copper leaf, copperdust, iron dust, mica dust, tin dust. The swarf, filings and dust created bydust, iron dust, mica dust, tin dust. The swarf, filings and dust created bythe band-sawing and hand-cutting of the initial slabs, was alsothe band-sawing and hand-cutting of the initial slabs, was alsoreintegrated into the production of the fresh material.reintegrated into the production of the fresh material.

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The repeatable nature of moulds and casts allows for a fixed structure of procedures whichThe repeatable nature of moulds and casts allows for a fixed structure of procedures whichdemonstrate a cyclical and constantly changing emphasis on whichever material or set ofdemonstrate a cyclical and constantly changing emphasis on whichever material or set oflayers I choose. A large quantity of material in the form of blocks and slabs can be producedlayers I choose. A large quantity of material in the form of blocks and slabs can be producedsimultaneously dependant on the quantity of moulds available, while the contentsimultaneously dependant on the quantity of moulds available, while the contentincorporated within the material blocks and slabs can vary in expression by way of the depthincorporated within the material blocks and slabs can vary in expression by way of the depthand quantity of individual strata, the pattern of placement and combination of content.and quantity of individual strata, the pattern of placement and combination of content.These materials, now ready for translating into works, try to achieve a universality whichThese materials, now ready for translating into works, try to achieve a universality whichpervades across the collection of designs to follow.pervades across the collection of designs to follow.

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ArchetypesArchetypes

Nuggets cut straight from the slab and prior to finishing. To the left is a nugget that has been polished to allow natural light toNuggets cut straight from the slab and prior to finishing. To the left is a nugget that has been polished to allow natural light toilluminate the interior as if it were a gem.illuminate the interior as if it were a gem.

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n Jos, Africa, prehistoric n Jos, Africa, prehistorictin-working sites havetin-working sites havebeen found to containbeen found to containevidence of evidence of �smeltedsmelted�(cast) tin beads in the form(cast) tin beads in the formof cowrie shells of cowrie shells 1212. The. Therepresentational qualitiesrepresentational qualitiesof the tin were perhapsof the tin were perhapsused in this case to alludeused in this case to alludeto the value of cowrieto the value of cowrieshell beads which areshell beads which arebelieved to have beenbelieved to have beenused as currency inused as currency inancient times. Whetherancient times. Whetherthe tin cowries were usedthe tin cowries were usedas currency themselves, asas currency themselves, asa means of communicatinga means of communicatingsome other concept or assome other concept or aspurely adornment, is notpurely adornment, is notknown, but the bead as anknown, but the bead as anarchetypal form witharchetypal form withcultural connotations is acultural connotations is avehicle of expression forvehicle of expression forthis exhibition. Similar tothis exhibition. Similar tothe preservation processthe preservation processoccurring in geologicoccurring in geologiclayers of naturallylayers of naturallyoccurring or artificialoccurring or artificialdeposits, the layers in thedeposits, the layers in thebeads aim to revealbeads aim to revealthemselves upon scrutiny,themselves upon scrutiny,like long lost objects fromlike long lost objects fromthe past. The form takenthe past. The form takenby the beads however,by the beads however,does not relate to anydoes not relate to anyformal language structure,formal language structure,but instead alludes to thatbut instead alludes to thatof an uncut gem, prior toof an uncut gem, prior totaking on the identity oftaking on the identity of

jewel. As craftsmen andjewel. As craftsmen andnow machine havenow machine havemastered the art ofmastered the art ofgemstone carving to bestgemstone carving to bestreveal the qualities of areveal the qualities of agem, I aimed to make mygem, I aimed to make mycuts with band-saw andcuts with band-saw andhandsaw based onhandsaw based ondecisions relating directlydecisions relating directlyto the internalto the internalcomposition to becomposition to berevealed. Choices of shaperevealed. Choices of shapeand scale were madeand scale were madedependent upon thedependent upon thematerial itself. material itself. The Material LandscapeThe Material Landscapetoolkit cards were used intoolkit cards were used inseveral rounds to presentseveral rounds to presenta palette of ideas, so thata palette of ideas, so thatthe pre-determinedthe pre-determinedtemplate of a visual ideatemplate of a visual ideapervading the mind, ispervading the mind, iscircumnavigatedcircumnavigatedaltogether. The digitallyaltogether. The digitallyaltered images inaltered images inconjunction with theconjunction with thedesign prompts that leaddesign prompts that leadinto rough instructions,into rough instructions,support and inform eachsupport and inform eachother towards final pieces.other towards final pieces.

Top: Early cuts resultedTop: Early cuts resultedin slices being too thinin slices being too thin

and unstable.and unstable.Bottom: Later cutsBottom: Later cuts

resulted in more solidresulted in more solidand robust forms.and robust forms.

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luster Pendant, luster Pendant,Rock Earrings, IngotRock Earrings, Ingotnecklace and Nuggetnecklace and Nuggetnecklaces, all articulatenecklaces, all articulatethe simple beauty ofthe simple beauty ofmaterials laid down on-materials laid down on-top of each other overtop of each other overtime and interspersedtime and interspersedwith ‘events’ of process.with ‘events’ of process.The contained materialsThe contained materialsand events are visible toand events are visible tous in different densitiesus in different densitiesand opacities, the fallingand opacities, the fallingof the iron dust – heavierof the iron dust – heavierthan the other matter –than the other matter –leaves feint traces in theleaves feint traces in thesuspension above itssuspension above itsheavier dark layers, whichheavier dark layers, whichglisten brightly as fineglisten brightly as finelines when dissected, cutlines when dissected, cutand polished. The crushesand polished. The crushes‘rubble’ and flakes of re-‘rubble’ and flakes of re-embedded material givesembedded material givesthe interior a fracturedthe interior a fracturedand crystalline quality,and crystalline quality,evident in the quartzevident in the quartzmatrix which underliesmatrix which underlieslarge swathes of the Tamarlarge swathes of the TamarValley locality. Mica – theValley locality. Mica – thelightest of the materials –lightest of the materials –packs less tightly in itspacks less tightly in itslayers, while the copperlayers, while the copperwhich is evident as anwhich is evident as anearthy brown, stains in aearthy brown, stains in amore evenly graduatedmore evenly graduatedmanner and gleams manner and gleams

brightly orange whenbrightly orange whendissected, cut anddissected, cut andpolished. The tin elementspolished. The tin elementswithin are mirror brightwithin are mirror brightand reflective of us whenand reflective of us whenexposed on the surfaceexposed on the surfaceedges, entirely artificial inedges, entirely artificial intheir constructedtheir constructedpresence. These are thepresence. These are theMaterial LandscapeMaterial LandscapeJewels, they are not realJewels, they are not realjewels, as unlike the real,jewels, as unlike the real,their intrinsic value istheir intrinsic value ismerely a perception thatmerely a perception thatdiffers for each person,differs for each person,but like real jewels of thebut like real jewels of theearth, they are craftedearth, they are craftedobjects and as alluded toobjects and as alluded toby Glen Adamson in by Glen Adamson in TheTheInvention of CraftInvention of Craft;;

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...carried out through repetitive movements ...carried out through repetitive movementswith predictable outcomes, but combined inwith predictable outcomes, but combined invarying ways are unique and never repeatablevarying ways are unique and never repeatablein exact detailin exact detail�..1313

"What follows next are theWhat follows next are therepeated card playsrepeated card playsfollowed by sketchingfollowed by sketching(where produced) and the(where produced) and theresulting jewellery pieces.resulting jewellery pieces.

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Rock Earrings.Rock Earrings.

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Cluster Pendant.Cluster Pendant.

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Ingot and nugget necklaces.Ingot and nugget necklaces.

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Strata SlicesStrata Slices pendant draws directly from the gallery layers cut into the landscape which e pendant draws directly from the gallery layers cut into the landscape which extractsxtractsthe desired materials simultaneously as the sedimented layers of unwanted material accumulate inthe desired materials simultaneously as the sedimented layers of unwanted material accumulate inan aan additivedditive process. These slices are arranged so that the many processes which formed them are process. These slices are arranged so that the many processes which formed them aredirectly visible. Large scale processes employed by skilled craftsmen of an industrial nature aredirectly visible. Large scale processes employed by skilled craftsmen of an industrial nature areturned into individual creative acts on a miniature scale, which develop boundaries between surfaceturned into individual creative acts on a miniature scale, which develop boundaries between surfaceand interior.and interior.

Strata Slices.Strata Slices.

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In the necklace pendant In the necklace pendant �Chimney ClustersChimney Clusters� the theelements of the design have been employed inelements of the design have been employed inpractical and ornamental terms. The long,practical and ornamental terms. The long,tubular chimney forms have potential whichtubular chimney forms have potential whichneed further exploration, but in this exampleneed further exploration, but in this examplelent themselves an immediate role as extendedlent themselves an immediate role as extended‘bead caps’ from which a handful of ‘jewels’ are‘bead caps’ from which a handful of ‘jewels’ aredischarged, their artificiality highlighted by thedischarged, their artificiality highlighted by the‘structural’ wire imitation drawings of their‘structural’ wire imitation drawings of theirproportions. On the surface of the tin ‘chimneys’proportions. On the surface of the tin ‘chimneys’and deliberately not of recognisable origin, areand deliberately not of recognisable origin, areembossed surface textures impressed from theembossed surface textures impressed from theetched plates used in the construction of theetched plates used in the construction of theoriginal moulds, a further layer of story-tellingoriginal moulds, a further layer of story-tellingfor the reader. The tin lends itself well to thefor the reader. The tin lends itself well to theprocess of embossing and impressing. Sheet tinprocess of embossing and impressing. Sheet tinwas created by pouring molten tin into awas created by pouring molten tin into apuddle, when cooled the puddle is rolledpuddle, when cooled the puddle is rolledthrough a rolling mill, again and again until it ofthrough a rolling mill, again and again until it ofa useable gauge. Forming the tin sheet is ata useable gauge. Forming the tin sheet is atonce easy and difficult, easy because of itsonce easy and difficult, easy because of itssoftness, malleability, flexibility and lack of work-softness, malleability, flexibility and lack of work-hardening property, and difficult for the samehardening property, and difficult for the samereasons. Experimentation was necessary inreasons. Experimentation was necessary infinding the right gauge for these forms, butfinding the right gauge for these forms, butwhen finally in place the forms have strength andwhen finally in place the forms have strength andintegrity. The metal has a ‘warm’ quality and theintegrity. The metal has a ‘warm’ quality and the‘chimneys’ a pleasing, muffled sound quality‘chimneys’ a pleasing, muffled sound qualityunique to tin.unique to tin.

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By far the best known use of pure tin inBy far the best known use of pure tin inantiquity due to its special flow and coolingantiquity due to its special flow and coolingproperties, is the custom of makingproperties, is the custom of makingmedieval ampullae. Slush-cast in batches bymedieval ampullae. Slush-cast in batches bycraftsmen since at least the 13thC craftsmen since at least the 13thC 1414 these thesesmall vessels were produced as tourist itemssmall vessels were produced as tourist itemsfor pilgrims to take away with them fromfor pilgrims to take away with them fromtheir visits to sacred relics and holy places.their visits to sacred relics and holy places.The ampullae were containers for blessedThe ampullae were containers for blessedwater or fragments of some other holywater or fragments of some other holymaterial, which the pilgrim could then wearmaterial, which the pilgrim could then wearclose to their body and in turn the objectclose to their body and in turn the objectbecame one associated with remembrancebecame one associated with remembranceof place and the personal experience linkedof place and the personal experience linkedto it. The two designs Balmill One andto it. The two designs Balmill One andBalmill Two, are secular references toBalmill Two, are secular references toampullae, where Balmill One is a singleampullae, where Balmill One is a singlevessel containing cassiterite (tin stone), avessel containing cassiterite (tin stone), amaterial which would have been broken upmaterial which would have been broken upby hand with lump hammers by Bal-Maidensby hand with lump hammers by Bal-Maidensor mechanically in the grinding andor mechanically in the grinding andpulverising Balmill similar to the one still in-pulverising Balmill similar to the one still in-situ at Devon Great Consols. Balmill Twositu at Devon Great Consols. Balmill Twogives a nod to fact that despite attempts bygives a nod to fact that despite attempts bythieves to break up the existing examplethieves to break up the existing examplementioned, the sheer mass and weight ofmentioned, the sheer mass and weight ofthe thing ensures its continuing presence onthe thing ensures its continuing presence onsite today. Balmill Two is worn by the weightsite today. Balmill Two is worn by the weightof each vessel keeping each in place aroundof each vessel keeping each in place aroundthe shoulders. The rough finish of thethe shoulders. The rough finish of thevessels are achieved by the nature of thevessels are achieved by the nature of theslush casting process in sand, instead of theslush casting process in sand, instead of thetraditional soapstone mould and allows for atraditional soapstone mould and allows for agranular finish, as though one could brushgranular finish, as though one could brushoff the surface matter which has beenoff the surface matter which has beenaccrued over time whilst buried in theaccrued over time whilst buried in theground. Edge flashing has also been left inground. Edge flashing has also been left inplace and rapid pouring out of the tinplace and rapid pouring out of the tinbefore the walls have set mean that gapsbefore the walls have set mean that gapsand edges are incomplete, echoing theand edges are incomplete, echoing thecurrent state of the site itself. This re-tellingcurrent state of the site itself. This re-tellingof the Balmil story speaks of transformativeof the Balmil story speaks of transformativepower, not only of the place which is nowpower, not only of the place which is nowre-invented as a place for history tourists,re-invented as a place for history tourists,walkers and cyclists, but of the rockswalkers and cyclists, but of the rocksextracted of ore, from ore to metal, fromextracted of ore, from ore to metal, frommetal to Balmill and Balmill to jewellery.metal to Balmill and Balmill to jewellery.

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Above: Copper pot inside the tin Balmill single-pot pendant "Balmill One", contains broken quartz.Above: Copper pot inside the tin Balmill single-pot pendant "Balmill One", contains broken quartz.Page Right: Double pot pendant "Balmill Two". Heavy, crumbling Balmill pots keep each other in place by their weight alone.Page Right: Double pot pendant "Balmill Two". Heavy, crumbling Balmill pots keep each other in place by their weight alone.Single pot pendant.Single pot pendant.

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Encrusted Bangle and Ring puts intoEncrusted Bangle and Ring puts intocontext the direct relation between thecontext the direct relation between theintervention of mans’ activity in the Tamarintervention of mans’ activity in the TamarValley area and his effects on the landscape,Valley area and his effects on the landscape,as well as the landscape’s effect on thoseas well as the landscape’s effect on thoseremnants left behind by man. A very largeremnants left behind by man. A very largenail which I found in a stream at one site,nail which I found in a stream at one site,was a clear indicator of the structures whichwas a clear indicator of the structures whichonce dominated the area, the nail hasonce dominated the area, the nail hasexpanded corrosively and incorporated theexpanded corrosively and incorporated thesmaller stones and debris of the stream bedsmaller stones and debris of the stream bedinto its outer surface. The body of the nail isinto its outer surface. The body of the nail isstill just about visible in-between the stones.still just about visible in-between the stones.Here, in the bangle and ring, a clearlyHere, in the bangle and ring, a clearlydefined armature is partially visible amongstdefined armature is partially visible amongsta combination of cast tin forms derived froma combination of cast tin forms derived frommodels made from the encrusted nail, castmodels made from the encrusted nail, castcopper in quartz crystal form and acopper in quartz crystal form and ascattering of Material Landscape Jewels.scattering of Material Landscape Jewels.Like the nail, the bangle and the ring wasLike the nail, the bangle and the ring was'grown' in stages, first a naked wire, next'grown' in stages, first a naked wire, nextthe jewels and copper crystal forms arethe jewels and copper crystal forms areattached. The whole is embedded in castingattached. The whole is embedded in castingsand and partially cast around with tin in twosand and partially cast around with tin in twoto three attempts, using stones to form theto three attempts, using stones to form thegrowing encrustation shape. The pieces, likegrowing encrustation shape. The pieces, likethe nail are both beautiful and ugly at thethe nail are both beautiful and ugly at thesame time.same time.

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�Tin scruffTin scruff� is a name I have is a name I havegiven to the fragments of tingiven to the fragments of tinin Tinscruff Neck Collar,in Tinscruff Neck Collar,Tinscruff brooch with orangeTinscruff brooch with orangeand Material Landscapeand Material LandscapeJewel, Tinscruff brooch withJewel, Tinscruff brooch withpyrite and Materialpyrite and MaterialLandscape Jewel, TinscruffLandscape Jewel, Tinscruffbrooch with large Materialbrooch with large MaterialLandscape Jewel, TinscruffLandscape Jewel, Tinscruffearrings with Materialearrings with MaterialLandscape Jewel andLandscape Jewel andTinscruff with Material Tinscruff with Material Landscape Jewel, pendant. Though the tin scruffs look natural and ‘unforced’ they are in-factLandscape Jewel, pendant. Though the tin scruffs look natural and ‘unforced’ they are in-factproduced by means of a wholly forced intervention with a soldering pick, which involvesproduced by means of a wholly forced intervention with a soldering pick, which involvesdisturbing the surface of the molten tin at precisely the right point in its solidification processdisturbing the surface of the molten tin at precisely the right point in its solidification processand in precisely the correct manner, a procedure which would not be possible to replicate inand in precisely the correct manner, a procedure which would not be possible to replicate inany other metal. In experimenting to achieve a particular kind of surface reminiscent of theany other metal. In experimenting to achieve a particular kind of surface reminiscent of thebeautiful crystalline rocks of South Tamar Mine, I had instead achieved a ‘snap-shot’ of thebeautiful crystalline rocks of South Tamar Mine, I had instead achieved a ‘snap-shot’ of thesolidification process of tin and indicative or its genuine crystalline state prior to refinementsolidification process of tin and indicative or its genuine crystalline state prior to refinementfrom its ore state. I found that I could control to some degree the size and shape of thefrom its ore state. I found that I could control to some degree the size and shape of thefragments and quickly produce a large quantity. This control when coupled with an aesthetic offragments and quickly produce a large quantity. This control when coupled with an aesthetic ofrepetition and rough faceted surface, has allowed me to design a piece which capitalises onrepetition and rough faceted surface, has allowed me to design a piece which capitalises onthe strong curves and arches pulled out in one play of the toolkit cards. The brooches, earringsthe strong curves and arches pulled out in one play of the toolkit cards. The brooches, earringsand pendants brought together the ‘jewels’ and tin scruffs as elements which were arranged inand pendants brought together the ‘jewels’ and tin scruffs as elements which were arranged inrelation to each other, moving the pieces around until the compositions ‘worked’, makingrelation to each other, moving the pieces around until the compositions ‘worked’, makingnatural phenomena perceptible and wearable.natural phenomena perceptible and wearable.

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Clockwise across both pages, from top left: Tinscruff brooch with pyrite and Material Landscape jewel. Tinscruff with MaterialClockwise across both pages, from top left: Tinscruff brooch with pyrite and Material Landscape jewel. Tinscruff with MaterialLandscape jewel, pendant. Tinscruff with Material Landscape jewel earrings. Tinscruff with Material Landscape jewel, brooch.Landscape jewel, pendant. Tinscruff with Material Landscape jewel earrings. Tinscruff with Material Landscape jewel, brooch.Tinscruff with orange and Material Landscape jewel, brooch.Tinscruff with orange and Material Landscape jewel, brooch.

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In ConclusionIn Conclusion n the n the �Invention of CraftInvention of Craft� Glenn Adamson refers to the earlier Glenn Adamson refers to the earlierperceptions of some historians, art practitioners and designers,perceptions of some historians, art practitioners and designers,towards the ‘invisible’ artisan and the lack of recognition of their skillstowards the ‘invisible’ artisan and the lack of recognition of their skillsand output;and output;

He later elaborates on a common misconception which regards craftHe later elaborates on a common misconception which regards craftas being rooted so firmly in past and tradition that there is an inabilityas being rooted so firmly in past and tradition that there is an inabilityfor traditional skills and materials to be used in any form other thanfor traditional skills and materials to be used in any form other thanone which is backwards looking;one which is backwards looking;

This memory work is escapist, but not only that; it alsoThis memory work is escapist, but not only that; it alsodescribes modern experience in such a way that it can bedescribes modern experience in such a way that it can becritically engaged. The point cannot be overstressed: thecritically engaged. The point cannot be overstressed: thememory work performed by craft revival is not simplymemory work performed by craft revival is not simplyavoidant, nor in any way to be disdained. Not only has itavoidant, nor in any way to be disdained. Not only has ithad important practical consequences to do withhad important practical consequences to do withpreservation (of architecture, skills and communities) it ispreservation (of architecture, skills and communities) it isalso a profoundly human response to modernity, which isalso a profoundly human response to modernity, which isdeeply antagonistic to memory itself.deeply antagonistic to memory itself.� 1616

Once lost a skill is lost forever. And so it Once lost a skill is lost forever. And so itmust be ‘revived’, literally brought back to lifemust be ‘revived’, literally brought back to life.In this respect craft resembles oral tradition..In this respect craft resembles oral tradition.its cultural value depends on a sense ofits cultural value depends on a sense ofcontinuity.continuity.� 1515

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At the time of writing this exhibition report, I am building a web pageAt the time of writing this exhibition report, I am building a web pageconsisting of an interactive map allowing the viewer to browse ‘pins’consisting of an interactive map allowing the viewer to browse ‘pins’located at points around the Tamar Valley, which when clicked on willlocated at points around the Tamar Valley, which when clicked on willprovide a synopsis of the location, the craft object which it inspiredprovide a synopsis of the location, the craft object which it inspiredand something about the processes involved in the making of theand something about the processes involved in the making of theobject. This information will be simply presented with pop-up imagesobject. This information will be simply presented with pop-up imagesand will accompany the displayed work on my website as anand will accompany the displayed work on my website as anembedded function. The website could also be of interest to localembedded function. The website could also be of interest to localschools as an educational tool (a local school has already expressedschools as an educational tool (a local school has already expressedan interest). There is potential to stage an exhibition of the jewelleryan interest). There is potential to stage an exhibition of the jewelleryat a local heritage centre, where the interactive map could also beat a local heritage centre, where the interactive map could also bemade publicly available to accompany it. made publicly available to accompany it. There are still more practical matters to explore regarding process,There are still more practical matters to explore regarding process,such as the erosion of surface and the different rates at which this willsuch as the erosion of surface and the different rates at which this willoccur on a surface where hard and softer materials are exposedoccur on a surface where hard and softer materials are exposedtogether. Honing in on the saw-cuts and file marks as abradedtogether. Honing in on the saw-cuts and file marks as abradedsurface, is also something I wish to investigate more closely and thensurface, is also something I wish to investigate more closely and thenthere is the matter of the forms themselves and experimenting morethere is the matter of the forms themselves and experimenting morewidely with the ways in which they themselves are bundled andwidely with the ways in which they themselves are bundled andsandwiched together...there is still a lot of benchwork and playing ofsandwiched together...there is still a lot of benchwork and playing ofthe cards to be done.the cards to be done. In this craft-intensive body of work, I hope to have situated myIn this craft-intensive body of work, I hope to have situated mychosen historical influence of Tin as a material for jewellery in achosen historical influence of Tin as a material for jewellery in abroader context and have questioned the way in which we equatebroader context and have questioned the way in which we equatevalue and worth to materials and to a place. Finally, the specialvalue and worth to materials and to a place. Finally, the specialqualities of craft objects could be described by this quote fromqualities of craft objects could be described by this quote fromWalter Benjamin;Walter Benjamin;

The authenticity of a thing is the essence of all that is The authenticity of a thing is the essence of all that istransmissible from its beginning, ranging from itstransmissible from its beginning, ranging from itssubstantive duration to its testimony to the history whichsubstantive duration to its testimony to the history whichit has experienced.it has experienced.� 1717

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1. Sherr Dubin, L. (2009) 1. Sherr Dubin, L. (2009) The Worldwide History of Beads, Ancient, Ethnic,The Worldwide History of Beads, Ancient, Ethnic,Contemporary,Contemporary, 2nd ed. London: Thames & Hudson. 2nd ed. London: Thames & Hudson.2. Carnac, H. (2013) 2. Carnac, H. (2013) Thinking Process: On Contemporary Jewelry and theThinking Process: On Contemporary Jewelry and theRelational TurnRelational Turn inin Skinner, D. (ed). (2013) Skinner, D. (ed). (2013)Contemporary Jewelry InContemporary Jewelry InPerspective.Perspective. New York: Lark. p234. New York: Lark. p234.3.3. http://www.tate.org.uk/art/artworks/turner-crossing-the-brook-n00497http://www.tate.org.uk/art/artworks/turner-crossing-the-brook-n00497(Accessed 04.2014). [Crossing the Brook by Turner is generally agreed to be(Accessed 04.2014). [Crossing the Brook by Turner is generally agreed to bean artistically-altered view of the River Tamar where it divides the Berean artistically-altered view of the River Tamar where it divides the BerePeninsula in Devon from the lower reaches of Gunnislake in Cornwall. MyPeninsula in Devon from the lower reaches of Gunnislake in Cornwall. Myvisit to the upper reaches of Cat Brook for my previous written work visit to the upper reaches of Cat Brook for my previous written work �WasteWasteNotNot� at the western boundary of Devon Great Consols, leads me to believe at the western boundary of Devon Great Consols, leads me to believethat were the trees less dense then the viewpoint could even have beenthat were the trees less dense then the viewpoint could even have beenimagined from the location of this Brook near where it is crossed by a smallimagined from the location of this Brook near where it is crossed by a smallhumpback bridge today].humpback bridge today].4. Holzach, C. et al (2013) 4. Holzach, C. et al (2013) Magnificent views? Landscape in JewelleryMagnificent views? Landscape in Jewellery..Pforzheim Jewellery Museum.Pforzheim Jewellery Museum.5. BBC Television (2010) 5. BBC Television (2010) Edwardian FarmEdwardian Farm onon http://www.bbc.co.uk/http://www.bbc.co.uk/programmes/b00w15jcprogrammes/b00w15jc (Accessed 09.2014). (Accessed 09.2014).6. Junger, H (1980) 6. Junger, H (1980) Necklace: Scrap of steel. Necklace: Scrap of steel. (2003)(2003) Found Treasures.Found Treasures.Hermann Junger and the Art of JewelryHermann Junger and the Art of Jewelry. London: Thames & Hudson.. London: Thames & Hudson.7. Bourriaud, N. (1996) 7. Bourriaud, N. (1996) Relational AestheticsRelational Aesthetics transcribed by Simon Pleasance, transcribed by Simon Pleasance,Fronza Woods (2002). Dijon: Les presses du reel.Fronza Woods (2002). Dijon: Les presses du reel.8. Bryant, L; Harman, G; Srnicek, N (2011). 8. Bryant, L; Harman, G; Srnicek, N (2011). The Speculative Turn: ContinentalThe Speculative Turn: ContinentalMaterialism and Realism.Materialism and Realism. Melbourne, Australia: re.press. p8. Melbourne, Australia: re.press. p8.9. Harman, G (2005). 9. Harman, G (2005). Guerilla Metaphysics: Phenomenology and theGuerilla Metaphysics: Phenomenology and theCarpentry of Things.Carpentry of Things. Peru, Illinois: Open Court. p1. Peru, Illinois: Open Court. p1. 10. Whetman, M. (2014) 10. Whetman, M. (2014) Waste NotWaste Not. Blurb. p6. Available at. Blurb. p6. Available at http://http://www.blurb.co.uk/books/5231326-waste-notwww.blurb.co.uk/books/5231326-waste-not 11. Whetman, M. (2014) 11. Whetman, M. (2014) Waste NotWaste Not. Blurb. p48 - 51. Available at. Blurb. p48 - 51. Available at http://http://www.blurb.co.uk/books/5231326-waste-notwww.blurb.co.uk/books/5231326-waste-not

References & Bibliography

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12. Aremu, D.A. (1998 ) 12. Aremu, D.A. (1998 ) Early history of metalworking among NortheastEarly history of metalworking among NortheastYorubas in Kwara State Yorubas in Kwara State inin Wesler, K.W (ed) Wesler, K.W (ed) Historical Archaeology in NigeriaHistorical Archaeology in Nigeria..Africa Research & Publications. P90.Africa Research & Publications. P90.13. Adamson, G (2013) 13. Adamson, G (2013) The Invention of CraftThe Invention of Craft. Bloomsbury Academic.. Bloomsbury Academic.14. Anderson, W. (2010) Blessing the fields? A study of late medieval14. Anderson, W. (2010) Blessing the fields? A study of late medievalampullae from England and Wales. ampullae from England and Wales. Medieval Archaeology 54.Medieval Archaeology 54. Available at Available athttp://www.academia.edu/2937333/Blessing_the_fields_A_study_of_late-http://www.academia.edu/2937333/Blessing_the_fields_A_study_of_late-medieval_ampullae_from_England_and_Walesmedieval_ampullae_from_England_and_Wales. (Accessed March 2014).. (Accessed March 2014).15. Adamson, G. (2013) 15. Adamson, G. (2013) The Invention of CraftThe Invention of Craft. Bloomsbury Academic. p186. Bloomsbury Academic. p18616. Adamson, G. (2013) 16. Adamson, G. (2013) The Invention of CraftThe Invention of Craft. Bloomsbury Academic. p191. Bloomsbury Academic. p19117. Benjamin, W. (1936) 17. Benjamin, W. (1936) The Work of Art in the Age of MechanicalThe Work of Art in the Age of MechanicalReproduction.Reproduction. Penguin. Penguin.

Vilanove, E. S. (2011) Vilanove, E. S. (2011) The Core & the ShellThe Core & the ShellPenhallurik, R. D. (2008) Penhallurik, R. D. (2008) Tin in AntiquityTin in Antiquity. Leeds: Maney.. Leeds: Maney.Mitchiner, M & Skinner, A. (unknown). Mitchiner, M & Skinner, A. (unknown). English Tokens, c.1200 to 1425.English Tokens, c.1200 to 1425.Donkin, L (2001). Donkin, L (2001). Crafts and Conservation: Synthesis Report for ICCROMCrafts and Conservation: Synthesis Report for ICCROM Borda-Pedreira, J & Steinsvag, G (eds) (2014) Borda-Pedreira, J & Steinsvag, G (eds) (2014) Materiality Matters.Materiality Matters. Oslo: Oslo:Norwegian Crafts.Norwegian Crafts.

Interactive map produced in-conjunction with this report: Interactive map produced in-conjunction with this report: http://http://tour.mapsalive.com/40940tour.mapsalive.com/40940Blog documenting MA course work: Blog documenting MA course work: www.mariawhetman.tumblr.comwww.mariawhetman.tumblr.com

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hanks go to; hanks go to;Geoff Treseder for answering my continuing questions andGeoff Treseder for answering my continuing questions and

supplying me so speedily with tin.supplying me so speedily with tin.Pete Davis for supervising.Pete Davis for supervising.

Clare Kilgour for her enthusiasm and motivation.Clare Kilgour for her enthusiasm and motivation.Model; Sam.Model; Sam.

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Material Landscape.