Comparative analysis assignment

Piece one is a locket by Thomas Mann and it in entitled ‘Chamber heart Locket’. The body of the locket is heart shaped has been made out of a white metal and the hinge and bale has been made of a yellow metal. It hangs off a simple chain. The piece has been made of two separate pieces of plate that have been pierced out in a heart shape and a heart shape has also been forged/embossed in the centre of the top plate (possibly the back plate as well). When the plates are put together and the locket is closed, there will be a hollow in the middle of the heart.  A chain, hook and loop have been used to lock the locket closed. The chain is soldered into the top plate with the hook attached to it. The hook has a bead made out of a yellow metal. The loop is soldered onto the back plate and protrudes through a pierced out slit in the top plate. The heart plates have a roll pressed pattern covering the whole surface of each heart plate. The locket is worn around the neck on a chain. Although it is quite a large piece of jewellery the plates are thin so the piece does not look heavy. If the heart has been embossed on both sides of the locket, it could be slightly uncomfortable to wear it where a locket with a flat back would sit more comfortably against the body. The plates are textured with the roll pressed pattern of dots and half shape images that look to be vibrating. Embossing the heart/s creates voluminous form. It is an asymmetrical piece. The patterns on the plate and the raised, billowing effects of the hearts give a soft feeling to the locket which contrasts with the manufactured look of the hinge and bale. The surface of the pendant is matt. Traditionally people would put photos of loved ones inside lockets and the overall shape of the locket is a heart which emphasises the idea that a locket is where you keep reminders of someone special.

Piece two is a pendant by Tom Ferreror which is entitled ‘Phoenix Pendant’.  It is a circular pendant in shape with a section pierced out of the top in a triangular shape and it has a red stone set at the top of that triangle. The pendant has been made out of a white metal although it looks as though the stone setting has been made out of a yellow metal and the inside of the cut out triangular section is a yellow metal as well.  It has a circular rim surrounding the pendant. The pendant has a slight volume to it. There is a roll pressed pattern reminiscent of a rose window on the surface of the pendant which adds a texture to the piece. the bale is made of two jump rings that have been soldered on which have quite a modernised feel and the whole piece is hung on a thin piece of wire made from a white metal. The wire is rigid. The piece is worn around the neck and probably sits quite close to the throat (choker style). The surface of the pendant is matt. The colour of the stone with the yellow metal and the ‘hand-made’ look of the pendant give the feel of a phoenix which is a mystical fire bird. It is a symmetrical piece in theory by there is an ‘imperfect feel to it’

Oscar Abba-Bijoux Contemporains

Oscar Abba-Bijoux Contemporains

Oscar Abba’s work as a whole has an incredibly fluid feel to it. In this collection he has done two bracelets and a brooch, each made of silver and each with a title befitting the air and look of each piece. The bracelets and titled ‘Folds 2011’ and ‘Folds II 2011’ where as the brooch is titled ‘Liquids II 2007’. Although his pieces look as though they may be constructed out of tin, aluminum or some scrap metal, he has chosen to construct his pieces out of silver which is a ‘fine metal’ and so adds a certain higher quality to his work.

He shapes and forms of the ‘folded’ metal are organic and flowing. Although his pieces have and edgy look, each piece is quite soft on the eye, this is achieved by his use of soft, rippling curves and lack of sharp edges as well as the negative space in the pieces. The metal thicknesses vary and further emphasize the organic, natural feel of the pieces.

The way that the light reflects and bounces off each piece is softened and isn’t so intense and this he has achieved by adding a brushed metal texture to his metal. Each piece resembles the silkiness of folded ribbons but in contrast have a raw finish to them, for example the solder seams and edges aren’t polished and cleaned up.

The negative shapes and space of the pieces are very much as important as the positive space. The negative space implies a delicateness of the jewellery but the thickness of the metal used adds a definite boldness to the pieces as well. There is again a stark contrast in the collection as even though the pieces are not geometric and look organic; the overall execution of the pieces has a very prominent ‘manufactured’ feel. There is no obvious symmetry to the pieces, nor uniformity but there is a repetition of the same general folded form.