Diversity and differences of culture can create significant changes in the creation and aesthetics of design. Historical events have brought cultures and different methods of craftsmanship together. An artist's work can be affected by the influences of different countries, eras, methods, teaching styles, equipment, surroundings, and ideals. The question is what combinations are made, and how, to create new forms of craftsmanship and artworks.
Jewellery design has been affected throughout history by major events and social influences. When one culture comes in contact with another, material knowledge and craftsmanship can be shared. In 1769, the English explorer Cook came into contact with the Maori people of New Zealand. This resulted in the migration of English immigrants to settle and interact with the Maori culture. This migration made new materials, resources, and techniques of jewellery-making available to the Maori style of carving. We can see this in the carvings of greenstone from this time. The tools that the English had brought with them made it possible for the Maori craftsmen to carve the stone in the same style as their previous works in wood and bone.
British connoisseurs and museums became interested in Maori artefacts and carvings, which in turn affected British styles of carving. Andrew and Thomas Delvin, Scottish artists and factory owners of the time, got involved in the trends of Maori souvenirs. They used the native New Zealand greenstone in pieces they made, but altered them to suit Victorian fashions. New Zealand was seen as a new and intriguing culture and the Maori were romanticised as noble savages. In this way, a cultural integration allowed a new form of jewellery design to be created and allowed both cultures to develop a new outlook. This is true not only of history but is constantly occurring in our society.
Modern artistry is affected by cultural diversity and historical pieces. The social lives of each artist affects their perception of history and previous methods of design. This makes their artwork unique, but they cannot help being affected by the societal and historical influences that are already present in their society. Ian Douglas's 'gold kinta' collection is clearly influenced by New Zealand culture. We can see this from the lines and contours of his design. They are inspired by the New Zealand landscape, but are blended with Western objects and techniques. Each of his pieces is bold, striking, and unique and he often uses local materials in his work. As a New Zealander, Ian shows the influences of his mixed heritage, of European and Maori development. Similarly, Leslie Gwenn's jewellery pieces are a merging of old European design with a modern geometric twist. Her 'Moment's' collection, of 1999, combines the styles of vintage jewellery and modern design and techniques, using platinum, gold, aquamarines, and diamonds. She hoped that the different materials would compliment each other and enhance the overall design of the final pieces. She explained how “nature influences (her), so there is an organic element to the designs.” One ring in particular from her 'Moment's' collection shows this natural element. The organic shape melds with the vintage look of the jewellery and shows how a combination of natural elements and styles can create an
entirely new genre of craftsmanship. Warwick Freeman, a jeweller from New Zealand, also allows the world around him to affect his jewellery designs. His collection 'share of sky' draws inspiration from the mythology of Maori and South Pacific cultures. It also shows a contrast between a combination of both traditional and contemporary design. One of the pieces, a four pointed star, shows a combination of South Pacific influence in the shape of the star, and references to literary culture and Maori mythology in its significance and portrayal. History and culture will always influence jewellery design. This includes the culture of our home life and education.
Educators influence students through their teaching methods and through their interaction with each pupil. When an art student is studying jewellery at an institute they come into contact with new ideas and knowledge form a vast range of sources. Andrew Last, an Australian artist and jewellery teacher at Otago Polytechnic, influences his students through the methods of working metal and design. When making our Turkish coffee pots this year, Mr last told us to use the bandsaw to cut out the shape instead of a jeweller's saw. He also encouraged us to use a sand belt to smooth out the edges in place of the longer process of a file. Being taught these methods opened up the thinking process of research to try new and different techniques and not to be restricted to one way of executing a task but to find out what else is possible. Andrew's teaching style differs from Johanna Zellmer's. Johanna is also a teacher at the Otago Polytechnic. Her teaching style focuses on the more traditional methods and techniques of jewellery making. Her approach to teaching is influenced by her own education and background. Another way that Johanna influences her student's art is through making books on artists and jewellers around the world available and discussing the different techniques and influences of these artists. Through what is available we have “all the knowledge of the past, the present and even some of the future at our fingertips.” Education creates a mixing of cultural ideas and practices in the design process. Teachers are not the only source of information for budding Jewellers and artists. We also have public resources at our disposal.
Museums and similar organizations affect the outlook of Modern culture. Art Museums, and exhibitions bring one culture into contact with another. This gives local artists the opportunity to inform their art with ideas from other styles of individuals, cultures, and times. Being able to experience the work of other artistic communities makes it possible for artists and jewellers to draw inspiration from what is currently available. In 1975, an exhibition entitled 'Australian Jewellery' made its way around Australia. The materials used in the exhibition comprised silver, Australian hard-stones, and brightly coloured acrylics. “Their crisp geometry and undulating shapes and occasional random textures suggested a combination of Scandinavian and German aesthetics.” Modern transport and communication not only made it possible for the exhibition to travel around Australia, but made the influences of other cultures available to the artists. Scandinavian jewellery design had an impact on the Australian jewellers. One of the influences was the streamlined forms that were being produced during the arts and crafts movement. The exhibition went to Asia and Europe after travelling around
Australia, enabling people from diverse cultures to see and contemplate what contemporary Australian jewellers were capable of. Visiting an exhibition or art gallery can bring people into contact with another culture's ideas and designs, influencing local artists in their work, though this is not the only way to be influenced by the work of other artists.
Modern technology allows us to have more experiences. it is possible to travel easily to another country and see another culture first hand or you can stay at home and the experience is brought to you. Once, only a few people were able to travel to other countries and to experience another culture in person. Now, due to the modern technologies at our disposal nearly everyone is able to experience another culture first hand. “In our global village today, if we wish to examine notions of beauty, we need only turn on the television.” The introduction of the Internet opened up possibilities of communication and the mixing of styles, crafts, and design that had never before seemed possible. Artists are not limited to local inspiration and influences. The openness between our modern cultures guaranties the blending of cultures in design. Researching another artist is as easy as typing a name into the google search engine, bringing up a whole range of information to choose from.
Randi Molofsky. National jeweller. New York. Aus1, 2002.vol.96, 155.15;pg34.
Robert Von Neumann. The design and creation of jewellery. Chilton books, New York. 1972;pg222.
Patricia Anderson. Contemporary Jewellery. Craftsman house, Sydney .1998; pg29
Elizabeth Hallem, Brian Street. Cultural encounters. Rutledge, London .2000; pg37
