Marriage, a glorious beginning – or chained to the stove?
For this body of work I’ve chosen to work with discarded electric stove coil elements. The rivets are made from gold melted down from my grandmother's teeth and jewellery given to me by my mum and aunties. This contribution from the females in my family reflects the idea of items being past down through generations.
Majella Beck, elemental, 2012, bracelet, Ni+Cr steel, 9ct gold rivets, blackened
If my 15 year old self had started a glory box I would now have black sheets and purple towels.
While I do have purple towels it made me think about changes over time. My pieces take drawings of items from a Glory Box doodled by an imaginary 15 year old from some time in the past and think about what they look like after 10, 20, 30 years of use.
Linda Blair, 30 years on: biscuit, 2012, brooch, mild steel, enamel, 925 silver
With time, energy and anxious moments, I plan, scheme, fantasise; painting vivid mental pictures, lingering lovingly over the details. But how would I prepare for the worst? Is fear better than hope? This series of ‘pocket pieces’ bear the weight of impossible decisions cradled by the mystery, and blind optimism of hope. Made to be held, they carry a private question to which only the wearer knows the answer.
Danielle Butters, two cargoes, 2012, neck/pocket piece, sterling silver, silicone
Items of small clothing, linen, toys, bottles, pacifiers, tiny shoes. All of these serve as talismans against the fear of the unknown. A sense of comfort comes from the illusion of preparation. As if a collection of things or a clean house could prepare you for a newborn baby. The future is uncertain and out of our control.
Tenielle Evans, nesting: kewpie object, 2012, crocheted embroidery thread, epoxy resin
Heirlooms aren’t really physical items, rather intangible values from family and based in a childhood of security and opportunity. With hand-stitched textiles I want to reflect that sense of home where one can feel safe and grounded and show that infinite outcomes can be created from the same starting point. Life can be uniquely formed by our choices.
Doris Jurzak, play. ground., 2012, installation, calico, stranded cotton, oxidised copper
The function of a glory box is to gather, store and present precious and practical objects to assist in a future lifestyle. Through the vast processes of mineral formation, the earth can be interpreted as carrying a similar utility. Igneous, sedimentary and metamorphic actions provide the basics to enable our contemporary lives and its valuable commodities.
Sarah Maree Mills, 2012, arm cuff, igneous: 925 silver, heat, metamorphic: 925 silver, faults, sedimentary: 925 silver, pressure
Expectations arise with every day that has passed.
For some it may be a dream, for some it may be a fear. For all of us it is a need. A preparation time for a future to come. A box to be filled with hope at a cost. Will I be loved or will I die?
Radka Passianova, …a dream or a fear…, 2012, dagger, 925 silver, steel, ebony
Historically, the Renaissance Cassone (or Hope Chest) was a symbol of both virtue and sexual secrecy, for a woman to live successfully within the parameters of society and marriage. Take that idea, and bring it forward 500 years (or so), to create a visual reference for contemporary women living in a modern society. Experience and secrecy visually told in the hope of filling a contemporary chest with wisdom.
Joanne Piper, “I told her everything I know about love and she still she wants to go through with it”, 2012, brooch, 925 silver, steel, salt, perspex
Glory Box reminds me of a good quality pearl necklace – a versatile piece of jewellery that suits all formal occasions where a girl should be presentable, as a wife and a mother. Poseidon gave Pandora a pearl necklace – to keep her afloat. Pandora’s box contained chaos, but at the bottom was “hope”. Marriage in a way is also like opening a can of worms, but there is always hope.
Kaoru Rogers, poseidon’s pearls, 2012, brooch, 925 Silver, rubber
As I move through my life without the maternal guidance of mum or nonna, I draw strength from the past and from what I learned when they were with me. My pieces reflect the shape of the traditional water carrier from the Italian region of Abbruzzo, la conca. Each is larger than the last, deeper and able to hold more. The hope chest for my future contains the wisdom from the past.
Bernadette Trainor, la conca e lu maniere, 2012, vessel and spoon maquette, gilding metal