Dialogues in Gold” – An exhibition by Jacqueline Mina
18 carat gold “cycladic” brooch, 1999
Photo: Shannon Tofts
LONDON, October 14, 2010 – Jacqueline Mina’s highly original fused and textured jewellery is the subject of an exhibition at Goldsmiths’ Hall, which opens to the public on Monday January 31 until Saturday February 26, 2011 – admission free.
One of the country’s foremost artist jewellers, Jacqueline has long enjoyed a reputation for her technical brilliance and unorthodox approach to traditional goldsmithing techniques resulting in her sensuous and understated jewellery.
Celebrating Jacqueline’s achievements, the exhibition focuses on highlights of 30 years of her exquisite studio work and unites, for the first time, significant loans from public and private collectors, alongside a vibrant collection of newly created works.
Amanda Game, a Freelance Curator and Contemporary Jewellery expert, who has assisted in the curating of the exhibition, said: “Works have been carefully selected to show Jacqueline’s uniquely free and innovative approach to precious materials.
“Jacqueline has an authoritative use of traditional goldsmithing techniques allied to a strong artistic curiosity which result in works which have a rare aesthetic presence in the field of contemporary gold jewellery.”
Necklace in platinum with fine gold dust fusion with 18 carat gold connectors, 1984; Photo: Joel Degen
Form and texture are the two main preoccupations of Jacqueline’s art, and her jewels are visually exciting not just for their shapes but for the rich variety of their surface textures.
Throughout her career Jacqueline has constantly experimented with metals, and continues to do so, technically challenging them to new potentials.
Necklace in platinum filigree and frames soldered with fine gold, 1985; Photo: Joel Degen
Her jewellery is the unique result of a dialogue between the metal and her own creative soul – hence the title of the exhibition “Dialogues in Gold”.
She rarely sketches an idea in advance and works directly with the metal before creating the final design.
Bracelet in 18carat gold part oxidised with platinum mesh fusion inlay, 1993; Photo: Joel Degen
One of the earliest pieces in the exhibition is a necklace formed from loosely articulated graduated oval platinum forms sprinkled with gold dust which was then fused to the surface and compressed through steel rolling mills.
Another necklace reveals a different innovative technique – small rosettes of wiggly platinum wire were soldered together using fine gold, pressed into prepared forms and then placed into a platinum frame.
The result is a jewel that is both striking and simultaneously delicate with the strands of platinum resembling fine filigree work.
