Professional Documents
Culture Documents
Dionea Rocha Watt
What do a professional jeweller and an amateur boatbuilder have in common?
If you answered craft, you’re almost there. But the correct answer is glue.
The most popular method of amateur boatbuilding is called ‘stitch and glue’,
which entails following templates to cut the plywood profiles, stitching them in
place and using epoxy to glue the seams. You do not need to be a master
craftsman to use glue. Maybe for this reason, in the jewellery world glue is the
AntiChrist.
Lisa Walker is an acclaimed contemporary jeweller. But her practice has been
linked to amateur’s work for its apparent spontaneous nature and her choice of
materials and processes. It exemplifies what can be described as a visible shift to
a notion of 'deskilling' in the applied arts, a voluntary abandonment of one of its
cornerstones – craftsmanship. This is reflected both in the increasing use of found
objects and in ‘botching’ things a bit. But we have to understand that this
distance from the technically ‘well made’ and polished object is often done by
artists who have had the training to make things ‘well’ and here I want to stress
that this idea of the ‘well made’ is usually applied to the level of craftsmanship
employed, that is, a traditional understanding of skill.
As her work shows, Lisa Walker may have abandoned some traditional skills but
is still referencing the history of jewellery, with a great sense of colour and
composition.
Lisa Walker was not the first among contemporary jewellers to use ‘poor’
materials. Jewellers like Bernhard Schobinger and Ramon Puig Cuyas have used
detritus and found objects, albeit in a more aestheticized way.
Joining materials is one the preoccupations of jewellers. But whereas Schobinger
and Puig Cuyas more or less stuck to jewellery processes to construct their pieces
– soldering, riveting, stringing etc. – Walker decided to assemble her pieces using
glue, an idiosyncratic process that made her stand out in the field. Being
considered the AntiChrist of the jewellery world, glue is used ‘secretly’ in both
traditional and contemporary jewellery. For Lisa Walker, glue was the catalyst of
a new direction, as the critic Damian Skinner1 has asserted. In 1996 she stated:
“…I had to ‘unlearn’ everything I’d learnt in my jewellery training… I made lots
of stuff just out of glue, bashing and squeezing it just before it dried, scraping the
drips off my table, things like that.”2
Used by amateurs aspiring to make things well, glue fixes the incongruous
assemblages of disparate objects, the collages in scrapbooks, the shells that
encrust boxes and frames like domestic barnacles. Lisa Walker does not aspire to
make things well in the sense of the ‘well made’ discussed previously. She does
not use glue in a ‘polite’ way, like an amateur who aims to make it invisible. She
lets glue overflow, using it both as adhesive and as a material, even sometimes
combining it with gold leaf to create a new material.
What else differentiates Walker’s work from that of the amateur? Let’s start with
a similarity between the hobbyist and the professional maker: in the initial
period of learning a skill, it is common to copy examples and models, a certain
template, in order to understand and practice a process. The difference seems to
be that the amateur, even after becoming competent in a process, usually carries
on following the template. He or she may not stray from the template, both
aesthetically and in terms of adapting the process to more creatively ambitious
projects (although, of course, amateurs can also be creative). Amateurs seem to
stick to patterns and conventions. This in turn points to the issue of autonomy
and the intention of the artist, of a creative impulse that is not constrained by
externally imposed parameters of knowledge of execution, but which is reflective
and selfcritical.
If we understand ‘amateur’ as someone who engages with a craft or art form out
of pure personal pleasure in a world where copying is common and critique is
absent, we may glimpse another basic difference: speculation. Artists like Lisa
Walker deal with questions for which there is no template to follow, just as there
is no glue for the seams of the world.
Dionea Rocha Watt is a first year MPhil student in the Critical & Historical Studies
1
Skinner has written extensively on the work of Lisa Walker, see
http://pauadreams.co.nz
2
Quoted in Schmuck/Jewelleries, (Förderpreis der Stadt München). Munich: Kulturrreferat der
Landeshauptstadt München, 2007
Department at the Royal College of Art, London
This article was originally published on 15 March 2010 in the Journal of Modern Craft
website: http://www.journalofmoderncraft.com