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Precious Trash: Discursive Jewellery, Ocean Plastic and Digital Mediational

Refinement

Conference Paper · May 2018

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Synne Skjulstad
Kristiania University College
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PRECIOUS TRASH: DISCURSIVE JEWELLERY, OCEAN PLASTIC AND DIGITAL
MEDIATIONAL REFINEMENT
Synne Skjulstad Westerdals Department of Communication and Design, Kristiania University
College, synne.skjulstad@kristiania.no1@mailserver.com


Abstract: This paper discusses the concept of discursive jewellery, defamiliarisation and digital
mediational presentation and refinement as part of a practice-led inquiry into jewellery which takes ocean
plastic waste as the main design material. In the ongoing project to which
this paper refers, pieces of ocean plastic waste are investigated as a material for
jewellery - in tandem with digital presentation and mediation. It sketches out
how the digital and the hand-crafted may be understood as intertwined, incremental factors in
processes of refinement that seeks to make us look at this material anew.
Taking as it’s point of departure this Nordic jewellery project labelled Seabling, working
with ocean plastic collected from the ‘pristine’ fiords of Norway,
this in-process study of the combination of curation, selection and
refinement of ocean plastic pieces, combined with digital presentation, explores how we
may understand discursive jewellery that focus on the transformation of trash into
treasures.

Keywords: Jewellery, marine plastic waste, defamiliarisation, sustainability.

1. Sadly, every shore is a treasury

Sadly, every shore is a treasury. This paper takes as it’s point of departure a Norwegian, Oslo based jewellery
project labelled Seabling. In this project, ocean plastic collected from the shores of the often perceived
‘pristine’ fiords of Norway take centre stage. This practice-based research project on discursive jewellery,
visual communication, context and material, investigates how we literary may turn trash into treasures.
Slowly, we are starting to realise the terrifying magnitude of plastic debris that ends up in the ocean. Multiple
tons of plastic waste are piling up by the minute. As plastic waste is becoming a familiar sight on our coast,
this is but a symptom of a larger problem. The visible plastic debris is nothing but a tiny fraction of the growing
leviathan at the bottom of the sea. Because of the gravity of the present situation for human and animal life
on this planet, our jewellery practice is filled with a strong sense of ambivalence, as the sense of purpose and
of treasure hunt blends with the realization of the acute threat marine plastic waste represents.

In combining perspectives on discursive design, as taken from Morrison et al. (2011), Arnall (2013), Mollon &
Gentes (2014), as well as from Tharp & Tharp (2015, 2013), research by design methodologies (e.g.
Sevaldson,2010, Schön, 1983), we investigate ocean plastic debris as a material for jewellery. Also,


speculative design approaches inform the project (Dunne & Raby, 2013, Dunne, 2005, Rynning & Skjulstad
(2016). These design approaches are concerned with visually and materially asking questions and stimulating
debate, dialogue, reflection, an if possible – action. They are concerned with the imaginative potential in
design, and of making problems of sociological, ethical or psychological nature – often difficult ones, visible
(Tharp & Tharp 2013). According to Dunne & Raby (2013), speculative design may provide gentle nudges
towards changing perception of a phenomenon. Exploration of a specific design material, may as for example
shown by Arnall (2013), take place in tandem with visual mediation as an incremental part of the research
process. Drawing on Schön (1983) and Fallmann (2008), material knowledge is shaped via design practice as
a close dialogue with and about a material; In our case marine plastic debris. As put forward by McCosh
(2013), new insights may be revealed through material practice. Our engagement with this material in the
context of contemporary jewellery is aiming for what Dunne (2005, 147) refers to as an integration of
“[…critical aesthetic experience with everyday life”. As jewellery is worn on, or in close proximity of the body,
the discursive potential is thus an embodied one (Negrin 2013). We find that the concept of defamiliarisation,
as developed by the literary scholar Victor Shklovsky (1917) informs this jewellery project. Also, we find
perspectives on digital mediation and presentation within fashion - as for example supported by Agnes
Roccamora (2016), as well as my own research in fashion mediation (Skjulstad, 2018, 2017) useful for
unpacking the relations between the crafted and the digital in jewellery design that has pieces ocean plastic
debris as its main focus. Conceiving jewellery as an open-ended design platform for discourse, this paper
specifically asks:

In what ways may the combination of hand-craft and digital refinement and mediation make us
perceive ocean plastic as a design material for jewellery?

To briefly unpack this jewellery project, it is necessary to back-track to the summer of 2017, when my partner
Vemund Barstad Bermingrud, started to bring back various pieces of ocean plastic from his walks and kayak
trips in the area where my families’ seaside cottage is located. This area is part of the Norwegian archipelago
in eastern part of the country, more specifically in the county Østfold. Bringing his initial playful explorations
of artistic repurposing of ocean plastic waste into a more manageable scale, and into something we could
work on at home in Oslo, where we live, we suddenly found ourselves making jewellery. The jewellery is co-
designed, and we collaborate closely on designing each piece. Eventually, we started to expand our beach
cleaning trips to include a range of beaches located on the Oslo peninsula Bygdøy, an area where public
beaches commonly are enjoyed by the citizens of Oslo are located. Gradually we have been developing the
ways we select, combine and assemble the plastic pieces we select. Here, it is necessary to note that neither
of us has a background in jewellery. We have deep respect for the professional knowledges, skills and abilities

of trained jewellers and gold/silver smiths. However, we find the field of jewellery as an interesting and open
field. Rather than being intimidated by all the existing knowledge relating to jewellery, we aim at drawing on
this knowledge so as to develop our own practice and learn along trajectory on which we have embarked.

Figures 1, 2 & 3: Earrings made from found ocean plastic pieces. The plastic pieces are used as they are found. That is, they are not
shaped by us, except for holes drilled for assembling them with sterling silver.

This project gradually started to bleed into this author’s work as a researcher and educator within an
interdisciplinary design context in higher education. A research background in fashion media and speculative
design scenarios, among other visual design-related topics, have informed the ways we conceptualised the
jewellery – as well as the various ways of mediating and presenting it. Insights from media and
communication studies, and design studies, fashion studies, as well as studies of contemporary, mediated,
networked, digital mediations of fashion and digital culture has informed the visual presentation of the
jewellery. Within this interdisciplinary field, the ways in which fashion mediation is increasingly changing as
part of the digital turn (Skjulstad, forthcoming, Roccamora, 2013) also forms a visual research repository that
informs the ways through which we may alter the visual presentation of pieces of marine plastic debris. In
addition, the project is informed by speculative (Dunne and Raby 2013, Auger 2013) and discursive
approaches to design (Morrison et.al, 2011, Arnall, 2013), which includes techniques for convincingly altering
the perception of a phenomenon via communication design and visual mediation. All these perspectives
come together in how we approach jewellery as a discursive material practice. Drawing on Barret (2013, 64),
artistic practice as a mode of enquiry and knowledge production may entail an aesthetic awareness and
knowledge […that occurs as material process through interaction and action]. Seabling is thus a practice-
based open-ended collaborative design research project into the material and discursive potential of ocean
plastic waste, and the ways in which we may repurpose and refine it, ultimately aiming at making us look at
this material anew.

In combing these approaches, and the bodies of work on which it builds, we experience jewellery as an open
and interesting discursive and mediational platform. This is part of the overarching goal of enabling us to
rethink the value of this material, a material that is rapidly undermining the conditions for life on this planet.
We see it as carrying the future potential to become a valuable resource. Jewellery is interesting as a case
for exploring such dynamics, as it is located at the complete opposite end of the spectrum to trash,
pinpointing the question of how we literary may turn trash into treasures via combinations of craft and digital
mediation, context and presentation.

2. Ocean plastic jewellery

In discussing the epistemology of practice, Schön (1983) describes processes of designerly inquiry as
represented as “[…a reflective conversation with the materials of the situation”. Typically, a piece of our
jewellery consists of one, or several pieces of ocean plastic, as they are found. We then select the pieces we
want to include in our materials repository. After a process of tinkering, we assemble the parts with sterling
silver or gold. Importantly to the visual style of the jewellery, the shape or texture of the plastic pieces are
not altered, except for tiny holes for silver or gold. This exposes the material qualities of the plastic pieces.
The various ways they are broken, their shapes, angels, texture and colour nuances is at the core of each
piece. In the case of earrings, pieces that relate to each other aesthetically, or we find to engage in a
“dialogue” with each other are combined. Some of the plastic pieces we select are melted, resulting in darker
colours and specific uneven shapes. Some of the pieces are recognisable as fragments of specific objects,
such as screw caps, while others have been part of broken plastic objects which origin and history is unknown
to us. Some of the pieces carry the marks of time and the wear and tear of the ocean, such as cracks and
textured surfaces. Others have been bleached in the sun or polished by sand. The pieces we select are but a
small fragment of all the waste washed ashore. Fragments of nylon ropes, plastic bags, straws and q-tips,
cans, pens, shoes and clothes, just to name a few of the objects, often appear on the beaches from which we
collect our material.

In this project, pieces of ocean plastic waste – as the pieces are found – are investigated as a design material
for jewellery via processes of careful selection and combination - in tandem with a range of mediational
processes of digital presentation, mediation and distribution. We investigate the role of digital mediation of
the jewellery and in what ways this mediation forms an incremental factor in processes of visual refinement,
ones that seek to make us look at this material anew. Ultimately, we aim at transforming plastic waste into
pieces of jewellery where the plastic pieces play the lead role. Such visual refinement may for example be
that the jewellery is picked up by a professional stylist, included into a fashion editorial that is shot with
professional photographer and models, and included into a fashion editorial in a magazine. Integral to the

project is to investigate what such presentations and contexts do with our perception of the jewellery and
what role it has for how the plastic pieces are perceived.

3. From Waste to Jewellery: Found Objects

The transformation of worthless material into something precious is a recurring theme in the history of art,
design and also jewellery. Since the urinal titled “Fountain” signed R. Mutt, and attributed to Marcel
Duchamp (see Mundy, 2015) was placed into Stieglitz’s gallery (Lynton, p.131), the role of the artistic object
and its relations to institutional context has been questioned. In the history of art, found objects as well as
relationships between culture and nature has been addressed by a wide range of artists. For example, the
Italian 1960’s (and its revival in the 1990’s) movement “Arte Povera” as led by the curator and critic Germano
Celant brought material considered as worthless into the gallery space (Lumly 2010). In the context of
sustainable jewellery, Manheim (2009, p.15) points to the ways in which the value of material in jewellery
has been questioned in the history of art and jewellery, and specifically questions relating to […making
something worthless into a costly piece of jewellery through time and workmanship, and how that sits with
the idea of sustainability”. Pennie Jagiello (2017) has importantly studied what she refers to as antropogenic
debris as a material for contemporary jewellery. She defines this as (Ibid, p 4) “[…Human-made materials
that has been discarded causing serious negative environmental impacts”. Jagiello (2017, p.11) points to the
rich practice of jewellers that has found materials at its core, such as Helen Britton, David Bielander and Lisa
Walker, among others. These have, according to Jagiello, been pivotal in raising debate about what jewellery
can be, and what can be considered precious or non-precious. There are many similarities between Jagiello’s
approach to jewellery materials and ours. However, in contrast, we do not shape or alter the pieces of plastic
we use in our jewellery, except for the drilling of tiny holes in the plastic pieces. However, the discursive
potential of jewellery is common ground.

4. Looking anew
Looking at popular jewellery that point to issues of sustainability, the semiotic systems of reference such
issues may overshadow the jewellery itself, as the “good cause” easily become the main rationale for
engaging with the jewellery. This is for instance the case in the 4ocean bracelet initiative, where the bracelet
acts as a symbol for commitment in cleaning up the ocean. The bracelet made from recycled glass and
polyester, but the project is not presented as a jewellery project, but as an ocean cleaning initiative. The
bracelets are thus created and mediated as discursive pieces that facilitate conversation about marine
pollution. The bracelet is first and foremost a mediational device (Lash and Lury 2009), a token for
engagement with marine plastic pollution, not as pieces of jewellery.

Figures 3 & 4. Jewellery worn by a model and presented as a fashion accessory. All visual references to marine waste are removed.

In order to nudge people into looking at found pieces of ocean plastic anew, to push perception in other
aesthetic directions, we explore how the style associated with idealistic approaches to repurposing waste
needs to be interrupted, even replaced completely, in order to afford the perception of the qualities of ocean
plastic as a design material outside of existing aesthetic regimes linked to sustainability. That is, by removing
all visual elements that connotes plastic waste, we aim at making people actually look at the plastic pieces
closely for noticing that such plastic pieces exist. Incremental in this regard is Viktor Shklovsky’s concept of
defamiliarisation drawn from his scholarship in literature and critique. In his 1917 essay, one that was
translated and reprinted in 1965 titled Art as Technique, Shklovsky discusses, how to make us perceive the
familiar anew (1917) so as to experience the world without perception becoming dulled down by
perceptually worn. However, as Shklovsky discussed poetic language with close reference to Tolstoy, his ideas
on defamiliarisation have informed other fields of cultural production- and enquiry. In terms of jewellery
design, defamiliarisation refers to luring the imagination to see beyond naturalised perception. According to
Shklovsky, the object of our perception is there, but we do not really see it even as it is right in front of us.
To escape this condition, and to make a phenomenon poetic, it is necessary to make the perception more
difficult, to interrupt the habitual and to prolong the perception of it. This echoes with our jewellery material-
and project. The small pieces of plastic waste, now littering both the ocean and land are there, but we do not
take much notice. If we do, we rarely look closely at it. Notable exceptions to this is microliter which can
actually be hard to see, or plastic waste deposited at the bottom of the sea. But the kinds of plastic waste
objects we may encounter on a daily basis is not something we actually look closely at, or even consider as a
design material, even as plastic debris is visible on almost every piece of coastline. As Shklovsky’s conception
of art is open for discussion, and has been critiqued and questioned, the idea of making us look at something
anew is fruitful in the context of jewellery made from such a material.

In applying and referencing the mediational techniques of high fashion and the networked mass image
(Skjulstad, in press), we explore the combination of curation, selection and refinement of plastic pieces
through the medium of jewellery. This is combined with staging and presentation that does not initially
connote issues of sustainability, beaches, marine life, or nature. That is, the context in which the plastic
material is selected, the trauma it imposes on nature and wildlife, and the devastating effects of it is visually
displaced so as to lead the eye to the plastic pieces as objects of aesthetic experience. Fashion Photography
has historically perfected the mediation of ambivalence as one of its defining features (Andersen 2006). Such
an ambivalence is part of the mediation, as the devastating effects of our material is visually removed from
our mediation of the project. The audience’s own knowledge of ocean pollution and its consequences provide
a visually conflicting backdrop to the aestheticized mediations of ocean plastic jewellery. The digital in this
sense thus refers to the ways the project is situated visually in digital media representations. Digital
mediations of fashion are networked, and according to Roccamora (2013) mediatized. This refers to how a
media logic is engulfing more and more aspects of life, and how mediational processes are becoming pivotal
in the ways through which fashion is not only mediated, but designed (Skjustad 2017). Drawing on Lash and
Lury (2009), the relations between designed object and its mediations are at times blurred (Skjulstad 2017).

As this jewellery project runs on a low budget, and as the project only has run for about a year, we take on
multiple roles, such as photographer, stylist, running the Instagram account @seablingsta, etc. However, we
aim at positioning the project as a site for creative collaborations in terms of mediation, photography, and
modes of presentation. The project seeks to explore our perception of this material when presented as
jewellery within the contexts of contemporary fashion and jewellery design, among others an Oslo-based
curated vintage fashion boutique. To strategically work with visual endorsements and collaborations as a
means for presenting and altering the perception of this material, and positioning the jewellery within the
context of contemporary fashion and design, we take on board my current research and teaching in fashion
mediation and digital culture. As the project is allowed to play itself out rather organically, a part of the
project is also concerned with investigating how the jewellery may appear in other contexts than the ones
we fully control. An example of this is a fashion editorial on design items made from recycled plastic in the
weekly glossy newspaper magazine D2. An editorial context created by an independent journalist, a
professional photographer and stylist, models and professional studio is anchoring, echoing Roland Barthes
(1964), the jewellery in a visual ethos where the connotations that such context entails, guides the perception
of the plastic pieces.

5. Finding a material
We are currently a collaborating with the organisation Nordic Ocean Watch, a project-based collective
initiative dedicated to taking care of the ocean. The organisation is initiated by a group of surfers who took

responsibility for cleaning the beach of Hoddevik, a bay surrounded by majestic mountains located at the
western shore of Norway at a very exposed part of the coast named Stadt. Norway has for many years
been providing oil to the industrial production of plastic, and is still actively drilling for oil in the North Sea.
We are currently working on a “Hoddevik” edition of our jewellery, and is in dialogue with Nordic Ocean
Watch on a project labelled Norwegian Trash - that will feature contemporary Norwegian Design made
from upcycled waste. Now, we are in the process of collaboration in sourcing materials, as this organization
is currently developing and installing infrastructures for marine clean-up activities along the coast of
Norway. We envisage that other designers start exploring ocean plastic as a design material, as the material
is widely available, and still largely an undiscovered one. As sustainability initiatives now are becoming
imperative within a variety of design contexts (Braungart & McDonough, 2009, Braungart & McDonough,
2013), including within the fashion industry, our explorative jewellery practice aims to provide a tangible
example of how such a project look. adding to the economic incentives for removing this material from our
coast and oceans.

6. Implications: Jewellery as contemporary archaeology and memento mori

This project has a range of implications. In particular, we are interested in exploring how the kinds of ocean
plastic pieces we use in our jewellery can be reconceptualised as a precious one, and as being reused in
products with aesthetic - and market value. This as part of our interest in contributing to the conception of
the value this material might have as part of an emerging interest in circular economies. This opens for
collaborations with organisations that is already involved in ocean plastic waste and waste management, as
well for domains related to fashion, style and design. Considering our approach to jewellery design in
terms of contemporary plastic archaeology is one we will develop. The plastic pieces in our jewellery tell us
something about human life since the popularisation of plastic in the 1950s- and 60s. We also explore
ocean plastic as a design material that is situated between nature and culture, as images of swans building
plastic nests and a whale with its belly filled with plastic bags are stuck on our retinas. Our material is made
by man and shaped by nature in processes beyond our control, marked by the passing of time and the
forces of the ocean. These processes give the plastic pieces variation in in nuances, patina, colour, texture
and shape. Each piece is a remnant of our near past, and carries an untold story of our contemporary
condition. Positioning ocean plastic within the context of contemporary archaeology, as an element of what
Dibly (2018, p.44) refers to as technofossils may open up for some of the more affective dimensions we
explore. In the context of the onset of the Anthropocene, Dibley discusses contemporary debris, the layer
of human activities and technologies as fossils to be. That is as a new sedimentary layer of the earth.
According to Dibley, (ibid, p.44), […the deposits of human technology buried in the Earth’s crust will not
only be that species’ geological legacy, but the mineral markers of its emergence as a major geo-force”.
Ocean plastic debris is such a mineral marker, an intrusive force among traces of human activity on the
planet. This is a layer that according to Dibley (2018, p. 44) may be conceived of as a memento mori and as

a “[…heuristic for imagining a world after the human – a ‘world without us’”. Each piece of jewellery made
from this material carry the story of our species and “[…the era of its doing and undoing” (Ibid, p.44). In the
context of the Earth’s trajectory in geological time, ocean plastic is but one trace of human activity – along
with everything from mobile phones to hydro dams, cities and shoes. The jewellery is made of the material
of such prospective technofossils, and as jewellery these pieces will be folded into a readable future,
however one that paradoxically will be without readers. The jewellery may thus become, drawing on Dibley
(2018, p.48-49) affective objects, “[…serving as a reminder of one’s mortality and the trajectory and
material afterlife of human activity”.

7. Conclusion
As ocean plastic pollution is one of the most pressing environmental issues of today, the discursive potential
of jewellery made from such a material, combined with the power of contemporary networked high fashion
media is one we seek to explore and develop in combining the crafted and the digital in the transformation
of trash into treasures. The jewellery may serve as discursive embodied reminders of the gravity of the issue
of plastic ocean pollution. In addition, they may facilitate dialogue and reflection on the need for immediate
action on ocean plastic pollution, serving as aestheticized affective objects that carry our recent history – as
well as our future prospects as a species. In this regard looking closely at what is otherwise widely overlooked
may change the ways a tiny fragment of a screw cap is perceived. In addition, while serving as examples of
an alternative design approach in jewellery that is building on recontextualization, reuse and refinement of
a damaging material

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