Ice Storeroom Installation of Jewellery and Silversmithing

Research Background This research is situated in contemporary jewellery and silversmithing. This research was the first project where a jeweller explored and interpreted a personal experience of Antarctica to produce jewellery objects that used photography to depict the landscape. This installation spans the full 30 Meter exhibition space of Craft Victoria and reflects on the breadth of the research in small jewellery and silversmithing objects. Research Significance This research was presented at Craft Victoria, the peak organisation in Victoria which explores the value of craft, "Victoria's largest and oldest arts organisations dedicated to championing aspirational making and ideas driven practice through exhibitions and public programs." The exhibition was selected through a Peer review application process. "In this installation Ice storeroom builds on Haydon's previous work with Antarctica and explores the notion that Antarctica is a repository for environmental and cultural knowledge." Research Contribution This large-scale exhibition evidences and situates the breadth of this research in the Australian craft field. The exhibition received a review in The Age Art section by Penny Webb and Nicholas Forrest in ART Blouin. The exhibition itself is described as "Running along the window wall of the gallery, a schematic timber-rod structure supports the horizontal arrangement of exhibits, but also serves to suggest the confined interior spaces of Scott Base that Haydon knew as a 2004-05 Antarctic Arts Fellow, NZ." This research has considered representing Antarctica in new and innovative ways. "Haydon says she would like to go back to Antarctica. Going back, in the sense of responding to historical figures, events and family history, is what she does so rewardingly in this welcome survey." This considerable solo exhibition contributes to the questioning and discussion around the installation and encounter of jewellery and silversmithing research.研究背景 本研究立足于当代首饰与银饰制作领域。本研究是首个由首饰设计师探索并诠释个人南极体验，并以摄影手法表现地貌以创作首饰作品的项目。该展览占据了维多利亚工艺美术馆（Craft Victoria）全长30米的展览空间，通过小型首饰与银饰作品展现了本研究的完整范畴。 研究意义 本展览于维多利亚工艺美术馆展出，该机构是维多利亚州探索工艺价值的顶尖组织，“作为维多利亚州规模最大且历史最悠久的艺术机构，其通过展览与公共项目，致力于弘扬兼具前瞻性的创作与理念驱动的实践”。本次展览通过同行评审的申请流程入选。“本次‘冰库’展览延续了海顿（Haydon）此前围绕南极的创作脉络，并探讨了‘南极洲是环境与文化知识的贮藏库’这一理念。” 研究贡献 本次大型展览佐证并锚定了本研究在澳大利亚工艺领域的整体范畴。该展览获《时代报》（The Age）艺术版块的彭妮·韦布（Penny Webb）与尼古拉斯·福里斯特（Nicholas Forrest）在《ART Blouin》上的评论报道。展览被描述为：“沿着画廊的窗墙延伸，由木质杆构成的示意性结构既支撑了展品的横向排布，也呼应了海顿作为2004-05年度新西兰南极艺术研究员时所熟悉的斯科特基地（Scott Base）的局促内部空间”。本研究探索了以全新且创新的方式展现南极洲的路径。海顿表示，她希望能够重返南极。这种“回溯历史人物、事件与家族历史的创作方式”，正是她在本次广受好评的回顾展中极具成效的创作手法。本次颇具规模的个展，推动了围绕首饰与银饰研究的展示与体验的探讨与思辨。