Un/familiarities
Elfi Spiewack
20 Sep – 14 Oct 2023
They are mysterious, these works. Incongruous conflations of familiarity and strangeness, depth-less image and three-dimensional object, art and jewellery.
The settings are the timeworn, colour-skewed reproductions of eighteenth and nineteenth century Romantic paintings with their dramatic cloudscapes, nostalgic pastoralism and suggestions of intimacy, a canon of familiar images ejected from their place above the mantelpiece or beside the bed to gather dust and disfiguring light in the $10 bin of the op shop or garage sale. Into these, jeweller Elfi Spiewack embeds set gems, slivered bone and polished stone, using the materials and techniques of fine jewellery to add a startling vitality, disrupting assumptions of medium, value and aesthetic norms.
The banality of an alpine scene of Haast Pass is interjected by a slab of pounamu, immutable in its presence, as if reclaiming its West Coast origins. In the foreground, a drift of diamond-like zirconia appears to have been washed up in the river.
Jean-Francois Millet’s Shepherdess with her Flock (1863) is looped across by a scattering of semi-precious Carnelian beads, a sliver of jasper, a string of pearls suggestive of tears and prayerful subservience.
Another painting by Millet: The Gleaner, 1857. A piece of granite seemingly extruded from the hillscape hangs oppressively over the bent body of a farmworker; amongst the wheat stalks lies 40 carats of scattered sapphires, a nod to the exploitative industry by which precious stones are mined by the poorest to grace the bodies of the wealthiest…
…The choice of materials is subtle, dictated by the mood, colour and narrative of the imagery, while violating the norms of both art and jewellery. If the value of art is determined by the reputation of the artist, and the value of jewellery is dictated by the materials used, here the ‘art’, discoloured and discarded, is pierced with precious metals and the natural beauty of agate, jasper, basalt and shell, set according to the highest standards of the jeweller’s craft.
Spiewack has been this way before. In her Osseous series of 2015, she integrated animal bones and synthetic hair into wearable jewellery. In Splendour Moot, Adornment Re-Framed (2017-now), she adorned portraits from the Baroque and Victorian periods with finely crafted brooches and necklaces.
But the paradoxes of this exhibition also evoke the everyday strangenesses of Covid times when, as she says, the old story was disturbed, nothing made sense: “It was a new reality.”
Sally Blundell, 2023