Robin Shelton - Jewellery_Boxes Collection
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Artist Name: Robin Shelton
Instagram: @robin_Shelton_artist
Collection Name: Jewellery_Boxes
Year: 2024/2025 (ongoing)
Materials: mixed media including precious/non-precious materials (details provided for each piece individually upon request)
Instagram: @robin_Shelton_artist
Website: www.robinshelton.com
Photo Credits: all photography ©Robin Shelton
Instagram: @robin_Shelton_artist
Collection Name: Jewellery_Boxes
Year: 2024/2025 (ongoing)
Materials: mixed media including precious/non-precious materials (details provided for each piece individually upon request)
Instagram: @robin_Shelton_artist
Website: www.robinshelton.com
Photo Credits: all photography ©Robin Shelton
Concept/Statement:
Since a visit to the Pitt Rivers Museum in Oxford, UK whilst on art foundation course in 1991, I have been fascinated by the relationship between an object and its method of display; there is an interplay of suspense, of harmony and of mutual reliance in the dialogue between the two. Just as an image isn’t really finished, in my eyes, until it is framed, nor is a piece of jewellery complete without some means of presentation, of display, of protection, of transit.
Because a proportion of jewellery (including the majority of what I make) is not designed for everyday use, also of concern to me is what happens to the piece when it is not being worn – where does it live? And, if it must have a home, then surely that place should also fulfil a similar function to its contents - should it not also adorn, embellish, entertain?
I feel that the answer to that question is so much ‘yes’ that I wonder which is more important – perhaps a jewel’s form and materials may be dictated by its confinement, or at least the latter could suggest the outcome of the former. The jewellery that I make now – the jewellery in this series – always begins with an extant object (eventually becoming either part of the container or contained) nagging at me to manifest it, to make it the best version of what it is; to celebrate its ‘thingness
Since a visit to the Pitt Rivers Museum in Oxford, UK whilst on art foundation course in 1991, I have been fascinated by the relationship between an object and its method of display; there is an interplay of suspense, of harmony and of mutual reliance in the dialogue between the two. Just as an image isn’t really finished, in my eyes, until it is framed, nor is a piece of jewellery complete without some means of presentation, of display, of protection, of transit.
Because a proportion of jewellery (including the majority of what I make) is not designed for everyday use, also of concern to me is what happens to the piece when it is not being worn – where does it live? And, if it must have a home, then surely that place should also fulfil a similar function to its contents - should it not also adorn, embellish, entertain?
I feel that the answer to that question is so much ‘yes’ that I wonder which is more important – perhaps a jewel’s form and materials may be dictated by its confinement, or at least the latter could suggest the outcome of the former. The jewellery that I make now – the jewellery in this series – always begins with an extant object (eventually becoming either part of the container or contained) nagging at me to manifest it, to make it the best version of what it is; to celebrate its ‘thingness
