In the dark and cold of winter I'm remembering my incredible trip on the Barinia in June and the knot project I did one hot afternoon on board... Rope to metal? Captain and Narelle a big thank you.
In 2014 I took part in a three week residency to develop and make new work for Da Volterra Werkstatt. With seven other artists in the beautiful surroundings of Villa Le Guadelupe, in Volterra, Italy, I made a movement film with film maker Emma Macey, a series of charcoal drawings and began a collection of gold and silver jewellery. The collection of works was shown at Teatro Persio Flacco, in Volterra, October 2014, at Castel in Montepulciano, December 2014, and will be taken to Eunique, the craft and design fair in Germany, May 2015.
Florence is You! magazine preview November December 2014:
Art, Craft & Design A brand new Label for items of quality
“da Volterra Werkstatt”, brought to life in March 2014, aims at emphasizing the local resources building on the cultural wealth of Volterra and on its creative potential for the benefit of stimulating new works in interaction of art, craft and design. The Collection 2014, first presented in October in the beautiful Teatro Persio Flacco of Volterra, comprise sculptures, jewelry, objects of daily use and furnishings, designed or rather created on site by internationally renowned artists, craftsmen and designers from different tendencies, joined by the passion for the region. They principally relied on materials in which Volterranean and Tuscan tradition are rooted, first of all precious metals, stone, wood, clay and of course alabaster. By bridging the polarity of tradition and contemporary trends, getting inspiration also from the vitality, the thematic richness and the design vocabulary of the Etruscans who have marked the magnificent history of Volterra, the objects surprise by the inherent creative idea, by beauty of material and form. In manufacturing “da Volterra Werkstatt” collaborates with premises based in Tuscany, like laboratories and craftsmen’s establishments. The label “da Volterra Werkstatt” stands for objects designed as a unique work or as a limited edition, signed by the artist, and created for people with esprit and tastes who appreciate the special things. “By this initiative we want to give an impulse both to Volterra and the territory uniting creative forces to join the world”, say the founders Dirk Oelbermann and Klaudia Ruschkowski. In collaboration with experts from art and design and with regional partners like Gattavecchi winery in Montepulciano or Alchimia contemporary jewelry school in Florence, “da Volterra Werkstatt” tries to open up new paths and horizons.
Drawing Moves to Making
15th March - 12th April 2014
R-Space Gallery, Lisburn
Thank you Andrea McWilliams and Robert Martin for your wonderful hospitality and the opportunity to show a collection of my jewellery, Body 30'57" - some of the drawings from my recent British Library residency, and Lying in Wait my collaborative film with artist Idris Khan.
I'd like you share some writing by Olive Broderick. who came to my talk at the opening of the exhibition. She is a poet who is part of the Castle Ward Arts and Craft Collective based in a National Trust property on the shores of Strangford Lough, Co. Down. www.castlewardartsandcrafts.com.
I love that working processes can be passed on and developed to work for different makers working in different mediums. After the talk Olive distilled five impressions from the film Lying in Wait into single words of one syllable and wrote from them. Here's the result:
By Olive Broderick 2014
after the work of Sarah Warsop
Blank Black Book Gap Dance
Dreamer in a black dress: moves among
the book stacks. They are tightly packed
and their blank spines make you seem
trapped within their barricades. You never
even look to ford the gap – Eve before
the apple - you carry your own core
material: staccato words which you draw
out to complete lines with your body.
Somehow it's the half-light greys that
mark the dance out from the darkness
Leyton Stone brooch, 18ct gold with aquamarine, 2014. Photo: Steve SpellerRead More
The beautiful setting for the week long anticlastic forming workshop led by Benjamin Storch. A wonderful intensive week, great company and delicious food, made possible by everyone at Villa le Guadalupe, Volterra, Tuscany, and the Queen Elizabeth Scholarship Trust who gave me a scholarship to study there. Thank you everyone.
The British Library, Artquest first jeweller in residence programme ran from September 2012 to March 2013
This short film charts Sarah's experiences on the residency, her approaches to engaging with the British Library, its collections and curators, and the impact that a research based residency has had on her practice.
Inspiring coach, speaker and author Rasheed Ogunlaru has filmed an interview with Sarah about the business of creativity. Filmed at the British Library in the Business and IP Centre, Sarah and Rasheed discuss where dance and jewellery meet, the ups and downs of a creative life, and how having been Jeweller in Residence at the Library will affect Sarah's future work.
"A Composer who hears sounds will try to find a notation for sounds. One who has ideas will find one that expresses his ideas, leaving their interpretation free, in confidence that his ideas have been accurately and concisely notated."
- Cornelius Cardew
"The score must govern the music. It must have
authority, and not merely be an arbitrary jumping-off point for
- Cornelius Cardew, Treatise Handbook, p.iv col 2 pp. 2
"In the case of Treatise a line or dot is certainly an
immediate orientation as much as the thread in the fog. "
- Cornelius Cardew, Treatise Handbook, p. iv col 1 pp. 1
Working title: Body 30' 57"
After many hours in the British Library listening booths listening to all the different interpretations of Cornelius Cardew's Treatise I could find and sketching at the same time, I fell for a version using pages 53, 58, 168 and 169. With Oren Ambarchi on guitar and Keith Rowe on tabletop guitar and recorded live at Bimhuis, Amsterdam on February 8th 2009 by Ron Ruiten. It is a beautiful, quiet sound scape which lends itself perfectly to my task of physical and dynamic interpretation.
Having done the largest sketching experiments I could do in a sound booth without raising eyebrows, I ordered a copy of the LP from Germany and set about some much bigger mark making. Using lengths of paper on the floor some nearly five metres long, and with the sound on my headphones, the charcoal sketches took as long as the music lasted and used Cardew's idea of a centre line or life line running through his score as an anchor.
Here are some details from my drawings.
09 October 2012
Look through the photos to go back in time to the beginning. Maybe someone will send me a picture of the last day to finish off the progression.
Two events happened last night:
After I'd been pouring water into vessels and mopping up the water as the vessels cracked and spilled their contents on the ground for about two hours, two women came into the room. They stood and watched and chatted, and sat and watched and chatted about monotony in general. About how my tasks were quite varied so maybe it wasn't so bad to be doing what I was doing... Then one woman started to relate to her friend the story of the dung beetle. How he gathered his ball of dung several times his own size and rolled it up a slope which took hours. As it reached the top he lost hold. The dung ball tumbled back to the bottom. The dung beetle collected his load and started up the slope...
They were in the room a long time, enjoying each others company, appreciating the piece, 'getting it'.
Later, when the room was completely empty, a man strode in. He looked around briefly and demanded that the invigilator tell him what it was all about. When he didn't get a reply that satisfied him, he turned to me as I mopped and asked "Why is it so wet in here?"
I continued mopping...