Graduated from Birmingham Institute of Art & Design
Selected by Deirdre Figueiredo
Golden Circle - brooch, 2008
Artist statement
The main focus of my work lies in the exploration of the evolution of form and ornamentation. In my most recent body of work 'Make Do and Mend' I have created a range of jewels from second-hand fabric, crochet, lace, heat treated copper and gold-plated elements. I aim to explore a traditionally domestic approach to recycling and sustainability, whilst following the progression of form and decoration through an evolution of scale, density and eccentricity.
Throughout history, and particularly during World War Two as a result of severe rationing, housewives were forced to make the most out of what they already had through the repairing, reassembling and revamping of household objects and possessions. In terms of linen and clothing the term 'Make Do and Mend' was adopted. Clothes were turned inside out, frilly collars were crocheted onto dresses, knitted garments were unpicked and re-knitted and embroidery was added to tablecloths, dresses and napkins.
My concern is not only with the ecological benefits of re-using and re-inventing something old, discarded or forgotten, but with the beauty of the history of an object when it has been passed down through a family or transformed into something else for another purpose.
I take old pieces of fabric, scraps of lace and wool and try to imbue new life into them by creating compositions of layered pattern, colour and form. Emphasis is placed on excess detailing and frills, taking pleasure in unusual or abundant combinations of fabrics and textures. My jewellery strives to explore the concept of the 'Superfrilly' and ask the question, 'When is enough really enough?'.
Selector text
Sally Collins' graduating jewellery collection entitled 'Make Do and Mend' references domesticity and historically associated feminine roles of knitting and sewing as well as childhood memories. Domestic objects and activities are often a starting point - the repetition of circular tracery like shapes evoke a doily, and memories of making apple pies with her mother also feed into the emotion imbued in the work.
Re-enacting the activity of make do and mend, she utilises fabrics from her own childhood as well as second hand fabrics, threads and antique lace which are unpicked and re-knitted. These are reassembled, layered like memories and bounded by structural elements made in hand treated copper and gold plate.
There are also playful intentions behind the jewellery designed to appeal to the eccentricity of the wearer. Each piece is conceived as an evolving form which grows in scale and can be configured, attached and detached in different variations.
There is a consciousness behind the work that relates to a concern for recycling and sustainability. Collins aligns her production values to contemporary issues of the day and in this sense the wearer can also make a statement and exert consumer choice. Attaching value to non-precious materials through creative transformation has increasing currency in the environmentally and socially responsible marketplace. This body of work from an individual designer maker links into wider corporate initiatives such as Oxfam's recent ethical boutiques. Their campaign produces high end fashion re-crafted and re-styled from pre-owned garments.
I found here an example of an artist maker whose work is thoughtfully considered, highly accomplished and ready to hold its own in an international market.
Collins' work will be exhibited at Birmingham Museum and Art Gallery as part of the Brilliantly Birmingham jewellery festival from 26th November.
(Deirdre Figueiredo, 2008)
Qualifications and training
- 2008 MA Silversmithing, Jewellery and Related Products, Distinction, Birmingham City University
- 2006 First Class (Hons) in Silversmithing and Jewellery, Loughborough University
- 2003 BTEC Diploma in Foundation Studies, London Metropolitan University
