Ellipse lozenge rings and neck pieces
From my Geometries in time exhibition, 2022
Helen Dilkes, 6 Ellipse lozenge rings, 2015-2021, 925 silver, mica, NSW, Molybdenite, Kingsgate, NSW, green gold leaf, yellow gold leaf, 925 silver granules (hand made by me Etruscan method), all rocks crushed and set into resin, each ring is 28 x 20 x 32mm. Photograph: Fred Kroh
Helen Dilkes, Ellipse lozenge neckpieces, 2020, green gold leaf, yellow gold leaf, mica NSW, silver dust, molybdenite, Kingsgate NSW, silver leaf, Etruscan granules hand made, molybdenite resin, acrylic sheet, 925 silver, silk cord, range in sizes 52 x 32 x 8mm to 57 x 25 x 8mm, mounted on canvas. Photograph: Fred Kroh.
Mildura dust, earrings, 2013/2020
SPECIAL EDITION Unity-multiplicity earrings
Helen Dilkes, Unity-Multiplicity... self-intersecting surface with hole , Mildura dust, earrings, 2013/2020, Nylon (SLS, selective laser sintering), Australian sienna and umber acrylic paint, 925 silver, 50 x 50 x 35mm.
The Australian sienna and umber Unity-multiplicity earrings, like the other earrings in the Unity-Multiplicity earrings 2020 series, come out of my PhD research titled Non-Euclidean transformations… multiplicity in a contemporary art jewellery practice. These are a SPECIAL EDITION, titled Mildura dust earrings. They are from iteration 1 of a limited edition of earrings that develop the self-intersecting surface idea, and are my expression of temporal-spatial continuum. We have had a mad summer in Melbourne, and across Australia. Melbourne was bathed in beautiful fine dust blown in from Mildura; skies were orange; buildings, gardens and streets were dusty orange then muddy brown after torrential rains.
Unity-multiplicity, self-intersecting surfaces, earrings 2019-2020
LIMITED EDITION ART JEWELLERY WORK
Helen Dilkes, Unity-Multiplicity... self-intersecting surface with hole, earrings, 2013/2019, Nylon (SLS, selective laser sintering), Australian sap green acrylic paint, 925 silver, 50 x 50 x 35mm. Photograph: Fred Kroh
Helen Dilkes, Unity-Multiplicity... self-intersecting surface with hole, earrings, 2013/2019, resin (SLA, stereo-lithography technology), pearlescent pigment, 750 gold, 50 x 50 x 35mm. Photograph: Fred Kroh
Helen Dilkes, Unity-Multiplicity... self-intersecting surface with hole, earrings, 2013/2019, Nylon (SLS, selective laser sintering technology), silver acrylic paint, 925 silver, 50 x 50 x 35mm. Photograph: Fred Kroh
My Australian sap green, silver, and pearlescent earrings (above) are available at Studio Ingot, Brunswick Street, Fitzroy.
These are part of a series of limited edition jewellery works I have been producing over time. These self-intersecting surfaces are part of a larger body of work exploring notions of temporal-spatial continuum, and combining machine with hand making processes. Although they look the same from a distance, at close proximity each surface is layered – by machine following instructions from my hand drawing, differently from the next. Seven layers of acrylic paint, of the colour Australian sap green, are hand applied to the 3d printed green surface. Several layers of silver acrylic paint, are hand applied to the 3d printed silver shimmery surface. Or, several layers of pearlescent pigment are hand applied to the 3d printed surface. Gold and silver fittings are hand fabricated, and have my ‘hd’ hallmark and metal fineness stamp.
The Australian sap green edition of these earrings have sold well at Galerie Marzee (following my inclusion in the 30th Graduate Exhibition) in The Netherlands.
Self-intersecting surfaces, earrings, 2017
LIMITED EDITION ART JEWELLERY WORK
Helen Dilkes, Riemann self-intersecting surface with hole, 2013/2017, nylon (SLS, selective laser sintered), acrylic paint Australian sap green, 925 silver, 50 x 50 x 35mm. Photograph: Helen Dilkes
This is a group of five earrings that went to Galerie Marzee in The Netherlands. Some of these were included in my solo exhibition at Brunswick Street Gallery in September this year, 2017. These are part of a series of limited edition jewellery works I will be producing over time. These self-intersecting surfaces are part of a larger body of work exploring notions of temporal-spatial continuum, and combining machine with hand making processes. Although they look the same from a distance, at close proximity each surface is layered – by machine following instructions from my hand drawing, differently from the next. Seven layers of acrylic paint, of the colour Australian sap green, are hand applied to the 3d printed surface.