The title Rinkai translates as "critical point", that moment between two states when an art work comes into being.
![]() |
Lynn and Dorothy at the Rinkai exhibition |
![]() |
Rinkai # 1212 |
![]() |
Lynn and Dorothy at the Rinkai exhibition |
![]() |
Rinkai # 1212 |
![]() |
Lynn tells Howard some of the secrets about the work |
![]() |
Rabbit Necklace (wool, cotton) |
![]() |
Vegetable Sheep Brooch (felt, stg silver) |
![]() |
Lichen Brooch (stg silver, oxidised stg) |
"Ken Clark, who has died aged 89, was among the leading ceramicists of his generation. His strengths included a sure feel for shape when designing solid objects such as candlesticks; masterly ability in imparting a particular hue to a glaze; and sureness of touch in applying a design to ceramics then firing.Avid Gallery was privileged to exhibit his work in 2004. We remember him with great affection and admiration.
Among his greatest triumphs was recreating the red lustre used a century earlier by the potter-novelist William De Morgan. This arose from a commission for red tiles by the film director Michael Winner. Clark went on to fathom the secrets of De Morgan’s other glazes, including those of Islamic origin which had been almost completely lost between the late Middle Ages and De Morgan’s rediscovering them in the 1870s." Link
In the process of making the jewellery for this focus exhibition I have rediscovered the wonders of the traditional art of cuttlefish casting. First you carve your image into the soft cuttlefish bone, then you pour molten silver into the bone leaving the image of the carving behind and a natural wave patterning on its surface from the texture of the cuttlefish itself. The hot metal burns out the bone as it hardens so you can only use it once. This means if you don't get everything right you have to start the process all over again.
I love the mysterious mood I managed to get with my circus figures by using this method of casting. I made the chains to hang the figures and hold this mood by creating different sized and shaped links, manipulating each link individually and then bringing them together to make abstract patterns along the chain's length. This gives the diverse links of the chain a sense of unity. The chains and figures could stand alone as the brooches do but putting them together gives the performers something to work with - something to hold on to and to fly from.
I hope you enjoy wearing them.
David Holmes
Dunedin, July 2012