Leah Teschendorff
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In Spanish 'bosquejo' is a sketch, or the rough outline of an idea. Shortly after the acceptance of my proposal for Radiant Pavilion I developed tendonitis in my elbow. Such bad timing, I could not work. Rather than withdraw due to injury I decided to take the opportunity to present what I think of as three-dimensional drawings or sketches. Maquettes, ideas in progress, objects and experiments using light materials that would not hurt my arm such as wood, string, ink, encaustic paint and a glue gun. Plaster, brass tube, wax cast into bronze...
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How would you describe your working process?
I love working in my studio! I put the radio on and drink lots of green tea. Music is very important to me. At times I'm erratic and distracted, at times there is discipline and routine. It's pretty well balanced with other things in my life. During the tedious bits I take a meditative approach to the work, and when those sparkles of inspiration strike I throw myself in completely. I thrive on the pleasure of creative energy. Often the things I make are inspired and informed by botany, but increasingly the work is generative, more abstract. Sometimes taking things to the point of completion is a challenge for me because I'm moving on to the next idea before the last idea is resolved.
What's your favourite material to work with?
My favourite thing is drawing. The thrill of a fresh sheet of 280 gsm BFK Arches Rives paper, pen, ink, watercolour, gouache. Charcoal. Bronze. Found materials that inspire me to do something with them. At the moment I am experimenting with sheep's appendix from Donati's with some really interesting results. And at the jeweller's bench? Sliding a needle file through 22 ct gold is surely the most sensual metal work experience.
Why did you decide to present your work in a butcher shop window?
Donati's Butchers in Carlton is a very special place. It smells great. Apart from the hand crafted produce the shop is full of books and art, and often almost deafening Italian opera that can be heard down Lygon street. Leo and Vivienne Donati are huge supporters of the arts, contemporary jewellery in particular. Seemed like a perfect fit for Radiant Pavilion to me.
Why do you think presenting work in unusual spaces is important?
Outside of the gallery space what is an unusual space? This question really brings into play the consideration of placement of things. Jewellery on and off the body, public art, galleries, private collections... the list goes on. Presenting work in public spaces has an egalitarian aspect that I really like. I believe it is important and breathes life, interest and vibrancy to what are potentially dull places. Chapter House Lane in Melbourne is a great example of this: a window art gallery in a public space viewable 24/7 in a formerly dark and at times unsafe-feeling lane. Collaborations between artists and designers interest and inspire me, the windows of Isabel Marant and Dries Von Noten stores are always wonderful. Prada Marfa Texas by Elmgreen & Dragset is a favourite example of presenting work in an unusual environment. Increasingly there are interesting things happening online too.
Do you think there is a strong connection between jewellery & objects and food in Melbourne?
I'm not sure about jewelIery and food but there is certainly a connection between objects and food here. I ate at Lûmé in South Melbourne recently and the chefs there have discovered silicon putty. They are making some delightful objects from food that are admired and then eaten. Delicious. Many restaurants are using handmade, locally designed objects and tableware, particularly ceramics. It is great to see a resurgence of interest in the handmade and local makers supported.
leahteschendorff.com/
I love working in my studio! I put the radio on and drink lots of green tea. Music is very important to me. At times I'm erratic and distracted, at times there is discipline and routine. It's pretty well balanced with other things in my life. During the tedious bits I take a meditative approach to the work, and when those sparkles of inspiration strike I throw myself in completely. I thrive on the pleasure of creative energy. Often the things I make are inspired and informed by botany, but increasingly the work is generative, more abstract. Sometimes taking things to the point of completion is a challenge for me because I'm moving on to the next idea before the last idea is resolved.
What's your favourite material to work with?
My favourite thing is drawing. The thrill of a fresh sheet of 280 gsm BFK Arches Rives paper, pen, ink, watercolour, gouache. Charcoal. Bronze. Found materials that inspire me to do something with them. At the moment I am experimenting with sheep's appendix from Donati's with some really interesting results. And at the jeweller's bench? Sliding a needle file through 22 ct gold is surely the most sensual metal work experience.
Why did you decide to present your work in a butcher shop window?
Donati's Butchers in Carlton is a very special place. It smells great. Apart from the hand crafted produce the shop is full of books and art, and often almost deafening Italian opera that can be heard down Lygon street. Leo and Vivienne Donati are huge supporters of the arts, contemporary jewellery in particular. Seemed like a perfect fit for Radiant Pavilion to me.
Why do you think presenting work in unusual spaces is important?
Outside of the gallery space what is an unusual space? This question really brings into play the consideration of placement of things. Jewellery on and off the body, public art, galleries, private collections... the list goes on. Presenting work in public spaces has an egalitarian aspect that I really like. I believe it is important and breathes life, interest and vibrancy to what are potentially dull places. Chapter House Lane in Melbourne is a great example of this: a window art gallery in a public space viewable 24/7 in a formerly dark and at times unsafe-feeling lane. Collaborations between artists and designers interest and inspire me, the windows of Isabel Marant and Dries Von Noten stores are always wonderful. Prada Marfa Texas by Elmgreen & Dragset is a favourite example of presenting work in an unusual environment. Increasingly there are interesting things happening online too.
Do you think there is a strong connection between jewellery & objects and food in Melbourne?
I'm not sure about jewelIery and food but there is certainly a connection between objects and food here. I ate at Lûmé in South Melbourne recently and the chefs there have discovered silicon putty. They are making some delightful objects from food that are admired and then eaten. Delicious. Many restaurants are using handmade, locally designed objects and tableware, particularly ceramics. It is great to see a resurgence of interest in the handmade and local makers supported.
leahteschendorff.com/
