Mapping Impermanence: Roberta Bernabei

It consisted of 23 new pieces that broadened previous explorations of spatial aesthetics and 10 'memory spaces'. New works resulted from researching the Japanese spatial concept MA; perceived to be the necessary interval of space or time that gives shape and meaning to the whole. Consequently, a series of neckpieces and bracelets explored how the boundaries between form and space in jewellery could be challenged through ambiguity. A symbiotic relationship between presence and absence, whereby neither space nor mass dominated, was achieved by laser-cutting materials such as leather. An installation of 30 silicone forms attached to the 22m length of gallery wall rendered the surrounding spaces an integral element of the work by relocating potentially wearable objects away from the human body in favour of architecture as a vehicle of adornment. The relationship between object, its means and location of adornment was also considered through photo-etched silver brooches displayed on T-shirts with identical motifs to those etched. Additional exhibits included ceramic artefacts created at the European Ceramics Work Centre through which the potential of fluid linear drawing to define space was explored by dripping liquid porcelain prior to firing. Mapping Impermanence included a 32 page catalogue, with a critical text from Rita Marcangelo director of Alternatives contemporary jewellery gallery in Rome and president of the Italian Association for Contemporary Jewellery. (ISBN 1-900856-67-0). It was reviewed in The Times by Tim Teeman in 'Top Five Museums' 15.04.2006, and in Findings, the journal of the British Association of Contemporary Jewellers, Findings, June (UK), p 15, J Pond.