The studio has blazed a trail through new commissions since we started back for 2016, here a a few recent ring designs Thursday, Apr 7 2016 

Names withheld for the moment – one approved this morning(below), one to be started next week (next drawing) and one still awaiting a response.

 

 

Received an email from a long-time friend and client in Sydney this morning: Thursday, Mar 31 2016 

Begin forwarded message:
From: JG <removed email address>
Subject: Princess ring
Date: 31 March 2016 8:50:47 AM AEST

Hi Barby and Mal

Today, 21 years ago I received the beautiful princess ring!

I still love it

Joanna xx

……………………………………..
4148-37
Selected by the curators for inclusion in the Queensland Art Gallery show and catalogue and reproduced on page 64 – entitled “Indian Princess Ring” commissioned c1995 was (cat.38) item in the show. Pear cut Tsavorite Garnet, pink Sapphires and Diamonds 18ct carved Yellow Gold – 2.1 x 2.1 x 1.7cm – QAG scan given to the studio above.
Below is my original scan and preparation from 21 years ago:
bh-greenwoodprincess-olderscan

 

The newest © Bh ‘in-line’ necklet was delivered early this week Thursday, Mar 24 2016 

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Three necklets; the lower one with the emerald and garnet used our client’s own gems and an array of Barbara’s small symbols in 18ct Yellow Gold. The middle one is the original ‘gem collar’ Barbara made to work out her concept. Padparascha Sapphires, BET Orange Sapphire and Brown Diamond with 18ct Yellow Gold and oxidised 925 Silver. After slight changes to the stringing, fabrication and bayonet clasp, we planned to keep this as a model in the studio for commissions only, then Barbara decided to keep this one for herself. The top necklet was the second off the bench and was to be held as the studio sample (but it has since been wrestled away from us) Australian Opal doublet, black Onyx square, antique rose-cut Diamond, Cambodian blue Zircon, Ceylon Sapphire cabochon, 18ct Yellow Gold and oxidised 925 Silver.

We have two more of these commissioned so far, all with client’s own gems and material.

Ray Hughes (now and backintheday) Tuesday, Mar 15 2016 

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Recent shot with his son and grandson + Billy Butterworth’s shot of Ray when we were in NYC 1976, my second visit.

Back to the studio Tuesday after a 58 day break Sunday, Mar 6 2016 

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. . . back to extravagance, client whims, Barbara’s 2016–2020 range plan, the rest of our life making magic & theatre & material culture!

 

 

 

Just returned to Tunbridge, Tasmania from Auckland where we visited Tim Gruchy and Rhana Devenport Saturday, Feb 20 2016 

Tim’s show at Trish Clark gallery entitled ‘Kade’s Cognition’ has a an object in collaboration with my (pinks) content entitled ‘Clem’s lever’.

clem-one.jpg

Interactive multi-media software and hardware unit – 1500x570x400mm – unique NZ$9,800.00

The collaboration uses my (found/recycled – pinks) image collection prepared as content for the delivery unit we designed together. Tim has programmed, fabricated with contacts and supplied all the hardware to effect this; our first prototype. N.B. UPDATE Tim has loaded a Vimeo movie of the content – go to Trish Clark web and scroll down to the lever.

Direct here. An updated version here 11/4/2016:

Tim’s show, his first with Trish Clark presents five distinct conceptual projects both inspired by and ruminating upon his extensive interest in the “nexus where science and art collide and overlap” – “how science fiction influences culture and its development and considerations of public and private memory”. All these themes have informed his work since we first met and started exchanging theory and practice towards the end of 1979 in Brisbane. His work practice has taken him to Sydney, then the eastern seaboard of Australia where he has produced installations and exhibitions for public and private patrons, festivals, opera and the party scene. He has collaborated with numerous musicians making live music and producing, programming and directing tripped environments for the past 35 years. His recent move to New Zealand has seen him start an art career proper and a teaching/mentoring link with important Chinese universities. He has also making public artwork commissions in New Zealand (SCOUT) and has participated in eleven international art festivals since 2004.

Just adding a shot at Britomart, taken when we visited the (Scout) object – shown with a young user and Tim on the side of the shot.

scout-Britomart

 

 

 

 

English made (slave trade) dog necklace with original key and engraved name tag Saturday, Jan 30 2016 

Purchased at the recent MossGreen auction in Hobart, from the Stillwell collection. Our friend Warwick Oakman did the valuations for the collection and noted that these were extremely rare and made similar to the other collars made for the slave trade.

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Winter solstice shot of our Tasmanian house, 2015 Monday, Dec 28 2015 

We start our annual road trip to Tunbridge soon – a Melbourne  visitor to the studio tomorrow + pack and into the sack.

Wedding rings for two young creatives (that made us feel young again) Tuesday, Dec 22 2015 

Marty  commissioned Phoebe’s engagement ring from the studio and they were both interested in our own wedding bands. Both Barbara and I had dates and time inside our rings and a few years later Barbara cut the rings and reversed the stamps to the outside of both rings. Our clients loved the stamping idea and selected the shaped bands and supplied the messages. I’ve processed the two movement shots that normally would be thrown away . . . just to offer some distraction and not show the world their ring’s actual content.

My friend and antique mentor – Bruce McLeod passed away in Sydney last Thursday Monday, Dec 21 2015 

Survived by his Jamacian wife Odette and his children who are all very well set up because of his astute buying and selling over his sixty year career. He was from Adelaide and I first met him in Brisbane when only a youngster working for Harcourt Howard. He went on to live in Trinidad, England and then Sydney where he ran his business from the matt black painted Victorian three story shop on South Dowling Street that was chokers with everything Chinese, European and English, of very high standards. He summoned me to Sydney one day tempting me with something he said he’s never offered to anyone else – the MacKenzie bookplate collection. I even knew where it was hidden in his shop but had never asked him what was in the timber leather bound boxes that looked more like books. Many of our Sydney friends have become his clients after we have introduced him to them – Vale my friend “Brucie” . . .

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