I convey my thoughts through art jewelry; making jewelry is my language of communication and commemoration. Inspired by historical Chinese art and contemporary jewelry, my practice pays attention to bring classical Chinese aesthetics of hazy poetic and ideal arrangement into the contemporary jewelry field. The attention to detail refers to the quiet contemplation and emotional experiences encouraged by each of my works. Through my research, I use metalsmithing language to communicate with non-precious materials finding my own way of expression and meditation. Meanwhile, I build environments that display jewelry off the body in order to construct a picturesque landscape. The research that lead to my thesis work, Through My Windows, which conveys the desire for mental escape. The Jewelry pieces become the keys to open the imagination and emotionally escape into an ideal state through making and viewing them.

[pt] O campo joalheiro do Rio de Janeiro vivencia uma realidade impulsionada pela profissionalização de vários setores envolvidos principalmente com as etapas de criação, produção, comercialização e divulgação de novos produtos no mercado. Este cenário vem se configurando desde os anos 1990, quando o design do produto joia passa a ser trabalhado com a intenção de proporcionar novas experiências de consumo, reafirmando sobre seus usuários um encantamento pelo objeto que pode ir além do valor financeiro de sua matéria-prima, tão estimado pelas tradicionais gerações de joalheiros, e que ainda é tida como o argumento número 1 na criação de uma joia. Os cursos superiores, tecnólogos e de aprimoramento no setor, em conjunto com as novas tecnologias fabris, também trouxeram oportunidades para o campo e hoje dividem espaço com as técnicas artesanais de produção de joias. Estas, ainda muito utilizadas, resgatam as origens históricas desse objeto, que é trabalhado pelos designers sob uma nova leitura. Esta pesquisa apresenta uma breve reflexão sobre a importância da prática do design e sua atual contribuição para o campo presente no estado do Rio de Janeiro. / [en] The jewelry field in Rio de Janeiro has showed a reality driven by the professionalization of several sectors, committed mainly with the steps of creation, production, commercialization and marketing of new products. This scenery has been outlined since the 1990 s, when the design of the product jewelry started to be worked out with the intention of offer new consumer experiences, confirming on its wearers an enchantment by the object beyond the financial value of its raw material, so appreciated by the traditional generations of jewelers, and which still is considered the argument number one for the creation of jewelry. Undergraduate courses offered by universities, technical courses and any other formation to improve professionals of this sector, together with new technologies for the textile industry, have also brought opportunities for the field, and today they share this space with the artisanal techniques for the production of jewelry. Still quite used, they bring back the historical origins of this object, which has been revisited by the designers. This research presents a brief reflection about the importance of the design and its current contribution to the field in the Rio de Janeiro state.

My work is about the feeling of standing in between two worlds of my cultural heritage. To feel connected but at the same time not connected to them. The feeling of missing out in one of my cultural heritage because of the language that I do not fully speak. I use a traditional craft from that side to build a bridge to fill the gap. It is about combining my heritages and the connection/disconnection and fuse them together into one as I am a person of two cultures. By not putting myself in a box that the society wants me to fit in to, I challenge that norm also in my work. I transformed the traditional craft placed in a room of a house to become jewelry. The wearer is allowed to choose what kind of jewelery it is and it can be placed on many different ways. My work is about investigate the meeting of craft on a body, and body in a craft. Its about to invite the Thai practice to my Swedish practice and vice versa and fuse them together.

Цель исследования – разработать методические основы анализа и управления стратегическим поведением акторов ювелирного рынка в условиях неопределенности внешней среды. Разработан методический подход к планированию мероприятий по стимулированию продаж, основанный на идеях акторно-сетевой теории, используемых для анализа поведения на основе модусов калькулирования акторов базовой сети «продавец – покупатель – посредник» с целью формирования предложения ювелирных изделий в качестве объекта инвестирования в условиях неопределенности. Предложенный подход позволит повысить уровень управленческой осознанности по проблемам построения доверия в сетях акторов, сформировать соответствующие управленческие решения по развитию компетенций товароведов ювелирного салона. / The purpose of the study is to develop methodological foundations for the analysis and management of the strategic behavior of the actors of the jewelry market in the face of uncertainty in the external environment. A methodical approach has been developed to planning sales promotion activities based on the ideas of the actor-network theory used to analyze behavior based on the calculation modes of the actors of the basic network "seller - buyer - intermediary" in order to form a proposal for jewelry as an investment object under conditions of uncertainty. The proposed approach will increase the level of managerial awareness of the problems of building trust in networks of actors, form appropriate managerial decisions to develop the competencies of jewelry store merchandisers.

Thesis (MA)--University of Stellenbosch, 2000. / ENGLISH ABSTRACT: This study considers the dynamics and nature of neo-avant-garde jewellery with specific reference to contemporary South African (neoavant- garde) jewellery. In Chapter One defensible working descriptions of the terms "avant-garde" and "neo-avant-garde" are established in order to establish some manageable conclusions regarding their application to jewellery design. These descriptions are derived from a consideration of the concepts in contemporary aesthetic discourse. Chapter Two considers the role, justifications and implications of adornment with a view to isolating the development, influences and nature of neo-avant-garde jewellery. A distinction is drawn between the aesthetics, ontology and art-relevant status of such jewellery and commercial or mainstream jewellery. Chapter Three analyses specific examples of contemporary South African avant-garde jewellery in the light of the above-mentioned distinctions. Works are considered in relation to the transgression of material, the transgression of taste, the transgression of integrity of form and the integration of narrative and parochial content and attempts to demonstrate that an appropriate critical posture in regard to such jewellery is art, rather than craft-relevant. In Chapter Four general influences regarding themes and concepts apparent in the author's body of practical work are discussed. An annotated catalogue supplements the general discussion. / AFRIKAANSE OPSOMMING: CONTEMPORARY AVANT-GARDE JEWELLERY IN SOUTH AFRICA Hierdie studie ondersoek die dinamika en karaktereienskappe van neoavant- garde juweliersware, met spesifieke verwysing na kontemporêre Suid-Afrikaanse neo-avant-garde juweliersware. In Hoofstuk Een word die terme "avant-garde" en "neo-avant-garde" beskryf. Die doel hiervan is om uiteindelik die omvattende gebruike en definisies van hierdie terme (met betrekking op kontemporêre estetika) vas te lê. Hoofstuk Twee gee 'n oorsig aangaande die redes vir- en implikasies van fisieke versiering. Die ontwikkeling, invloede en aard van neo-avant-garde juweliersware word bespreek en gekontrasteer met komersiêle jeweliersware. In lig van die bogenoemde onderskeidings verwys Hoofstuk Drie na spesifieke Suid-Afrikaanse voorbeelde van neo-avant-garde juweliersware. Hierdie voorbeelde word oorweeg in terme van hul oorskryding van tradisionele grense aangaande materiaalgebruik, smaak, integriteit van vorm en die integrasie van relaas. Die studie poog om die relevansie van neo-avant-garde juweliersware as kuns eerder as kunsvlyt te demonstreer. In Hoofstuk Vier word die outeur se praktiese werke bespreek deur middel van 'n geannoteerde katalogus. Die katalogus word voorafgegaan deur 'n bespreking van invloede, temas en konsepte van die deurlopende ooreenkomste in die outeur se werke verduidelik.

Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This study is motivated by my own art practice, which exhibits a keen interest in objects and activities historically associated with the domestic, specifically with relation to needlework, in the making or producing of contemporary jewellery. Visual analysis of the work of other contemporary jewellers resulted in my realisation that the use of domestic objects and needlework in contemporary jewellery can refer to the idea of “home” through the use of phenomenological devices such as memory and nostalgia. My own art practice makes specific use of memory and nostalgia, and references trauma as experienced in the home. I investigate these themes specifically as they are depicted in contemporary jewellery. I begin my study by discussing how humans go about forming relationships with the objects with which they surround themselves. I discuss Martin Heidegger’s theory of hermeneutic phenomenology, regarding human interaction with objects and our relationship to them with regard to their specific functionality. I argue that taking the domestic objects out of their context, and in so doing ‘removing’ their functionality, allows the subject (maker, viewer, wearer) to suggest a new ‘background or horizon’ (Thomas 2006: 47) against which the object can now be read and understood. I discuss how jewellery can function as a mnemonic device, and how the domestic objects used in the specific jewellery pieces that I discuss add to this reading, identifying memory and nostalgia as the main devices facilitating a discussion of these themes. From here I work towards a definition of the domestic. By tracing the ways in which the domestic has come to denote a “space” traditionally gendered female, I look at the material culture represented within this “space” and how it relates to women. I draw on Svetlana Boym and Susan Stewart’s thoughts regarding nostalgia and its appearance in contemporary culture. Trauma and how it manifests in individual identities is then discussed with the aid of Michael S. Roth and his discussion surrounding Memory, Trauma, and History (2012). I discuss specific contemporary jewellery projects by Manon van Kouswijk (Lepidoptera Domestica, 2007); Gesine Hackenberg (Ceramic Jewellery, 2006-2011); Esther Knobel (My Grandmother is Knitting too, 2000-2002); and Iris Eichenberg (Heimat,2004). In my final chapter I discuss my own work, and highlight the ways in which I use domestic objects and needlework to reference memory, nostalgia and trauma thematically with relation to my own recollections of home. / AFRIKAANSE OPSOMMING: Hierdie studie is gemotiveer deur my eie kunspraktyk, wat my belangstelling toon in voorwerpe en aktiwiteite wat histories verband hou met die huis, spesifiek met betrekking tot naaldwerk, in die vervaardiging van kontemporêre juweliersware. Visuele analise van die werk van ander kontemporêre juweliers het gelei tot die besef dat die gebruik van huishoudelike voorwerpe en naaldwerk in kontemporêre juweliersware kan verwys na die idee van "huis" deur die gebruik van fenomenologiese idees soos herinneringe en nostalgie. My kunspraktyk maak spesifiek gebruik van herinneringe en nostalgie, en verwys na trauma soos in die huis ervaar. Ek ondersoek hierdie temas spesifiek soos hulle uitgebeeld word in kontemporêre juweliersware. Ek begin my studie deur die wyses te bespreek waarop mense te werk gaan in die vorming van verhoudings met die voorwerpe waarmee hulle hulself omring. Ek verwys na Martin Heidegger se teorie van hermeneutiese fenomenologie, ten opsigte van menslike interaksie met voorwerpe en die verhouding wat met hulle gevorm word met betrekking tot hul spesifieke funksies. Ek argumenteer dat deur die huishoudelike voorwerpe uit hulle oorspronklike konteks te neem, en sodoende hul funksie te ‘verwyder’, kan die subjek (maker, kyker, draer) 'n nuwe “agtergrond of horison" (Thomas 2006: 47) voor stel waarteen die voorwerp gelees en verstaan kan word. Ek bespreek hoe juweliersware kan funksioneer as 'n mnemoniese toestel, en hoe die huishoudelike voorwerpe wat gebruik word in die spesifieke juweliersware wat ek in hierdie studie bespreek kan toevoeg tot hierdie bespreking, deur die identifisering van herinneringe en nostalgie as die hoof toestelle. Van hier het ek gewerk aan 'n definisie van wat die huishoudelike behels. Deur ondersoek in te stel na die manier waarop die huishoudelike as 'n tradisioneel vroulike "ruimte" geïdentifiseer is, kyk ek na die materiële kultuur verteenwoordig binne hierdie "ruimte" en hoe dit verband hou met vroue. Ek verwys na Svetlana Boym en Susan Stewart se idees rakende nostalgie en die voorkoms daarvan in hedendaagse kultuur. Trauma en die maniere waarop dit in individuele identiteite manifesteer word vervolgens bespreek met die hulp van Michael S. Roth en sy bespreking van “Memory, Trauma, and History” (2012). Ek analiseer spesifieke kontemporêre juwelierswareprojekte deur Manon van Kouswijk (Lepidoptera Domestica, 2007), Gesine Hackenberg (Ceramic Jewellery, 2006-2011), Ester Knobel (My Grandmother is Knitting too, 2000-2002), en Iris Eichenberg (Heimat, 2004). In my laaste hoofstuk bespreek ek my eie werk, en verwys veral die maniere waarop ek huishoudelike voorwerpe en naaldwerk gebruik om tematies na geheue, nostalgie en trauma met betrekking tot my eie herinneringe van die huis te verwys.

Reyas手工珠寶：從生產到品牌經營 / Reyas Handcrafted Jewelry is the future of ‘Bead House’. Currently, Bead House (manufacturer of handcrafted jewelry) functions as a wholesaler selling to various regions such as – Morocco, Thailand, India, Italy, Brazil and USA. The export of handcrafted jewelry is growing in Nepal with more buyers coming in every month that want to purchase both traditional designs in countries such as India and Morocco and contemporary designs in countries like Italy and USA. Demand is always increasing but due to limited manufacturing capability and marketing capability the company sees the need to expand. In 2015, Bead House will expand its manufacturing capability delivering double the output thereby increasing sales in volume. Currently, most of the additional demand is being met through purchasing other competitors inventory. Additionally, Bead House will rebrand as Reyas Handcrafted Jewelry (RHJ) developing more innovative and creative designs which will be sold through our partnership with Hotels in Nepal and also through our website. These designs will not be available in bulk and will be sold off as unique individual pieces. This business plan looks at setting up additional manufacturing capability, hiring designers to develop and craft beautiful and modern handcrafted jewelry, marketing the brand RHJ through social media, its website and distribution network of hotels. Target customers are wholesalers who buy in bulk and individuals who would like to buy the most unique product or jewelry accessory available in the market. RHJ plans to be the lead exporter of handcrafted jewelry within the next five years.

This thesis focuses on 12 Glacial Kame sandal-sole shell gorgets in the Fort Recovery (OH) State Museum. The Glacial Kame culture was comprised of Late Archaic people who inhabited northwestern Ohio, neighboring states, and southern Ontario from 3000 to 500 B.C. Research centered on four questions:  How were sandal-sole shell gorgets made?  What was the purpose of sandal-sole shell gorgets?  What was the distribution pattern within the Midwest of sandal-sole shell gorgets?  How can we best interpret and portray the story of sandal-sole shell gorgets to the public? The primary methods used include a comprehensive literature review, detailed metrical and morphological analyses of regional sandal-sole gorget collections, discussion with others researching Glacial Kame culture, personal museum visits, and local research to determine context of the museum’s collection. Research from this thesis contributes to the Glacial Kame literature that is currently available. / Department of Anthropology

I consider myself a metalsmith although my interest in materials and ideas extend beyond the boundaries of traditional practice. I approach my work thematically, meaning that I treat my discipline as a framework for a broad investigation rather than as a skill set or process. The outcomes of this approach are therefore varied and include jewelry, installation, performance, video, interactive community based projects, print and web based writing, and historical research. It is through humor or direct viewer interaction that I promote accessibility in my work. My ideas are layered and communicated in a way that allows viewers to engage on multiple levels, from superficial aesthetic appreciation of my jewelry to complex theoretical contemplation of my multi-media installations. I frequently use text, photographs, and video for their transparency and accessibility as communicative devices. In general my process favors ideation over formal aesthetics, sometimes neglecting objecthood in the pursuit of audience engagement. In my writing I employ a wry and biting style, using humor and metaphor generously. My interest in historical craft production frequently seeps into my writing. My studio practice, writing and research have a complementary relationship. My thesis work has two main components, the physical exhibition, Philanthropy Failed: The Altruist Series and the written thesis, Altruism, Activism, and the Moral Imperative in Craft. These two components are different manifestations of the same investigation into ethical production and market imperatives embedded in craft objects and interactive craft-based projects rooted in the desire for social change. Philanthropy Failed: The Altruist Series embeds the logos of prominent non-profit organizations into jewelry creating an object that, through commerce, can raise money and awareness for a charitable cause. The rejection of the project by the organizations that I sought to support highlights the cultural impotence of the individual to engage in meaningful social change activities. The exhibition documents the jewelry artifacts and their rejection by non-profit organizations, as well as three related videos; two documenting educational jewelry making performances (The Pro Bono Jeweler Series), and one chronicling the current state of ethical production within the established craft marketplace (The Moral Imperative in the Craft Marketplace). Altruism, Activism, and the Moral Imperative in Craft begins by placing the moral imperative in craft production in a historical context, and then proceeds to locate moral consumerism within the current craft marketplace. It goes on to explore activist and interactive projects rooted in craft. Additionally, it includes information about creation of the work for the physical exhibition and a brief history of my artistic development.

A project report submitted to the faculty of Engineering, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Science in Engineering. Johannesburg, 1994. / South Africa is the largest primary producer of platinum-group metals (PGMs) in the world. It is estimated that only 2.1 per cent of the 153711 kg of total sales for 1993 was beneficiated locally. Potential value added foreign exchange earnings and employment opportunities. therefore. are being forfeited. This study identifies prospective areas of development in the major sectors of application of PGMs namely: autocatalysts; chemical and allied industries; electrical and electronics sectors; jewellery and coinage fabricators. The methodology of intensity of use (IOU) is first discussed. ThIs is followed by an analysts of South Africa's production and sales of PGMs. The body of the report is an empirical study of the IOU of platinum and palladium to establish a world outlook for these metals in their applications. Finally, the more lucrative of these applications are discussed in the light of South Africa's participiltion and competitiveness in the world market. The conclusions are firstly, that the established autocatalyst industry has the best prospect for growth and expansion. Secondly, the electrical application of platinum in fuel cells has potential depending on the level of government funding and support for a R&D programme. The third finding is that the electronics and jewellery industries have development potential on condition that resistance to market entry can be overcome by reduced public policy costs. Possible violation of GATT agreements may be avoided for these applications by world free trade co-operation.