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Moths and other hexapods- With artwork by Mielle Harvey

hangingmoss

I have an ambivalent relationship with moths.
As a child when I would come home, having visiting my Iranian father every second weekend, the first thing my German mother would do was throw all the contents of my bag into the washing machine. She was afraid that the enduring cohabiters of my father’s apartment would conquer her territory too. True enough, sometimes one or two moths would lazily flutter out of my overnight bag, sending my mother into hectic jumping fits in pursuit of the enemy. Back then I didn’t quite understand why there was so much fuss over these small, harmless looking creatures but I naturally began to eye them more and more suspiciously in my father’s lodgings. My mother claimed that they travelled inside the parcels my father received from his family in Iran, which were filled with Persian halva, sohan (a kind of saffron candy), salted and roasted pistachios and pumpkin seeds, dried black lime, spices and other essential components of an Iranians’ eating habits. I don’t know where the moths actually came from, but they were indeed everywhere. Sometimes my father would set a few of his singing birds free for a while to hunt them down, but there was always a fresh supply.

Today I still get a whiff of a panic attack when I spy a Cloth or Food Moth in our apartment, however I can also enjoy the beauty of some other species of the same kind too.
Early this summer I found a huge, odd pupae whilst I was on my hunt for slugs in the garden. Having inspected the curious creature, I laid it back under a leaf. The next day I went to see if it was still there and when I discovered the pupae to be empty, I saw this beautiful fella sitting on a flower just 10 cm from where it had hatched. It sat there on the exact same spot for two days and two nights and then it was gone.

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The colours were amazing, such a vibrant, almost neon, pink which perfectly combined with a soft mossy green. The drawing on its back was very special too and I couldn’t help but wonder why nature had made the creature this way. It is called the Elephant Hawk Moth or Deilephila Elpenor and it seems to come from Britain.

Another moth arrived a couple of days ago: a stunning silver moth pin made by Mielle Harvey. I have loved Mielle’s art jewellery ever since my first encounter with it. Her sensitive way of capturing the essence of the animal she is creating- in life or in death- truly touches me. In May this year we visited Mielle and her husband in Providence. This was a great chance for me to see her amazingly detailed drawings and paintings, as well as her new jewellery project called The HEXAPODA Collection. It is a collection of wearable insects; brooches, earrings, rings and cuff links are skillfully modeled in wax, multiple-casted in silver or bronze and then hand painted or patinated. At first glance they appear very realistic, you might even think she casted or electroformed the real insects, but when you have a closer look you can definitely discover Mielle’s own vision of the creatures.

CockroachBroochsmaCockroachBroochUndersidesmBumbleBeeTriosm

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It took me a long time to decide which jewellery piece I wanted to own the most, but I finally decided upon the white tiger moth pin, perhaps just maybe to give my relationship with moths another chance. I know that I am going to wear this one a lot!

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I asked Mielle a few questions about her work:

Carina: How did you get involved with art?

Mielle: I was raised by artistic parents, so my background in the arts started early. My parents met in art school, and my mother was studying cinematography when I was born. She apparently took me with with her to the film editing room when I was an infant, so I guess I had a very early exposure to the arts! As a young child I had already decided to pursue a life and career in the visual arts, and I aspired to go to art school. I have always loved exploring the outdoors, and drawing and making objects has provided a way for me to examine and try to understand the world since an early age. Not much has changed in that regard.

Bees Enter Box

Carina: What themes do you pursue in your work?

Mielle: I use my work to express my thoughts about life, death, and re-growth and our relationship towards nature. I see my work as a sort of visual elegy and a reminder not to take life for granted.
Throughout my work, I try to conjure empathy and wonder. I am obsessed by the intrinsic beauty and mystery of nature. Working with nature as a topic is my way of both contemplating, and commenting on, human existence. I feel that the human relationship to nature is out of balance, and use my art as a means of expressing this. I use jewellery as a medium for exploring ideas about power, value, beauty, sentiment, and other concepts inherent to adornment.
The elements of nature I depict are intended to convey a sense of the actual subject, while also functioning as allegories for larger concepts. I hope that by addressing complicated issues like fragility and mortality I can embolden the viewer, or wearer of a piece to treasure the loveliness and fleeting quality of life.

Bird for the Hand, bronze, 11.5cm

Carina: You started with creating art jewellery, now you are also drawing and painting. Are these media equally important for you? Are you addressing different issues with different media?

Mielle: Drawing has always been a critical, but less public part of my practice, and I have always been fascinated by painting. For me, all the mediums are connected, or perhaps even inseparable.
The themes that drive my work remain constant, and I am always experimenting with new ways of communicating them. Working with the same topics in different mediums such as jewellery, drawing, and painting allows more room to explore ideas, and I enjoy how the techniques then influence each other. The skills I learned through studying jewellery allow me express ideas in an intimate and detail-oriented way that is very special to the field, and I bring this sensibility to my drawings and paintings. Likewise, I am intregrating drawing and painting techniques in my jewellery work. While I create each object to stand on its own, I also invision the pieces displayed together, telling a multi-faceted story.

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Carina: You are very drawn to insects. What do you find so fascinating about them?

Mielle: Insects are a starting point from which I create objects that challenge expectation and provoke emotion. Insects play a critical role in sustaining life as we know it, and are a perfect example of the beauty and wonder in nature that we so often over-look.
My work based on insects actually began as a means of questioning ideas about beauty in adornment. Because I’m aware that many people find insects frightening and repulsive, I wanted to utilize this reaction as a way of challenging the viewers’ expectations about what is beautiful. By using precious materials and depicting insects as valuable objects to be worn, I strive to elevate their status, and make the viewer aware of their intrinsic beauty and value.
To hopefully raise even greater awareness of such issues through jewellery as communicative medium, I have been working on a dedicated collection of insect-related pieces called The Hexapoda Collection (Hexapoda being Greek for six legs).
My work does not use actual insects, rather they serve as “models” for the pieces, which I sculpt in wax. Sculpting the pieces is crucial for me, as it compels me to observe the insects very closely, and allows me to emphasize those aspects that support the ideas I want to convey. I purposely do not prettify them. Instead, I emphasize their mysterious qualities, or even those aspects which we can find most troubling. For me, beauty in art is often intertwined with ugliness.

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Carina: How has your practice changed over time?

Mielle: The themes that interest me have remained largely the same, however my approach to addressing them has evolved. Over time I have  delved into ways of integrating the different facets of my practice including: jewellery, painting, sculpture, and drawing into a consolidated and multi-faceted body of work. Simultaneously, I have finding exciting ways to cross-pollinate these different mediums to create unique hybrids.

Carina: Thank you!

branch

Large Dead Bird

Images:
1 Mielle Harvey: Moss and Lichen on Bark, 2005; Oil on canvas, 58,5 x 45,7 cm; Photo: Mielle Harvey
2 , 3 Photos: Carina Shoshtary
4/ 5 Mielle Harvey: Cockroach (The Hexapoda Collection), brooch; Lost wax cast bronze, patina, protective varnish; 6,0 x 5,1 x 1,3 cm; Photo: Mielle Harvey
6 Mielle Harvey: Bumble Bee (The Hexapoda Collection), pendants; From left: Lost wax cast bronze, silver and silver with gold, patina, protective varnish, 3, 2 x 2,5 x 2, 0 cm; Photo: Mielle Harvey
7 Mielle Harvey: Carpenter Ant (The Hexapoda Collection), earrings; Lost wax cast silver, patina, protective varnish; 1,9 x 1,9  x 1,9 cm; Photo: Mielle Harvey
8 Mielle Harvey: Tiger Moth (The Hexapoda Collection), label pin; Lost wax cast silver, patina, protective varnish; 2,1 x 1,6 x 1,3 cm; Photo: Attai Chen
9 Mielle Harvey: Bees Enter Box; brooch, 2011; Lost wax cast silver, patina, oil paint, 18k gold; 3,8 cm; Photo: Mielle Harvey
10 Mielle Harvey: Bird for the Hand, sculpture, 2012; Lost wax cast bronze, patina, wax; 11,5 cm; Photo: Mielle Harvey
11 Mielle Harvey: Silver Scene- Specimen II, pendant, 2015; Sterling Silver, patina, oil paint, silk cord, 3,8 x  5,0 cm; Photo: Mielle Harvey
12 Mielle Harvey: Red Underwing Moth (The Hexapoda Collection), pendant; Lost wax cast bronze, patina, protective varnish; 6,0 cm x 4,0 cm; Photo: Mielle Harvey
13 Mielle Harvey: Branch, 2006; Oil on canvas; 152 cm x 91,5 cm; Photo: Mielle Harvey
14 Mielle Harvey: Large Dead Bird, pendant, 2009; Lost wax cast silver, string; 10,1 cm; Photo: Mielle Harvey

Text edit: Hayley Grafflin

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When artists face colour-blindness- A hindrance to potential

When artists face colour-blindness- A hindrance to potential

Edgar Degas: “I am convinced that these differences in vision are of no importance. One sees as one wishes to see. It´s false, and it is that falsity that constitutes art.”

Colour blindness affects approximately 1 in 12 men and 1 in 200 women in the world. The term colour-blind can be misleading though, because the majority of people referred to as colour-blind is actually only colour deficient, which means that there are only certain colours that they don’t see.
There are different types of colour blindness, the most common are protanopia (reduced sensitivitiy to red light) and deuteranopia (reduced sensitivity to green light), which are collectively known as red-green blindness. These people have problems distinguishing between reds, greens, browns and oranges. Tritanopia (reduced sensitivity to blue and yellow light) is extremely rare.

A colour-blind person cannot become, for exempe, a pilot, an electrician, a firefighter, a police officer or a railway driver, however there are plenty of colour-blind artists (it is quite probable that even Vincent van Gogh was one of them). I was curious to learn how these artists live and work with this deficiency. Is this different vision an obstacle for them to create what they wish to create or do they maybe develop other abilities or discover advantages, which artists with a normal vision could not have?

I am a person who is quite focused on colour, both in my perception of art and in my own creative process, so it is hard for me to imagine that colour blindness is not restricting an artist´s work. On the other hand, I created my own experience of how the reduction or the absence of colour can help you to focus on other equally important aspects of a piece.
When I started my studies at the Academy of Fine Arts Munich in the jewellery class, I was working with extremely bold and vivid colours. But soon I had to show my work to the class for the first time and some of my fellow students reacted quite negatively to this abundance of colours. I was perplexed and intimidated from these reactions, for me it was the most normal thing in the world to be working with colours. However, I wasn´t able to explain why I wanted to use colour in such a way.
After that, the following experiments resulted in completely white pieces. I ceased using colour almost entirely, mainly because I felt so insecure about it. Even though I was missing the use of colour, I realised how my focus shifted, e.g. towards texture and form. It was only when I discovered the graffiti as a material quite at the end of my studies, when I came back to working with colours. In the meantime though, I had learned a great deal about other issues of my work…

When artists face colour-blindness- A hindrance to potential

In 1962, painter Peter Milton got his eyes tested after having read a review of a show of his. The writer of the article mentioned warm and sort of pinky landscapes, which was quiet astonishing for the artist, as he had never meant to paint the landscapes pinkish after all. The result of these tests were that he was diagnosed with deuteranopia. Milton, who had actually studied under Josef Albers (a sort of  “colour guru” as Milton himself refers to him) had to face the fact that he could not see the whole spectrum of colours and made a radical decision: He abandoned all colours from his work and changed his medium from painting to black and white printing. Peter Milton says: “I don´t miss colour. It helps to have a disability- I use that word, it´s a strong word- but it helps to have a disability, because when you can do anything, which of all the things you can do are you gonna choose? So something has to help you to make a choice.”

Bonnie Auten, who creates hyper-realistic colour pencil drawings, did not perceive her colour blindness as a barrier to work with colours. After the first shock when she got diagnosed (her doctor told her that she was one of the worst female cases he had ever seen…), she discovered that she might even have an advantage to artists with a normal vision. She realised that because of her colour blindness, she pays lots of attention to value, which is in her opinion is equally or even more important to create an exciting composition: “For many artists colours sing to them. They sing so loud they cannot hear the value whispering. So although they may paint or draw a very colourful picture it is somehow flat and does not feel lively. It may be that the values are mostly midtones. They lack darks and lights, or value-change throughout the picture. In this I am far ahead of the game, for I see value first and colour second.“ She states something similar regarding colour temperature, “because the warmth and the values tell the story far better.” You can read Bonnie Auten´s thoughts about her colour-blindness here.

Neil Harbisson is the world´s first cyborg artists. He was born with achromatopsia and sees the world in a greyscale, but he can hear colours through a device, a chip with an antenna, which is connected to his skull. He uses this to enrich his experience of the world and to enhance his senses. Neil Harbisson cannot only hear visible colours, but also colours like infrared and ultraviolet which are beyond the visible spectrum of humans. The extended bodypart enables him also to receive phone calls directly to his scull and was recently upgraded with a Bluetooth implant, which allows him to connect to the internet. Naturally Harbisson is using his ability of hearing colours for his artwork too. In his sound portraits, for exemple, he is listening to the colours of people´s faces and creates sound files from the notes he was hearing. Here is a link to a TED talk with the artist.

I happen to know a colour-blind artist myself and seized the opportunity to ask painter and sculptor Zvi Tolkovsky a few questions about this subject. Zvi Tolkovsky was born in Israel in 1934 and studied art in Israel, Paris and New York. He established a screen printing workshop and a paper workshop at the Bezalel Academy Of Art and Design Jerusalem, where he acted as the head of the fine arts department for several years. Zvi Tolkovsky lived, worked and exhibited in numerous countries. Currently he commutes between Prague and Jerusalem and is still teaching paper classes at Bezalel.

When artists face colour-blindness- A hindrance to potential

Carina: When and how did you find out that you are colour-blind?

Zvi: I think it was as I was taking some tests when I was applying to join the Airforce. They have a special test for colour blindness and that is when they told me that I am colour blind.

Carina: Which kind of colour blindness do you have and how would you describe your vision of colours?

Zvi: The blindness is for the green- brown- reds spectrum. I don’t think that I see differently than other people. I manage well in this world and I have no problem in painting. I know that I couldn’t be an electrician, I cannot connect colour with function. If I do not have to define colours I have no problem.
I do not differentiate between the colours, but I feel them. It works like food on the plate, there is something that attracts you and something that puts you off. There are colours that are harmonious, they seem right for what I want and where I want it. If I hold three tubes indicating red, brown and green, I see difference between them but I cannot give it a name. I make the choice according to if or not it attracts me. Some greens may seem to me dark rich gray, very attractive. I think I work with red but then I am told it is brown. I can tell warm colours from cold colours.
I enjoy very much to confront colours on the canvas without having to identify them. It is more about pleasure. I choose colours on a spontaneous impulse guided by enjoyment. There is no intension. It is a game of the pleasure, of putting the material paint on the canvas and of playing with that.

When artists face colour-blindness- A hindrance to potentialWhen artists face colour-blindness- A hindrance to potential

Carina: Do you (or did you) have the feeling that the colour blindness is an obstacle or that it is an advantage for you as an artist?

Zvi: Definitely an advantage. I work with considerations that are intuitive. I do not have to deal with conventions. No restrictions.

Carina: Do you care about the fact that the majority of people sees your pieces differently than you do?

Zvi: No not at all, it is obvious to me that the others see what I see.

Carina: Thank you!

When artists face colour-blindness- A hindrance to potential

When artists face colour-blindness- A hindrance to potential

When artists face colour-blindness- A hindrance to potential

Images:
1 Photo: Carina Shoshtary
2 Carina Shoshtary: Untitled, brooch, 2007; Shower sponge, rocaille glass beads, wood glue, paint, silver, stainless steel; Photo: Mirei Takeuchi
3 Zvi Tolkovsky: Night Watch, 2010; Oil on canvas; Photo: Zvi Tolkovsky
4 Zvi Tolkovsky: Kunstraum, 2010; Oil on canvas; Photo: Zvi Tolkovsky
5 Zvi Tolkovsky: Jerusalem Bitch, 2014; Oil on canvas; 50 x 65 cm; Photo: Zvi Tolkovsky
6 Zvi Tolkovsky: Still Life, 2015; Mixed Media; 85 x 35 x 70 cm; Photo: Carina Shoshtary
7 Zvi Tolkovsky: Evolution, 2015; Mixed Media; 150 x 105 x 50 cm; Photo: Carina Shoshtary

Text edit: Hayley Grafflin