A grammar of sentiment thinking about sentimental jewellery towards making new art about love and loss.

2.50
Hdl Handle:
http://hdl.handle.net/2436/94259
Title:
A grammar of sentiment thinking about sentimental jewellery towards making new art about love and loss.
Authors:
Parmar, Bharti
Abstract:
This practice-led research project explores English and French sentimental jewellery of the Victorian period. ‘Sentimental jewellery’ or ‘message jewellery’ denotes jewellery created to function as a tangible expression of feeling between donor and recipient, mediated through complex narratives relating to its exchange. These artefacts codify emotion through use of complex visual languages, employing the symbolic and coded use of gems, human hair, emblems, words and wordplay. The research has expanded to encompass memorial garments known as ‘widows weeds’. The aims of the research have been threefold: firstly, to add to understanding and interpretation of aspects of Victorian sentimental jewellery and associated craft practices; secondly, to explore the metaphors and narratives inherent within them; thirdly, to test the visual and technical possibilities of knowledge thus gained to address human feeling through art. Outcomes take the form of a body of new artwork and a written thesis, which are designed to be mutually informing. Together, they articulate my response to the project’s central question: can consideration of the ‘grammar of sentiment’ at work in Victorian sentimental jewellery yield new possibilities, through fine art practice, for communicating love and loss in the 21st century? The four artworks that are a main output of the research take the forms of: REGARD:LOVEME, an artist’s book exploring gem codes and wordplay; Plocacosmos, a set of hairworking trials; The Cyanotypes, which reflect upon the materiality and aesthetic of the amatory locket; and Widows Weeds, a large format photographic installation, which considers the materiality and lineage of mourning cloth. Collectively, they explore the typology of the sentimental artefact through development of text/image vocabularies that are conceived as providing a ‘grammar of sentiment’ through which to articulate aspects of human feeling. It is this exploration that constitutes my main contribution to knowledge.
Advisors:
Collins, Tim; Payne, Antonia; Rangasamy, Jacques
Publisher:
University of Wolverhampton
Issue Date:
2009
URI:
http://hdl.handle.net/2436/94259
Type:
Thesis or dissertation
Language:
en
Description:
Submitted in partial fulfilment of the requirements of the University of Wolverhampton for the Degree of Doctor of Philosophy
Appears in Collections:
E-Theses

Full metadata record

DC FieldValue Language
dc.contributor.advisorCollins, Timen
dc.contributor.advisorPayne, Antoniaen
dc.contributor.advisorRangasamy, Jacquesen
dc.contributor.authorParmar, Bhartien
dc.date.accessioned2010-03-15T12:33:19Z-
dc.date.available2010-03-15T12:33:19Z-
dc.date.issued2009-
dc.identifier.urihttp://hdl.handle.net/2436/94259-
dc.descriptionSubmitted in partial fulfilment of the requirements of the University of Wolverhampton for the Degree of Doctor of Philosophyen
dc.description.abstractThis practice-led research project explores English and French sentimental jewellery of the Victorian period. ‘Sentimental jewellery’ or ‘message jewellery’ denotes jewellery created to function as a tangible expression of feeling between donor and recipient, mediated through complex narratives relating to its exchange. These artefacts codify emotion through use of complex visual languages, employing the symbolic and coded use of gems, human hair, emblems, words and wordplay. The research has expanded to encompass memorial garments known as ‘widows weeds’. The aims of the research have been threefold: firstly, to add to understanding and interpretation of aspects of Victorian sentimental jewellery and associated craft practices; secondly, to explore the metaphors and narratives inherent within them; thirdly, to test the visual and technical possibilities of knowledge thus gained to address human feeling through art. Outcomes take the form of a body of new artwork and a written thesis, which are designed to be mutually informing. Together, they articulate my response to the project’s central question: can consideration of the ‘grammar of sentiment’ at work in Victorian sentimental jewellery yield new possibilities, through fine art practice, for communicating love and loss in the 21st century? The four artworks that are a main output of the research take the forms of: REGARD:LOVEME, an artist’s book exploring gem codes and wordplay; Plocacosmos, a set of hairworking trials; The Cyanotypes, which reflect upon the materiality and aesthetic of the amatory locket; and Widows Weeds, a large format photographic installation, which considers the materiality and lineage of mourning cloth. Collectively, they explore the typology of the sentimental artefact through development of text/image vocabularies that are conceived as providing a ‘grammar of sentiment’ through which to articulate aspects of human feeling. It is this exploration that constitutes my main contribution to knowledge.en
dc.language.isoenen
dc.publisherUniversity of Wolverhamptonen
dc.subjectFine arten
dc.subjectJewelleryen
dc.subjectContemporary art practiceen
dc.subjectSentimental jewelleryen
dc.subjectHairen
dc.subjectTaxonomyen
dc.subjectVictorianen
dc.subjectMemorialen
dc.subjectLove and lossen
dc.subjectDeathen
dc.subjectTextilesen
dc.subjectWords and etymologyen
dc.subjectPractice-based researchen
dc.titleA grammar of sentiment thinking about sentimental jewellery towards making new art about love and loss.en
dc.typeThesis or dissertationen
dc.type.qualificationnamePhDen
dc.type.qualificationlevelDoctoralen
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