"The migration and settlement to Otago in 1848 inspires the confrontation, a dilemma of self.
This dilemma materializes through the digital and the analogue intersection. It is in the imperfect, tactile, and subjective qualities of the handmade that digitized, historic artefacts can be flexed, moulded and manipulated - mirroring the identity which I question.
It is that polarity is where I arrive in my practice, divided between an infatuation with the handmade and obsession with the 'digitally made.' From the outside these two do not mix, yet somehow inside my practice they unite. Decorative forms whose origins rest in crafted, ornamental, Victorian interiors intersect as I subvert these motifs into assembled plastic jewellery, in both material and concept.
Although not obsessed with environmental tendencies tied to plastics, I instead obsess over the intense kitsch it carries in contrast to the forms I utilize. Gradated hollow plastic forms popping into one another make these pieces up. Formable, movable, plastic – a disregard for the immovable, timeless forms with material that carries temporality and a stamp in the era we are currently in." Brendon Monson, 2018
1. Necklace, 2018 $400
3d printed nylon, nylon cord
2. Necklace, 2018 $400
3d printed nylon, nylon cord
3. Necklace, 2018 $400
3d printed nylon, nylon cord
4. Necklace, 2018 $550
3d printed nylon
5. Necklace, 2018 $500
3d printed nylon
6. Necklace, 2018 $500
3d printed nylon
7. Necklace, 2018 $500
3d printed nylon
8. Necklace, 2018 $450
3d printed nylon
9. Brooch, 2018 $450
3d printed nylon
10, 11. Pendants, 2018 $350 each
3d printed nylon, nylon cord
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