Reflection

 

End of year display 



Reflecting on the work and progress I have done this year I started the year with the intention that I wanted to work with horns mainly because it relates to my concept. But  the more I worked with it I was realised that this not the type of look that I wanted my work to look like.




So I started doing sculptures which I felt it resonated with what I wanted to do which was finding visual symbols that keen to Nguni rituals but also wanted to make my creativity to take a life of it own.

By doing so I started adding cattle’s to my pieces which now began to be used as a symbol to recognise Amadlozi then just using portraits of people to say it in other ways living out the body of work out the contradiction of being nourished by rituals and the old ways. But know fusing things with my idea or perspective of how I view Amadlozi and what that means to me as times have changed cause with time things and view on things constantly change.

Zulu pot pendant

 This is a Zulu pot pendant which I designed on cad. The printing process of this pendant was a bit difficult since the pot was thin when I designed on CAD so that brought some difficulties even when it came to casting which became a mist casting.

Ukhamba ring

Calabashe ring

 This is ukhamba ring that I designed on CAD . It consist of a Zulu drinking bowl known as ukhamba.

Inspiration

Blackamoor brooches

Johnny Nelson ring

I would say my style of sculpting Jewell is inspired by Johnny , especially since he makes jewellery with depiction of faces of African people which is something I found interesting because I have never seen them insculptural jewellery.

Johnny Nelson pendant

 

Research Methodology

 

n my research methodology, I firmly believe in the efficacy of employing surveys as an initial approach to comprehensively understand the desires and expectations of potential customers. Surveys offer a structured means to gather insights into what individuals are seeking and anticipating from my jewelry pieces. I intend to leverage social media platforms to conduct polls, tapping into a wide audience, as it serves as an accessible and engaging medium for individuals to voice their preferences. This method enables a broad reach and provides a space where individuals can comfortably express their opinions through their phones, a familiar and convenient tool for many.

 

Moreover, I see the potential in organizing open market days as a practical way to gather firsthand reviews and opinions directly from people interacting with my work. These events present an excellent opportunity to engage with a diverse range of individuals, each offering unique perspectives and ideas. The interactions during these market days would provide invaluable qualitative data, allowing for a deeper understanding of the audience's preferences and feedback regarding the wearable sculptural pieces and their desire to connect with their departed loved ones.

(UAI)

Research Problem and Aims

 

The central issue in my research lies in discerning whether people will perceive a compelling need to purchase my jewelry as a means of honoring and feeling close to their departed loved ones, given the array of existing options available. Notably, historical figures such as Queen Victoria established a significant legacy in memorial jewelry, exemplifying the expression of grief through fashion. This tradition continues with contemporary memorial pendants and lockets, integrating photographs or relics to foster a sense of closeness to the departed, like the use of ashes and hair in jewelry.

My specific objective, amidst the presence of numerous artists crafting memorial jewelry, is to provide a tactile and intimate experience for individuals seeking to feel a direct connection with their deceased loved ones. While the concept of incorporating hair and ashes into jewelry is not novel in the realm of remembrance, my focus on sculptural mini-faces aims to offer a distinct way for individuals to feel a tangible connection with the faces of their departed family members, even though they are no longer physically present. This vision strives to elevate the emotional and sensory engagement of remembrance jewelry beyond the established norms. 

  (UAI) to edit my grammar 

Context of the Research

The core of my research centres on crafting jewellery that serves as a tangible remembrance of departed loved ones, deeply rooted in the reverence for the Amadlozi - ancestors who continue to play a crucial role in guiding and protecting us within the Nguni culture. My jewellery focuses on creating wearable mini sculptural pieces, portraying the faces of departed family members. This connection allows individuals to feel a continuous bond with their ancestors. The mini portrait sculptures also serve as a vessel for impepho (incense), traditionally used in communicating with ancestors for guidance, protection, or seeking blessings amidst life's uncertainties.

 

Although my jewellery-making process involves rich Zulu rituals specific to ancestor communication, my vision extends to making these pieces accessible beyond those who strictly adhere to these beliefs. I believe that while not everyone may subscribe to the idea of ancestral reverence, many view their departed loved ones as guardian angels. Hence, my work aligns with this sentiment, much like cremation jewellery that holds ashes or hair as a way to remain close to those who have passed. However, my approach differs by providing sculptural mini-faces with impepho or incorporating hair and ashes, ensuring a profound sense of closeness to the departed.

 

In the Nguni culture, the sacrifice of animals such as cows, goats, or rams plays a significant role in ceremonies related to Amadlozi, signifying tribute through the offering of blood spilled from these animals. This aspect deeply influences the symbolic nature and ritualistic significance of my jewelry-making process.

(UAI)