A patchwork of memories that are gone

Melis Agabigum ev A patchwork of memories that are gone. Integrative Project Thesis 2013 In Partial Fulfillment of the Requirements for the Degre...
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Melis Agabigum

ev

A patchwork of memories that are gone.

Integrative Project Thesis 2013

In Partial Fulfillment of the Requirements for the Degree of Bachelors of Fine Arts at the University of Michigan Penny W. Stamps School of Art & Design

Table of Contents Introduction

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The Project & Research

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The Pieces

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Conclusion

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Bibliography

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ev: (noun) 1. House, dwelling place.

Melis Agabigum Acknowledgements: John Marshall Marianetta Porter Jessica Joy Goldberg Math Monahan  

“Home” has always been a tricky word for me. My parents, immigrants from Turkey, settled in Michigan during the 1970s, and in accordance, my siblings and I were born in Flint, MI as dual citizens of both Turkey and the United States. Therefore, my notion of “home” was much broader than that of my friends. As a child, my family would often visit Turkey in the summers, so that we could spend time with our extended family and fully immerse ourselves in the Turkish culture that our parents taught us. Since both my father’s parents were deceased1, we would stay with my mother’s family, which consisted of my grandparents and my bachelor Uncle. Spending time with them was simple and because I was young, I could easily get away with my strange sentence structures and slight Turkish accent. I never felt like an outsider, and always identified their residence as my home in Turkey. However, as I grew older, the visits to Turkey became shorter and much more sporadic. The sense of “home” that I had felt about Turkey began to fade as the years went by. Though my proficiency to communicate in Turkish had considerably improved since my childhood, my vocabulary was stuck in the 1970-90s argot, and the old traditions and customs that my parents had learned in their youth and passed on to me, were considered ancient and outdated. The instances I ever felt truly accepted as being “Turkish” (outside of my immediate family) were when I was with my maternal grandparents. The last trip that I took to Turkey was in August 2007, before I started my freshman year of college. This trip was the last time that I saw my grandfather before his untimely passing. In May of 2008, a University bus in Cyprus hit my Grandfather2, leaving him in a permanent state of trauma. He suffered from a severe brain hemorrhage and drifted in and out of a coma for months before he finally passed away. I was unable to attend his funeral and about four years later, my grandmother passed away before I could visit her. Since my junior year of art school, I planned on creating a series based on cultural superstitions and Turkish folklore. During the summer before my thesis project, I spent hours listening to music while aimlessly driving, trying to understand my connection to Turkey and my heritage. However, a week before                                                                                                                 1 My father’s Father passed away before my siblings and I were born. Our Father’s mother passed away when I was in 2nd grade. 2 My grandfather was an Architect and Professor of Architecture at the University of Cyprus.

2 my IP proposal was due, I stumbled across a lyric in a song: “Is a house really a home, when all the ones you love are gone?”3 Slowly, it began to sink in that the passing of my grandparents not only signified my loss of them, but also the loss of everything emotional and material attached to them. The only thing left that still binds me to my grandparents is my childhood memories of the times we spent together at their summer home in Datça, Turkey. These memories that I have of my experiences with my grandparents are far more significant to my Turkish culture and heritage than the superstitions that I loosely tried to connect myself to. Therefore, I decided to explore my childhood memories of my grandparents and the times that I spent with them.

                                                                                                                3 Grey, Skylar. "Coming Home." Perf. Diddy and Dirty-Money. Last Train to Paris. Diddy/Dirty Money. Alex Da Kid, Jay-Z, 2010. MP3

3 The Project & Research: This thesis is a reflection of my memories regarding my emotions of nostalgia, loss, and the experiences of a physical place that I once felt comfortable calling “home”. Through a pair of Contemporary Jewelry necklaces and an intimate, small-scale installation4, I create a conversation between space and the human body. Each jewelry piece in my series offers the viewer an opportunity to carry a fragment of my memories of Datça with them. With my work, I explore the concept of what it means to share and interact with memories. The works not only represent my sentimental memories of beauty attached to the landscape, but also the pain and sadness that is now a significant part of my memories of loss for material objects attached to the experiences in the house. In the book Space and Place: The Perspective of Experience, author and humanistic geographer YiFu Tuan states that individuals must look at their pasts in order to better understand themselves and their futures: What can the past mean to us? People look back for various reasons, but shared by all is the need to acquire a sense of self and of identity.... To strengthen our sense of self the past needs to be rescued and made accessible. Various devices exist to shore up the crumbling landscapes of the past. Relatives die and yet remain present and smiling in the family album. Our own past then consists of bits and pieces. What objects best image our being? Objects anchor time.5

With my thesis, I not only want to discuss my memories of the past, but also note that these memories played a role in determining who I am in the present and who I will be in the future. The materials that I use, I consider to be timeless. I chose to use copper throughout my pieces, since many antique Turkish vessels and folk art were made from this durable and functional material. Traditionally, copper is not used in jewelry unless it is plated with another metal. Through prolonged exposure to copper, the oils on an individual’s body will react to the metal, causing a skin discoloration and, in severe cases, rashes all over the body. Despite the potential “marks” that my jewelry pieces may leave on the body, I believe that there is a poetic nature to the skin’s reaction to the material. Similar to the “experience” of past memories                                                                                                                 5 “Installation” art is defined as: “art that is created, constructed, or installed on the site where it is exhibited, often incorporating materials or physical features on the site (Dictionary.com)”. However, when describing my large scale sculpture, I am using the term “Installation” in a less traditional sense. I am using the definition offered by dornob.com: “Installation art sits right on that curious border between architecture, art and interior design – part physical experiment, part personal expression and part designed space.” 5 Tuan, Yi-Fu. Space and Place: The Perspective of Experience. Minneapolis: University of Minnesota, 2011. 187. Print.

4 symbolically marking an individual, my jewelry pieces may leave marks of having once been present. Thus, even when the pieces are not worn on the body, there is a visible anchoring, or memory, of where they once had been. In addition to copper and sterling silver, I have incorporated enamel into my work. Enameling, having originated in the ancient Middle East, has always been an important technique used in Ottoman and Turkish jewelry and art. The process is very labor intensive, and consists of taking finely ground glass, applying it on to a metal substrate, and firing the piece between 1300-1700°F to fuse the glass onto the surface. The enamel work in my jewlery pieces employs the method of Champlevé6 and features the traditional iznik patterning that is commonly found in Turkey. With Turkish and Ottoman ceramic and metalwork, iznik patterns play a porminent role in surface decoration. According to an article by the Turkish Cultural Foundation7: Despite minor deviations, we can trace the use of traditional Turkish decorative motifs on metal objects to be almost unchanged over the centuries. Even in their shapes, for example, metal vessels often resemble their porcelain counterparts.The abundance of vegetal, particularly floral motifs is striking among the decorative motifs used in metalwork. The Ottomans developed such a distinct style that their work is easily distinguishable from that of the Arabs and Iranians, and even from that of the Seljuks. Four flowers in particular, the carnation, rose, tulip, and hyacinth, were so often used by the Ottomans that they have almost become synonymous with the period.

The iznik patterns that I have chosen to use, allow me to pay homage to my grandparents and the sense of home that they instilled in me, as well as work in a medium that has been used in Turkey for centuries. The techniques and motifs not only offer another dimension to my project in referencing my heritage, but it allows the colors and patterns from my memories to flourish. Initially, I wanted to be as true to my memories as possible. However, after researching the effects that the brain has over memories, I realized that it would be impossible for me to create pieces solely based on a single memory, with all the accurate details. According to an article by Greg Miller, a psychologist who studies the science and effect of memories on PTSD (Post Traumatic Stress Disorder)

                                                                                                                6  “Champlevé, in the decorative arts, is an enameling technique, which consists of cutting away troughs or cells in a metal plate and filling the depressions with pulverized vitreous enamel. The raised metal lines between the cutout areas form the design outline. Champlevé can be distinguished from the similar technique of cloisonné by a greater irregularity in the width of the metal lines (see cloisonné). After the enamel has annealed and cooled, it is filed with a Carborundum stone file, smoothed with pumice stone, and polished.”    

7  Turkish Arts (Ministry of Culture, Directorate General of Fine Arts.

5 patients8,

each time a memory is recalled, the memory changes. He states that memories change

“because we tend to replay them over and over in our minds and in conversation with others—with each repetition having the potential to alter them.” The original memory is susceptible to being revised or overwritten by information learned after the memory's creation. The concept of a “memory” then, is less like a snapshot and more like a patchwork quilt. Throughout my thesis, each piece is based on fragments and patchworks of my memories, rather than specific experiences in Turkey. Much like the discovery mentioned in Miller’s article, my memories of my grandparents have changed since their passing and have become tainted with wisps of loss and sadness. The moments that are most significant to me are based entirely around the locational experiences of “home.” My grandparents’ summer home in Datça offers up a series of experiences that have amassed into a collection of narratives in my recollections of “home”. These memories include playing on the beach, meals under the awning that my grandfather had covered in grapevines, drawing Islamic geometric tessellations and iznik patterns on scrap papers with my grandfather, and drinking Turkish coffee in the evenings. While the notion of creating two Contemporary Jewelry necklaces and one intimate installation seems disjointed, I see a large similarity between these different forms of work. In an article from the Summer, 1995 issue of Metalsmith magazine, Cynthia Pachikara discusses the Intimate parallels between installation and wearables.9 If we consider the presentation space of the installation to be the gallery, then the parallel space for wearable sculpture would be the landscape of the body…What is a given here is that, in both scenarios, the work has a certain frame within which it can be developed and a space into which it can fit. In the case of the gallery, the construction includes various archetypes, including the door, the wall, the corridor, etceteras. In the case of the body the elements include the finger, the neck, the back, the chest. So when the reinforcement or reflection of these elements begin to include the larger place into its formal state, the reading of the edges between the piece and the pedestal ultimately begin to mesh. Although the immediate place into which the two works nestled themselves would seem to vary greatly—the gallery space being a void and the body, a mass – there is a social space, surrounding the body, in which the wearable work actually operates, and which resembles that of the gallery. The transformation of the meaning of these entities by the work is somewhat similar.

                                                                                                                8 Miller, Greg. "How Our Brains Make Memories." Smithsonian May 2010: Smithsonianmag. Smithsonian, May 2010. Web. 1 Nov. 2012. 9 Pachikara, Cynthia. "Intimate Parallels between Installation and Wearable Art." Metalsmith Summer 1995: 32-37. Print.

6 I believe that when wearing a piece of jewelry, there is an interaction between the wearer and the wearable that creates a symbiotic relationship. The wearer not only becomes the pedestal, but also part of the piece. Similarly, the moment the viewer steps into the space housing the installation, the viewer becomes physically part of the piece and the space that the installation inhabits. In both cases then, the viewer is invited to become part of the artwork. Therefore, I began looking at the individual practices and artists that fell into the categories of Installation and Jewelry/Metalsmithing. While many traditionally define installation art as inhabiting a specific space, Cornelia Parker’s work takes the less traditional definition, transforming a smaller scale of space while still creating an impact that draws visual attention and almost encourages a feeling of “wanting to interact” within the viewer. Her pieces Cold Dark Matter: An Exploded View (1991) and Anti-Mass (2005) both took familiar objects that had been blown up and suspended them in a manner to look as though there were frozen in time. Her pieces then, resemble snapshots of the actual process of loss, taking something that was once whole and leaving it broken in time.

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Figure 1 Cold Dark Matter: An Exploded View 1991  

                                                                                                                10  Cornelia Parker, Cold Dark Matter: An Exploded View 1991,  Blown-up garden shed with its contents and lightbulb, dimensions variable. Sculpture Magazine June 2009, Vol. 28 No.5

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Figure 2 Anti-Mass: 3-D explosion of suspended debris constructed of the burned remains of a Southern Black Baptist church destroyed by arsonists.

                                                                                                                  11  Cornelia Parker, Anti-Mass 2005, charcoal and wire, at the De Young Museum, San Francisco.

9 For my wearables, I was conceptually drawn to the work of Seth Papac and Marjorie Schick. In Seth’s work, he focuses on the personal narrative of an individual and creates weighty pieces that act as both sculpture and as contemporary jewelry. Many of his pieces fall into the category of assemblage and at times try to capture the gaudy essence of society.

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Figure 3 Gemma (Details unavailable)

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Figure 4 olivedrab: chatelaine with removable necklace and pendants/objects

                                                                                                                12 Seth Papac,  Gemma. Year: unavailable. Velvet Da Vinci Contemporary Art Jewelry and Sculpture Gallery 13 Seth Papac, olivedrab: chatelaine with removable necklace and pendants/objects. Year: unavailable. Velvet Da Vinci Contemporary Art Jewelry and Sculpture Gallery

10 Like much of Seth Papac’s work, Marjorie Schick’s pieces, while very large and sculptural, are also very intimate. With each piece that she creates, she requires the wearer to commit to the action of wearing the piece. The human body is large and capable of carrying great weight both visually and physically. In other cultures, large jewelry is worn and can cover a large portion of the body. Being aware of this made me unafraid to build body sculptures of any size even if wearable for only a short period of time. Some of my pieces enhance the body while others appear to engulf an arm of neck or even the entire body. When wearing a flower corsage or ball gown, one must move through space more carefully, being more conscious of both large and small movements and how one walks through doorways and gets into and out of a car. Normally, wearing jewelry does not make people walk or move differently but why not? I am aiming for the experience of creating more awareness of one’s physical presence. These objects create new experiences for the wearer, whether for a few minutes of for several hours. When the object is removed, there is the memory of how the piece felt while on the body as well as how the body felt in the object.14

Like Marjorie’s work, my project explores the correlation between the act of wearing and the act of moving through space. While a “memory” is an intangible abstract that can be carried around, there is always an emotional weight attached to that memory. With my series, I wanted to take the emotional weight of my experiences of loss, and put them into a physical form that could be carried on the body. The multiples and clusters that are created from the leaves (My Memories are Caught in the Grape-Vines) and the Iznik tiles along with the coffee cups (Your Scent Lingers, But my Future has Passed) function as both the fragments of my memories and the weighted objects that are attached to my experiences with my grandparents. These neckpieces become a vessel for conversation between my memories and the body. They offer the viewer an opportunity to carry my memories while also creating their own memories from their participation in wearing my work.

                                                                                                                14 Rosolowski, Tacey, and Marjorie Schick. Sculpture to Wear: The Jewelry of Marjorie Schick. Stuttgart: ARNOLDSCHE, 2007. Print.

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Figure 5 Schiaparelli's Circles 2005, Painted wood, canvas, thread stitched and painted

                                                                                                                15 Marjorie Schick, “Schiaparelli's Circles", 2005, painted wood, canvas, thread stitched and painted, 76x76x3,8cm

12 The Pieces: The first piece I began creating was the hanging installation16. I wanted to create an intimate but open space that appeared to be frozen in time. With the piece, I wanted the happy memories of visiting my grandparents’ summer home and the Mediterranean Sea to become suspended in a freefall of sorts, while having the appearance of being ghostly, sterile and cold. The installation is made from a series of enameled copper sponges that abstractly mimic the porous rocks from the beach. They are enameled in a color palette that references the Mediterranean. Intermixed with the greens, blues and grays are whites and blacks, to subtly give the feeling of death and loss that has tainted my happy memories. The sponges hang from a pair of wood frames that reference the trellis that hung above the veranda of the house. The frames hang separately, creating a small walkway, or void, that allows viewers a choice to physically interact with my memory, by stepping through the path. The sponges hover at various heights above a bed of sand: some are barely low enough to be buried back in their home in the sand, while others have the illusion of rising upward from the ground, as if trying to escape toward heaven. The shadows from the trellises add to the eerie effect of sadness and loss that I feel when thinking about my grandfather, his passing and the selling of the summer home.

                                                                                                                16 My grandparents owned a house off the coast of the Mediterranean Sea. My brother and I would frequently go the beach to collect the porous rocks that were scattered on the shoreline. While we played, my Babaanne (father’s mother) would sit at the house crocheting while my Anneanne (mother’s mother) would clean in the kitchen with copper sponges that I would occasionally steal, and take with me to the beach. After spending hours at the sea, my siblings and I would walk back to the house and sit on the veranda, under the çardak (trellis) that was covered in grape vines that my grandfather, an architect, had sown. After his untimely death, the vines decayed into nothingness, and the house was sold a few years later. Even now, I still carry the unbearable sadness of the loss of my grandfather and the beautiful house that he owned.

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                                                                                                                17 The Sea is the Saddest Lullaby That I Can’t Hear 2012 Copper Mesh Sponges, Sifted Enamel, Wood, String, Sand, Cables 12’x8’x6’

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For the necklace titled: My Memories are Caught in the Grape-Vines, I created a necklace that references the grapevines that my grandfather had sown through the trellises that covered the veranda. Every breakfast, lunch and dinner we would sit under the grapevines and I would feel as though they had engulfed me. With my necklace, I wanted the piece to drape over the neck and shoulders, much like the way vines hang from a structure. Each of the chained pieces is hand-woven from copper wire to mimic vines. Upon weaving a series of four different chains, I interwove the chains with one another using wire, so that the chain gracefully hangs over the shoulders and drapes down the back of the wearer. The front of the necklace has a small series of chased and repousséd leaves, hand fabricated from copper, sterling silver and shibuichi18. Each of the leaves are chased and repousséd to be a different size, and patinaed with liver of sulfur to a range of different shades of purples, browns and reddish copper                                                                                                                 18  Shibuichi is a Japanese alloy made from 15-25% silver and 80-75% copper. This metal was traditionally used as ornamentation for Japanese Swords due to its beautiful color.

16 tones. The leaves are meant to again, look frozen in time, allowing the viewer to question whether they are on the cusp of coming to life or on the brink of withering away.

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                                                                                                                19  My Memories are Caught in the Grape-Vines 2013, Copper, Sterling Silver, Shibuichi, Hand-woven Copper Wire. 16” x 10” x 9”

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19 The second necklace, Your Scent Lingers, But my Future has Passed, plays off of the previous two pieces and their narratives. After a long day at the beach and a home cooked dinner by either my grandmother or my parents, I would beg my grandmother to brew Turkish coffee20 for me, so that she could read my fortune from the dregs (coffee sediment). The necklace is a counter balanced piece that drapes down the front and back from hand fabricated sterling silver chaining. On the front of the necklace are three etched and champlevéd iznik tiles that have been prong set on pierced sterling silver concave bases. To create the champlevé tiles, I took copper sheet and etched the designs onto the surface. After etching, I wet-packed the traditional cobalt colored enamel into the recesses created during the etching process and fired the enamel tiles in the kiln so that the enamel would be flush with the raised surface. In order to prevent the copper surface from tarnish and verdigris, I coated each tile with a thin layer of clear enamel. Between the enameled tiles and the bases are coffee beans. Since the bases are pierced with Turkish patterns, there are voids in the metal that allow the scent of the coffee beans to escape. As the counterbalance in the back, I fabricated PMC (Precious Metal Clay) demitasse cups, which hang in a cluster down the spinal column of the wearer. Each of the cups ranges in size, shape and detailing. Many have cracks, holes and gritted patterning on the interior to mimic antiques copperware used in the small towns around Ottoman Turkey. This piece is intended to symbolize the playful nature of my relationship to my grandfather, grandmother and Turkish coffee.

                                                                                                                20 Traditionally, Turkish coffee is very finely ground and slowly brewed in a copper vessel. Through the slow brewing process, foam beings to form on top, which creates a light and frothy texture. Once the coffee is brewed, it is poured into small cups and consumed. Once the drinkinable portion is done, the cups are flipped onto their saucers. The sediment that is left from the fine coffee grounds is used for reading fortunes.

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                                                                                                                21  Your Scent Lingers, But my Future has Passed 2013 Sterling Silver, Copper, Champleve, PMC-Copper, Coffee Beans 20”x14”x10”  

23 Conclusion: The artwork that I have produced is a means to end for the mourning of my grandparents and the selling of their summer home. As the artist and activist Chris Jordan said; “Grief is not a bad feeling, it is a directly felt experience of love, for something that we’ve lost or are losing… Grief is love… There is almost no time when you feel your love, for whatever that thing is, more than when you lose it”22. While loss is an emotion that is felt in a range of situations and intensities, the experience of losing what was once important, evokes a sense of nostalgia for what “once was and could have been.” Admittedly, I most likely will never fully come to terms with grief over the loss of my loved ones (as is the case with most people), however, this project is my way of memorializing my memories of my grandparents and the sense of home that they gave me. While these memories may not last as long as the materials used to express them, the sentimental value of the memory out weighs the value of the material used to create: it is the only thing that cannot be given without permission or taken away unexpectedly. Through creating sculptural pieces about my memories, I am able to hold on to a physical representation of what my memories have become, and that right now, is enough consolation for me.

                                                                                                                22 Jordan, Chris. "Chris Jordan." Penny Stamps Distinguished Speaker Series. Michigan Theatre, Ann Arbor. 15 Nov. 2012. Lecture.

24 Bibliography Akar, Azade. Authentic Turkish Designs. New York: Dover, 1991. Print. Attfield, Judy. Wild Things: The Material Culture of Everyday Life. Oxford: Berg, 2000. Print. Ball, Ruth. Enamelling. London: A. & C. Black, 2006. Print. Baudot, Franc!

ois, and Thierry Mugler. Thierry Mugler. London: Thames and Hudson, 1998. Print.

Bernabei, Roberta. Contemporary Jewellers: Interviews with European Artists. Oxford, UK: Berg, 2011. Print. Bishop, Claire. Installation Art: A Critical History. New York: Routledge, 2005. Print. "Champlevé Enamelling, 1100–1250." Victoria and Albert Museum, Online Museum, Web Team, [email protected]. N.p., n.d. Web. 21 Apr. 2013. . "Champleve (enamelware)." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 21 Apr. 2013. . Cohn, Susan, and Deyan Sudjic. Unexpected Pleasures: The Art and Design of Contemporary Jewellery. New York: Rizzoli International Pub., 2012. Print. Cole, Ina. "Suspending Frictions: A Conversation with Cornelia Parker." Sculpture Magazine. International Sculpture Center, June 2009. Web. . "Cornelia Parker - Photos." Cornelia Parker. THE EUROPEAN GRADUATE SCHOOL, n.d. Web. 23 Apr. 2013. . Corwin, Nancy Mēgan. Chasing and Repoussé: Methods Ancient and Modern. Brunswick, ME: Brynmorgen, 2009. Print. Darty, Linda. The Art of Enameling: Techniques, Projects, Inspiration. New York: Lark, 2006. Print. Design-Ma-Ma. Contemporary Jewelry Art: Innovative Materials. Harrow Middlesex, UK: CYPI, 2011. Print. Gibbons, Joan. Contemporary Art and Memory: Images of Recollection and Remembrance. London: I. B. Tauris, 2007. Print.

25 Gleason, Katherine. Alexander Mcqueen: Evolution. New York: Race Point, 2012. Print. Grey, Skylar, and Dirty Money. "Coming Home." Perf. Diddy. Last Train to Paris. Diddy/Dirty Money. Alex Da Kid, Jay-Z, 2010. MP3. Hanzal, Carla M., and Glenn Harper. Material Terrain: A Sculptural Exploration of Landscape & Place. Washington, D.C.: International Arts & Artists, 2005. Print. Hash, Arthur, and Van Marthe Le. PUSH Jewelry: 30 Artists Explore the Boundaries of Jewelry. Asheville: Lark Crafts, 2012. Print. Hughes, Richard, and Michael Rowe. The Colouring, Bronzing and Patination of Metals: A Manual for Fine Metalworkers, Sculptors and Designers. London: Thames and Hudson, 1991. Print. "Installation Art | Design Idea & Image Galleries on Dornob." Dornob RSS. N.p., n.d. Web. 11 Mar. 2013. "Installation Art." Dictionary.com. Dictionary.com, n.d. Web. 11 Mar. 2013. Jordan, Chris. "Chris Jordan." Penny Stamps Distinguished Speaker Series. Michigan Theatre, Ann Arbor. 15 Nov. 2012. Lecture. Lewton-Brain, Charles. Foldforming. [Portland, Maine]: Brynmorgen, 2008. Print. McCreight, Tim. Complete Metalsmith. Portland, Me.: Brynmorgen, 2004. Print. Miller, Greg. "How Our Brains Make Memories." Smithsonian May 2010: n. pag. Smithsonianmag. Smithsonian, May 2010. Web. 1 Nov. 2012. . Pachikara, Cynthia. "Intimate Parallels between Installation and Wearable Art." Metalsmith Summer 1995: 32-37. Print. Papac, Seth. "Artist Seth Papac | Velvet Da Vinci Contemporary Art Jewelry and Sculpture Gallery | San Francisco." Artist Seth Papac | Velvet Da Vinci Contemporary Art Jewelry and Sculpture Gallery | San Francisco. N.p., n.d. Web. 11 Mar. 2013. . Rosolowski, Tacey, and Marjorie Schick. Sculpture to Wear: The Jewelry of Marjorie Schick. Stuttgart: ARNOLDSCHE, 2007. Print. Seecharran, Vannetta. The Encyclopedia of Contemporary Jewelry Making Techniques. Loveland, CO:

26 Interweave, 2009. Print. Tuan, Yi-Fu. Space and Place: The Perspective of Experience. Minneapolis: University of Minnesota, 2011. 187. Print. Turkish Cultural Foundation. "METAL WORKING & JEWELLERY." Metal Working and Jewellery. Turkish Cultural Foundation, n.d. Web. 21 Apr. 2013. . Van, Marthe Le. 500 Enameled Objects: A Celebration of Color on Metal. New York: Lark, 2009. Print. Van, Marthe Le. 500 Necklaces: Contemporary Interpretations of a Timeless Form. New York: Lark, 2006. Print. Van, Marthe Le. 21st Century Jewelry: The Best of the 500 Series. N.p.: n.p., n.d. Print. "Whereist Istanbul." Whereist Istanbul RSS. N.p., 2009. Web. 11 Mar. 2013. . Wilson, Eva. Islamic Designs for Artists and Craftspeople. New York: Dover, 1988. Print.