Farida’s Art and Design blog

Weekly Reflection

This lesson we were introduce to the requirements of the course and also received feedback on last semesters final project. Reflecting on this week I think it really helped me understand how to improve this semester. I got to start organising my thoughts and having some initial ideas on how to improve. I realised that I need to work harder and more creatively. After this lesson I started applying the feedback I got to start improving by keeping my WordPress up to date as a start, avoiding procrastination and researching deeper and more thoroughly. All in all this lesson helped me gain perspective on how to improve and develop my projects to achieve more this semester.

Azza Fahmy is an Egyptian jeweller who learned her silversmithing skills at a local Egyptian market and built herself up and became international. She started in journey to becoming a jewellery in the late 1960s.

In that time it was quite uncommon in Egypt for a well-educated, wealthy woman to work in a local silversmithing workshop.  Women of this class were expected by society to prioritise taking care of their families or seek higher-profile careers. Therefore, traditional parts of society would have disapproved of a woman working physically, especially in a trade like silversmithing that is dominated by men.  By doing so Azza Fahmy pushed  boundaries and challenged  traditional gender norms, proving her independence, determination, and willingness to go against the norms of society. This was viewed as out of the ordinary, and it represented women’s empowerment and the breakdown of conventional barriers.

Azza Fahmy had taken the role of translating the region’s culture and art and historic references to the world, through contemporary jewellery design.

1980 she launched her first collection “houses of the Nile” where she also showed how she didn’t only push traditional boundaries but also creative ones. She envisioned how combining silver and gold would create a beautiful contrast and became the first jeweller in Egypt who mixed materials together. This became her signature creating an authentic and innovative style in her work. 

She used a lot of different methods to portray her heritage in her jewellery, from poetry, calligraphy and motifs to architecture, history and the society. 

Azza Fahmy is a very well educated woman who enjoys reading and learning a lot. One of her inspirations is a famous historian and philosopher of the 11^th century called. She was inspired by his book “ The Ring (or collar) of the dove”.

 Ibn Hazm’s “The Ring of the Dove” is a treatise on love and the intricacies of romantic relationships. In the book, Ibn Hazm explores the nature of love, its different manifestations, and the challenges and joys it brings. He discusses topics such as the psychology of love, the role of passion, the dynamics of courtship, and the pain of separation. Drawing from his own experiences and observations, Ibn Hazm provides insights into human nature and the complexities of love, offering guidance and reflections on matters of the heart. Ibn Hazm’s “The Ring of the Dove” was quite revolutionary for its time in terms of its open and frank discussion of love and romantic relationships. During the era in which it was written (11th century), many scholars focused on religious and philosophical topics, and discussions about love were often limited to mystical or allegorical interpretations. Ibn Hazm, however, delved directly into the human experience of love, addressing its emotional, psychological, and practical aspects without allegorical or mystical layers. This direct exploration of love and its complexities was indeed pushing cultural boundaries for the time, making his work both controversial and groundbreaking.

Azza Fahmy explained “in our Islamic culture, love is either veiled or metaphysical. Or so I believed until I read the ring of the dove.”

Azza Fahmy’s work is a powerful storytelling method and also a method to push boundaries in a lot of ways. 

She launched another collection where she used calligraphy to write famous lines from various love poems from different Egyptian poets. By doing that she again pushed social boundaries by talking freely about love and emotions. 

1. Wrap-around bracelet adorned with the love verse of poet Ahmed Shawqi – ‘لست امام عيني لكنك كل ما اري’, which translates to ‘You may be out of my sight, but you’re all I see’.
2. motifs and calligraphy by Antara Ibn Shaddad, recalling a love story between him and his cousin Abla.‘If my heart still belonged to me, I would choose none other than you’ – Antarah Ibn Shaddad‎لو كان قلبي معى ما اخترتُ غيركم…ولا رضيتُ سِوَاكُمْ في الهَوى بدَلا” – عنترة بن شداد

Sources

Museum, V. and A. (no date) ‘Lace Ascot’: Fisch, Arline M. (professor): V&A explore the collections, Victoria and Albert Museum: Explore the Collections. Available at: https://collections.vam.ac.uk/item/O55143/lace-ascot-brooch-fisch-arline-m/ (Accessed: 08 February 2024). 

Art Jewelry Forum (2022) Arline Fisch: Hanging gardens, Art Jewelry Forum. Available at: https://artjewelryforum.org/articles/arline-fisch-hanging-gardens/ (Accessed: 08 February 2024). 

Arline Fisch (no date) Smithsonian American Art Museum. Available at: https://americanart.si.edu/artist/arline-fisch-5748 (Accessed: 08 February 2024). 

Alexander McQueen

At the age of sixteen, Alexander McQueen—then known as Lee McQueen—left school to work as an apprentice on Savile Row, the famous centre of British male tailoring, to start his career in fashion. He became an expert tailor by developing his skills at renowned businesses such as Anderson & Sheppard and Gieves & Hawkes.

Because of his creativity and innovative, McQueen quickly rose to popularity in the fashion industry. He took on the role of head designer at Givenchy, a move that raised eyebrows due to the stark contrast between his bold style and the conservative reputation of the fashion house. But McQueen boldly defied tradition, surprising colleagues with his unconventional style. His ideas, which changed shorts into bodysuits and lengthy skirts into daringly short pieces, aimed to modernise Givenchy’s aesthetic and bring it into the twenty-first century.

After his time at Givenchy, McQueen went back to the UK to complete his studies at the University of the Arts London in fashion. Over the course of his career, McQueen created controversial yet alluring designs by drawing influence from nature, especially animals and the human body. His provocative and creative runway displays drew the interest of celebrities such as Isabella Blow, a Vogue publicist who was captivated by the movement and beauty of his clothing.

Blow’s consistent support was important in McQueen’s journey to fame. She not only purchased and wore his designs but also provided him with a home and acted as a creative inspiration and promoter. 

McQueen’s love for controversy and his ability to blend the beautiful with violence made him one of the most talked-about figures of the 1990s fashion scene.

Alexander McQueen was fascinated by nature, especially animals. He saw a connection between the short life of gazelles and the fleeting fame of fashion designers. This inspired his designs and runway shows, where he often used black makeup to make models resemble gazelles. His unique approach to fashion and his willingness to challenge conventions made him a legendary figure in the industry. 

Weekly Reflection

During this lesson we looked at the British fashion designer Alexander McQueen. We watched a short documentary about him and got to know his inspirations and his work. We learned how he was one of the most controversial names of the 90s because of his innovative ideas and his modern visions. Reflecting on that I think I really benefited from watching the video. One thing especially stuck with me. Alexander McQueen said that his goal was to give people something they wouldn’t forget, which meant being different and controversial. I felt like this made me realise how as a designer your ideas should really stand out, because there’s a lot of competition and you won’t be special if your designs aren’t different in any way. Before this lesson we were asked to research abroad range of artists in depth. I think researching these artists really exposed me to new ideas, new symbolism and new materials to apply to my own designs. It was quite stressful to research all of these artists and I was worried about the research not being deep enough. But overall I think researching artists now gave me the chance to get feedback from my tutor about the depth and also really inspired me ad gave me new ideas for my final design.

He also draws inspiration by various historical eras. 

His exploration of historical eras adds depth and richness to his work, allowing him to create hats that are both timeless and contemporary. By drawing inspiration from the past, Treacy pays homage to the heritage of millinery while pushing the boundaries of hat design with his innovative and imaginative creations.

1. Roaring Twenties: Treacy has often been inspired by the glamorous and daring styles of the 1920s, characterized by flapper fashion and Art Deco aesthetics. He incorporates elements such as cloche hats, feather embellishments, and geometric motifs into his designs, capturing the spirit of this vibrant era.

• Victorian Era: Treacy has drawn inspiration from the opulent and romantic styles of the Victorian era, known for its elaborate fashions and ornate accessories. He reinterprets Victorian bonnets, veils, and lace details in his designs, infusing them with a modern twist while paying homage to the elegance of the past.

3. Baroque and Rococo:Treacy’s work often reflects the grandeur and extravagance of the Baroque and Rococo periods, characterized by ornate decoration, elaborate embroidery, and rich fabrics. He incorporates elements such as brocade, pearls, and embellished trims into his designs, creating hats that exude luxury and sophistication.

Treacy said there are two major problems in the fashion industry. One is weight and the other is race.

As model after model, all of them of black origin, walked down Treacy’s runway, he decided which of the two would be the on-trend topic for London Fashion Week’s Spring/Summer 2013 season.

Treacy offers only one explanation for his decision to feature only black women in his production: “The show was an homage to the African woman and their sensibility to dress up.”

Sources

Murphy, N. (2023) Philip Treacy – Biography, HELLO! Available at: https://www.hellomagazine.com/profiles/20091008539/philip-treacy/ (Accessed: 07 February 2024). 

Philip Treacy invites us inside his magical atelier with stories of McQueen and Isabella Blow (no date) Hero. Available at: https://hero-magazine.com/article/187555/philip-treacy (Accessed: 07 February 2024). 

Evening Standard (2012) The new black… Philip Treacy’s show sparks colour on the catwalk, Evening Standard. Available at: https://www.standard.co.uk/lifestyle/fashion/the-new-black-philip-treacys-show-sparks-colour-on-the-catwalk-debate-8152554.html (Accessed: 07 February 2024). 

During the lesson we were asked to create a mythical creature using at least six lego pieces from each container around the room and also create a background story behind it.

I created a mythical creature called scary stairy.

Scary stairy is a mythical creature created by a little girl who once got her necklace stolen at a concert she went to on her birthday.

She is very short so she didn’t realise when someone just stole her necklace. After the concert she went home and kept crying about her necklace wishing she was taller so no one could reach her necklace. 

There was a  fairy nearby who heard her cries and decided to make her birthday wish come true. She couldn’t quite change the little girls body and make her taller so she decided to create a mythical creature called scary stairy. 

Scary stairy is a big giant with steps on him. The little girl could climb up the steps and sit on top of scary stairy. He looked terrifying to anyone but her and her loved ones , so everyone who wanted to hurt her was scared to come close which made her feel stronger.

weekly reflection

Today we first talked about our artist research essay which is due in week 6. We looked at a template which made me understand more what to include and how deep my research should be. After that we had a lego task. I enjoyed the task a lot. Making up a whole story for my creature was fun and makes me think in a more creative way. Having activities like that makes us tap into our creative side, creating new stories for made up creatures helps with creating new and innovative designs because it makes you come up with an idea quite fast and these ideas can always be developed. I also feel like creating a story for something first helps me put this story together in a design or an illustration. The whole point of this activity was for us to understand the importance of listing our sources. When I was asked from which container I got a certain lego piece I couldn’t answer which resulted in Bhavik destroying my piece. This made me understand how important it is to list where I got my information from. I also wish I would’ve taken a picture of scary stairy before he was destroyed. I think I can apply this activity to my work in two different ways. First I want to write down a story for my work which will then help me visualise a design. And the second is to always list the exact sources where I got my information.

Cartier and Islamic Art

Introduction

This essay explores Louis Cartier and his inspiration with Islamic art. The author will be introducing his techniques, use of materials, inspirations and how they are linked to the author’s final project.

The author intends to reflect her Egyptian heritage and culture through Islamic art.

History of Cartier

According to Sarah Schleunig, Louis Francoise Cartier (1819-1904) began his career as a jeweller at Adolphe Picard’s shop, this experience set the stage for Cartier’s start of his own iconic brand. (Cartier and Islamic art: In search of modernity 2022, page 25).

When Picard moved to Paris, Cartier inherited the shop, reimagining it as his own brand. 

Later on his grandchildren – Pierre, Louis, Jacques and Suzanne Cartier joined the family business and solidified it’s legacy. (Cartier and Islamic art: In search of modernity 2022, page 26).

Louis Cartier, the oldest grandson joined the family in 1898. Influenced by the prominent art nouveau trend, he aimed to shake up the jewellery industry and not stick to convention.

His experimentation with platinum created refined pieces inspired by the 18^th century, represented by the Garland style which became the Emblem of the Maison. The Garland style was known for pieces that are made of platinum and mainly set with diamonds, also often decorated with garlands, bows and pear drop shaped pearls. (Ecker et al., Cartier and islamic art: In search of modernity 2022 page 27)

Islamic art inspiration

Louis Cartier was an innovator, which inspired his departure from convention and marked his transition towards a more linear modern style, characterised by geometric shapes, and influenced by Eastern civilizations, especially Islamic Art. (Cartier and islamic art: In search of modernity 2022 page 40). Cartier’s fascination with Islamic art stemmed from Paris as it became the centre for Islamic trade after the weakening of major Islamic empires by colonialization.  As western countries grew appetite for Islamic art, huge exhibitions like the 1903 “Exposition des Arts Musulmans” in Paris, from which Cartier drew inspiration were planned. Islamic Art was seen as a path to modernity, influencing Cartier’s style towards Art Deco. Louis Cartier’s interest in the eastern culture is evident in his collection of oriental artefacts and antique objects which he would reuse or integrate into his designs (Magazine, How islamic art influenced one of fashion’s most famous jewelers 2022).

Cartier’s archives 

Cartier’s archives reveal the importance of this theme which is reflected in Louis Cartier’s library as well as his brother Jacques Cartier’s travel accounts, who had travelled to India and Bahrain in 1911, providing first hand inspiration (Cartier and islamic art: In search of modernity 2022 page 31).

The Maison’s influence with Islamic art and it’s impact on the designs became visible in 1908, as they started creating plaster casts that were models made from completed pieces of jewellery he had bought from oriental dealers. (Cartier and islamic art: In search of modernity 2022 page 35)

In 1935 Cartier published an advertisement in Vogue that had been inspired by the pictures Jacques took of Arabic architecture in Cairo.  

Fig. 1 Advertisement for Cartier (detail).                                            Abel ImblotBritish Vogue, October 1935Cartier Documentation, Paris

Fig. 2Details from photographs of the minbars of the Mosques of al-Salih Tala’ and Ibu Tulun, Cairo Photo album1932Cartier London ArchivesInv. C1612_023, C1612_019

(Cartier and Islamic art: In search of modernity 2022 page 250)

The poster blends Islamic inspiration with a modern and abstract aesthetic which showcases a fusion between innovation and tradition.

His use of Islamic forms gives the poster an Arabic feel while their decision to illustrate it in a more abstract style adds a contemporary twist. 

Despite the abstraction you can still sense the Arabic feel and essence.

.

Louis’s lifelong interest wasn’t only sparked by the exhibitions but also by his grandfather’s interest in the theme. His Grandfather started learning eastern languages in his later life and owned a library full of books about the eastern culture and language to which Louis Cartier constantly added. 

As a designer Louis Cartier was interested in the artistic production of his time, and he sae Islamic design as a source of inspiration for contemporary artists. (Mehta, How cartier built an empire by claiming Indian and Islamic art as its own 2022)

Lexicon of forms

In the first decade of the twentieth century Louis Cartier began experimenting with new design ideas that moved away from Cartier’s previous style and leaned towards abstract ornamental forms reflecting Islamic designs. From all the sources and inspirations Cartier created a distinctive lexicon of Islamic forms including simple and interlocking geometric shapes, palmette finials, lotus blossoms, mamluk motifs and more. A lexicon was used here to collect forms to use in their designs as they were quite repetitive. Cartier was not the only jewellery house to introduce Islamic forms in the 1920s as it was quite popular, but Cartier was an innovator in his field and his designs were all based on a selected group of forms which made his designs recognizable.

(Cartier and Islamic art: In search of modernity 2022 page 163)

The Arab style 

Research into Arab forms at Cartier proceeded alongside the continued production of the Garland style. 

The development from the Garland style to the Islamic happened in two steps.

1. A transitional mode jewels were conceived as geometrical Forms but incorporate classicizing elements such as bows, and floral motifs. 

Fig.1 Necklace, 1908, platinum, diamonds, inv. 010102430

Fig. 2  Stomacher brooch                 Cartier Paris, special order, 1909                 Platinum, diamonds 12 × 9.62 cm                 Cartier Collection        Inv. CL 208 A09

• A more conventional Islamic style that includes jewels with six-, eight-, and twelve- pointed stars, as well as well rounded or hexagonal medallion shapes with internal designs. 

Fig. 1 Garland-style sketchbook.                                                         Cartier Paris, c. 1910Graphite, India ink, and gouache 27.5 × 22.5 cm Cartier Paris Archives Inv. CHGIV_094-095

Fig. 2 SautoirCartier Paris, 1907 (necklace), 1908 (pendant) Platinum, pearls, diamonds Pendant: 5.70 × 4.90 cmCartier Collection

(Cartier and islamic art: In search of modernity 2022 page 169)

Techniques 

Louis Cartier created jewellery pieces with modern techniques rather than traditional technique, while keeping his significant style. His design was clearly influenced by Islamic art his techniques were unique and different from traditional eastern methods, such as granulation, which is the complex method of welding tiny metal balls to a surface or, the hollow box technique, which involves joining several layers of metal together to create elaborate shapes. Very rarely did he use filigree, which is the delicate craft of twisting and soldering small metal wires to create intricate shapes and patterns. Cartier rather preferred creative and innovative methods to demonstrate his ability to work with materials.  (Cartier and the arts of Islam”, in the footsteps of Louis Cartier… 2023)

Cartier’s designs showcase how he used  platinum as the main material of his design. His

innovation was in his ability to apply modern interpretations of Islamic art and design principles which often included colourful gemstones, intricate arabesques, and detailed geometric patterns all of which celebrate the Islamic heritage and culture while also giving his works a contemporary feel. (How cartier’s love of gemstones led to platinum – the French Jewelry Post 2023)

Why I chose Cartier

The author decided to research Louis Cartier for several reasons. The most important one was because she was impressed by his ability to take Islamic cultural motifs and turn them into elegant and timeless contemporary jewellery pieces. The author finds it very inspiring how he can abstract Islamic elements while keeping an Arabic feel to the piece. As a good example for an artist who managed to incorporate Islamic patterns and architectural inspirations into his designs without losing his personal aesthetic is Louis Cartier. 

The author  intends to reflect her Egyptian culture and heritage through Islamic art that is the main inspiration of the author’s final project.

Louis Cartier’s Motto “Never imitate, always innovate” resonates with the authors own goals. Her idea is inspired by how he managed to modernise designs, and pushed boundaries while still maintaining his signature style and aesthetic whether it was by incorporating garland style motifs, abstracting the forms or using platinum and his own design techniques. All in all, Cartier’s strategy for staying ahead of trends without losing individuality inspires her own goal of making items that are both modern and reflect her culture. 

(Intro to cartier jewelry: The jeweler of kings and the King of Jewelers 2022)

Analyse and critically analyse his jewellery pieces and his work 

This hair ornament here represents louis Cartier’s first signs of abstract thinking, it showcases his innovative designs that push boundaries of standard jewellery. (Cartier and Islamic art: In search of modernity 2022 page 164)Having it being made out of platinum and diamonds, portrays a part of Cartier’s signature but the design clearly shows a departure from the conventional Garland style showing a start of new design ideas and inspirations. The head ornament takes shape of a lock of hair or a sine curve of moiré silk. These motifs portray a sense of fluidity and organic shapes which is reminiscent of Islamic and Arabic aesthetics.

The big curves give the piece an Arabic feel. (Cartier and Islamic art: In search of modernity 2022 page 164) The use of Platinum and diamonds reflect the artist’s signature style and commitment to his craftmanship, however despite the use of familiar materials the overall aesthetic is different from any previous designs. 

This design definitely reflects his inspiration by Islamic art more. 

This repetitive 10-point star motif is seen in a lot of Islamic architecture, one of the pictures Louis Cartier’s brother had taken in Cairo show the exact same motif in a mosque. 

Again traditional techniques like filigree work have not been used, which show that his inspiration was by the Islamic aesthetic only and not by the techniques. It also reflects his signature style and how he modernises the traditional artworks while not losing individuality (Cartier and Islamic art: In search of modernity 2022 page 236)

A picture his brother Jacques had taken in Cairo of a mosque shows the same exact forms.  (Cartier and Islamic art: In search of modernity 2022 page 250)

This necklace is made out of gold and diamonds which is different than Louis Cartier’s signature material platinum. 

The necklace was inspired by the “a sumptuous necklace of gold sequins set with brilliants and coloured stone” made by Femina. (Cartier and Islamic art: In search of modernity 2022 page 288)

These gold sequins reminded the author of coins, which are seen a lot in the islamic culture and jewellery.

Cartier’s design looks like he modernised this necklace, still keeping the circular shapes but using diamonds and gold instead of gold sequins. 

Overall the author was inspired by how Cartier managed to modernise Islamic art, while still keeping his elegant signature style. Also how he managed to create something that was “trendy” but did not lose creativity and individuality in the process. 

For her final project the author intends to get inspired by Elegance and timelessness and how he managed to abstract Islamic art in his designs but made sure the inspiration is still visible. But in her project she would like to include motifs that give it a more Islamic and traditional feel, like calligraphy and embroidery work for example. 

Bibliography

 ‘Cartier and the arts of islam’, in the footsteps of Louis Cartier… (2023) The French Jewelry Post by Sandrine Merle. Available at: https://thefrenchjewelrypost.com/en/style/arts-of-islam-exhibition-louis-cartier-mad-paris/ (Accessed: 06 March 2024). 

Zimnisky, P. et al. (2021) India shines at Cartier and Islamic Art Exhibit at Musée des Arts Decoratifs, India’s leading B2B gem and jewellery magazine. Available at: https://gjepc.org/solitaire/india-shines-at-cartier-and-islamic-art-exhibit-at-musee-des-arts-decoratifs/ (Accessed: 06 March 2024). 

Mehta, S. (2022) How cartier built an empire by claiming Indian and Islamic art as its own, The Juggernaut. Available at: https://www.thejuggernaut.com/how-cartier-built-an-empire-by-claiming-indian-and-islamic-art-as-its-own# (Accessed: 06 March 2024). 

Magazine, S. (2022) How islamic art influenced one of fashion’s most famous jewelers, Smithsonian.com. Available at: https://www.smithsonianmag.com/smart-news/islamic-art-influenced-fashion-most-famous-jeweler-cartier-180980099/ (Accessed: 06 March 2024). 

Intro to cartier jewelry: The jeweler of kings and the King of Jewelers (2022) Invaluable. Available at: https://www.invaluable.com/blog/intro-to-cartier-jewelry-the-jeweler-of-kings-and-the-king-of-jewelers/#:~:text=Cartier%20jewelry%20is%20now%20produced,Parisian%20high%20society%20and%20beyond. (Accessed: 06 March 2024). 

How cartier’s love of gemstones led to platinum – the French Jewelry Post (2023) The French Jewelry Post by Sandrine Merle. Available at: https://www.thefrenchjewelrypost.com/en/style/cartier-louis-platinum-diamonds/ (Accessed: 06 March 2024). 

Ecker, H. et al. (eds.) (2022) Cartier and islamic art: In search of modernity. New York: Thames & Hudson. 

Kinetic art presentation

The kinetic art movement emerged in the mid-20th century as a response to the desire to incorporate movement and time into visual art. Rooted in the principles of kinetic energy, the movement sought to challenge traditional notions of static art forms by introducing elements of motion, change, and viewer participation.

Key characteristics of kinetic art include:

1. Movement: Kinetic artworks feature actual or implied movement, often achieved through mechanical or technological means. Artists use motors, gears, magnets, or other mechanisms to create dynamic sculptures, installations, and environments that change or evolve over time.

2.  Interaction: A lot of kinetic artworks invite viewers to interact with the piece and take part in the kinetic experience as active participants. This engagement may be in the form of simple observation or direct manipulation of the artwork’s elements.

3. Optical Effects: Kinetic art frequently explores how movement affects vision, including the illusion of motion, patterns of light and shadow, and optical illusions. To create dynamic visual experiences that capture and interest viewers, artists experiment with colour, form, and composition.

The kinetic art movement reached its peak of popularity in the 1960s and 1970s, with artists like Bridget Riley, Jean Tinguely, and Naum Gabo pioneering new approaches to motion and sculpture. Today, contemporary artists continue to explore the possibilities of kinetic art, incorporating digital technologies, interactive media, and interdisciplinary approaches to create dynamic and immersive artworks that push the boundaries of traditional art forms.

Bridget Riley is a highly influential British artist known for her pioneering work in Op art, short for optical art. Born in 1931 in London, Riley rose to prominence in the 1960s as one of the leading figures of the Op art movement.

Op art is characterized by geometric abstraction and the use of optical illusions to create visual effects that appear to move, vibrate, or pulsate when viewed by the viewer. Riley’s paintings often feature bold, contrasting colours and repetitive patterns that produce optical effects such as moiré patterns, shimmering waves, and the illusion of depth and movement.

Bridget Riley draws inspiration from a variety of sources, including the study of optical phenomena, mathematical principles, and the natural world. However, she has stated that her primary inspiration comes from her own experiences of perception and visual sensations. Her interest lies in exploring how the mind processes visual information and constructs images, particularly in relation to colour, form, and spatial relationships.

Through her art, Riley aims to evoke a heightened sensory experience and engage viewers on both intellectual and emotional levels. While she does not adhere to specific narratives or themes in her work, she seeks to create dynamic visual experiences that challenge perception and provoke contemplation.

Riley’s art often conveys a sense of movement, rhythm, and energy, inviting viewers to actively participate in the act of seeing. By manipulating geometric shapes, patterns, and colors, she generates optical illusions that appear to shift and fluctuate, creating a sense of dynamism and vitality within the artwork itself.

While Riley’s work is not overtly political or ideological, it does reflect broader cultural and social contexts, particularly in its exploration of abstraction and the boundaries of artistic expression. Through her innovative use of optical effects and rigorous formal experimentation, she has made significant contributions to the fields of Op art and abstract painting, inspiring generations of artists and challenging viewers to reconsider their perceptions of the visual world.

“Fête” is a colourful screen print by British artist Bridget Riley, created in 1989. It features a vibrant, abstract composition of twenty vertical bands, each divided into variously sized coloured parallelograms , some of which appear to cut diagonally across the bands. 

Riley initially designed the composition as a gouache painting titled “February 15 ’89” before translating it into the final screen print, Printed on textured white paper.  It relates to a series of paintings Riley created between 1986 and 1997, characterized by vertical bands combined with diagonally oriented areas of colour.

The title “Fête,” meaning “celebration” in French, likely emphasizes the joyful quality of the artwork’s bright colours and dynamic composition. Riley chooses titles that reflect the spirit of her works, often drawing on memories or sensations.

Fete by Bridget Riley is a captivating example of how colour and geometric shapes can be put together to evoke a specific atmosphere. In this artwork Riley uses vibrant colours and geometric forms to create a dynamic and joyful atmosphere. 

The art piece portrays a very lively feeling which is also connected to the piece’s name.

What fascinated me the most was how she managed to portray this atmosphere with such an abstract piece. It shows the message she was conveying while still giving the viewer the freedom to interpret the piece. For my final project I aim to create a piece that conveys Egypt’s atmosphere, by creating an interactive jewellery piece that is inspired by Islamic art and the Egyptian culture. I will be playing around with geometrical forms to create different patterns. As much as I got inspired by her ability to create an atmosphere by using geometrical forms and colours, I aim to also integrate sounds and visuals, and scents to convey the atmosphere of Egypt.

Naum Gabo, born Naum Neemia Pevsner, was an important  Russian sculptor and one of the leading figures in the Kinetic art movement. He was born on August 5, 1890, in Bryansk, Russia, and passed away on August 23, 1977, in Waterbury, Connecticut, USA.

Gabo was known for his innovative approach to sculpture, which often incorporated materials such as glass, plastic, and metal. He was particularly interested in exploring the relationship between space, form, and movement, and his work played a significant role in shaping the development of modern sculpture in the 20th century.

One of Gabo’s notable contributions to modern art was his exploration of the concept of kinetic sculpture, which aimed to create artworks that incorporated actual or implied movement. His sculptures often featured dynamic, abstract forms that seemed to change and evolve as the viewer moved around them.

Throughout his career, Gabo’s work reflected his interest in geometry, mathematics, and science, as well as his belief in the potential of art to engage with and reflect the modern world. He was associated with various artistic movements, including Constructivism and the Bauhaus, and his work had a significant influence on numerous generations of artists.

Because he thought that art should be dynamic and responsive to the viewer as well as the surrounding environment, Naum Gabo was fascinated by the idea of producing moving artworks. The idea of kinetic sculpture, which aimed to include actual or suggested movement into artworks, attracted his curiosity in particular. Gabo attempted to convey the feeling of movement in his sculptures since he believed it to be an essential component of existence.

Additionally, Gabo was influenced by the technological advancements of his time, particularly in the fields of engineering and physics. He was fascinated by the principles of kinetics and the ways in which mechanical and structural elements could be combined to create dynamic forms. By creating moving pieces, Gabo aimed to push the boundaries of traditional sculpture and explore new possibilities for artistic expression.

Gabo’s interest in movement was also connected to his larger artistic  philosophy, which set an important priority on the value of interacting with modern society.  His belief was that art should mirror the dynamic and constantly evolving aspects of modern life, and he was able to look into this idea by making moving works.

Overall, Naum Gabo created moving pieces as a means of exploring the concept of kinetic sculpture, embracing technological advancements, and engaging with the dynamic nature of the modern world. Through his innovative approach to sculpture, Gabo wanted to challenge traditional norms of art and inspire viewers to reconsider their perceptions of space, form, and movement.

The bronze sculpture called “Spheric Theme (Penetrated Variation)” was made somewhere between 1937 and 1940. This piece of art is outstanding because of the way it plays with perspective and perception.

The geometric shapes appear to be intersecting one another from one angle, creating the impression of a dynamic and complicated composition. The artwork has a sense of depth and movement because of its design, which invites viewers to look at how the shapes and lines interplay. 

On the other hand, viewed from another angle, the forms seem to be different and separate, almost like two completely different shapes. This changing perspective gives the artwork a sense of confusion and encourages viewers to think about how their perspective affects how they perceive the sculpture.

Gabo’s work is characterised by this double perspective, which reflects his fascination with the ways in which perspective changes can  reshape shapes. Gabo invites viewers to actively interact with the artwork and discover its complex qualities by creating a sculpture that seems different from different perspectives.

This artwork inspired me by how different angles reveal different shapes. I feel that creating something so interactive, creates a bigger connection between the piece and the viewer and makes it unforgettable as it makes it into an experience for the viewer. This idea is what I aim to integrate into my final project. A piece that turns into an experience.

Jean Tinguely was a Swiss artist known for his kinetic sculptures and mechanized art installations. He was born on May 22, 1925, in Fribourg, Switzerland, and passed away on August 30, 1991, in Bern, Switzerland. Tinguely was a prominent figure in the kinetic art movement and is best known for his playful and whimsical artworks that incorporate movement and  sound

Tinguely’s artistic career began in the 1950s, where he initially worked as a painter and sculptor. However, he soon became interested in incorporating movement into his artworks, leading him to experiment with kinetic sculptures. These sculptures often featured intricate mechanisms and found objects, such as scrap metal, machinery parts, and discarded materials.

Throughout his career, Tinguely continued to create kinetic sculptures and installations that blurred the boundaries between art and technology. His works often featured whimsical and humorous elements, reflecting his playful approach to artmaking. Tinguely’s sculptures were characterized by their dynamic movement, sound effects, and interactive components, inviting viewers to engage with the artwork in a tactile and sensory way. 

Jean Tinguely integrated sound effects into his kinetic sculptures and installations to enhance the overall sensory experience for viewers. By incorporating sound, Tinguely added another layer of dynamism and interactivity to his artworks, engaging the auditory senses in addition to the visual and tactile aspects

In addition to his kinetic sculptures, Tinguely also experimented with other artistic mediums, including drawing, painting, and printmaking. He was a versatile artist who constantly pushed the boundaries of artistic expression, exploring new techniques and concepts throughout his career.

Overall, Jean Tinguely was a pioneering artist whose innovative approach to kinetic art revolutionized the way people interacted with art. His playful and whimsical sculptures continue to captivate audiences around the world, inspiring generations of artists to explore the possibilities of movement, sound, and chance in their own artistic practices.

Jean Tinguely’s “Méta-Harmonie II” is a famous kinetic sound sculpture from 1979. This piece of art is one of several “Méta-Harmonies” that Tinguely created in the last stages of his career, demonstrating his ongoing exploration of movement, sound, and mechanical detail. 

The sculpture is made up of a huge, complicated assembly of gears, mechanical parts, and random objects that are organised in an eye-catching and dynamic composition. The mechanism in the centre of the sculpture is what makes the different sections move and interact with one another to produce a symphony of sounds.

One of the defining features of “Méta-Harmonie II” is its incorporation of sound-producing mechanisms, which add an auditory dimension to the kinetic movement of the sculpture. These sounds range from rhythmic clanking and whirring to more melodic and harmonic tones, creating a rich and immersive environment for viewers.

The title of the sculpture, “Méta-Harmonie,” refers to a harmonic combination of mechanical and auditory components, indicating Tinguely’s fascination with investigating the connection between sound and motion. With this piece of art, Tinguely encourages viewers to interact with the auditory and visual perception of the dynamic interaction of mechanical shapes.

As with many of Tinguely’s works, “Méta-Harmonie II” is interactive, allowing viewers to actively engage with the sculpture by activating its mechanism or manipulating certain parts. This interactivity reflects Tinguely’s belief in the importance of audience participation and the idea of art as a dynamic and evolving experience.

The incorporation of sounds into the artwork showed how auditory elements can deepen the emotional impact and significance of the piece, elevating it beyond a visual experience.

Also, by allowing viewers to interact with the artwork, it creates a stronger connection between the viewer and the piece, making them feel involved and immersed in the artistic experience.

Viewer interaction not only heightened engagement but also created a deeper understanding of the artwork.

The interactive elements transformed the artwork into a personalized and immersive experience, where viewers felt like they were part of the creation process. This level of involvement enhanced their appreciation for the artwork.

This inspired me to integrate sound effects in my final piece to enhance the viewers understanding and connection to my jewellery piece. I aim to create narrative jewellery that reflects me and my experiences, hence my choice to reflect my cultural heritage. I want to create a piece that people can relate to and interpret into their own lives while still educating them about my culture. This piece inspired me to add auditory and visual effects as well as scents to enhance the viewers understanding of the atmosphere and the inspiration. It creates an experience for them which makes them feel more connected to my design ideas.

Design brief

Title: El Rehla: A strengthening journey 

Aims: 

The designer aims to create narrative jewellery that reflects her personal journey and her Egyptian heritage, incorporating the themes of “strengthen” and “kitsch”.

She wants to educate people about her cultural heritage, creating pieces that can be worn everywhere and by anyone and reflect her cultural heritage. 

The Egyptian national flower is a lotus flower, hence her choice for a lotus flower to symbolise her experience. The lotus flowers and its symbolism holds a significant meaning both is ancient and modern Egypt. 

Inspired by the symbolism of a lotus flower the jewellery aims to tell a story about growth and adaption. To celebrate the designers cultural heritage, she will integrate  interactive elements like sound to make the wearer engage in an immersive experience that captures the atmosphere and spirit of Egypt.

Concept:

To symbolize the designers strengthening journey of growth and adaptation to a new life abroad, she has chosen the lotus flower, which represents new beginnings born from difficulties. The lotus starts as a seed in murky waters, navigating obstacles like rocks to blossom into a beautiful flower, which portrays my own process of overcoming challenges and growing. The word kitsch brings up images of the atmosphere in Egypt, which is always loud, lively and crowded. From the lively streets filled with laughter, chatter, and street vendors, to the rich sounds of traditional music played on Arabic drums and the rhythmic dances of belly dancers wearing scarves full of coins. Incorporating cultural elements, Islamic motifs, coins and interactive elements the designs will narrate a story of growth as well as a celebration of cultural identity.   The choice of a flower to symbolise her story comes from how connected flowers are to Islamic art. They hold significant meaning in Islam as they symbolise beauty, purity and the connection between spirituality and nature and are often incorporated in geometrical Islamic patterns. She found that the lotus flower is most connected to the idea she is trying to portray. 

Inspiration:

The project is inspired by the atmosphere of Egypt and it’s culture. Like belly dancers, islamic art and ancient symbolism. 

The designer aims to get inspired by traditions and turn them into contemporary jewellery pieces to celebrate and preserve her culture. 

The project is also inspired by two jewellery designer who have successfully integrated eastern, Egyptian and islamic motifs into contemporary designs worldwide. 

Azza Fahmy has written a book talking about the different jewellery all around Egypt, and how she drew inspiration from not only Islamic motifs and ancient Egypt but also different tribes and groups in Egypt. Louis Cartier had seen Islamic art as a path to modernity and managed to create designs inspired by the Islamic and eastern culture without losing individuality.

Additionally inspiration will be drawn from artist who create sound installations to express their emotions and opinion and have explored the use of sound to evoke the feelings of specific atmospheres.

Experimentation and execution:

1. Research: The designer will be researching the inspiration with islamic art in thr Egyptian culture as well as the traditional clothes and jewellery for inspiration. She will also be researching sound art to integrate it to her final project. Forinspiration she will research other designers who also incorporate their cultural heritage, Egyptian heritage and floral themes like Azza Fahmy, Louis Cartier and Oscar de la renta 
2. Design Development and experimentation: The designer will be experimenting with different materials  based on the sounds they create, to have her piece evoke the feelings and atmosphere of Egypt. 

             The sounds she is aiming to convey are the jingling sounds. These are sounds                 that you can hear in most of the Egyptian music, as well as when belly dancer dance because   of the scarves around their hips. 

To create these sounds she will  experiment with materials such as aluminium, wire, glass and beads. She will also be exploring traditional techniques like macrame and embroidery to create her designs. Her idea is to create a headpiece, as it symbolises confidence, empowerment and strength.

• Integration of sound : The designer will be experimenting with sound elements to evoke the atmosphere of Egypt, she will be focusing on the jingling sounds of coins. 
• Feedback: She will be seeking feedback from peers and tutors throughout the process to ensure the effectiveness of the narrative jewellery piece. 
• Presentation: She will be using skills she learned at both workshops to create a poster to promote and showcase her work. She will use both the printmaking workshop and digital design to achieve the best, most creative and professional looking end results.

By following this design brief the designer will be able to produce a narrative jewellery piece that reflects her cultural identity and personal journey, while also celebrating and preserving her Egyptian heritage.