Statements:
By using certain shapes – specifically, a hyperbolic paraboloid - in my new body of work, I explore the transcending concept of the infinite and time as a vessel. A vessel can be something that ferries or something that contains, and time can be something manipulated and finite. A hyperbolic paraboloid is itself a vessel transporting and/or holding along its planer surface. The surface can hold something stagnant (indefinitely or definite) or tender the object along the surface throughout eternity as a proverbial Charon.
All of these pieces were raised or hammered from a flat sheet of metal. I have taken the linear and created an infinite. I have taken the infinite and made the finite. Using light and the physical object, I have mixed the physical and non-tangible to create forms that transport and hold.
In the blackened pieces I created, I used a Korean process known as Keum-Boo. This process entails fusing thin pure gold sheet to the surface of fine silver. This creates a bond that can be soldered and worked as a single metal. The blackening is an acid that etches into the silver but does not touch the gold. These pieces of gold or “light” are trapped in the void of light in the Acheron that makes up the hyperbolic paraboloid. These pieces are trapped in the starless sky of the infinite, creating the finite in an infinite existence.
My sculptural pieces are based on the idea of the anthropomorphism of an artistic object placed in an environment where it is adversely impacting the ecosystem through its representative human qualities from its maker, while still being an inanimate object. The pieces are placed in an environment - in this instance, the rocks adjacent to the ocean as represented by the wood burls. They act as catalysts to a trophic cascade in the cerebral ecosystem so as to repair the damages society has done with its own proverbial "growths" in our lives.
These pieces were created using classic silversmithing techniques and were raised or hammered from flat sheets of metal. In the blackened pieces I created, I used a Korean process known as Keum-Boo. This process entails fusing thin pure gold sheet to the surface of fine silver. This creates a bond that can be soldered and worked as a single metal. The blackening is an acid that etches into the silver but does not touch the gold. The blue forms, or spicula (spiculum), are hollow needle-like forms created from flat copper sheet and then patinated using certain chemicals to create the blue coloring.
Selected CV:
Vincent Hawley
VWH Jewelry
www.vwhjewelry.com
info@vwhjewelry.com
+1 978-387-3251
Since 2002, Vincent Wil Hawley has been creating unique pieces of metal sculpture and jewelry. Having received his BFA from the School of the Museum of Fine Arts in Boston, he went on to graduate from the Gemological Institute of America in Italy as well as apprenticing in Florence, Italy. His work is produced with classic hand tools taking countless hours to create. Vincent’s pieces incorporate some of jewelry and metalsmithing’s most challenging and classical practices including hand engraving and traditional raising/forming techniques; a truly historical art form passed through the generations. Using these tools, Vincent's art incorporates extremely complex forms and techniques. His current work focuses on his classical Silversmith training involving intricate traditional raising techniques in conjunction with Korean finishing details. Vincent currently works out of his studio in NYC and continues to travel to Florence to teach.
Notable Awards
-2017 Second Place Award “First Fruits” CIVA Christians in the Visual Arts- Milk & Honey
-2015 Winner/High Honor Faith & Form and The Interfaith Forum on Religion, Art, and Architecture (IFRAA) Religious Art Competition- Sacred Vessels St. Gregory the Great
Select Presentations
-Massachusetts College of Art - Boston, MA Presenter “Florentine Engraving and Luxury” Visiting Lecture Series (10/15)
-Society of North American Goldsmiths SNAG Conference - Boston, MA Presenter “Florentine Hand Engraving” (05/15)
-MJSA Bench Conference - Providence, RI Presenter “Florentine Engraving and Traforo” (09/13)
-Museum of Fine Arts - Boston, MA Gallery Talk West African Gold of the Akon (02/06)A
Select Publications
-International Journal on Religion, Art and Architecture, Faith & Form Vol XLVII
-“Maestri dell’Arte Orafa in Toscana” by Valerio Salvadori, Francesca Del Magro
- Gem and Jewelry Pocket Guide by Renée Newman GG
-“Florentine Renaissance” Rapaport Diamond Magazine
-New York Times “Cleveland’s Theater Hub”
-Improper Bostonian Magazine
-Stuff @ Night Magazine, Boston, MA “HubBub Style, A new classic”
Select Exhibitions
-Art Studio Fuji Annual Exhibition - Florence, Italy
-“Titian, Tintorreto, Veronese” Museum of Fine Arts - Boston, MA
-House of Blues - Boston, MA
-Goldsmiths Jewelers - Chestnut Hill Mall, MA
-International Precious Metal Institute 13th Annual Jewelry Design Competition
-“The Factory Revealed” - Dover, NH
-Cardinal Gallery - Newburyport, MA
By using certain shapes – specifically, a hyperbolic paraboloid - in my new body of work, I explore the transcending concept of the infinite and time as a vessel. A vessel can be something that ferries or something that contains, and time can be something manipulated and finite. A hyperbolic paraboloid is itself a vessel transporting and/or holding along its planer surface. The surface can hold something stagnant (indefinitely or definite) or tender the object along the surface throughout eternity as a proverbial Charon.
All of these pieces were raised or hammered from a flat sheet of metal. I have taken the linear and created an infinite. I have taken the infinite and made the finite. Using light and the physical object, I have mixed the physical and non-tangible to create forms that transport and hold.
In the blackened pieces I created, I used a Korean process known as Keum-Boo. This process entails fusing thin pure gold sheet to the surface of fine silver. This creates a bond that can be soldered and worked as a single metal. The blackening is an acid that etches into the silver but does not touch the gold. These pieces of gold or “light” are trapped in the void of light in the Acheron that makes up the hyperbolic paraboloid. These pieces are trapped in the starless sky of the infinite, creating the finite in an infinite existence.
My sculptural pieces are based on the idea of the anthropomorphism of an artistic object placed in an environment where it is adversely impacting the ecosystem through its representative human qualities from its maker, while still being an inanimate object. The pieces are placed in an environment - in this instance, the rocks adjacent to the ocean as represented by the wood burls. They act as catalysts to a trophic cascade in the cerebral ecosystem so as to repair the damages society has done with its own proverbial "growths" in our lives.
These pieces were created using classic silversmithing techniques and were raised or hammered from flat sheets of metal. In the blackened pieces I created, I used a Korean process known as Keum-Boo. This process entails fusing thin pure gold sheet to the surface of fine silver. This creates a bond that can be soldered and worked as a single metal. The blackening is an acid that etches into the silver but does not touch the gold. The blue forms, or spicula (spiculum), are hollow needle-like forms created from flat copper sheet and then patinated using certain chemicals to create the blue coloring.
Selected CV:
Vincent Hawley
VWH Jewelry
www.vwhjewelry.com
info@vwhjewelry.com
+1 978-387-3251
Since 2002, Vincent Wil Hawley has been creating unique pieces of metal sculpture and jewelry. Having received his BFA from the School of the Museum of Fine Arts in Boston, he went on to graduate from the Gemological Institute of America in Italy as well as apprenticing in Florence, Italy. His work is produced with classic hand tools taking countless hours to create. Vincent’s pieces incorporate some of jewelry and metalsmithing’s most challenging and classical practices including hand engraving and traditional raising/forming techniques; a truly historical art form passed through the generations. Using these tools, Vincent's art incorporates extremely complex forms and techniques. His current work focuses on his classical Silversmith training involving intricate traditional raising techniques in conjunction with Korean finishing details. Vincent currently works out of his studio in NYC and continues to travel to Florence to teach.
Notable Awards
-2017 Second Place Award “First Fruits” CIVA Christians in the Visual Arts- Milk & Honey
-2015 Winner/High Honor Faith & Form and The Interfaith Forum on Religion, Art, and Architecture (IFRAA) Religious Art Competition- Sacred Vessels St. Gregory the Great
Select Presentations
-Massachusetts College of Art - Boston, MA Presenter “Florentine Engraving and Luxury” Visiting Lecture Series (10/15)
-Society of North American Goldsmiths SNAG Conference - Boston, MA Presenter “Florentine Hand Engraving” (05/15)
-MJSA Bench Conference - Providence, RI Presenter “Florentine Engraving and Traforo” (09/13)
-Museum of Fine Arts - Boston, MA Gallery Talk West African Gold of the Akon (02/06)A
Select Publications
-International Journal on Religion, Art and Architecture, Faith & Form Vol XLVII
-“Maestri dell’Arte Orafa in Toscana” by Valerio Salvadori, Francesca Del Magro
- Gem and Jewelry Pocket Guide by Renée Newman GG
-“Florentine Renaissance” Rapaport Diamond Magazine
-New York Times “Cleveland’s Theater Hub”
-Improper Bostonian Magazine
-Stuff @ Night Magazine, Boston, MA “HubBub Style, A new classic”
Select Exhibitions
-Art Studio Fuji Annual Exhibition - Florence, Italy
-“Titian, Tintorreto, Veronese” Museum of Fine Arts - Boston, MA
-House of Blues - Boston, MA
-Goldsmiths Jewelers - Chestnut Hill Mall, MA
-International Precious Metal Institute 13th Annual Jewelry Design Competition
-“The Factory Revealed” - Dover, NH
-Cardinal Gallery - Newburyport, MA
