In Conversation with Vikki Kassioras
We sit down with artist Vikki Kassioras to learn more about what inspired her to revisit pieces that she has made over the years in her new exhibition, ASIMINA. Read on below.
What ideas and themes are you exploring in this new collection?
The works that I have made for my ASIMINA exhibition reference past pieces that I have made over the years of showing my work at e.g.etal. Many past pieces were made in small quantities, some designs I only made once. I imagine my works as a spiral with each piece inspiring the next, however this means many pieces have not been viewed in the context of each other. This exhibition was the perfect opportunity to re-make and re-work past designs so they could be viewed together with decorative elements becoming connection points leading the eye from one piece to the next. I am excited at the opportunity to show these pieces side by side.
How does the employment of ancient metal-working techniques shape the narrative of your pieces and connect you to the past?
Fusing silver gives my work a unified look despite the fact that each link is a little different. It gives me a cohesive base that I can then add different components to. I like the way repetition of design elements like circle charms makes earrings and neckpieces look cohesive and remind me of ancient jewels. But my works are only meant to be a little glimpse into the world of the ancient. I see it as akin to looking at something while squinting. There is some similarity that is evoked but upon opening your eyes and looking it is in fact not the same. It is a feeling that I am trying to evoke, not necessarily a direct connection that you can pinpoint.
Your pieces are inspired by archaeology and classical mythology. How do you choose which stories or symbols to represent through your jewellery?
I am led by my curiosity, interest in aesthetics and stories. To give you an example, I grew up around talk of the evil eye by elderly relatives so it feels authentic to play with this symbology in my work. This then leads to research about eyes and luck and so on. It is the process of research and reading that is then integrated into my jewellery. I believe this is why some pieces can take me a long time to resolve as I feel that I have not yet found that missing something that would finish it from my point of view.
Through your methods and the raw, textured appearance, your jewellery often resembles ancient artefacts. What emotional or philosophical significance do you intend to convey through this aesthetic?
I want my pieces to look as though they have been weathered by time and have been rediscovered. The marks are an invitation to daydream about a piece of jewellery that has been shaped by time. By wearing it, you then add to its patina. The wearer is opting in and finding connection through choosing to wear the jewellery. In the end it doesn’t matter what my intention is as it is the wearer who finds something that resonates with them in the piece.
What role do you believe craftsmanship plays in creating meaningful connections between the wearer and the jewellery?
The coming together of quality of design and skill in making is everything. It transforms material, in this case silver into an item that can hold the wearers emotions, feelings and story. The finished pieces become a reflection of the artistry of the jeweller and a meaningful adornment for the wearer. Ultimately, craftsmanship can transform jewellery into a vessel for personal meaning and memory.
“I feel that authentic intention in making always has a transformative effect on your work. I believe it is what makes some pieces easier to connect with.”
Muses play an important role in ancient Greek mythology. When you create your pieces, do you have a particular muse in mind to wear your work?
In ancient times it was believed that the muses were responsible for human inspiration. I think that this is because it can be a challenge to understand the creative process. It can be a mystery, uncontrollable, exasperating and sometimes a difficult feeling to get in touch with. But when it works it is such an amazing flow of energy. I don’t have a particular muse in mind but I do know that the people who choose to wear my work have a very strong sense of self, know what they like and appreciate all the elements of design and the making process that is part of my practice. They are not afraid of the imperfect nature of my work.
How does your Greek heritage influence your design process, and how do you merge that with contemporary techniques or inspirations?
Heritage does not influence my design process but rather has exposed me to myths, fables and museum artifacts that I am still captivated by today. I believe my training at RMIT influenced my design process and methodology and this underpins everything I make. I don’t think in terms of merging things together I exist in the contemporary world and everything I make is a product of that in spite of the references that I look to.
Browse the Exhibition
Please join us from 5pm for the opening event on 10th October, where you can meet Vikki and be one of the first to see this new exhibition in person – you can RSVP here.
