Elliptical necklace (Version 4)
- NMC/1925/v4
- Part
- c2010-2014
664 results with digital objects Show results with digital objects
Elliptical necklace (Version 4)
Elliptical necklace (Version 5)
Elliptical necklace (Version 6)
Davidson, Peter Wylie
Engraved silver coin (Version 1)
Engraved silver coin (Version 2)
Bar of three first world war medals, awarded to Pte. H. Alison, Cameron Highlanders.
*Not available / given
First World War medals (Version 1)
First World War medals (Version 2)
First World War medals (Version 3)
First World War medals (Version 4)
Flat brass light shade from Mackintosh Building
One of a set of 2 flat brass coolie style metal light shades with cut out motifs from the Mackintosh Building.
Flat brass light shade from Mackintosh Building
One of a set of 2 flat brass coolie style metal light shades with cut out motifs from the Mackintosh Building.
"Flight Mask" from degree show collection 'Kinetic Nature' made from milk bottle plastic and metal.
Artist's statement on "Kinetic Nature" collection: Biomimicry, which is innovation inspired by nature, through emulating, ethos and reconnection is the focus of this body of work. These jewellery pieces heighten the presence of nature in the wider landscape and its relationship to the human body, through texture, form, repetition, transformation and movement. The Caddisfly Larva use materials found around them to make intricate adorning cocoons in order to blend with their surroundings and in some respects personifies the idea of a sustainable existence. During the Covid-19 lockdown, this same ethos has been applied to practice, in giving new life to discarded objects, transforming these into body adornments. Milk bottle plastic, for example, has beautiful, ethereal and translucent qualities, that are used here in interactive sculptural pieces. It gives a new purpose to the continued existence of this material, transforming it from an everyday product to a desirable object. The concept of biomimicry sits usefully in Michel Serres’ understanding of human-to-non-human relations. In ‘The Five Senses: A Philosophy of Mingled Bodies’ (2008), Serres argues that our sense-experiences should be foregrounded in social and cultural life and that humans should recall from nature how to adapt and trust our intuitive bodily impressions. In this respect, the pieces of jewellery presented here are sculptures intended to become animated once positioned on the body; to become an extension of the body. As nature changes it gifts us with fleeting phenomena and these moments are captured in these activated body adornments, such as the life cycle of the dandelion head changing first from yellow to translucent, and then as motion, like that of a bird in flight.
Smith, Cara Zoe
"Flight Mask" from degree show collection 'Kinetic Nature' made from milk bottle plastic and metal.
Artist's statement on "Kinetic Nature" collection: Biomimicry, which is innovation inspired by nature, through emulating, ethos and reconnection is the focus of this body of work. These jewellery pieces heighten the presence of nature in the wider landscape and its relationship to the human body, through texture, form, repetition, transformation and movement. The Caddisfly Larva use materials found around them to make intricate adorning cocoons in order to blend with their surroundings and in some respects personifies the idea of a sustainable existence. During the Covid-19 lockdown, this same ethos has been applied to practice, in giving new life to discarded objects, transforming these into body adornments. Milk bottle plastic, for example, has beautiful, ethereal and translucent qualities, that are used here in interactive sculptural pieces. It gives a new purpose to the continued existence of this material, transforming it from an everyday product to a desirable object. The concept of biomimicry sits usefully in Michel Serres’ understanding of human-to-non-human relations. In ‘The Five Senses: A Philosophy of Mingled Bodies’ (2008), Serres argues that our sense-experiences should be foregrounded in social and cultural life and that humans should recall from nature how to adapt and trust our intuitive bodily impressions. In this respect, the pieces of jewellery presented here are sculptures intended to become animated once positioned on the body; to become an extension of the body. As nature changes it gifts us with fleeting phenomena and these moments are captured in these activated body adornments, such as the life cycle of the dandelion head changing first from yellow to translucent, and then as motion, like that of a bird in flight.
Smith, Cara Zoe
"Flight Mask" from degree show collection 'Kinetic Nature' made from milk bottle plastic and metal.
Artist's statement on "Kinetic Nature" collection: Biomimicry, which is innovation inspired by nature, through emulating, ethos and reconnection is the focus of this body of work. These jewellery pieces heighten the presence of nature in the wider landscape and its relationship to the human body, through texture, form, repetition, transformation and movement. The Caddisfly Larva use materials found around them to make intricate adorning cocoons in order to blend with their surroundings and in some respects personifies the idea of a sustainable existence. During the Covid-19 lockdown, this same ethos has been applied to practice, in giving new life to discarded objects, transforming these into body adornments. Milk bottle plastic, for example, has beautiful, ethereal and translucent qualities, that are used here in interactive sculptural pieces. It gives a new purpose to the continued existence of this material, transforming it from an everyday product to a desirable object. The concept of biomimicry sits usefully in Michel Serres’ understanding of human-to-non-human relations. In ‘The Five Senses: A Philosophy of Mingled Bodies’ (2008), Serres argues that our sense-experiences should be foregrounded in social and cultural life and that humans should recall from nature how to adapt and trust our intuitive bodily impressions. In this respect, the pieces of jewellery presented here are sculptures intended to become animated once positioned on the body; to become an extension of the body. As nature changes it gifts us with fleeting phenomena and these moments are captured in these activated body adornments, such as the life cycle of the dandelion head changing first from yellow to translucent, and then as motion, like that of a bird in flight.
Smith, Cara Zoe
"Flight Mask" from degree show collection 'Kinetic Nature' made from milk bottle plastic and metal.
Artist's statement on "Kinetic Nature" collection: Biomimicry, which is innovation inspired by nature, through emulating, ethos and reconnection is the focus of this body of work. These jewellery pieces heighten the presence of nature in the wider landscape and its relationship to the human body, through texture, form, repetition, transformation and movement. The Caddisfly Larva use materials found around them to make intricate adorning cocoons in order to blend with their surroundings and in some respects personifies the idea of a sustainable existence. During the Covid-19 lockdown, this same ethos has been applied to practice, in giving new life to discarded objects, transforming these into body adornments. Milk bottle plastic, for example, has beautiful, ethereal and translucent qualities, that are used here in interactive sculptural pieces. It gives a new purpose to the continued existence of this material, transforming it from an everyday product to a desirable object. The concept of biomimicry sits usefully in Michel Serres’ understanding of human-to-non-human relations. In ‘The Five Senses: A Philosophy of Mingled Bodies’ (2008), Serres argues that our sense-experiences should be foregrounded in social and cultural life and that humans should recall from nature how to adapt and trust our intuitive bodily impressions. In this respect, the pieces of jewellery presented here are sculptures intended to become animated once positioned on the body; to become an extension of the body. As nature changes it gifts us with fleeting phenomena and these moments are captured in these activated body adornments, such as the life cycle of the dandelion head changing first from yellow to translucent, and then as motion, like that of a bird in flight.
Smith, Cara Zoe
The section title '1 Form and Function' appears in white on black mountboard. The second piece of mountboard is cream with two windows cut into it. Both contain writing on the organisation, order, form and function of insects.
Thomson, Mary Fiona
Foulis Medal. One of 31 made in 2017/18. Medal first presented at the first GSA winter graduation in December 2017, to the top graduating student from a taught post graduate programme at the GSA.
Also includes background material describing design. The design was inspired by the Mackintosh Building and 18th century block print.
Source: http://gsapress.blogspot.com/2017/12/innovation-design-graduate-callum-nash.html
Marriott, Helen
Fragments of lampshade(s) for Library, Glasgow School of Art
The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.
Mackintosh, Charles Rennie
Fragments of lampshade(s) for Library, Glasgow School of Art (Version 1)
The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.
Fragments of lampshade(s) for Library, Glasgow School of Art (Version 2)
The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.
Mackintosh, Charles Rennie
Fragments of lampshade(s) for Library, Glasgow School of Art (Version 3)
The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.
Mackintosh, Charles Rennie
Fragments of lampshade(s) for Library, Glasgow School of Art (Version 4)
The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.
Mackintosh, Charles Rennie
Fragments of lampshade(s) for Library, Glasgow School of Art (Version 5)
The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.
Mackintosh, Charles Rennie
Fragments of lampshade(s) for Library, Glasgow School of Art (Version 6)
The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.
Mackintosh, Charles Rennie
Fragments of lampshade(s) for Library, Glasgow School of Art (Version 7)
The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.
Mackintosh, Charles Rennie
'Framework/Articulation' boards
The section title '3 Framework/Articulation' appears in white on black mountboard. A second piece of mountboard is cream with three windows cut into it. Within one is handwritten text detailing the structured framework which insects possess instead of a skeleton. In the second and third windows are watercolours showing two different insects from different angles.
Thomson, Mary Fiona
Glasgow Commonwealth Games bronze medal
A bronze medal from the 2014 Glasgow Commonwealth Games, including a lapel pin and presentation case.
Boyd, Jonathan
Glasgow Commonwealth Games bronze medal (Version 1)
Glasgow Commonwealth Games bronze medal (Version 2)
Glasgow Commonwealth Games bronze medal (Version 3)
Glasgow Commonwealth Games bronze medal (Version 4)
Glasgow Commonwealth Games commemorative quaich
Decorative wooden quaich presented to medal winning athletes, Glasgow Commonwealth Games.
Hodgkiss, Paul
Glasgow Commonwealth Games commemorative quaich (Version 1)
Glasgow Commonwealth Games commemorative quaich (Version 2)
Glasgow Commonwealth Games gold medal
A gold medal from the 2014 Glasgow Commonwealth Games, including a lapel pin and presentation case.
Boyd, Jonathan
Glasgow Commonwealth Games gold medal (Version 1)
Glasgow Commonwealth Games gold medal (Version 2)
Glasgow Commonwealth Games gold medal (Version 3)
Glasgow Commonwealth Games gold medal (Version 4)
Glasgow Commonwealth Games silver medal
A silver medal from the 2014 Glasgow Commonwealth Games, including a lapel pin and presentation case.
Boyd, Jonathan
Glasgow Commonwealth Games silver medal (Version 1)
Glasgow Commonwealth Games silver medal (Version 2)
Glasgow Commonwealth Games silver medal (Version 3)