elizabeth shaw   jewellery objects
  • Home
  • jewellery and objects
    • Fidgeting Eyes 2024
    • Diego, Don Tom and Ann 2023
    • Charred Koala - hanging on 2022
    • Radical Localism 2022
    • SHAW & SHAW 2021
    • Precious Places 2020
    • Pincer Grip 2019
    • Hand-Saw-Horse 2019
    • Urban Origins 2019
    • Rotary Wheel Rings 2018
    • Debra Porch and Friends 2018
    • Recycled Narratives 2018
    • Nail Heads 2017 - 2018
    • Mortar Heads 2017
    • Rescued Pets 2017
    • Visions Exhibition 2017
    • Rings for Mary Shelley 2016
    • Yang 杨 + Shaw 肖 2015-2016
    • The Contemporary Jewelry Exchange 2015-2016
    • Sleight of Hand 2015
    • Why Jewellery? 2015
    • Greensmith 2014+2016
    • Icons 2014
    • Tool 2011 & 2012
    • Inundation 2011
    • Evidence 2010
    • The Miniature Museum 2009
  • studio
  • bio
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Picture









Ethical and environmental concerns are central to Elizabeth Shaw’s practice. Her artwork investigates aspects of societal and cultural values and the meanings associated with objects of material culture. She exhibits regularly and has been the recipient of awards and grants. Her work is represented in public and private collections. She is active in initiating and facilitating environmental and ethically focused events to encourage exchange of ideas and participation in a sustainable community of practice. Shaw has served on the boards of state and national crafts organisations and is a member of the Advisory Council of Ethical Metalsmiths. She is a Senior Lecturer and Head of the Jewellery and Small Objects department of Queensland College of Art Griffith University.

Statement

My work is informed by material culture theory, collaborative initiatives, cultural connections, ethical practice, and the role of the hand made object in society.

Jewellery and personal objects are enmeshed in society and my work contributes to contemporary discussions about re evaluation of cultural material priorities. I am interested in making use of discarded broken items, particularly ones destined for, or retrieved from landfill. I draw on an aesthetic of repair and value honesty in materials. I have both inherited and purchased the contents of other jewellers studios including lemel and part made projects. I draw on unidentifiable components of their works for re use in my own. The majority of my work is made from reused metal and what isn’t, is 100% recycled. My preference is reuse, thus minimising the energy in processing. I have a solar powered studio where I prioritise the use of hand tools over power tools.


  • Home
  • jewellery and objects
    • Fidgeting Eyes 2024
    • Diego, Don Tom and Ann 2023
    • Charred Koala - hanging on 2022
    • Radical Localism 2022
    • SHAW & SHAW 2021
    • Precious Places 2020
    • Pincer Grip 2019
    • Hand-Saw-Horse 2019
    • Urban Origins 2019
    • Rotary Wheel Rings 2018
    • Debra Porch and Friends 2018
    • Recycled Narratives 2018
    • Nail Heads 2017 - 2018
    • Mortar Heads 2017
    • Rescued Pets 2017
    • Visions Exhibition 2017
    • Rings for Mary Shelley 2016
    • Yang 杨 + Shaw 肖 2015-2016
    • The Contemporary Jewelry Exchange 2015-2016
    • Sleight of Hand 2015
    • Why Jewellery? 2015
    • Greensmith 2014+2016
    • Icons 2014
    • Tool 2011 & 2012
    • Inundation 2011
    • Evidence 2010
    • The Miniature Museum 2009
  • studio
  • bio
  • contact
  • blog