My wearable objects reference industrial places in transition. These places are liminal sites where nature and structure intersect. Some of these structures are massive; others are walls, fences, and other porous barriers – physical boundaries that include or exclude and, in decay, allow transgression.
The White Bay Power Station in Rozelle is one example of a site filled with heroic forms and layered structures in decay, while the now-vanished steelworks in Newcastle was another source of complex forms for my work.
In forming each piece the structures are visually deconstructed, recombined and processed into material form using the materials and technologies of the jeweller – techniques that themselves parallel industrial processes.
I exploit the physical qualities, oppositions, tensions and strangeness that I observe. Negative spaces become frames that reveal, through metal layers and rivets, the impacts of time and nature – a complex vista.
Helen Wyatt’s work has been inspired by artists such as Rohan Nicol and colonial goldfields jewellery. Since 2015 her work has been seen in nineteen exhibitions including the Shanghai Jewellery Biennale (2018), the USE touring exhibition (2018), Thresholds (2017) and Headland (2016). It has also been published in Narrative Jewelry : Tales from the Toolbox (Schiffer Publications, 2017) and Garland magazine (Kevin Murray, 2017). She is currently completing her Master’s degree in jewellery at Queensland College of the Arts.