HANDSHAKE history
HOW DID IT START:
In 2011, the first version of the project, HANDSHAKE 1(HS1), was launched. Over three years, HS1 evolved the HS structure as it is in its current format. The first two years were dedicated to experimentation and development, with exhibitions created to test ideas and presentations and the third year, which is for the alumni, focuses on major curated projects, such as an international exhibition and publication.
Back in 2010, Peter Deckers was asked to curate for Studio 2017, Sydney an emerging NZ jewellery exhibition.
The exhibition was scheduled for one and a half years ahead. There were at the time many talented graduates waiting for such an opportunity. Peter noticed that graduates after graduation needed more professional structure and feedback opportunities to build upon their artistic skill sets and came up with a mentor support scheme.
It is hard for a tutor to see that talents after leaving school hardly continue with their uniquely developed ideas and techniques. Therefore, Peter invited for the Sydney exhibition twelve promising emerging artists and asked them for three mentor choices—most specified distinguished, internationally established artists and icons. Peter contacted the nominated and offered them the opportunity to act as an (electronic) mentor. In those days online teaching was in its infant years and mentoring was still one-to-one in somebody’s studio. Surprisingly, most accepted the challenge and set hereby the inaugural paste for many years to follow. See here who teamed up with what mentor.
HS1 inaugural exhibition at Studio 2017, Sydney. 2011
This resulted in twelve New Zealand mentees being allowed to make exhibition work alongside their requested jewellery heroes, without having to leave their studios. The advantage of electronic technologies enables the HS artists to develop and refine their practice alongside their mentors in a virtual studio space. The HANDSHAKE 1 group developed next to making artwork also other necessary skills that are meaningful for becoming a responsive team member and professional career artist.
View Jessica Winchcombe talking about the background of the first HS1 exhibition in Sydney (2011).
Their network grew rapidly through their successful exhibitions that caught the attention of curators and experts. In January 2013 HS1 asked Dowse curator Emma Bugden for professional advice on how to bring the complexity of the HS journey to the Handwerk Messe (IHM), Munich during Schmuck 2013. In the end, the group used the Munich metro map as inspiration for their ‘Frame’ presentation.
HS1 trial setup in Wellington for the 2013 Munich exhibition
The digital tools used for communication and the hard work of each mentee resulted in much-anticipated attention from their mentors. The great artworks, many lively blog posts, the scores of exhibitions, including being around at Schmuck 2013 in Munich, a book, international networking, and peer feedback became an exceptional learning experience.
Their projects were supported by New Zealand’s art funder: Creative NZ.
HS1 at the Frame, Handwerksmesse (Schmuck), Munich 2013
Their final journey was celebrated with a unique collaborative exhibition between mentor and mentee at Objectspace in 2013.
HS1 mentor/mentee collaboration at Objectspace, 2013
The combination of the HS developmental programme, digital communication, and the multitude of exhibition opportunities became the official blueprint for all further HS projects.
A significant part of each of the HS projects is the conversations that each artist creates and how that develops into highly creative artworks. The HS blog posts reflect on those creative processes and are there for others to view and learn from. Regularly each mentee keeps up with summaries of their mentor’s advice and shows their progress. These blog posts present the fabric of the mentee’s ideas; and demonstrate the processes of their research, their design and making thoughts, process reflections and, editing processes, among other experiences to write about.
The HS website became an archive of all of the HS projects and activities complete with process developments, including images from each exhibition… all the makings for rich reading.
HANDSHAKE‘s ultimate goal is to provide: “Creative Leaders beyond Dependency“…
The advantage of electronic technologies enables the HandShakers in developing and refining their art practice alongside their mentors in a virtual studio space. The communication and the hard work of the mentees resulted in lively blogs, many exhibitions, exhibiting and being at Schmuck in Munich, collaborations, publications, networking, and an exceptional learning experience. Their final journey was celebrated with a unique collaborative exhibition between mentor and mentee at Objectspace in 2013.
A significant part of each project is the conversations that can be found on all the HANDSHAKE blogs for others to view and learn from. These blog posts present the fabric of the mentee’s ideas; demonstrate the processes of their research, their design thoughts, and their making, as well as self-reflection, editing, and other experiences, including feedback. It introduces the practice of their mentor, summarises their advice and feedback, and shows extracts from mentor publications, press reviews, announcements and feedback of events, and interviews…. all the makings for rich reading.
By 2023 sixty NZ emerging artists benefited from the HANDSHAKE project format. See all HS mentors and mentees here.
The HANDSHAKE project could only succeed thanks to the continued funding of Creative New Zealand, support from individuals, Makers 101, JEMbooks, and all others involved.
HANDSHAKE 1 (HS1) 2011 – 2013 started the mentor/exhibition project and pioneered a workable structure that builds upon exhilaration, networking and experiences. The programme pioneered after the 3 years also a mentor collaboration -an exhibition at Objectspace, Auckland that set the tone for more to come. Their very last project was at the Frame in Munich, during Schmuck in 2013. This memorable exhibition launched the international career of several HandShakers. It also introduced the world to the up-and-coming contemporary jewellery from New Zealand.
HANDSHAKE 2 (HS2) 2014 – 2015 project gave newly selected emerging NZ makers a 2-year programme that included professional development workshops, a masterclass with Benjamin Lignel from France, tailor-made mentorships, and a busy exhibition programme that included an international one. The exhibition development and setup became part of the learning experience for both the organisers and mentees. The newly set up blog site showed the mentees’ experiences and the exhibition programme.
HANDSHAKE 3 (HS3) 2016 – 2017 took the project one step further; enabling consolidation and synthesis, Those selected from the former two HS projects got challenging opportunities for more relationships to form, practices to develop, coalitions to form and ideas to refine. A series of national and international exhibitions at established venues were offered as testing grounds for these iterations. Hilde de Decker from Belgium and Sophia Bjorgman from Sweden came over to conduct their masterclass. The exhibition year started with a collaboration exhibition at Objectspace with former mentors and invited artists and ended with a high-profile exhibition at the Dowse (Lower Hutt, NZ) that was coached by their curator Sian van Dyk. This professional programme aimed to build independent makers with innovative practices.
HANDSHAKE 4 (HS4) 2017-2018: Fresh recruits started with a Masterclass with Estonian artist Tanel Veenre. The way we display jewellery was central to this masterclass, resulting in a diversity of exhibitions, including the inaugural online exhibition. Exhibitions have been at Pah Homestead, Auckland, in October 2017; Toi Poneke, Wellington during the International Festival of The Arts, March 2018; and Corban Estate Arts Centre during Auckland Art Week, October 2018 and an online exhibition on the HS4 website.
HANDSHAKE 5 (HS5) 2019 offered two high-profile exhibition opportunities for selected candidates from the HS1, 2 and 4 projects: HANDSHAKE in dialogue with CODA collection”, CODA Museum, Apeldoorn, The Netherlands (Oct 2019 – Jan 2020: TBC) and ‘SPACE Collaboration’: Te Uru Waitakere Contemporary Gallery, Auckland (Nov 2019 – Jan 2020 and held on their top floor and in a combination of some smaller spaces spread throughout the building. The year started with a professional development meeting and a masterclass with Roseanne Bartley and extended this with her online coaching.
HANDSHAKE 6 (HS6) 2020-21 was selected by Iris Eichenberg and offered a recruitment programme with masterclasses, and exhibitions. HS6 pioneered the Exhibition online programme with a special masterclass developed for that purpose.
HANDSHAKE 7(HS7) 2022 happened at the tail-end of Covid. Marie-José van Hout from Gallery Marzee selected HS7 artists for an exhibition at Gallery Marzee (4 Dec 2022 – 12 Feb 2023). HS7 pioneered a coaching programme with Iris Bodemer, Katharina Dettar and Annelies Planteijdt. These coaches are exhibited also at the gallery Marzee. Click here for its review.
HANDSHAKE 8 (2023-24): Selected emerging NZ artists get an opportunity to join the HS8 programme: masterclass series with Estela Saez, and Renee Bevan and writing workshop with Marie-Jane Duffy. A coaching programme with Iris Bodemer, Katharina Dettar and Beppe Kesler, a mid-project ‘process’ exhibition at Depot Art, Devonport (Nov 2023), a mentor programme, and an end-of-project exhibition in Pah Homestead, Auckland NZ (end of 2024).
The HANDSHAKE project needs fresh recruits from art schools. Lately, NZ schools reduced the offer of jewellery arts training.
A feasibility study has established a new arts development programme that is modelled on the HANDSHAKE project. The programme is called Aotearoa Object Makers and starts in April 2024 with a selection of emerging NZ object media artists. The only difference is that now all object media artists can apply.
HANDSHAKE 9 (2025): no firm plans are underway to develop an HS9 programme.
HS alumni( 2024): during the Sydney Biennial (April 2024), a curated alumni exhibition happens at Stanley Street Gallery, 10 April – 4 May, Opening is on Saturday 13 April 3-5 pm.
A final HS exhibition is planned at CODA Museum, Apeldoorn, the Netherlands: 19 October 2025 – 19 January 2026
.
About HANDSHAKE curation (HS alumni):
Next to its mentor and connected exhibition programme is an additional series of curated exhibitions with national and international dealer galleries. These exhibitions are extra and give the selected artists new opportunities to exhibit existing and/or new work for these more established (commercial) venues. Ideas and work developed from the past will get new opportunities to be seen at different locations.
These curated exhibitions are not part of the existing HS programme, but are additional and evolve primarily through the requests of galleries and curators. Each curated exhibition project is different with a different mix of artists and works from different projects, curatorial focus, theme, criteria, exhibition set-up, and local circumstances. The HS organisers aim to collaborate with each of the curators, and/or gallery owners and negotiate the works for selection. HANDSHAKE “curated” exhibitions act also as another promotional tool for the HS alumni artists. This programme offers the HS professional plenty of further opportunities with its national and international exposure.
About activities for the NZ jewellery sector:
Since 2020 the HANDSHAKE organisation: MAKERS 101 Ltd has offered masterclasses and exhibitions to the NZ jewellery sector. The first masterclass was in February 2020 with US-based Iris Eichenberg.
The first exhibition for the sector was at Galerie Marzee during Dutch Jewellery Week (Nov 2021) and curated by Marie-José van den Hout (owner of Marzee). MORE
In 2022 MAKERS 101 in partnership with Galerie Door (NL) represents NZ jewellery artists at European Art fairs and events. All these high-profile exposures sparked the idea to create an NZ sector website, called Aotearoa Jewellery.
Emma Ng, the first curator for the newly developed NZ Jewellery Triennial selected six NZ jewellery artists who produce a body of work for the inaugural exhibition at Objectspace in 2023 (more).
The Second Triennial will be part of the 2025 Nelson Jewellery Week at the Suter Art Gallery Te Aratoi o Whakatū in Nelson from 08 March – 08 June 2025. Curator: Sian van Dyk.
About HANDSHAKE exhibitions online:
This exhibition platform is a new online exposure for contextualised ideas and processes. There are two known ways of exhibiting contemporary jewellery: on the body (an exhibition platform since prehistoric times) and in cabinets/plinths or on a wall. This online presentation does not emulate any of those but attempts to break away from them. The HS6 masterclass in 2021 will be by Estela Saez from Spain. She will workshop with the HS6 artists on new ways to develop ideas and opportunities for an online exhibition.
For more information about New Zealand jewellery sector exhibitions and events see: https://aotearoajewellery.org.nz/
Jan 2019: RNZ radio interview: NEW ZEALAND JEWELLERS AND THE HANDSHAKE PROJECT
April 2019: HALL OF MIRRORS: ON JOURNEYING, VIEWING, AND THE CRITICAL LEGACY OF ENCOUNTERS, essay by Lieta Marziali
2019
essay by Lieta Marziali published at Klimt02
HALL OF MIRRORS: ON JOURNEYING, VIEWING, AND THE CRITICAL LEGACY OF ENCOUNTERS
A REFLECTIVE ESSAY BY LIETA MARZIALI ABOUT THE EXHIBITION TE AO HURIHURI / EVER CHANGING WORLD, A COLLABORATION BETWEEN DIALOGUE COLLECTIVE AND HANDSHAKE PROJECT, THE CRYPT GALLERY, LONDON, 23-27 OCTOBER 2018.
May 2018: The story behind Wellington’s Handshake - by Helen Wyatt
New Zealand jewellery artists continue to produce work that is intellectually strong, materially curious and playful. In April, Stanley Street Gallery, Sydney, once again facilitated a significant number of these artists in the 2018 Australian show of the HANDSHAKE Project – SUPER POSITIONS.
May 2018: VALUING THE HANDMADE: NEW ZEALAND JEWELLERS IN MUNICH, essay by Kim Paton
ESSAY BY KIM PATON FOR ‘CONTEMPORARY HUM’
VALUING THE HANDMADE: NEW ZEALAND JEWELLERS IN MUNICH
Kim Paton looks a the NZ jewellery exhibition IWA, at the Frame in Munich
May 2018: Isolation and Global Sameness. About Critique. Interview with Peter Deckers
“….we do need good artists, challenging exhibitions, quality outlets, a buying public and hardworking gallerists, and when these things are future proofed, critics can review them….”
About Critique. Interview with Peter Deckers
April 2018: IWA: New Zealand Makers- exhibition at the FRAME gallery, Munich
The FRAME review: by Helen Denton from Klimt02
October 2017: SHOW it ALL- by Peter Deckers
Article about exhibition practice through the lens of Handshake by Peter Deckers
July 2017: Peter Deckers interview for Te Auaha, the new school for Creative Arts in Wellington, NZ
Peter Deckers interview for Te Auaha, the new school for Creative Arts in Wellington, NZ
June 2017: Contemporary Jewellery in Context: a Handshake blueprint- publication
June 2017: Our contemporary jewellery artists shine at Schmuck 2017
Our contemporary jewellery artists shine at Schmuck 2017, article by Philip Clarke
November 2016: AJF interview: Peter Deckers
September 2016: SPANpoints catalogue
5 April 2016: Overview 26, magazin
March 2016: During Munich Jewellery Week
DOWNLOAD Munich Specials catalogue LR PDF
September 2015: Radio NZ Interview: Vanessa Arthur and David Neale
Jewellers’ international handshake
For almost two years 11 emerging New Zealand contemporary jewellers have been mentored by big names international names in jewellery. Now the work of mentors and mentees is being shown side by side for the first time. The Handshake project paired the Kiwi jewellers with their heros at the start of last year. They’ve collaborated using online video and email. So how did it work? Mentor David Neale from Melbourne in Australia, and to Hastings jeweller Vanessa Arthur talks about their collaboration. Mentors & Mentees, is on at AVID Gallery in Wellington.
LISTEN: http://www.radionz.co.nz/audio/player?audio_id=201770451
September 2015: Stuff interview: Avid Gallery exhibition
http://www.stuff.co.nz/entertainment/arts/71864450/jewellery-across-the-miles
July 2015: Susan Cummings Interview
Peter Deckers is a spark plug. He has started up many conferences, organized exchanges and exhibitions, and generally speaking whipped up activities to encourage and develop the New Zealand jewelry scene. In his show ‘Deflating Standard’ at Avid Gallery, he also has created jewelry that questions value and the status quo. It is passionate work.
Click here: to read more about the philosophy behind his diverse work practice
July 2015: Klimt02 article: Peter Deckers
Click here for a full report on the pioneering journey of developing ‘leaders beyond dependency’.
May 2015: Susan Cumming interview - Jude Carswell about the HS exhibition at Avid
Click here for the article
November 2014: Dominium Post interview of the 3 Handshakers selected for SCHMUCK, Germany
September 2014 (Radio NZ interview: Peter Deckers, Ameila Pascoe and Ruudt Peters
click here: Radio interview: A Two Way Street – Handshake2 ( 13′ 50″ ) Originally aired on Standing Room Only, Sunday 14 September 2014
Gut instinct, intuition, and accessing the belly of creativity may sound a bit abstract, but according to Dutch contemporary jeweller Ruudt Peters it is here that the creative process begins. He has been paired up to mentor Wellington-based jeweller, Amelia Pascoe as part of Hand Shake Two, an online mentorship programme where selected mentees can develop their practice. So how does the online process work, and how valuable is mentorship in the development of our emerging artists? Sonia Sly investigates. Listen to that radio interview with Peter Deckers, Amelia Pascoe and her mentor Ruudt Peters!
Mentoring is a two way street, and in the case of online mentorship programme – Handshake 2, which supports the development of our most talented contemporary jewellers, it is the mentor who must work for the mentee to help them to develop their ideas.
Netherlands-based Ruudt Peters is a man who continues to defy conventional thinking in his approach to art, object and contemporary jewellery— as a pioneer in his art form he would rather sit on the periphery and stay true to his own voice, rather than conform to tradition. In-keeping with his practice, when it comes to teaching, he leads his students through meditation and blind drawing to bring out an inner core and authenticity that is unique to the maker. For him, it’s not about making an object for the sake of beauty.
I hate beautiful…for me, jewellery is much more [it is] the content, the emotion, the way you wear it. You as a maker load the piece up, and the wearer loads the piece again. So you have a double loaded object.
Ruudt’s creative process and teaching methods are highly sought-after and have found their way into the heart of Wellington-based Amelia Pascoe whose own work straddles sculpture, object and adornment.
Pascoe has a Masters in Zoology and although she has made a departure from her previous work in biosecurity, it has provided a great deal of inspiration in her jewellery practice. One project completed though Whitireia Polytechnic’s Jewellery Design course, involved a series of pieces based on desire and trapping, where she likens the devices used to contain or constrain an animal – loops around the necks and pins that pierce the body, to the way in which we attach jewellery. The jewellery and objects that evolved from the project were ambiguous in form, with some containing an element of danger: “…a trap has to meet both the needs or desires of the trapper, but also the needs and desires of the thing you want to attract.”
Pascoe is hoping to gain much more freedom in her practice, and being mentored by a uniquely acclaimed international practitioner such as Ruudt Peters was as obvious choice. “I come from a science background and I know that I can get quite brain-heavy [so] the idea of working with someone who could help me develop other aspects of my work was quite appealing.”
Handshake2 is the brainchild of contemporary jeweller and educator Peter Deckers. It is an online mentorship programme which has been funded by Creative New Zealand. As part of the process a series of exhibitions will take place, showcasing the outcome of the mentor-mentee development.
June 2014: ArtNews article about Munich 2014, by Peter Deckers
July 2013: Brisbane: JMGA keynote speaker Peter Deckers about the HS project
15th Biennial JMGA conference: Participation + Exchange, Brisbane
June 2013: Gallery Loupe HS project focus
June 2013: Short Video about the HS project: for 'pledge me'
June 2013: Radio NZ interview: Sharon Fitness and Lisa Walker
February 2013: Overview article about the HS project
February 2013: Big Idea review by Mark Amery: HS exhibition at Toi Poneke, Wellington
February 2012: Radio NZ, Kim Hill interview: Lisa Walker
January 2012 (Scoop article: HS project)
September 2011: New Wire HS article
August 2011: News wire interview with HS1 mentee Sarah Read
August 2011: First HS exhibition with its media attention
Interview with jeweller Jessica Winchcombe about HANDSHAKE 1 exhibition in Sydney
HANDSHAKE History
HOW DID IT START:
In 2011, the first version of the project, HANDSHAKE 1, was launched. Over three years, HS1 evolved the HS structure as it is in its current format. The first two years were dedicated to experimentation and development, with exhibitions created to test ideas and presentations. The third year focused on major curated projects, such as an international exhibition and publication.
Back in 2010, Peter Deckers was asked to curate for Studio 2017, Sydney an emerging NZ jewellery exhibition.
The exhibition was scheduled for one and a half years ahead. There were at the time many talented graduates waiting for such an opportunity. Peter noticed that graduates after graduation need more professional structure and feedback opportunities to build upon their artistic skill sets and came up with a mentor support scheme.
It is hard for a tutor to see that talents after leaving school hardly continue with their uniquely developed ideas and techniques. Therefore, Peter invited for the Sydney exhibition twelve promising emerging artists and asked them for three mentor choices. Most specified distinguished, internationally established artists and icons. Peter contacted the nominated and offered them the opportunity to act as an (electronic) mentor. In those days online teaching was in its infant years and mentoring was still one-to-one in somebody’s studio. Surprisingly, most accepted the challenge and set hereby the inaugural paste for many years to follow. See here who teamed up with what mentor.
HS1 inaugural exhibition at Studio 2017, Sydney. 2011
This resulted in twelve New Zealand mentees being given the opportunity to make exhibition work alongside their requested jewellery heroes, without having to leave their studios. The advantage of electronic technologies enables the HS artists to develop and refine their practice alongside their mentors in a virtual studio space. The HANDSHAKE 1 group developed next to making artwork also other necessary skills that are meaningful for becoming a responsive team member and professional career artist.
View Jessica Winchcombe talking about the background of the very first HS1 exhibition in Sydney (2011).
Their network grew rapidly through their successful exhibitions that caught the attention of curators and experts. In January 2013 HS1 asked Dowse curator Emma Bugden for professional advice on how to bring the complexity of the HS journey to the Handwerk Messe (IHM), Munich during Schmuck 2013. In the end, the group used the Munich metro map as inspiration for their ‘Frame’ presentation.
HS1 trial setup in Wellington for the 2013 Munich exhibition
The digital tools used for communication and the hard work of each of the mentees resulted in much-anticipated attention from their mentors. The great artworks, many lively blog posts, the scores of exhibitions, including being around at Schmuck 2013 in Munich, a book, international networking, and peer feedback became an exceptional learning experience.
Their projects were supported by New Zealand’s art funder: Creative NZ.
HS1 at the Frame, Handwerksmesse (Schmuck), Munich 2013
Their final journey was celebrated with a unique collaborative exhibition between mentor and mentee at Objectspace in 2013.
HS1 mentor/mentee collaboration at Objectspace, 2013
The combination of the HS developmental programme, digital communication, and the multitude of exhibition opportunities became the official blueprint for all further HS projects.
A significant part of each of the HS projects is the conversations that each artist creates and how that develops into highly creative artworks. The HS blog posts reflect on those creative processes and are there for others to view and learn from. Regularly each mentee keeps up with summaries of their mentor’s advice and shows their progress. These blog posts present the fabric of the mentee’s ideas; and demonstrate the processes of their research, their design and making thoughts, process reflections and, editing processes, among other experiences to write about.
The HS website became an archive of all of the HS projects and activities complete with process developments, including images from each exhibition… all the makings for rich reading.
HANDSHAKE‘s ultimate goal is to provide: “Creative Leaders beyond Dependency“…
The advantage of electronic technologies enables the HandShakers to develop and refine their art practice alongside their mentors in a virtual studio space. The communication and the hard work of the mentees resulted in lively blogs, many exhibitions, exhibiting and being at Schmuck in Munich, collaborations, publications, networking, and an exceptional learning experience. Their final journey was celebrated with a unique collaborative exhibition between mentor and mentee at Objectspace in 2013.
A significant part of each project is the conversations that can be found on all the HANDSHAKE blogs for others to view and learn from. These blog posts present the fabric of the mentee’s ideas; and demonstrate the processes of their research, their design thoughts, and their making, as well as self-reflection, editing, and other experiences, including feedback. It introduces the practice of their mentor, summarises their advice and feedback, and shows extracts from mentor publications, press reviews, announcements and feedback of events, and interviews…. all the makings for rich reading.
By 2023 sixty NZ emerging artists benefited from the HANDSHAKE project format. See all HS mentors with their mentees here.
The HANDSHAKE project could only succeed thanks to the continued funding of Creative New Zealand, support from individuals, Makers 101, JEMbooks, and all others involved.
HANDSHAKE 1 (HS1) 2011 – 2013 started the mentor/exhibition project and pioneered a workable structure that builds upon exhilaration, networking and experiences. The programme pioneered after the 3 years also a mentor collaboration -an exhibition at Objectspace, Auckland that set the tone for more to come. Their very last project was at the Frame in Munich, during Schmuck in 2013. This memorable exhibition launched the international career of several HandShakers. It also introduced the world to the up-and-coming contemporary jewellery from New Zealand.
HANDSHAKE 2 (HS2) 2014 – 2015 project gave newly selected emerging NZ makers a 2-year programme that included professional development workshops, a masterclass with Benjamin Lignel from France, tailor-made mentorships, and a busy exhibition programme that included an international one. The exhibition development and setup became part of the learning experience for both the organisers and mentees. The newly set up blog site showed the mentees’ experiences and the exhibition programme.
HANDSHAKE 3 (HS3) 2016 – 2017 took the project one step further; enabling consolidation and synthesis, Those selected from the former two HS projects got challenging opportunities for more relationships to form, practices to develop, coalitions to form and ideas to refine. A series of national and international exhibitions at established venues were offered as testing grounds for these iterations. Hilde de Decker from Belgium and Sophia Bjorgman from Sweden came over to conduct their masterclass. The exhibition year started with a collaboration exhibition at Objectspace with former mentors and invited artists and ended with a high-profile exhibition at the Dowse (Lower Hutt, NZ) that was coached by their curator Sian van Dyk. This professional programme aimed to build independent makers with innovative practices.
HANDSHAKE 4 (HS4) 2017-2018: Fresh recruits started with a Masterclass with Estonian artist Tanel Veenre. The way we display jewellery was central to this masterclass, resulting in a diversity of exhibitions, including the inaugural online exhibition. Exhibitions have been at Pah Homestead, Auckland, in October 2017; Toi Poneke, Wellington during the International Festival of The Arts, March 2018; and Corban Estate Arts Centre during Auckland Art Week, October 2018 and an online exhibition on the HS4 website.
HANDSHAKE 5 (HS5) 2019 offered two high-profile exhibition opportunities for selected candidates from the HS1, 2 and 4 projects: HANDSHAKE in dialogue with CODA collection”, CODA Museum, Apeldoorn, The Netherlands (Oct 2019 – Jan 2020: TBC) and ‘SPACE Collaboration’: Te Uru Waitakere Contemporary Gallery, Auckland (Nov 2019 – Jan 2020 and held on their top floor and in a combination of some smaller spaces spread throughout the building. The year started with a professional development meeting and a masterclass with Roseanne Bartley and extended this with her online coaching.
HANDSHAKE 6 (HS6) 2020-21 was selected by Iris Eichenberg and offered a recruitment programme with masterclasses, and exhibitions. HS6 pioneered the Exhibition online programme with a special masterclass developed for that purpose.
HANDSHAKE 7(HS7) 2022 happened at the tail-end of Covid. Marie-José van Hout from Gallery Marzee selected HS7 artists for an exhibition at Gallery Marzee (4 Dec 2022 – 12 Feb 2023). HS7 pioneered a coaching programme with Iris Bodemer, Katharina Dettar and Annelies Planteijdt. These coaches are exhibited also at the gallery Marzee. Click here for its review.
HANDSHAKE 8 (2023-24): Selected emerging NZ artists get an opportunity to join the HS8 programme: masterclass series with Estela Saez, and Renee Bevan and writing workshop with Marie-Jane Duffy. A coaching programme with Iris Bodemer, Katharina Dettar and Beppe Kesler, a mid-project ‘process’ exhibition at Depot Art, Devonport (Nov 2023), a mentor programme, and an end-of-project exhibition in Pah Homestead, Auckland NZ (end of 2024).
The HANDSHAKE project needs fresh recruits from art schools. Lately, NZ schools reduced the offer of jewellery arts training.
A feasibility study has established a new arts development programme that is modelled on the HANDSHAKE project. The programme is called Aotearoa Object Makers and starts in April 2024 with a selection of emerging NZ object media artists. The only difference is that now all object media artists can apply.
HANDSHAKE 9 (2025): no firm plans are underway to develop an HS9 programme.
HS alumni( 2024): during the Sydney Biennial (April 2024), a curated alumni exhibition happens at Stanley Street Gallery, 10 April – 4 May, Opening is on Saturday 13 April 3-5 pm.
A final HS exhibition is planned at CODA Museum, Apeldoorn, the Netherlands: 19 October 2025 – 19 January 2026
About HANDSHAKE curation (HS alumni):
Next to its mentor and connected exhibition programme is an additional series of curated exhibitions with national and international dealer galleries. These exhibitions are extra and give the selected artists new opportunities to exhibit existing and/or new work for these more established (commercial) venues. Ideas and work developed from the past will get new opportunities to be seen at different locations.
These curated exhibitions are not part of the existing HS programme, but are additional and evolve primarily through the requests of galleries and curators. Each curated exhibition project is different with a different mix of artists and works from different projects, curatorial focus, theme, criteria, exhibition set-up, and local circumstances. The HS organisers aim to collaborate with each of the curators, and/or gallery owners and negotiate the works for selection. HANDSHAKE “curated” exhibitions act also as another promotional tool for the HS alumni artists. This programme offers the HS professional plenty of further opportunities with its national and international exposure.
About HANDSHAKE exhibitions online:
This exhibition platform represents online exposure to contextualised ideas and processes. There are two known ways of exhibiting contemporary jewellery: on the body (an exhibition platform since prehistoric times) and in cabinets/plinths or on a wall. This online presentation does not emulate any of those but attempts to break away from them.
About activities for the NZ jewellery sector:
Since 2020 the HANDSHAKE organisation: MAKERS 101 Ltd has offered masterclasses and exhibitions to the NZ jewellery sector. The first masterclass was in February 2020 with US-based Iris Eichenberg.
The first exhibition for the sector was at Galerie Marzee during Dutch Jewellery Week (Nov 2021) and curated by Marie-José van den Hout (owner of Marzee). MORE
In 2022 MAKERS 101 in partnership with Galerie Door (NL) represents NZ jewellery artists at European Art fairs and events. All these high-profile exposures sparked the idea to create an NZ sector website, called Aotearoa Jewellery.
Emma Ng, the first curator for the newly developed NZ Jewellery Triennial selected six NZ jewellery artists who produce a body of work for the inaugural exhibition at Objectspace in 2023 (more).
For more information about New Zealand jewellery sector exhibitions and events see: https://aotearoajewellery.org.nz/
Jan 2019: RNZ radio interview: NEW ZEALAND JEWELLERS AND THE HANDSHAKE PROJECT
April 2019: HALL OF MIRRORS: ON JOURNEYING, VIEWING, AND THE CRITICAL LEGACY OF ENCOUNTERS, essay by Lieta Marziali
2019
essay by Lieta Marziali published at Klimt02
HALL OF MIRRORS: ON JOURNEYING, VIEWING, AND THE CRITICAL LEGACY OF ENCOUNTERS
A REFLECTIVE ESSAY BY LIETA MARZIALI ABOUT THE EXHIBITION TE AO HURIHURI / EVER CHANGING WORLD, A COLLABORATION BETWEEN DIALOGUE COLLECTIVE AND HANDSHAKE PROJECT, THE CRYPT GALLERY, LONDON, 23-27 OCTOBER 2018.
May 2018: The story behind Wellington’s Handshake - by Helen Wyatt
New Zealand jewellery artists continue to produce work that is intellectually strong, materially curious and playful. In April, Stanley Street Gallery, Sydney, once again facilitated a significant number of these artists in the 2018 Australian show of the HANDSHAKE Project – SUPER POSITIONS.
May 2018: VALUING THE HANDMADE: NEW ZEALAND JEWELLERS IN MUNICH, essay by Kim Paton
ESSAY BY KIM PATON FOR ‘CONTEMPORARY HUM’
VALUING THE HANDMADE: NEW ZEALAND JEWELLERS IN MUNICH
Kim Paton looks a the NZ jewellery exhibition IWA, at the Frame in Munich
May 2018: Isolation and Global Sameness. About Critique. Interview with Peter Deckers
“….we do need good artists, challenging exhibitions, quality outlets, a buying public and hardworking gallerists, and when these things are future proofed, critics can review them….”
About Critique. Interview with Peter Deckers
April 2018: IWA: New Zealand Makers- exhibition at the FRAME gallery, Munich
The FRAME review: by Helen Denton from Klimt02
October 2017: SHOW it ALL- by Peter Deckers
Article about exhibition practice through the lens of Handshake by Peter Deckers
July 2017: Peter Deckers interview for Te Auaha, the new school for Creative Arts in Wellington, NZ
Peter Deckers interview for Te Auaha, the new school for Creative Arts in Wellington, NZ
June 2017: Contemporary Jewellery in Context: a Handshake blueprint- publication
June 2017: Our contemporary jewellery artists shine at Schmuck 2017
Our contemporary jewellery artists shine at Schmuck 2017, article by Philip Clarke
November 2016: AJF interview: Peter Deckers
September 2016: SPANpoints catalogue
5 April 2016: Overview 26, magazin
March 2016: During Munich Jewellery Week
DOWNLOAD Munich Specials catalogue LR PDF
September 2015: Radio NZ Interview: Vanessa Arthur and David Neale
Jewellers’ international handshake
For almost two years 11 emerging New Zealand contemporary jewellers have been mentored by big names international names in jewellery. Now the work of mentors and mentees is being shown side by side for the first time. The Handshake project paired the Kiwi jewellers with their heros at the start of last year. They’ve collaborated using online video and email. So how did it work? Mentor David Neale from Melbourne in Australia, and to Hastings jeweller Vanessa Arthur talks about their collaboration. Mentors & Mentees, is on at AVID Gallery in Wellington.
LISTEN: http://www.radionz.co.nz/audio/player?audio_id=201770451
September 2015: Stuff interview: Avid Gallery exhibition
http://www.stuff.co.nz/entertainment/arts/71864450/jewellery-across-the-miles
July 2015: Susan Cummings Interview
Peter Deckers is a spark plug. He has started up many conferences, organized exchanges and exhibitions, and generally speaking whipped up activities to encourage and develop the New Zealand jewelry scene. In his show ‘Deflating Standard’ at Avid Gallery, he also has created jewelry that questions value and the status quo. It is passionate work.
Click here: to read more about the philosophy behind his diverse work practice
July 2015: Klimt02 article: Peter Deckers
Click here for a full report on the pioneering journey of developing ‘leaders beyond dependency’.
May 2015: Susan Cumming interview - Jude Carswell about the HS exhibition at Avid
Click here for the article
November 2014: Dominium Post interview of the 3 Handshakers selected for SCHMUCK, Germany
September 2014 (Radio NZ interview: Peter Deckers, Ameila Pascoe and Ruudt Peters
click here: Radio interview: A Two Way Street – Handshake2 ( 13′ 50″ ) Originally aired on Standing Room Only, Sunday 14 September 2014
Gut instinct, intuition, and accessing the belly of creativity may sound a bit abstract, but according to Dutch contemporary jeweller Ruudt Peters it is here that the creative process begins. He has been paired up to mentor Wellington-based jeweller, Amelia Pascoe as part of Hand Shake Two, an online mentorship programme where selected mentees can develop their practice. So how does the online process work, and how valuable is mentorship in the development of our emerging artists? Sonia Sly investigates. Listen to that radio interview with Peter Deckers, Amelia Pascoe and her mentor Ruudt Peters!
Mentoring is a two way street, and in the case of online mentorship programme – Handshake 2, which supports the development of our most talented contemporary jewellers, it is the mentor who must work for the mentee to help them to develop their ideas.
Netherlands-based Ruudt Peters is a man who continues to defy conventional thinking in his approach to art, object and contemporary jewellery— as a pioneer in his art form he would rather sit on the periphery and stay true to his own voice, rather than conform to tradition. In-keeping with his practice, when it comes to teaching, he leads his students through meditation and blind drawing to bring out an inner core and authenticity that is unique to the maker. For him, it’s not about making an object for the sake of beauty.
I hate beautiful…for me, jewellery is much more [it is] the content, the emotion, the way you wear it. You as a maker load the piece up, and the wearer loads the piece again. So you have a double loaded object.
Ruudt’s creative process and teaching methods are highly sought-after and have found their way into the heart of Wellington-based Amelia Pascoe whose own work straddles sculpture, object and adornment.
Pascoe has a Masters in Zoology and although she has made a departure from her previous work in biosecurity, it has provided a great deal of inspiration in her jewellery practice. One project completed though Whitireia Polytechnic’s Jewellery Design course, involved a series of pieces based on desire and trapping, where she likens the devices used to contain or constrain an animal – loops around the necks and pins that pierce the body, to the way in which we attach jewellery. The jewellery and objects that evolved from the project were ambiguous in form, with some containing an element of danger: “…a trap has to meet both the needs or desires of the trapper, but also the needs and desires of the thing you want to attract.”
Pascoe is hoping to gain much more freedom in her practice, and being mentored by a uniquely acclaimed international practitioner such as Ruudt Peters was as obvious choice. “I come from a science background and I know that I can get quite brain-heavy [so] the idea of working with someone who could help me develop other aspects of my work was quite appealing.”
Handshake2 is the brainchild of contemporary jeweller and educator Peter Deckers. It is an online mentorship programme which has been funded by Creative New Zealand. As part of the process a series of exhibitions will take place, showcasing the outcome of the mentor-mentee development.
June 2014: ArtNews article about Munich 2014, by Peter Deckers
July 2013: Brisbane: JMGA keynote speaker Peter Deckers about the HS project
15th Biennial JMGA conference: Participation + Exchange, Brisbane
June 2013: Gallery Loupe HS project focus
June 2013: Short Video about the HS project: for 'pledge me'
June 2013: Radio NZ interview: Sharon Fitness and Lisa Walker
February 2013: Overview article about the HS project
February 2013: Big Idea review by Mark Amery: HS exhibition at Toi Poneke, Wellington
February 2012: Radio NZ, Kim Hill interview: Lisa Walker
January 2012 (Scoop article: HS project)
September 2011: New Wire HS article
August 2011: News wire interview with HS1 mentee Sarah Read
August 2011: First HS exhibition with its media attention
Interview with jeweller Jessica Winchcombe about HANDSHAKE 1 exhibition in Sydney