Prof Dorothy Hogg MBE is one of Britain's most admired jewellers working with metal. Having retired from her long standing position as course leader of Silversmithing and Jewellery at Edinburgh College of Art last year, she has since been appointed the first jeweller in residence at the Sackler Centre for arts education at the V&A, in partnership with the Crafts Council. Dorothy talks to Ellie Herring about this new phase.
Dorothy Hogg in her workshop; Photo: John Mc Gregor, 2008
Neckpiece in the Artery Series, silver and red felt by Dorothy Hogg; Photo: Shannon Tofts
Your work has been described by some as minimalist, even modernist, how would you describe the aesthetic of your work and what informs it?
When I read objective categorisations of my work they seem to refer to some other life my work has that is distanced from my making and thinking process. When I started making jewellery in the 1960s I reacted against the current style of the time which was influenced by abstract expressionism and natural form. I am trying to encapsulate the essence of an idea in a clear way using appropriate techniques and I do tend to go through a paring down design process. At the moment my interest is in using sheet metal to make hollow forms that have visual weight without the expected physical density to express ideas which relate form to the human body. The sources for these formal interactions spring from a fusion of the subconscious with my visual experience.
You have been appointed the V&A's first ever jeweller in residence - how do you feel about this and what are your expectations of the residency?
I remember my first visit to the V&A jewellery collection and the impression of entering a very special place. I am looking forward to having time to think about the objects and how and why they were made. My starting point will always be to view the collection from an artist/makers point of view. It will be interesting to look at contemporary approaches to historical techniques, for example Etruscan granulation and the Italian goldsmith Giovanni Corvaja's new work in this area. The development of recent technological approaches and the fresh avenues this opens up to makers and to compare this to the development of historical technology. It will be useful to contextualise my own piece in the V&A collection and assess what is current in jewellery through looking at both the V&A and Craft Council's collections and exhibitions in general.
My investigation would extend to looking at objects from different cultures and making connections to my own visual language. However my approach to my own work is more intuitive than logical and I need time to see what ideas emerge after being surrounded by such rich source material. Robert Rauschenberg's observation on being an artist would be at the back of my mind as a cautionary note. "I think you're a born artist. I couldn't have learned it and I hope I never do because knowing more only encourages limitations".
The duration of the residency is 6 months. Over which time you have the opportunity to develop new work, re-assess your practice in a different context, or respond to and work with the collections of both the Crafts Council and the V&A. How do you anticipate using this opportunity?
The residency is of 6 months duration for three days each week. I will be involved with the V&A in contributing to various educational projects and workshops. I will have open studio sessions each week and will contribute to the Crafts Council Maker Development programme in various ways. The time I have for my own work will take place in a studio space which is not an equipped jewellery workshop, so this in itself is a challenge. I hope to use this time to refer to the collections, to draw, think, be intuitive, playful and spontaneous in my approach. I would like to access the recorded interview archives at the Crafts Council and hope to conduct some maker to maker interviews.
Click here to follow Dorothy's progress at the V&A.
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