Georgia Taia interviewed by Tracy Quan
I met Georgia in 2012 through her twin sister Paris at SCA (Sydney College of the Arts). Georgia majored in Sculpture and Performance, Paris and I in Photomedia. I’d consider her a long-time friend now and have really admired watching her journey into jewellery making, all the while maintaining an emphasis on producing carefully considered pieces. Not everyone can make that transition well, you know?
from audio recording…
TQ: I’m gonna start… so what did you get up to today? I’m just going to record it…
GT: and write it?
TQ: Yeah
GT: Ok. I went to the park with Bug and we met up with his brother Ernie and it was fun.
TQ: Cool, so I know you went to Enmore TAFE, what made you go there?
GT: So, when I studied at Enmore, there were different jewellery courses and I chose the design one, which mainly focused on conceptual development. We had to make certain pieces in response to a rationale whereas other courses offered a more technical emphasis for people who would want to work for places like Tiffany’s …Like some people had the goal of being stone setters, the people who make engagement rings…
TQ: So, most of them would be going to work for their family businesses?
GT: A lot of them were! A lot of them had to do this course as part of their internship. But my class was very open, and after studying at SCA and then going to TAFE the two experiences were so different. Although my TAFE course was more conceptually focused there was still this emphasis to learn a skill, to come out with a skill. Whereas at art school it was more like trust your gut and make whatever you want haha… I definitely learnt the more technical aspects of making at TAFE. And I know they offer Jewellery at SCA…
TQ: But you weren’t interested then?
GT: I was like why do Jewellery? Back then I didn’t see how jewellery could convey an idea better than visual art. So I was like I’ll just do ‘art’…
GT: I do believe I got that understanding of conceptual framework or whatever from studying sculpture and then garnered more concrete skills at TAFE. My pieces are still very rough, but I like that. I like more organic methods of making rather than forced… like letting the metal or the wax form the process. Otherwise, it looks too rigid… I feel…hmmm…it can look too manufactured.
TQ: I want to know more about your influences, are there sources of inspiration for you?
GT: I guess my main inspiration is I want to make things my friends would wear and pieces I would want to wear myself. But my pieces also have a strong cultural connection. The work that I have created is based around the idea of shells, pearls, and things that have been shaped by the sea. So, when I started working with wax, I liked that it looked watery and very fluid.
TQ: About your process, do you work with specific materials as a starting point, are you really focused on materiality?
GT: I really like organic things, but I know I can’t recreate them. For example, the shape of a shell. I have been casting shells in wax, but I do it very quickly. In a brash way. It’s not like I’m making super clean casts. I mostly press the shell into a bit of clay and pouring a little bit of wax and seeing what it looks like. It’s not too calculated. And I like working with silver as well.
TQ: I understand…you’re not working meticulously.
GT: Yeah, it’s very experimental. And I like silver, witches wear silver. I have a feeling later I’ll start working with gold. But right now, I don’t really gravitate towards it and it’s way more expensive to work with.
TQ: Also, stones, are you into that? Is there any stone you have always wanted to work with?
GT: I do like stones; I’m not trying to plan what stone is going into something before I make a piece. If it fits, it fits. In the past I would be like “I really want to make something with green sapphire” and I would force something around that choice. The thing is you can always add a stone later so I’m much more interested in form first.
TQ: Tell me about the pieces you made for this show.
GT: So… my nana gave me a string of shells at my art school graduation show back in 2014. All the pieces I have cast are of shells from that necklace and using the gift as a mould is symbolic to me as I’m finally making with my hands again. My nana told me they are called pupu and come from an island in the Cook Islands called Mangaia. The shells are collected then buried for a few weeks, then the creatures that lived inside die and when it’s time to dig them up they are soaked and washed out. A small tool is then used to create tiny holes so they can be threaded on a string one by one, it’s a very lengthy process. In a way this work signifies my transition to wearable sculpture.
TQ: Like Stelarc? Wait… not really.
GT: Stelarc!? What?
TQ: But I just realised it’s not wearable.
GT: I know what you mean, performative?
TQ: and …what would you do if someone problematic…
GT: Can I try a little of your ramen?
TQ: Yeah, that’s chili by the way. It’s quite good actually. Can I have some of your rice?
GT: Yeah take as much as you want.
TQ: Do you not like it?
GT: I wanted something more flavoursome.
TQ: So would you?
GT: Would I what?
TQ: Commission a piece for someone problematic or cancelled?
GT: Who? Depends what they were cancelled for.
TQ: Say someone like Ghislaine Maxwell.
GT: NO. I would not make something for Ghislaine Maxwell lol. Making a piece requires a lot of effort.
TQ: How about the Queen?
GT: Yeah, I guess would, but why would she want it though?
TQ: Something different.
GT: Yeah probably. I guess I also like jewellery because I like something with a beginning and an end. Something tactile I can make and then let go of for someone else to wear. Making art can be exhausting because sometimes you feel you have given so much of yourself and get very little in return. If I make a piece of jewellery its more tangible…someone is going to wear it and it lives on.
TQ: It’s also a form of accessibility for people who just aren’t exposed to art but can still enjoy a piece. There are people out there who are more practical but want access to these moments.
GT: It’s special making something by hand for someone to treasure without having to wear it.
TQ: Do you reckon you would ever make engagement rings?
GT: Yeah, maybe in the future but they wouldn’t be traditional. The type of person who would want it would really have to give me the reigns. Because I don’t want to just make something for the sake of making something.
TQ: In terms of your process, would you work on one piece until it’s complete or do you work on a few at a time?
GT: Just in terms of saving time, it is easier to work on a few pieces at once. So, if I repeat the same steps like polishing up I can just get it all done in one go instead of having to restart the whole process over and over again. It is also good to be across different modes of thinking rather than being linear. I’m the type of person who gets restless with one idea, even if my focus is on one thing, I’m already thinking about the next.
TQ: Why did you choose art school over other degrees?
GT: I always liked art and my older brother went to art school. My parents were never pushy about what I should do. They were excited by the idea of me studying art, and just finding out what I wanted to do along the way as opposed to sticking to a rigid career path. Their support made me feel like it was feel ok. In most situations I’m a pretty quiet and shy person so art provided me with an avenue to connect with people in a way that I felt comfortable expressing my ideas.
TQ: Did L*visa have any hand in influencing in making pieces that were more thoughtful in its inception for you?
GT: Haha I haven’t thought about that job for a while now. Tell you what, I didn’t quite make that connection till quite a bit later. Because I don’t even think about L*visa as jewellery, it’s fast fashion. I just needed a job. It definitely hasn’t inspired me. Maybe it inspired me in terms of what not to do. The culture of that job was like a social experiment. I’ve always been drawn to jewellery that lasts and I’ll always work with silver. I don’t think I will ever experiment with brass or nickel or things like that.
TQ: In your opinion is anyone doing things with jewellery, art practices or designers that should be noted?
GT: Hmm…jewellery wise I’m really not sure! I think in my processes I like to capture a specific moment or memory so I’m usually noting textures and shapes that reflect that idea. When I was asked to be in this show, it was daunting to think about making again but the shell necklace that I used gave me a sort of permission to start…
I’m always impressed by the work of Salote Tawale, Taloi Havini and Talia Smith and I’m pretty excited about Paris and Jana’s collab for the next Suite7a show!
