SIMON COTTRELL
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Simon Cottrell
Simon Cottrell, was born in Melbourne Australia and currently lives, and works in Canberra. Simon is a Lecturer and Researcher in the Gold and Silversmithing Workshop at the Australian National University, in Canberra.  He completed a Bachelor or Arts, in Fine Arts with Honours at RMIT University Melbourne, Australia in 1996, and Masters of Arts Research at the Royal Melbourne Institute of Technology University (RMITU) in 2010. Awarded in 2011 The National Contemporary Jewellery Award; 2012 the Ronnie Bauer Research Alumni Prize, RMIT Gold & Silversmithing, Australia and has works at the following collections:  National Contemporary Jewellery Collection at Griffith Regional Art Gallery, Griffith Australia; Art Gallery of South Australia, Adelaide, Australia; National Gallery of Victoria, Melbourne, Australia; E'Space Solidor, Ville de Cagnes-Sur-Mer, France; National Gallery of Australia, Canberra, Australia; Art Gallery of Western Australia, Perth, Australia; Pinakothek de Modern, Munich, Germany, among others.


Simon on his work:
My work is often gently ambiguous with a very careful balance between many possible readings. In essence my work doesn’t aim to tell the wearer anything specific; more simply I aim to give the wearer a personal sensory experience, in an unfolding, quiet but resonant manner. I have no interest in evoking clear resolved perceptions. If there is a line between this work being perceived in either one way or another, I will usually try to sit on that line.
Generally, I prefer to build jewellery with a monotone surface colour and texture as it does not allow any one detail to dominate and draw attention above all others. Of course there are certain elements which are more dominant in their forms than others, but these interrelationships and dynamics between forms will shift dramatically depending on the angle of viewing. While building these pieces I am always watching for familiar visual allusions/representations which gently arise, and then deliberately redirecting the forms to suggest a contradictory subject. Considering the three dimensional volume of my jewellery the same piece will often feel visually very different depending on the way it is worn. The pins are carefully integrated into these brooches so that there is no need for me to declare which way is ‘up’, this is the wearer’s choice. I have no interest in treating wearers like pedestals.
A wearer’s relationship to their jewellery can be a very intimate kind of engagement. If we consider the amount of time that any wearer spends with a piece of jewellery they wear, this relationship is potentially very lengthy, especially when compared to the often momentary engagement of those who only view the wearer. For me, the relationship between wearer and object is the primary consideration. When experiencing these objects which represent nothing specific but remind us of many many different things, our curiosity is further extended in an attempt to clarify our perceptions. My hope is that this personally experiential engagement can continue to unfold for the wearer for a long time.

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Public collections:
1998 Macmillan Collection, Royal Melbourne Institute of Technology University, Melbourne, Australia.
2003 Art Gallery of South Australia, Adelaide, Australia.
2004 National Gallery of Victoria, Melbourne, Australia.
2009 E’space Solidor, Ville de Cagnes-Sur-Mer, France.
2010 National Contemporary Jewellery Collection, Griffith Regional Art Gallery, Australia.
2011 Australian National Gallery, Canberra, Australia.

Awards / Grants: 
2012 Australia Council, New Work Grant
2010 The National Contemporary Jewellery Award, Griffith Regional Art Gallery, Australia
2009 Atelier Ted Noten Artist Residency, Redlight Design, Amsterdam, Netherlands
2008 Australia Council Grant, for personal study into contemporary improvised music in NYC | 2nd prize ‘Refined Abundance International Art Jewellery Award’ Opera House Art Centre, Texas, USA
2005 RMITU Postgraduate Scholarship.
2000 Development Grant. Australia Council Visual Arts/Craft Fund For mentorship with Robert Baines.
1999 ‘KOODAK Peoples Choice Award’ Jewellers and Metalsmiths Group of Victora, Australia | ‘JOHNSON MATHEY AWARD’ For Excellence in Silversmithing, Australia
1996 LASLO PUZSAR AWARD. For Best Jewellery Design in Gold and Silversmithing, Australia

Exhibitions (selection):
2012 Unexpected Pleasures, National Gallery of Victoria, Melbourne Australia.
2012 Zeit Schmuck: Simon Cottrell & Miele Harvey’ Gallery Wittenbrink Munich.
2011 Output to Paths, Gallery Funaki Melbourne.
2011 The Friedrich Becker Prize’ Goethe Museum, Dusseldorf, Germany.
2010 National Contemporary Jewellery Award Exhibition’ Griffith Regional Art Gallery, Australia.
2010 Schmuck 2010, Internationale Handwerksmesse, Munich, Germany.
2009 ‘Four Jewellers, Baines/Bastin/Cottrell/Haydon’ Espace Solidor Cagnes Sur Mer, France.
2008 Schmuck 2008, Internationale Handwerksmesse, Munich, Germany. also toured Birmingham City University Gallery; Miejska Galeria Sztuki, Lodz, Poland.
2008 The McMillan Collection; Selected acquisitions 1961-2007, Project Space, RMIT, Australia.
2008 The Rhianon Vernon-Roberts Memorial Collection, Art Gallery of South Australia, Adelaide, Australia.
2006 Connect, Inaugural Gallery Funaki International Contemporary Jewellery Prize, Melbourne, Australia.
2005 10-2005, Tenth anniversary exhibition, Galley Funaki, Melbourne, Australia.
2004 National Contemporary Jewellery Prize, Griffith Regional Art Gallery, Griffith Australia.
2003 SOUND, Gallery Funaki, Melbourne, Australia.
2002 RINGS, Gallery Funaki Melbourne, Australia.
2000 Emerging, Seven contemporary Jewelers, Gallery Funaki, Melbourne, Australia.
1999 TRACE, Exhibition of Melbourne Contemporary Jewellers. Curator Carlier Makigawa. Gallery Yu, Tokyo & Museum of Art/Craft, Itami, Japan.

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JEWELS by SIMON COTTRELL

 Three drops hard blunt  by Simon Cottrell
Simon Cottrell.
Brooch: Three drops hard blunt, 2015.
Monel 400, stainless steel pin..
6.5 x 5 x 3 cm.
Price: 2200 €.
Work designed for Klimt02 Gallery for the exhibition To Recover in 2015
.
 Double forms up and down  by Simon Cottrell
Simon Cottrell.
Pendant: Double forms up and down, 2014.
Monel 400, woven nylon cord.
9 x 6 x 4 cm.
Price: 2200 €.
 Circle ball beneath white 4  by Simon Cottrell
Simon Cottrell.
Brooch: Circle ball beneath white 4, 2013.
Monel 400, powder coating, stainless steel pin.
6,5 x 6,5 x 3 cm.
Price: 1800 €.
 Barrelled bud bud  by Simon Cottrell
Simon Cottrell.
Brooch: Barrelled bud bud, 2012.
Monel 400, stainless steel pin.
9 x 4 x 3 cm.
Price: 1900 €.
 Two drops  by Simon Cottrell
Simon Cottrell.
Brooch: Two drops, 2013.
Monel 400, stainless steel pin.
5 x 2.5 x 1.8 cm.
Price: 1400 €.
 Double circles small  by Simon Cottrell
Simon Cottrell.
Brooch: Double circles small, 2013.
Monel 400, stainless steel pin.
5.5 x 2.5 x 3 cm.
Price: 800 €.
 Six drops focussed reprise  by Simon Cottrell
Simon Cottrell.
Brooch: Six drops focussed reprise, 2009.
Monel 400, stainless steel pin.
7,5 x 6 x 3,5 cm.
Price: 2800 €.
 Doubled doubled circles and over  by Simon Cottrell
Simon Cottrell.
Brooch: Doubled doubled circles and over, 2012.
Monel 400, stainless steel pin.
9 x 6 x 3,5 cm.
Price: 3000 €.