Clasp

I'm an enormous fan of Kobi Bosshard's work; I bitterly regret not being around 30 or 40 years ago to start amassing pieces then (especially when I look at what Te Papa has). I don't think I've posted about something I've bought, but I'm going to make an exception for the Bosshard necklace I collected today.

Very occasionally, I get to have a pure gut reaction to something, and it's amazing. I had one at the NGV in Melbourne, walking round a corner and discovering a Cattelan, and laughing aloud in surprise and joy. I had one when I wept at a Webstock conference as Rives performed. I had one when I finished Cormac McCarthy's All the Pretty Horses.

And I had one when I put on the Bosshard necklace. Like the Christian sacramentals, the necklace is designed to be worn with one piece on the chest and the other below the nape of the neck. When you settle the two (heavy silver) pieces in place, they seem drawn to each other - it's like being pressed between a pair of hands. It is the most physical reaction I've ever had to a piece of jewellry, and as I write this now, wearing the necklace, I realise this pure reaction will always be there.

Hitting his straps

I've been watching Peter Peryer's visual exploration of Southland with interest. One of the things I like most about his work is the (sometimes unconscious, I think) returning to constant motifs - hence why these two recent images caught my eye:




Completely unrelated, yet somehow salient, a recent work by Kobi Bosshard from the current Fingers show. he has a similar necklace on show at Avid in Wellington currently, which reminds me of bridge architecture (engineering? design? is there a proper word I should be using here?).


Images: from Peter Peryer's blog and the Fingers website