01 SPOTLIGHT: MISCHA WOLF
TECHNOLOGY, SCIENCE, AND THE SILVERSMITH
Founded in 2019 by silversmith and jeweller, Mischa Currie, Mischa Wolf Design is a label which embodies cross-disciplinary technique and inspiration. The designer is, herself, ‘captivated by the unseen forces that govern and shape our world,’ and one of the outcomes of her explorations into physical and chemical sciences is the creation of alluring pieces of unique jewellery. But her designs and collaborations also contribute to the wider growing discussion between science and the arts, challenging any strict delineations which might keep these fields divided.
We caught up with Mischa for a few quick questions:
You’ve mentioned that a main focus you have as a designer is to combine traditional silversmithing techniques with emerging technologies. Is there a story behind your choosing this focus?
Ferrofluid Cast : Mischa Currie, 2019
Well, it’s important to keep taking risks. I’ve been working in the silversmithing and jewellery industry for over ten years now, and training and working as a silversmith and jeweller for six of those years. In this industry, creativity and hands-on experimentation are combined with a requirement for knowledge of chemical and physical properties. The industry traditions are steeped in history and most of the tools and methods have been the same for hundreds of years, but this historical craftsmanship is now complemented with computer-aided design software and increasing access to new and exciting materials. Combining these traditions and emerging technologies is a beautiful collision of past and future which takes craft skills and fuses them with computer generated software in a way that was previously unimaginable. I find the use of ‘creative technology’ a really exciting field, as it encourages inclusion of scientific thought within creative enquiry. And, as the technology progresses and evolves, so do the ways in which artists can collaborate and process their work, creating ever-evolving methods of communication and expression.
Could you describe the technical and creative processes of working with ferrofluid materials?
The first time I came across ferrofluid was at an exhibit in the Glasgow Science Museum and I’ve been fascinated ever since. Ferrofluid is a liquid (usually water or an organic solvent like kerosene) carrying iron nanoparticles and, as the particles are highly magnetised, they react strongly to magnetic fields. But the nano-particles are coated with a surfactant (often oleic acid) which inhibits them from clumping together, and the carrier fluid allows them to remain suspended, resulting in stunning spiked formations. Initially invented by NASA in 1963 for use in controlling fuel in space, ferrofluid applications nowadays include use in hard drives, loudspeakers, and MRI scanners.
Ferrofluid and Ink: Mischa Currie, 2019
For design experimentation, I wanted to study the pull and movement created by magnetic forces, so I applied different styles of magnets and inks to the ferrofluid to capture the movement and to gain a better understanding of how it behaves. Some of the results were mesmerising and completely unexpected. My main interest in combining ferrofluid with art practice is how it provides a visually striking example of unseen physical laws. the movement and forms to create 3D silver objects and small sculptures that can be worn on the body. And the videos that are a part of my research are therapeutic exercises in themselves.
Iron Particles: Mischa Wolf, 2019
Working with ferrofluid is great fun but is a messy business. it requires protective equipment as with the loose iron oxide powder that I use in other works, but still it gets everywhere! And it stains everything! As I do a lot of work with very strong magnets, I have an issue with keeping them all separated around the studio at safe distances from each other so they don’t attract one another and get stuck together. When I’m working with several petri dishes containing ferrofluid and a number of different magnets I’ve had quite a few disasters. As ferrofluid is so magnetised, if a magnet is moved above the petri dish it will leap out of the dish and attach itself to the magnet and it is never coming off! I’ve had several glass dishes shatter and splash black ferrofluid everywhere as the liquid drags the dish across the table to aggressively attach itself to a magnet that I’ve accidentally moved too close. To be fair a lot of this is caused by my absent-mindedness and over excitement but, regardless of the mess I make, its just such a wonderful material to work with and I can’t get enough!
Ferrofluid Etching: Mischa Wolf, 2019
Which other materials and emerging technologies are you interested to work with in future and why?
The way we experience artworks is evolving rapidly and VR has huge possibilities for communication and immersion. I’m working on some pieces that will be part of an online exhibition in the future but am also interested in furthering my knowledge of physics engine design software and combining this with VR to create multi-sensory installations and objects. And, I’m researching the possibilities for moving art projection, currently the technology is limiting, but this field has very interesting possibilities ahead for projected body adornment.
Tell us a bit about current projects you’re working on?
My final year show at the Glasgow School of Art, which is a further exploration of the physical properties of ferromagnetic materials, is an ongoing project. The research included visits to a Glasgow Physics and Astronomy Lab and working with materials used in apparatus for the detection of gravitational waves caused by exploding stars. I love astronomy so this was an exciting opportunity to combine my astrophotography and creative process. The project involves developing wearable objects based on observations and lab visits using electromagnetic forces great enough to overcome the gravitational forces of ferromagnetic materials. Using iron shards and iron oxide powder, I documented their reactions when subjected to a strong magnetic force.
And, through experimentation, I developed a mixture which allows me to capture and encase these reactions to form miniature static sculptures and combine these iron structures with silver and traditional silversmithing methods such as lost wax casting and emerging technologies such as parametric computer-generated software. The end result will be a collection of wearable objects and vessels which will hopefully encourage communication and conversations that stimulate inclusion of artistic enquiry in scientific research.
Recently, The Goldsmiths Centre's Precious Metal Bursary Award commissioned me to create a bracelet design inspired by ferrofluid. I’m working on creating the bracelet using 3D modelling software and having it cast in rhodium black silver and 18ct yellow gold. It will go on display later this year.
Other ongoing projects include a commission to design a ceremonial Mace for Glasgow University, helping with the training of the WorldSkills Jewellery competitors at Glasgow City College and several cross disciplinary projects; one with the Glasgow School of Art Creative engagement team on a brief centred around designing a meditative space for use by Glasgow Hospital patients, and a collaboration with a new fashion label to create silver accents for their collection.
Do you have any exhibitions coming up soon?
CAD render of ferrofluid inspired bracelet design: Mischa Currie, 2020
Ferrofluid 3D Prints: Mischa Currie, 2019
Most of the planned exhibitions have been put on hold due to current uncertainty, but my project, ‘Ferromagnetic,’ will be featured in a Digital Graduate Showcase which launches 29th May 2020. Details will be on my website when the online location is finalised. There will also be a physical Graduate Showcase later this year, where my silver and iron jewellery and vessels will be exhibited.
And I’ll be showcasing a small collection of iron and silver work at New Designers in London later in the year, once the show is rescheduled.
Until then, see more of Mischa’s work here
All images copyrighted to and used with kind permission from Mischa Currie.