“Salvaged objects have an unspoken history and memory in their very substance. Transforming them into a novel form and context does not negate this history, but rather, envelops it into a deeper layer of the aesthetic language. There’s an inherent feeling of familiarity that one can’t quite place. While I rarely have a specific vision for found objects’ end use, there’s a feeling, a pull, an inherent pulse and intuition driving me toward their continued existence in new abstract constructions”.
– Julie Jenkinson
Julie Jenkinson is a British-born, self-taught multidisciplinary artist and designer living in Toronto.
Julie has exhibited internationally in group and solo exhibitions. Her work is included in public, corporate and private collections and commissions including: Douglas Coupland, Cutler and Gross, Mr. Pink Art Consultants, Netflix, The Gladstone Hotel, Taylor Hazell Architects, RH Gallery, TAP Art Projects, Yabu Pushelberg.
BLACKBONES: Objects and sculptural jewelry for all sexes.
The BLACKBONES collection spans the divide between found object, fine art sculpture and jewelry. Working through a deeply intuitive and organic sense of form, Jenkinson creates bespoke assemblages of artisanal and salvaged industrial materials. The results are strikingly dramatic avant-garde pieces.
The visual intrigue of each piece derives from the way in which Jenkinson combines the vocabulary of indigenous and ethnic jewelry with a classic modernist sensibility. Bridging ancient and contemporary design, she creates a timelessness around each piece that is hard to place but is difficult to ignore.
Each BLACKBONES piece is irresistibly tactile, inviting you to hold and feel the beauty of their texture and explore their unique forms. Whether worn daily as a signature item or as an occasional accent piece, this collection is bound to draw attention and set the wearer apart.
BLACKBONES is Julie Jenkinson’s signature and thoroughly unique design statement expressed through jewelry and sculpture.
David Jager, art critic, Toronto Canada, 2015