Slice: Biodigital Jewellery by Paul McClure

curated by robyn wilcox

Craft Ontario Gallery, toronto, ON
September 5 – October 3, 2020

By: Pasha Moezzi
Published: 2020/11/15

Slice is a collection of jewellery expressing my fascination with the microscopic realm of the human body. Abstract forms refer to bacteria, viruses, cells and their structures within us. As these invisible but universal components come to define us, they also acquire cultural meaning independent of their biological definition. The highly aestheticized microscopic imagery and cutaway diagrams from popular science are particular sources of inspiration for this work: geometric forms, graphic patterns and vibrant colours. The forms are “digitally handmade” using a combination of computer modelling and 3D printing technologies with traditional metalworking techniques of forming, fabricating and finishing. Slicing through these forms reveals surprising and pleasing sections and patterns. However, the slice, like a microbe itself, exposes tensions between the benevolent and sinister, the beautiful and ugly, the fascinating and fearful.
– Paul McClure*

On a beautiful Sunday afternoon in September, I was finally able to see my first ever non-virtual show of 2020! Paul McClure’s exhibition Slice had just opened at the Craft Ontario Gallery. When I walked in for my reserved time slot, I was immediately calmed by the zen environment of Craft Ontario.

For those of you who have not been to the Craft Ontario Gallery, the space is quite large and open with a substantial amount of natural light filtering inside. Located on Queen Street West in Toronto, they have recently changed their layout to better adjust to our “new normal”. The front area is dedicated to the Craft Ontario Shop, while the gallery sits at the back of the space, parallel to a wall of beautiful Indigenous sculptures. As I walked toward the gallery space, my eyes instantly fixated on the exhibition, with its superb layout and its attractive colours and shapes. 

It was a refreshing exhibition, pushing boundaries in both technical and design aspects, which left me feeling extreme satisfaction and joy. The exhibition was curated by Craft Ontario’s Robyn Wilcox. I have known Robyn for quite some time from my Harbourfront Centre days, where she worked as the Coordinator of Craft and Design. I have always held very high regard for her precise and meticulous ways of working, as well as her interesting perspective.

If you know Paul McClure and have been following his career, you know his obsession with the microscopic world of the human body. Most of his work is influenced by dissecting and analyzing bacteria, viruses, cells and many other biological structures. Observing the work from all angles really made me appreciate Paul’s vision in using the technological advancements we have available in our field. His use of sintered steel and 3D printed nylon, alongside hand fabricated and finished metal work, revealed a great marriage of idea and technique in creating mesmerizing and curious shapes. To add to the overall feel of this unique work, on the floor beneath was a selection of large-scale vinyl decals that resembled the shapes and forms of Paul’s work. A bright blood red used in some of the pieces was also employed as a powerful accent colour in the installation. Since blood is a key conduit for all the microscopic inspired shapes, the use of its colour linked well to the exhibition theme. This is where Robyn’s curatorial magic really shone through!

A long, rectangular table stood in the middle of the gallery space, dedicated to Paul’s one-of-a-kind silver pieces. Some were completely silver, while others were mixed with colourful 3D printed components. It was bold in look, material, and technique. Each piece was a visual wonderland with all its layers, repetitive shapes, and forms, resulting in an almost therapeutic experience for the viewer. 

On the wall across from the table hung 3D printed works in a sea of colours. This year has been a dark one, so in all honesty, the bold colour was a remedy! There was enough happiness and entertainment for the world on that wall. From afar, the pieces all had similar seeming shapes, but once you got closer, it was apparent that each piece really was unique.

The best thing about having smaller exhibitions, with fewer people in attendance, is that you get to talk about the pieces and the process with the artist. Paul, as excited as he always is when talking jewellery, very kindly took the time to explain the process of how each piece is printed and then sawn off its metal base, as well as the assemblage process and how the cold connections fit perfectly onto the 3D printed pieces. It is always fascinating to learn about one’s process. It makes the pieces even more magical for the viewer. I was especially interested in the metal printing and the marks left behind after being cut off their bases, which were reminiscent of topographical images.

Paul’s exhibition came at a very good time, when our collective health has been the main topic of focus. For all of us, it suddenly became very important to be aware of the microscopic world that shares this planet with us. Slice was a beautiful and inspiring show that was in line with current issues, while illustrating what a pleasure and comfort experiencing art objects can be.

To learn more about Paul’s work and his process behind Slice, check out our
Catching Up interview on YouTube

*Craft Ontario Gallery (15 November 2020). “Slice: Biodigital Jewellery by Paul McClure”. https://www.craftontario.com/exhibitions/past-exhibitions.html