Cesar Cueva of Metalab

Showcasing strikingly unusual and thought-provoking jewellery and objects, Metalab is a beautiful gallery space dedicated to exhibiting local and international talent. Their on-site workshop also runs jewellery classes throughout the year. Cesar Cueva is both jewellery maker and owner.

Tell us a little about your business?
Metalab is an independent design studio, gallery and workshop. Whilst we are active in a broad range of creative pursuits, we are best known for our work in jewellery and object design. We design and manufacture contemporary jewellery exclusively for our retail store and gallery and have just begun to wholesale our Metalab Colab range. As a representational gallery we curate and host regular exhibitions, hold product launches and special events to promote the works of over 60 contemporary jewellers, object makers and designers.

The general public can get an insight into the creative minds of some of our artists through our artist talk series or they can create a unique piece of their own during any number of courses, master classes and workshops on offer in our on-site workshop. An on-going Metalab initiative is COTA, Courtesy of the Artist. COTA is the retail arm in which we stock an eclectic selection of one-off, limited edition and production ranges from the artists exhibiting at Metalab.

How did your journey start?
My journey started sweeping metal filings in and around the machinery in my fathers engineering workshop when I was an early teen. At the time I couldn’t know the impact that workshop would have on me. I did know or so I thought, that dirty hands and work boots would not do for me. After leaving school I juniored for a large architectural firm and trained as a drafts person. Producing technical drawings, detailing and model making really appealed to me. I realised then that I wanted to work on designing smaller objects (products perhaps?), so I began a degree in industrial design. The course was not exactly what I thought it would be. I felt really disillusioned by the end of first year but stuck around for seconds. I spent most of my time in the model shop so I thought I should pursue that a little further. Much to the bemusement of my lecturers, I chose jewellery design as major study stream.

Walking into the jewellery workshop was one of those coming home moments. So at the end of second year I transferred to the Canberra School of Art and majored in Gold and Silversmithing. I returned to Sydney in 2004 with a handful of tools and some hand crafted objects and began looking for representation. Sydney had just lost two commercial galleries specialising in object art. So Nina and I jumped at the chance to fill this niche and founded Metalab.

How do you go about selecting the artist collections that Metalab represents and what are you looking for?
We are always seeking out work from artists displaying great craftsmanship a sensitive approach to material and attention to detail. We look for artists with an expansive repertoire, preferably those whose ranges are not only conceptually inspired but also very wearable. Although not always possible, nor a criteria but artists making distinctive reproducible works are also keenly sought out. We favour hand-made pieces with a point of difference regardless of the intrinsic value of the chosen material.

Who do you admire?
Peter Zumthor's architecture is particularly inspiring, Tokujin Yoshioikas’ installations are pretty cool. Paul Cocksedge and Thomas Heatherwick are always creating interesting new work and I’m amazed by the technical virtuosity of German goldsmith Michael Berger, his kinetic objects are absolutely mesmerizing. I’m also fascinated by molecular gastronomy particularly the experiments of pioneering chef Ferran Adria.

Can you talk us through the aesthetic and function of your retail gallery space in the CBD?
COTA Courtesy of the Artist – is located on the second floor of the Strand Arcade. The concept for the store was to create an accessible platform for the display and sale of contemporary jewellery and objects. The store as it is now was launched as a ‘pop-up’ in July 2009. It was a great way for us to test the CBD as a potential site for our concept store.

We were offered a short trading license and strict instructions to design portable fixtures. Basically, once the license was over we had to be ready to vacate as soon as we were asked. So with that in mind, our scheme was a simple response comprising a few custom showcases, juxtaposed with a handful of recognizable storage devices from Ikea used in an unexpected ways.

We have just committed to making the Strand Arcade a more long-term venture so a re-fit will take place next month. The new scheme is a departure from the lineal display cases we have used in the past. The new scheme will house 40 white display cubes, wrapped in mild steel and suspended from the ceiling. They will be composed at three different heights and offset at different angles. The idea is to have an individuals work showcased within the one box. This will comprise examples of exhibition work and selected ranges on display and discreetly stored underneath. The boxes will then be veiled by hundreds of metres of stainless steel cable. The idea was simply to isolate individual artists represented works in a clear and concise fashion complete with artist statement. Part gallery, part retail.

What’s the response to the studio workshops been like?
The response to the workshops has been great. We’ve been running the beginner’s classes to a small group of up to six over two consecutive Saturday mornings for over three years. We introduce a few fundamental techniques in the first week and by the end of the second each student walks away with at least one Sterling Silver ring of their own design and wrought by their own two hands. Continuing students can join our evening classes. These sessions are for self-directed projects and are catered for more ambitious design. We’re continually adding new programs to expand the knowledge base of both novice and experienced makers. Every month we invite a new artist from the current exhibition to give a master class on a technique or concept that is relevant to their practice or the exhibition. These sessions have been particularly popular and will continue to be a focus in the workshop schedule.

Focusing on jewellery making yourself, can you share the story behind one of your recent designs/collections?
A small range I made not too long ago is titled Sign Language. Sign Language is a Limited Edition of 88 rings, 16 armbands and eight neckpieces. Made entirely from re-purposed aluminium street signs, the ecological impacts are obvious. Destined for the scrap heap, I re-contextualised these signs into wearable objects. I initially made the first eight rings for a group exhibition at Metalab and then added to the range shortly afterwards.

The “No/On” ring was a tongue in cheek response to a parking fine I received only weeks prior to the show. Designed to be worn on one’s middle finger, I described the rings in an artist’s statement as an effective communication device for when spoken words were simply not enough. Made from an old “No Parking” sign the ring can be displayed to others to read “ON”, when conveying a positive emotion, or turned upside down to read “NO” for the opposite sentiment. This series is hand fabricated and made locally in my studio.

What is the key to contemporary adornment?
I think the key to contemporary adornment is the abandonment of rules and pre-conceived notions of jewellery. Wearable objects should be prized for their conceptual underpinning, it’s craftsmanship and wearablity rather than the intrinsic value of the chosen material used to realise the design.

What’s Sydney’s best-kept secret?
May not be a Sydney’s best kept secret, but I don’t think enough people know about the absolute gem of a restaurant, Oscillate Wildly in Newtown. Chef Karl Furlas food is highly inspired and worthy of all the accolades from locals in the know.

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