I
f part of Ornamentvm’s mandate is to explore the creative context and talent through which the decorative arts are born, it is important to focus on national schools of art and design as sources of creative energy and exploration. Therefore, in addition to regularly surveying the work of established canadian artists and artisans, we want to give voice and visibility to a new generation of artists. By looking at what they are doing, we gain insights into the current preoccupations of a generation that is about to graduate and put into practice what they have learnt. It may also serve as a starting point from which to track the directions they take.


With this article, Ornamentvm opens its pages to a series that will cover the main schools and institutions of art and design across the country. By so doing, we hope certain patterns may come to light such as the emergence of trends, of regional preferences or specializations, or even differences in teaching approaches. Five fourth year students of material art and design at the Ontario College of Art and Design talked to our editors about their work and ideas as they complete their studies by preparing a thesis project as the final stage and proof of their technical and creative achievements.

Geddy Vysniauskas
My work is concerned with the modern masculine and how gender and sexuality are constructed and associated with body adornment. Can an inanimate object possess a gender or a sexual identity? Can an object be labelled as masculine or feminine and is it based upon the intended wearer? This structure was inspired by postmodern architecture, the form materialized through bridge truss forms and structures. The piece was entirely fabricated from recycled Spatial Mutation with tie sterling silver scraps, which were melted and drawn down into thin wire. Each joint was soldered and the curves shaped over a steel anvil.

EDS. Geddy’s tie structure questions and inverts the traditional gendered associations and conventional uses of both form and material: the metal flows, the textile becomes rigid.

Image: Spatial Mutation, 2007.
Geddy Vysniauskas.
Sterling silver round wire 31 x 10.5 cm.
Photographs: Christine Lim