| dc.description.abstract | This thesis ventures into the realm of olfaction. The sense of smell has long been regarded as a less important sense, however this is changing. By exploring the olfactory system, and training the sense of smell, botanical fragrance compositions have been created. Through perception these scents and fragrances have been interpreted into lines, and further to shapes, forms and representations of jewelry. The line has thus been utilized from a position of wayfaring, gradually turning into a meshwork of lines, supported by methods such as coupling, mapping, and autoethnography, where the emergent shapes become the foundation for further research, conducted by methods such as probing, leading to the creation of form.
The definition of jewelry is here quite broad, and includes perfume, the criteria being that jewelry has to relate to the body. In this project, the analysis of perfume as jewelry presents many interesting perspectives. Wearing perfume can affect our mood directly, as an intimate, inward experience. Simultaneously it can be an intentional action of non verbal communication. Perfume is both inhaled into the body, absorbed into the skin, and vaporizes from the skin, venturing outwards.
Shapes and forms that have emerged from fragrance through lines in this experiment, possesses characteristics of being organic, asymmetrical and in motion. They are ambiguous in nature, and can be both soft and sharp, concave and convex, and move in several directions.
The line is not either/or, it is both-and, and it has value and possibility for novelty in so many ways. Here, I will show how the line can be utilized as a perceptual tool in olfaction to generate form, and in possible extension, jewelry. | en_US |
