Textiles and Jewellery Programme Leader Course Leader in BA Jewellery Design
Central Saint Martins
Central Saint Martins
In a journey outwards from the body, Caroline's work has evolved starting with the most personal of design objects – jewellery - making pieces to be worn next to the body, to be handled and changed by the handling. This led to using clothing that followed or deviated from the human form and which acted as metaphor for a person. Later work explored outer extents of the body as seen through light, shadows and reflections. She collaborates with choreographers to produce installations for live performance.
A number of works have been made in reference to historic buildings, a promenade performance, The Waiting Game, with Angela Woodhouse, Upnor Castle, Kent, 1997 and the installation, Breathing Space, York St Mary’s, 2005.
Caroline is concerned with the boundaries of an individual; between inside and outside, public and private, this includes a sense of territory and personal space, presence and absence and the creation of a balance between substance and image.
Awarded the Jerwood Prize for Applied Arts: Textiles, 1997 and winner of the Textiles International Open, 2004, her work is included in numerous public collections internationally. Her most recent exhibition was Second Hand, First Hand at Marsden Woo Gallery London, 2015.
Contemporary jewellery, design for dance performance, collaboration, installation of work in historic buildings.
Caroline's work is concerned with the body and the spaces around it. Initial jewellery pieces were objects that changed identity through handling and that offered two distinct characteristics when either worn or not worn, and these ideas developed into garment forms. Garments, and in particular the dress, operate at the interface between private and social and point to a notion of absence. Her interest extended to the spaces beyond the body and to the shadows created by the dresses, which also suggest both a presence and an absence.
Further exploration of the spaces around the body includes work that makes reference to walls, ceilings and floors and Caroline has used windows and curtains as a boundary between inside and outside, the junction. In these works and installations she is interested in creating subtle atmospheres.
Much of her work is made through collaborative practice with choreographers. Dance pieces, The Waiting Game and Dreams and Ruins, made with Angela Woodhouse, have been made for historic buildings and Between, Sighted and Court, also with Angela Woodhouse, are concerned with articulating highly charged atmospheres, and the balance between visual spectacle and human contact.
Mahtab Hanna, Political Jewellery: Silent Protest.
Sarah Rhodes, The True Nature of Collaboration: What role does practice play in collaboration between designers and African grassroots craft producer groups?
Catherine Dormer, Material Matrices: haptic, scopic & textile, University of the Arts London & Norwich University College of the Arts.
Broadhead, Caroline (2016) Strength in Numbers. [Art/Design Item]
Broadhead, Caroline and Militsi, Maria (2015) Second Hand, First Hand.
Broadhead, Caroline (2011) Above below.
Broadhead, Caroline and Broadhead, Maisie (2011) Taking the chair.
Broadhead, Caroline and Woodhouse, Angela (2011) Between.
Broadhead, Caroline and Woodhouse, Angela (2009) Sighted.