Vicki Mason was born in New Zealand and before moving to Australia in 1999 she lived in France for a year. She obtained a Bachelor of Arts from Otago University, and a Diploma in Craft Design from Otago Polytechnic School of Art, both in Dunedin, New Zealand. After studying, she worked at Fluxus workshop and gallery with three renowned New Zealand jewellers for two years. Mason now teaches in the adult education sector and is a research masters candidate within the Gold and Silversmithing department at the Australian National University, Canberra. She runs a limited-edition production practice and also makes work for exhibition. Mason has been awarded grants in Australia, New Zealand and the United Kingdom, including a residency in 2003 at Manchester Metropolitan University. Her work is held in both public and private collections and she exhibits internationally and sells work through Charon Kransen Arts in New York.
Plants, used as metaphors, have featured throughout her work to represent notions of life, death and a sense of place and belonging. Botanical motifs have a long history as subject matter used for depiction in jewellery and thus provide a rich source for reinterpretation and investigation.
Her work combines flexible pedestrian plastics (upholstery and stationery), textile processes and metal techniques to create a cross media/material discourse that works across traditional classifications of what jewellery and textiles should be. Mason sees plastic as a material of her age, and she chooses to combine precious and non-precious materials to test the limit of novel aesthetic concepts.
Along with recontextualising traditional forms of jewellery and ornamental motifs from varied object histories (to generate new meanings and create new ornamental forms) Mason mixes them with the personal thereby inventing fictionalised works. In doing so she is contributing to the evolving use of decorative imagery within jewellery’s history.