In 2009 Selina graduated from Unitec Institute of Technology with a Bachelor of Design majoring in Contemporary Jewellery. That year Selina was selected for the annual Objectspace Best in Show award. Since then she has been included in a number of exhibitions both in New Zealand and overseas. Her work has also been featured in a number of publications including Prezioza Magazine, 'Selina Woulfe: il corpo come materia da manipolare', published 2013; Scope Art Journal: Border Crossings, 'Skin Boundaries' published 2012 as well as in ‘On Jewellery: A Compendium of International Contemporary Jewellery’, Liesbeth den Besten, Arnoldsche Publishers, published in 2011. Her work has been acquired by The Wallace Arts Trust Collection.
Selina’s jewellery explores different rituals drawn from her mixed European and Pacific cultures, through jewellery and the body (skin and hair) connecting her to her ancestors. Selina’s early jewellery tested how skin can also be manipulated with the object, often piercing the skin, to push physical and physiological limits for both the wearer and audience. Skin is constantly changing, stretching, healing and ageing and natural skin adornments such as warts, moles or freckles are points of intersection for her jewellery and the skin itself, which, for Selina is a direct connection to both ones past and present.
In the Silvergraft series Selina presents video and photographic documentation exploring the idea of rituals. Some elements of this work resemble practices of Samoan tatau. It often takes days to complete a Pe’a or tattoo received by Samoan men and because of that pain and scale the wearer enters a process of physical and physiological preparation. Drawing on this, the steel woven brooch like pieces are pierced onto the skin of the wearer, invoking a sensory experience for the audience as well. The form itself replicates the woven mats used during tatau ceremonies. The wearer of the piece must trust in the maker or master and also prepare themselves for a puncture of the skin. Not only is she drawing connections to both the past and present you learn that the process is just as important as the object itself.
In 2014 with Bloodline Rituals we saw the introduction of hair and hair combs being used to contemplate Indigenous female practices and how they have become diluted overtime within Western societies.
“Interaction with an object applies a special amplified significance and history to it, resulting in memories that become an essence and ‘soul’ that the artefact comes to possess.
With Memoria, Woulfe breathes new life into discarded objects, their form and texture become connective tissue between the strangers who possess them - a new significance is re-appropriated and reborn from the imprint of the old.
This new series of adornment becomes an ode to the memories lost when inherited objects are passed on to a stranger.”