Comment porter le JEAN’s cet été !!! avec un « escargot » ………

…….oui, un escargot ! ou « CARACOL« , la marque d’Eleonora Battagia

Eleonora Battagia (IT) ‘Caracol’ – Collana ‘Joya’ (in concorso a BIJOUX d’AUTORE 2010)

 

 

(petit) COUP de … ROUGE sur les « Bijoux d’Autore 2010′

Petit …. parce que je suis très déçue ! très déçue par le niveau …..  A un moment, sur le site, ils parlent de « artigianato hobbistico » : eh bien voilà, c’est exactement ça ! 

La mostra collettiva dove esporranno gli artisti selezionati è prevista per il 19-20-21 novembre a Roma  /  EXPO prévue à ROME les 19-20-21 Nov. 2010

 

Associazione INCONTRI e EVENTI
Via del Commercio 12
00154 Roma (Italia)
tel [phone]
Per ogni informazione relativa al concorso, alla mostra collettiva e per contattare gli artisti:
[e-mail] – [e-mail]
www.incontrieventi.it

¡ OJO ! que te estan mirando !! Ramon Puig Cuyas

cette série de broches, avec ces yeux, ces regards, me font immanquablement penser aux vers de Victor Hugo « et l’oeil était dans la tombe et regardait Caïn … »

…. me font également penser à cette injonction espagnole « ¡ ojo ! » qui signifie « attention ! « 

Il faut regarder, avoir l’oeil, prêter attention …. porter un oeil …. mauvais signe ou protection ? Mise en scène de tout un jeu de miroirs des regards, qui regarde qui, qui regarde quoi ?

Ramon Puig Cuyas-  Aspice me (mirame)- Broch, Silver, nickel silver, plastic, paper, mother pearl, onyx.

le premier le dit clairement : REGARDE-MOI ! MIRAME !

Ramon Puig Cuyas’ work takes inspiration from collage techniques as a means of combining different symbols and transforming their meaning. Most of the materials used are found, non-precious elements, combined with silver. His pieces relate to his personal experiences and emotions and often tell a story. This Catalan artist has since the beginning of his career broken free from the traditional jewellery forms and concepts of his homeland. His works come from within and communicate a preciousness that goes beyond mere intrinsic value. They narrate the artist’s inner feelings and state of mind, and make use of metaphors to relate his ideas. By just looking at his pieces, one is able to « read » a story. His earlier « Journey » brooches convey the spiritual journey we go through in life and the encounters made throughout, his « Walled Gardens » series narrate closed, intimate spaces behind high walls enclosing gardens, and his latest « Imago Mundi » series endeavours to uncover ambiguity and contradiction, thus life and death, light and darkness, black and white, absence and presence, and attempts to establish a dialogue between the two extremes. The latter works seem to include less colour than his previous brightly painted pieces. They are representative of a different time and experience, and are ingrained with a conflict of feelings, that is reflected in these pieces. 

série ‘Utopos’ 2007-2009

série ‘Utopos’ 2007-2009 – Brooch « Aspice et aspicior » (mirame y sere mirado), 2009. Silver, nickel silver, plastic, paper, onyx, pearl

série ‘Utopos’ 2007-2009 -  ‘Aspice in stellae’ – broch, Silver, nickel silver, plastic, paper, enamel, bone, pearl.

série ‘Utopos’ 2007-2009 -  ‘In media res’, brooch, 2009. Silver, nickel silver, plastic paper, pearl

série ‘Utopos’ 2007-2009 -  ‘Cursum tenere’. Broch. Silver, nickel silver, plastic, paper, bone, pearl, coral.

série ‘Utopos’ 2007-2009 -Brooch « In mente », 2009. Silver, nickel silver, plastic, paper on resin, pearl, mother pearl, enamel.

virus de la COMPARAISON …….. ? PAPER JEWELRY Barbara Uderzo / Liz Hamman

 

Liz Hamman (UK) – Combustion bangle – AA book of the car,burnt

Barbara Uderzo (IT) – bracelet « scimia »

EXPO ‘Survival kit’ – Gallery AG, Séoul (Corée-du-Sud) – 7 juill.-20 août 2010

‘Survival kit’
Hyunjoung Lee, Michel Lascault, Matthew Alden Price…
Du 7 juillet au 20 août 2010.

 

Hyunjoung Lee
 

 

Gallery AG
2 993 à 75 Yoido-dong, dong angukyakpum Daelim-1er étage
Séoul (Corée-du-Sud)
(02-3289-4399)  

EXPO ONLINE at JEWELLERY SCAPE – TEXTILE section

http://www.jewelleryscape.com

Silvina Romero (Arg.)- necklace ‘Abajo del mar’ textile, fabric, cotton & silk thread

Paulie Schwartz – organza de soie

Sabrina Bottura – ‘black’ ring 2009 – felt, pearl black, silver
Karin Carmeliet

Colleen Baran – Felted Saucer Rings – 2007 – Felt, sterling silver

Elena Lorenzi   – Necklace in twine, coloured metal wire and braid of different colours

Federica Fabiano « Gradient » – necklace made by copper yarn coated with cotton yarn

Cristina Tajè  ‘Rosa, Rosae’ – necklace in felt with applications of copper, tin, iron and brass

Ruth Moore – sealife inspired neckpiece – 2009 – Heat formed synethetic fabrics, plastic beads, cotton thread

Kate CUSACK zipper necklace

Susanna Matsche (DE) – Breast pins – leather, silver, fur

Thomas de Falco (IT) – cotton, wool, silk, leather iron necklace

COUP de …. COULEUR avec Jillian Moore !!!

son BLOG

SHOP on ETSY

Big Red Chunker Brooch – composite and epoxy resin, paint, nickel silver

‘Quicky ‘

bulbate succulum

Cordyceps (brooch) 2009

‘Ramus‘ (brooch) 2008, composite and epoxy resin, paint, ink, nickel silver

‘clot’ brooch

‘man of war’ pendant

‘Pomum Fuchsin ‘

« Epiphytic Capsularis, » (brooch) 2009

‘Nugget’ – « …..I think the color just looks so vivid because of the way neon colors/resin react inside the cloud dome. it doesn’t literally glow in person, but it is traffic cone orange »

« While attending this year’s SNAG Conference in Houston, a chronic nagging question was amplified. What, exactly, is it that I do ? In passing conversations I never seem to be able to explain it to any acceptable degree without endless digressive hurdles. In the simplest terms I set out with the word “jewelry” though even this is a personal conversational concession. The litany of descriptors we can now alter jewelry with can leave a person breathless – art jewelry, contemporary jewelry, sculptural jewelry to name a few. Casual conversations always include “no, I don’t make that kind of jewelry”. And when I start using phrases like “abstract life forms” and “composite resin” people’s faces screw into frustration. When I’m feeling less motivated I just say “I make jewelry out of plastics . . . various plastics”. But it feels condescending both to whomever I’m speaking with, and what it is I like about my work. I’ve spent nine years and borrowed tens of thousands of dollars for two degrees – a BFA with the words “Metalsmithing and Jewelry Making” at the end and an MFA with the alternate “Jewelry and Metal Arts” attached. But I find none of this mixing and matching of terminology to be of any help when trying to actually articulate what it is I do with all of my time. »

COUP de COEUR ! Caroline Broadhead

Caroline Broadhead studied jewelry in London with such distinguished artists as Wendy Ramshaw, Gijs Bakker, and Emmy van Leersum. A visit to East Africa in the late 1970s encouraged her to create jewelry that responded to the form of the body. By the mid 1980s, her constructions had become increasingly removed from jewelry as she concentrated on conceptual aspects of clothing and installation art. Since 1978, Broadhead has taught textiles, jewelry, ceramics, and other disciplines at Brighton Polytechnic, Middlesex University, and Goldsmiths College, University of London.
Education: 1969-72, Central School of Art and Design, London; 1968-69, Leicester School of Art, England – (Museum of Art & Design MAD)

« In the 70s and 80s, I was exploring ideas about jewellery, the way it could be handled, change on or off the body etc, ideas that were best expressed through materials of a certain colour, weight or flexibility. I made work out of coloured cotton threads and rope and my tufted bracelets used very fine nylon threads. And as my ideas were developing, I became more interested in the non-precious materials, ones that did not have a recent history in jewellery. By the mid 1980s I was making much larger scale pieces in woven nylon – veils, collars and sleeves. This scale was exciting as it allowed me to examine a spatial awareness around the body in a new way. For example, the Necklace/Veil was woven out of nylon line. It married something that you could wear round the neck with something you could also twist up to become a veil. It became a screen to look through to the wearer, or for the wearer to look back, as much as something to look at. These larger pieces that covered more of the body led me to clothing forms which gave me greater scope to express ideas about the whole person. These were not fashion but there didn’t seem to be a particular category for my pieces to be located, except art. »

Armpiece 22 in 1 - Cotton, nylon, monofilament – fabricated, sewn – 4 3/4 x 112 in. (2,84 m long) -(Photo Credit: John Bigelow Taylor, 2008)

Neckpiece – 1978 – Silver, wood, dyed nylon monofilament

Caroline Broadhead brush neck piece – wood, nylon – circular wooden frame with nylon fibres in tufts like brush, pointing inwards where they touch in the centre

Caroline Broadhead arm piece; nylon monofilament arm piece woven into a deep cylinder with both ends of the single thread hanging free and terminated with a blue plastic cylinder

Caroline Broadhead neck piece; nylon monofilament neck piece woven into a shallow cylinder with both ends of the single thread hanging free and terminated with a green plastic cylinder

Necklace/Veil  woven out of nylon line

« How important is function in your work?
Jewellery made me consider the fit and use of objects on the body in a practical way, but the function of my pieces has been to give the viewer or wearer a particular experience, or to start a train of thought. When I started making garments in the 80s they were wearable – even if they didn’t look it. The function of wearability was not my aim, the important thing was that there was a possibility that they could be worn. They were a way of exploring and expressing ideas. Clothing as art was an area in its infancy in the 80s.
So if function is no longer relevant, what are you trying to do with your garments?
I used the garments, and subsequent work, to explore notions about a person. The first shirts I made gave form to the gestures a garment makes you do when you put it on. For example Wraparound Shirt makes you ‘put the other arm in’, you keep repeating that gesture to put it on. But I also wanted to create pieces that had a strong visual impact when they weren’t being worn. In my work with dance, gesture and movement are also important. I have created dresses that direct the dancer’s movements and set the scene for these movements.
Can you explain your attraction to textiles?
I started working with textiles before I realised that that was what I was doing. Most of my work is working with textiles, or about textiles. I like the fact we are surrounded by it in various forms, its feel, and what it does. I enjoy the sense of touch. It’s an amazing manufactured material which you then add your manufacturing process to – often you meet the material in this half-way position. It’s already had a human touch.«  (Interview by Diana Woolf – nov 2009 – « maker of the month » – http://www.themaking.org.uk/)

Caroline Broadhead catalogue cover (open showing front and back) Arnolfini Gallery, Bristol November 1981

« This catalogue is of an exhibition of Caroline Broadhead’s, whose work at this time was inspired by having taken up embroidery in Kenya. Using the practice of wooden hoops for tensioning the material, she used laminated wood and the industrial nylon monofilament which she colour-dyed and utilised in this body of work. Work which was of a playful and colourful yet rigorous and controlled nature fashioned into bracelets, necklaces and brooches. These became canonical works in the repertoire of one of the five major presences in British New Jewellery : Caroline Broadhead, Pierre Degen, Susanna Heron, Julia Manheim, and David Watkins. »

Caroline Broadhead, Seven seams – skeleton of clothes - (winner of Jerwood Prize for Applied Arts- Textiles in 1997 )

In her early pieces she employed flexible nylon monofilament structures that could be collapsed to form a neckpiece, pulled up to form a ruff effect or even expanded to cover the face and head (e.g. neckpiece/veil, 1983; see Dormer and Turner, pl. 161). She also used multi-coloured woven flax for broad hooped necklaces and bracelets (e.g. tufted necklace, 1979; see Houston, pl. 12). The range of plain and coloured acrylic jewellery produced by C&N Buttons & Jewellery Production, a company she formed in London in 1978 with Nuala Jamison (b 1 Oct 1948), had a broader appeal. In her work Broadhead proposed new functions for materials and techniques, going beyond the idea of a unique item of value, to fuse clothing and decorative accessories in a complete and imaginative ensemble. In the 1980s she created a new mood with elusive body garments: Cocoon, Seam (both 1986) and Web (1989; all London, Crafts Council Gal.) are cotton and nylon fabrics that, once wrapped, form surreal patterns that play on an ambiguity between clothing and personality. Broadhead has been recognized as a leading innovator in the New Tradition tendency in Europe, a generation of designers who, over two decades into the 1980s, revised many of jewellery’s conventions.

 

BOOK :

Bodyscape: Caroline Broadhead  –
By: Pamela Johnson  -  Art Books Intl Ltd – 2000 – 32pp

The New Jewelry from LATIN AMERICA – « joyas jóias »

Velvet da Vinci continues its survey of contemporary international jewelry with an exhibition of rarely seen work from Latin American artists with « joyas jóias » exhibition (sept 2004)
Many countries in Latin America have traditions of silver and gold work well before the Spanish and Portugese colonialization.  ….. experimental, contemporary work is rarely seen
The exhibition features the work of 30 artists from six Latin American countries with a special emphasis on the exciting work from Argentina. Some of these artists have studied abroad and reflect current trends in contemporary art jewelry, while others have a singular vision unlike any other work now being made. 

 

Participating artists:
Stella Alonso, Argentina • Clara Inés Arana, Colombia • Karina Badaracco, Argentina • Jimena Bello, Colombia • Viviana Carriquiry, Argentina • Jorge Castañón, Argentina • María de los Angeles Matos, Puerto Rico • Susana de Muro, Argentina • Paulina del Fierro, Chile • Susana Ditisheim, Argentina • Nicolás Estrada, Colombia • Fabiana Gadano, Argentina • Elisa Gulminelli, Argentina • Patricia Gurgel Segrillo, Brazil • Marco Huizar, Mexico • Guigui Kohon, Argentina • Francisca Kweitel, Argentina • Anastasia Mamlai, Chile • Sandra Manin Frias, Brazil • Aurorisa Mateo, Puerto Rico • Flavia Mina, Argentina • Marina Molinelli Wells, Argentina • Ana Nadjar, Chile • Germán Páez Morales, Colombia • Montserrat Pascual Salat, Mexico • Mónica Perez, Chile • Eduardo Rubio Arzate, Mexico • Mariana Sammartino, Argentina • Daniela Schwartz, Argentina • Agnes Seebass, Mexico • Paulo Segatto, Brazil • Claudia Vallejo, Colombia

Daniela Schwartz (Arg.) Bracelet & necklace

Paulina del Fierro (Chile) Rings & necklace

Fabiana Gadano (Arg.) Bracelet
Patricia Gurgel Segrillo (Brasil) Necklace

Patricia Gurgel Segrillo (Brasil) ring
Francisca Kweitel (Arg.) « Siempre Presente »  Brooch

 Jimena Bello (Col.) – Rings

Mónica Pérez (Chile) Flower Ring
Aurorisa Mateo Simpson (Puerto Rico) Ring  & Square Hole Ring

Aurorisa Mateo Simpson  Flat Bracelet, Zig Zag Bracelet &  Ellipse Bracelet

Stella Alonso (Arg.) Genesis Pendant
Susana de Muro (Arg.) Magic Dream Necklace

Maria de los Angeles Matos (Puerto Rico) ‘Moving Waves’ Ring  &  ‘Inner Soul I’ Ring

 Marina Molinelli Wells (Arg.) Neckpieces

Sandra Manin Frias (Brasil) Necklaces

Mariana Sammartino  (Arg.)  « Cruz del Sur » Bracelet  &  « Sonora » Brooch

COUP de …. COULEUR ! Harriete Estel Berman – April Flower Pins

Harriete Estel Berman ………… with recycled tin cans !