EXPO ONLINE at JEWELLERY SCAPE – PLASTICs section

http://www.jewelleryscape.com

 

‘PLASTICS’ gallery :  Margaux LANGE (US), Colleen BARAN (CA), Ruth MOORE (UK), Cynthia del GIUDICE (ARg.), Emily WATSON (US), Luisa BRUNI (IT), Francesca GABRIELLI (IT), Chryssa DAMIANIDOU (GR), Henriette WHITE (ZA), Manuela GANDINI (IT), etc etc etc ……

Ruth Moore (UK) – resin bangle – 2008 – Resin, pigment paste, sterling silver, plastic beads.

Cynthia Del Giudice  (Argentina) – fused plastic ring

Luisa Bruni – ‘Plink’ rings – plexiglass, silver

Emily Watson (US)- ‘bubble resonance4′ 2009 – corian, bowling ball plastic

Francesca Gabrielli (IT) – STREET ART 2008 – girocollo
Colleen Baran (CA) – Elastic Ring 2 – 2010 – found rubber band, thread

Alessandra Lorini - « Svruss » -pvc pipes for scoubidou – copper wire

Chryssa Damianidou (GR) – ‘snow queen’ 2010 chain,crystals

María Eugenia Pretto (Uruguay) – ‘Nube’  2010 – Metallic mesh & Fishing line

Henriette White  (South Africa) – layers of lime – perspex, aluminium (left)

Manuela Gandini  – BOLD! bangle – 2010- anallergic recyclable rubber

Catherine SHEEDY (Quebec) – silver, pvc, rubber neckpiece

 

EXPO ‘Pommes De Jong’ – Musée Freriks (NL) – 18 juill.-5 sept 2010

Jacqueline de Jong  présente actuellement au  musée Freriks les « Pommes de JONG »

pommes de jong – 2009  varying sizes cm  jewelry  mixed media (gold-dipped potato skin) 

« For her current exhibition, de Jong has created a series of potato bijoux, « Pommes de Jong. » They consist of potatoes laid out to dry until they are totally shrivelled, and then dipped, roots and all, in a bath of molten gold, with surprising results – jewel-like objects in weird and wonderful forms.
Her interest in integrating the humble potato, which she cultivates in her garden in France, into her art, began in 2001 with her series of paintings inspired by Malevich, as the hair of The Farmer’s Wife (« Potato Hair »). This was followed in 2002 by a painted dialogue (« Harvest ») with the pioneering Russian artist.This theme continued with « Aardappeltaal’ (Potato Language), a collaboration with Jennifer Tee at the Van Abbe Museum in Eindhoven in 2003. In 2006, participated in the Biennale di Ceramica dell’arte (curated by Roberto Orth), in Albissola, Italy, with an installation of ceramic objects of « baked potatoes » for the home and garden of the Danish artist Asger Jorn (1914-1973). »

L’exposition, composée de peintures, sculptures et bijoux, expose ses ‘Pommes De Jong’.  Jacqueline de Jong est une artiste de renommée internationale, son travail est dans de nombreux musées et collections internationales.  Actuellement, à part Winterswijk, elle expose à Livourne (Italie).

Elle partage actuellement son temps entre Amsterdam et un village du Bourbonnais (France). Formée en tant que graphiste, elle pratique tous les arts visuels. Elle travaille la peinture, mais elle crée aussi des objets en trois dimensions et de la céramique.  Huit œuvres majeures, portant le titre « Harvest », peuvent être vues au Musée Freriks.  L’influence de Malevitch et du mouvement COBRA est clairement reconnaissable.

Actuellement, elle est fascinée par ses bijoux de pommes de terre, les « Pommes de Jong ».   « Fuite de pommes de terre aussi longtemps tarie tout le liquide est parti, et aller dans un goudbad, avec des résultats surprenants » (euuuhh …. c’est google qui le dit !). Cela donne des broches et des pendentifs ou des pièces d’art mobiles. « Pommes De Jong » est au Musée Freriks jusqu’au 5 Septembre 2010.

 

Museum Freriks Winterswijk
http://www.vereniginghetmuseum.nl/
[e-mail]
Groenloseweg 86, 7101 AK Winterswijk
0543 – 53 35 33

EXPO ONLINE at JEWELLERY SCAPE – METAL section

http://www.jewelleryscape.com

« This virtual exhibition presents, for the first time, the « virtual jewel community »: 250 works that, for methodological reasons, have been grouped into five macro-categories based on the material used: metal, paper, plastic, organic and fabrics. Within each of these categories however the initial heterogeneity has been preserved, as a conscious choice as well as well as to value the individuality and the geographical and semantic… specificity of each piece. The works presented are those of great masters and young students alike, coming from all aver the world, characterized by different backgrounds and languages, alternately high or low technologies, manual or serial manufacture processes: the red thread that unites them all is the project, the necessary connective tissue in the contemporary babel.
Each of these works contains within it a world which unfolds before our very eyes, gifting us with the preciousness of a reflection and the emotion of a suggestion. Extraordinary pieces, for their making and the ideas behind them, from which we can sense memories of places and lives, shadows of incidental trajectories. And passion: in the form of challenge.«  (Alba Cappellieri)

 

‘METAL’ gallery : Colleen BARAN (CA), Harriete Estel BERMAN (US), Agata BIENKOWSKA (PL), Sabrina BOTTURA (IT), Patrizia BONATI (IT), Enrico CABERLON (IT), Corrado De MEO (IT), Francesca GABRIELLI (IT),  Valentina Gaia GAMBETTA (IT), Manuela GANDINI (IT), Maria GOTI (ES), Raffaele IRACE (IT), Sandra KOCJANCIC (SI), Stefania LUCCHETTA (IT), Rosalba BALSAMO (IT), Angela GERHARD (US), Ariel Matias ORTEGA (Arg.), Rossana RO (Niiro Jewelry) (IT), Barbara PAGANIN (IT), Stefano PEDONESI (IT), Gina PANKOWSKI (US),  Alessandro PETROLATI (IT), Fabrizio TRIDENTI (IT), Janos Gabor VARGA (HU), Gonzalo PALMA (Peru), Corinna COLOMBO (IT), GianCarlo MONTEBELLO (IT), Emanuela DUCA (IT), etc etc etc …

Rosalba Balsamo  – bracciale, argento, 2006 (dentro vuoto….tecnica galvanica)

‘METAL’ gallery – Gonzalo PALMA Joyas (Peru) – Collar ‘Central one black city’  - Silver 950, Peridots

‘METAL’ gallery – Agata Bieńkowska (PL) – ‘OTCHŁAŃ /ABYSS’ white metal (alpaca silver) & plexiglass jewelry

‘METAL’ gallery -  Harriete Estel Berman (US) – Flower Pins
« Each April Flower Brooch is a one of a kind pin constructed from multiple layers of recycled tin cans. The use of recycled materials becomes metaphorical foundation for the flower motif. Each and every petal is cut by hand, the edges are smooth, then the flower petals are lifted and twisted to make the flower petals more rigid and dimensional in appearance. » (to shop on Etsy …)

‘METAL’ gallery -  Angela Gerhard (US) – ‘Cha cha’ earrings – vitreous enamel on copper

‘METAL’ gallery – Maria Goti (ES) ‘Criaturas Marinas XI’ – oxidised silver, gold, Coral Fosilizado, cultured pearls

‘METAL’ gallery – Raffaele Irace – ‘enigma’ ring – semiprecious stones and silver

‘METAL’ gallery – Stefania Lucchetta – Silk 51 bangle – titanium

GianCarlo Montebello (IT) – rings SOFTNESS – stainless steel mesh, yellow gold, stone cut-metal gems in yellow gold

Sandra KOCJANCIC (SI)

Barbara PAGANIN (IT) – Vasi Alchemici . Collana in argento patinato e vetro soffiato a lume

Gina Pankowski (US) – New Architectonic Necklace – silver
Rossana RO  (Niiro Jewelry)

Janos Gabor VARGA (HU) ‘Hatch’ ring in progress
Fabrizio TRIDENTI - ‘chs2′ ring 2007- oxidized silver, enamel

Corinna Colombo  – « Spinosa » di nome e di fatto, collana realizzata con fili di rame e di ferro di diversi diametri

Dominika Naborowska (PL) – necklace (le blog Panie-Przodem c’est elle ! )

Emanuela Duca- ‘petals’ necklace – oxidised silver, diamonds 

COUP de … ROUGE ? Coup de COEUR ! Julia Turner

Julia Turner (US)

ses rouges, éclatants, explosifs, très présents, des « LUMIERES ROUGES » comme elle les intitule, ou alors discrets, en touches, en traits, et là ils me rappellent des gravure, côtoyées dans mon enfance, Hans Hartung, Vieira da Silva, Georges Mathieu …. (je me rends compte que tout ça est bien typé « années 60-70″ !! )

Georges Mathieu

(gravure de hans hartung à la galerie Melki)    —    Vieira Da Silva

brooch – ‘Notation’ 2010     –    brooch

Brooch, ‘You Are Here’ – 2010

« These pieces are excerpts… pieces of experience, magnified like text. Or insets in a map, showing features which would otherwise appear only as pinpoints in the sea. I am looking at intersections in thought, between logic and emotion, between observation and experience, between the impulse to organize and the impulse to release.
My method when making jewelry usually involves pushing a particular material, process or idea to some kind of breaking point at which the piece releases the answer to an unasked question, one which I couldn’t quite articulate in words and which by the same token has to be answered by a physical form. As I experiment more and more with a specific approach and become more discerning about what I see emerging, I begin to see the unnecessary elements fall away, leaving room for a more straightforward kind of interaction to take place. Eventually the free exploration of shapes and surfaces takes precedence over technical issues, and I come to what I think may be the
“real” piece of jewelry. Though I tend to set formats and limits for the sake of continuity, I see most of these as arbitrary, and often find myself applying the same technique to multiple materials just to see how they will respond.
I often think about jewelry in terms of its parallels with language, and I feel the same way about working toward an expression in jewelry as I do about working toward an expression in words, particularly in a foreign language. I’m reminded every time I open a dual-language dictionary, or watch a subtitled film, that each language has countless expressions which are simply unmatchable in others. They are invisible until we seek them out or stumble upon them by accident , and it can seem strange that we never quite had words for that particular feeling or situation or state of being. I have that same experience in museums, and hearing music, and looking at buildings…and jewelry, because of its scale and portable, wearable quality, evokes that same response in a very particular way. When I make jewelry I feel like I am mining a language, looking at its early beginnings and current usage all with the same eye, and that my job isn’t so much to invent meaning as to simply notice where it’s been sitting all along, waiting for somebody to dig it out. »

Necklace, Red Light – 2010

ring

Red Light brooch: oxidized silver, paper.
Cell Slice Brooch

Scope Brooch #2 wood, oxidized silver

Red Nerve Brooch wood, stain, silver
Red Float Brooch, wood, stain, gesso, sterling silver,

Red Box pendant wood, stain, linen, steel

Black Knot Brooch – wood (burned and stained), oxidized silver

Brooch – wood (burned and stained)

 

PS : j’ai fait MA sélection, centrée sur le rouge, mais d’autres merveilles vous attendent sur son site ! à aller voir absolument !

à voir également à la galerie Velvet da Vinci

COUP de COEUR ! Fie von KROGH – encore !!!???!!!!! bijoux TEXTILES

Fie von KROGH (Norvège) : Recycling viscose and nylon scarf

je vous avais dit ! quand on aime on ne compte pas !

‘Coronifera’ – collar

‘Litosphaeri’ – collar

‘Coronifera’ – bracelett

COUP de COEUR ! Anya Pinchuk – Invisible Necklaces for Russian Spies !!

Invisible Necklace for Russian Spies to Recognize Each Other While on a Secret Mission in the US -  LOL !!!

« New series of necklaces by Anya Pinchuk. Each piece is called Invisible Necklace for Russian Spies to Recognize Each Other While on a Secret Mission in the US. It was not the sly title that first captured my attention, but the haunting opulence and mystery of the designs.
What were these peculiar pieces made from? How was it possible for an artist to respond to a current event so quickly and in such a fully resolved way? I had to know more, so I set off on my own secret mission and went straight to the source, Anya Pinchuk, for some answers. (Cue detective-show soundtrack.) » (Marthe Le Van – Larkrafts.com)

Anya Pinchuk – Invisible Necklaces for Russian Spies to Recognize Each Other While on a Secret Mission in the US, 2010 – Invisible ink, black light; stamped

 

interview par Marthe Le Van (Larkrafts.com) :

« The headline that provoked the invisible necklace series just broke in the last week or so. Were you immediately inspired by the story?
I’ve had the idea for invisible jewelry for some time. I love to read spy and detective novels as well as watch CSI (hence the black light). I wanted to make a piece of jewelry that you don’t even see until you are in a special environment, such as a crime scene, or more trivially, a nightclub.
Last year I made rubber stamped jewelry using traditional pieces from the Victoria & Albert Museum, but that series didn’t make much sense. At least I didn’t feel I had accomplished what I wanted to with the work. There was no humor.
This June I had an exhibition at Quirk Gallery in Richmond, Virginia. I showed invisible necklaces stamped with images of Soviet symbols, but it was still too serious. This Russian spy scandal just brought everything together. Now all the spies can look pretty when they have their secret meetings!
How did you apply and photograph this super secret jewelry?
The water-based invisible ink is stamped directly onto a person’s skin. You need a black light just to apply the pieces. This series has seven different stamps that a person can mix to create as much jewelry as they wish. (That also gives spies an opportunity to create coded messages.) I photographed this series with a regular digital camera in a dark room with only a black light on.
Do you foresee more accessories for espionage in your future?
I am thinking of making a few more stamps for the American spies that soon will be caught in Russia! »

Anya Pinchuk – Invisible Necklaces for Russian Spies to Recognize Each Other While on a Secret Mission in the US