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08/08/2010

COUP …… d’HUMOUR !! avec Noon PASSAMA

Classé dans : COUP DE COEUR,Gal. Marzee (NL),Noon PASSAMA (Thai.),organics — bijoucontemporain @ 0:09

Noon Passama (Thailand) fait des broches pleine d’humour …. et pleines de cheveux ! emoticone

COUP ...... d'HUMOUR !! avec Noon PASSAMA dans COUP DE COEUR 92c3d5675944d18761b537c1d8ceefdcNoon Passama- Brooch 73 x 95 x 170mm – Fur, silver (photographer: Dang-Vu Dang)
a4ab9cf1ae47974aa465988a6c15bf42 dans Gal. Marzee (NL)

Exposition à la Galerie Marzee – 8 aout-6 oct.2010
Annual Marzee Selection of Graduate Work Jewellery 2010 from International Academies and Colleges

Noon PassamaNoon Passama- Final year collection (at Gerrit Rietveld Academie) - brooch- (Photo by Dang-Vu Dang)
8328ece2916e41ad58abb4345a0c8b1a dans Noon PASSAMA (Thai.)Noon Passama- Brooch

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Noon Pasama and Ek Thongprasert new collection (this one will not be at Marzee !)

« This collection we started with a question « What is precious? » Looking at any tangible object, what makes you consider something « precious »? What kind of quality would connect it to our pre-perception of preciousness?  Is it something glittering, shiny, delicate, or with colors relating to precious metal, etc.?
The collection bases on classical jewellery silhouettes, which refers to precious objects depending on wearer’s historical background, from outlines of crown jewel necklaces to simple forms of chains. The work maintains its original silhouette, but discarded any normally expected details.
 » (Noon Passama)

http://bobbintalk.typepad.com/.a/6a011279470c7b28a40120a5c99fce970b-500wi

1c8d4871022830a13667507319ce73eb dans organics

«  …..there is something very special and somewhat theatrical in the large faceted shapes of this design duo. They explore the concept: « What is precious? « …….  » ……. gold plated, or copper plated brass details and horse hair angular shapes,  the brightly colored « jewels » are to die for! »

http://dossierjournal.com/style/wp-content/uploads/2009/12/ek1.jpg
large faceted  horse hair angular shapes

 

Galerie Marzee
Lage Markt 3 / Waalkade 4
6511 VK Nijmegen
The Netherlands (NL)
Tel : +31 24 3229670
Fax : +31 24 3604688
email : mail@marzee.nl

Sebastian Buescher, from the sandy shores of exotic getaways

«  If you are landlocked, working, or just can’t make it to the beach this summer, at least you can enjoy jewelry collected from the sandy shores of exotic getaways. Sebastian Buescher employs mementos combed from the beaches of Thailand and India » (summer 2010 – Velvet da Vinci Gallery)

Sebastian Buescher, from the sandy shores of exotic getaways dans ceramique 35277_440687289533_111933119533_5967089_2873156_n
Sebastian Buescher – Brooch

35277_440687294533_111933119533_5967090_3497753_n dans COUP DE COEUR
Sebastian Buescher‘Clown Fury’ brooch – Ceramic, granulex, crab claw, seeds, metal

SB2_0 dans Gal. Alternatives (IT)
Sebastian Buescher brooch - Wood, porcelain, resin, silver, ceramic components – 2007

35277_440687309533_111933119533_5967093_2498616_n dans Gal. Rob Koudijs (NL)
Sebastian Buescher – Brooch

« Jewellery isn’t jewellery to me anymore. That may sound strange and foreign, but the term jewellery has become a theme to me and not a discipline. To understand what I mean, I can only say that the human body, decoration and the traditional function of jewellery do not matter to me in my work. What matters to me is meaning and purpose, creating timeless pieces, which mark times in my own life, capturing emotions, thoughts and ideas. If anything, I endeavour to rebel against tradition, against society’s rigid rules and against the mundane structure of the human world, simply because the way the world works does not work for me.
The themes in my work revolve around several sub-themes. In the past these have involved time, natural history, nature, irony, contradiction and the escape from reality into a world where anything can be what it wants to be and nothing has to conform to society’s rigid rules and regulations. More recently, I have been exploring the invisible energy within second hand objects, natural phenomena, such as ghosts, and the meaning and purpose of myself as a human being. What has surfaced through this exploration is a deeper understanding of the world, a raw layer of reality, which is carefully hidden beneath the surface, invisible to the naked eye. What we see is surely not what we get. Quite on the contrary, what we see is only an illusion and my work attempts to question and taunt these, exposing the fleshy reality beneath.
«  (Sebastian Buescher)

All Sebastian Buescher images at Velvet da Vinci Gallery, All Sebastian Buescher images at Velvet da Vinci Gallery,
Sebastian Buescher« Encrusterium 9″ Brooch & detail

All Sebastian Buescher images at Velvet da Vinci Gallery, All Sebastian Buescher images at Velvet da Vinci Gallery,
Sebastian Buescher‘Octocoralia’ Necklace

All Sebastian Buescher images at Velvet da Vinci Gallery, All Sebastian Buescher images at Velvet da Vinci Gallery, All Sebastian Buescher images at Velvet da Vinci Gallery,
Sebastian Buescher -   ring   —     ‘carnivore’ ring   –   ring

All Sebastian Buescher images at Velvet da Vinci Gallery, All Sebastian Buescher images at Velvet da Vinci Gallery,
Sebastian Buescher‘the eye’ brooch  — ‘parasite’ 

[SebastianBuescherBroochWidowMaker2007.jpg]
Sebastian BuescherBrooch ‘The Widow Maker’ 2007 – ceramic, black widow spider egg cases, silver, poison, cork

event_08_redlight_design_sebastian_buescher_02 dans Gal. Velvet da Vinci (US)

sebastian-buescher
Sebastian BuescherRing  – porcelain, crystal, silk thread, agate, amber – 2006

 

« I weave myself into my work, quite literally, with blood, sweat and tears. Reality is being stripped, layer by layer, bit by bit, deconstructed ruthlessly and indefinitely. What you see is no longer what you get and the pristine exterior is a mere paper mask for the fleshy, raw world that slumbers beneath, waiting to be discovered, waiting to be set free.
Imperfection Please is a state of mind, a concept, and not just a theme for a collection of work. Its core consists of experimentation, venturing into new territory, focusing on the process and not getting disappointed because an expected goal is not achieved. And while perfection aims to be perfect, a dangerous game that is destined to fail, imperfection is freedom, completely and totally, unique and unexpected. It is about doing things differently and not conforming to existing standards. Each jewel becomes a fragile reminder that sometimes we can break, that sometimes we cannot pull ourselves together and that sometimes we feel utterly flawed, totally imperfect, in a world that bombards us with images of perfection.
The work plays with ancient relics, ritualistic jewellery, natural processes and absurdity. This is my formula for making work; it makes me want to work. My fascination with ceramics has also grown on this journey, primarily because it felt like the perfect material for the expression of my imperfect ideas. What intrigues me with this material, in combination with jewellery, is that there is a potential expiration date that can, if the jewel is mishandled, come true quite easily. The wearing becomes a ritual, the ritual of awareness, reminding us that sometimes we can break, and that, if we do break, we need to pick ourselves up again and move beyond it.  » (Sebastian Buescher - « Sebastian Buescher – Imperfection Please » exhibition at Rob Koudijs Gallery, 2007)

SB16_0 dans Sebastian BUESCHER (DE)
Sebastian Buescherbrooch – 2007 – Earthenware, silver, limpets, glass

« What inspires your work?
I would say that the primary reason I make my work is because it engages me in a state of pure creativity. This state is a very pleasurable state that allows me to travel far from the mundane, serious everyday world into a world where anything is possible and nothing has to make sense. I like to imagine that what I make is a form of complete, unnecessary nonsense. My jewellery is not made to be worn and things are taken out of their traditional environment and placed in a surreal and absurd landscape. Often times these pieces exhibit irony and contradiction, resulting in work that tests humour and allows the mind of the viewer to make invisible connections, primarily through the recognition of common and everyday elements.
What sort of materials do you use and why? Do you follow any particular concept?
More recently I have been drawn to second hand materials, lost memories, history and death. There is something about the past that intrigues me completely, a fascination verging almost on obsession. It is not about knowing what happened, but more about the past being so far away and utterly unreachable. I also think that there is a great sadness in the past, not necessarily one based on bad memories, but on the simple fact that the past is buried somewhere within us, coated with numerous layers of experience. These concepts and ideas were explored in my most recent collection, entitled White Limbo. White Limbo is my imaginary place for lost or forgotten things.
There also appears to be a formula in my work. Recently I have come to the conclusion that there are three main ingredients to my work, namely experimentation, material and history. They are all linked and cover common ground, but can also exist separately. Experimentation allows me to play with a material, technique or idea. This act of playing explores possibilities and opportunities. The material can be part of the experimentation, but is also something I hunt for on a regular basis, whether in antique markets, supermarkets, ebay, rivers or forests. Sometimes the material, or object, is complete and I have to do nothing more than use it as it is. Other instances make me dissect the object, looking for something I haven’t seen or something that feels meaningful. A lot of these objects are about history, in other words time and experience. Things from the river have been tumbled and washed for maybe a thousand years, trees have grown over centuries and second hand materials have been used, perhaps stolen, lost or given away. This formula is then applied to my ideas and somehow come together as a piece.
Do you plan your pieces beforehand or is yours a more instinctive type of work?
I do not really plan my pieces, they tend to just happen. I start with an initial idea, like a blur. As I progress, I look at what excites me and what doesn’t. I do not wish to spend my time being bored, I can do that whenever I want. I want to feel a fire within me, pleasure rushing through my veins and anticipation to work. I want to look at the finished piece and be inspired and moved to create more. I can get stuck, I can get bored with a piece and as an artist, I will never be able to see what I am really making, as other people are. What I do know, however, is that this work is my life. It has moved from a hobby to become my livelihood, my passion, my dreams and my desires and this is something I will continue for as long as I will live. » (interview by Alternatives Gallery)


il peut aussi faire ça ………… et là, comment dire, j’accroche moins … surtout « the worm ring » ! :-(

buescher1.jpg
Sebastian Buescher’s conceptual contemporary jewelry…

 

SHOP online at Alternatives Gallery 

Les BLANCS de la Baltique – Tarja TUUPANEN (Finlande)

Classé dans : COUP DE COEUR,Finlande (FI),Tarja TUUPANEN (FI) — bijoucontemporain @ 0:05

« White is waiting, it is silent, quiet and calm, it is clear and comforting, and frighteningly empty.
Can a blanco portrait tell more than a photo? Is there something more to look at in a white scenery than in the view from your balcony? The white cacholong fascinates me. In a natural material all the white shades you can think of. This stone has the perfect athmosphere, it is minimalistic and quiet, stagnant but not boring, quite noble even. It looks soft and gentle, but it is not the truth. When you look its whiteness long enough, you start to see some colours. I do love northern winter, when everything is covered with snow. It is silent, quiet and calm. Clear and comforting and frighteningly empty.
« (Tarja Tuupanen)

Les BLANCS de la Baltique - Tarja TUUPANEN (Finlande) dans COUP DE COEUR 412 dans Finlande (FI)
Tarja Tuupanen - Brooch – cacholong, silver, 2008
Tarja Tuupanen - Brooch – cacholong, silver, 200914 dans Tarja TUUPANEN (FI)

Tarja Tuupanen - ‘Lingam’, object – cacholong, 2009

« The main material in my work is stone, which I love for its versatility and challenging nature, and hate for its trickiness and limitations. I carve the stone thin, sometimes to its edge, looking for boundaries and interesting sides of the material. The forms in my jewellery often reminds of human body. I’m interested in human, how different genders differ from each other and how they are the same. At the moment I’m studying people’s territories and personal spaces and areas in general. » (Tarja Tuupanen)

 

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Tarja Tuupanen - Brooch – cacholong, silver, 2009

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Tarja Tuupanen - Brooch – cacholong, silver, 2009
Tarja Tuupanen - Brooch – cacholong, silver, 2009

On dit que les eskimos ont plus de 100 mots pour parler de la neige et désigner les différentes nuances de blanc …………

Montserrat Lacomba (blog Mar de color rosa), plus cultivée ( ;-) ) cite fort à propos la peinture de Malevich « Blanc sur Blanc » et toutes les études et réflexions sur le blanc qui s’en sont suivies ….

Lore Van Keer – blanc, blancs, blancs ………

Classé dans : Belgique (BE),blog Apparat,ceramique,COUP DE COEUR,Lore Van KEER (BE) — bijoucontemporain @ 0:03

« My project is about being mentally and physically locked up.
The creations stem from the idea that every human being consists of one physical person and a multitude of emotional personalities.
In both cases you can create a space in which your thoughts and inner life are put in place.
In my work, I equate emotions and the diversity of emotional personalities with spaces. There are moments when we allow people to enter those spaces; and there are others when we close off the spaces and anxiously keep them shut.
In the same way, emotions can create both a feeling of openness and of isolation.
Bearing in mind that every feeling you experience is pure, you can create a private space to harbor each feeling. This private space is subject to your feelings at any given time and can therefore be either fragile or solid, either transparent or opaque.
Either way, every feeling, every emotion is pure at all times, just like porcelain.
Porcelain is a material that combines the elements of both solidity and fragility.  Porcelain has a memory of its own, which is, just like emotion, indelible and impossible to ignore. » (Lore Van Keer)

Lore Van Keer - blanc, blancs, blancs ......... dans Belgique (BE) Lore_van_Keer_1-478x720

Lore_van_Keer_4-880x585 dans blog Apparat

Lore_van_Keer_3-479x720 dans ceramique

en fait, sous l’apparente candeur du blanc, sous cette douceur lactée, elle nous met en boite, littéralement …..  notre mental, notre physique, tout dans des petites boites …. le bijou m’attire, l’idée m’effraye …. Cela m’évoque ces pièces entièrement capitonnées de l’intérieur, où l’on enferme les « fous » ……. vous pouvez y hurler en silence ….. c’est censé vous protéger, tout doux et blanc et ouatiné, mais vous y êtes bel et bien enfermé …. aaah, l’innocence et la candeur du blanc ….. Dans la nature, tout ce qui est blanc est une « anomalie », l’animal ou la fleur « albinos » sont les plus faibles ….

 

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