EXPO ‘Ulrika Sward’ – Konsthantverkarna, Stockholm (Suede) – 14 Avril-9 Mai 2012

« Ulrika’ s grepp om det dekorativa kan kanske bäst beskrivas som stående med ett ben i nuet, med ögat och sinnenas omedelbara sensation, och ett i smyckehistorien och sentimentens/minnenas landskap.
Det som vid första ögonkastet ser oskyldigt tilltalande dekorerat ut bär på lager av kultur, självupplevda men aldrig privata.
Det är som en dubbelexponering där två världar går in och ut i varandra eller kanske kan man säga är hennes verk spänt ut mellan nu och då, som vi är som människor.«   Castello Hansen 2012

Ulrika Swärd ring

Ulrika Swärd brooch

Ulrika Swärd ring

Ulrika Swärd Hange kort

Konsthantverkarna
Södermalmstorg 4
116 45 Stockholm
Tel: [phone]
Fax: [phone]
E-post: [e-mail]

EXPO ‘Claude Schmitz: Fraction ()’ – Galeria Reverso, Lisbon (PT) – 19 Avril-25 Mai 2012

Claude Schmitz : Fraction ()

(Claude Schmitz  Brooch: Red Leaves 2011 – Silver, lacquer)

It would be easy to draw parallels between the different aspects of Claude Schmitz’s oeuvre. This could be a generally ingenious exercise, aiming to make sense of his artistic practice, pay homage to its creator, and present the public with material for discussion. However, this is not the intention. If there were no fractures in the work, it could not be part of a whole – and the whole, in turn, could not relate either to itself or to the work of other artists. While Claude Schmitz’s work is meant to be a part of the general discussion, it is no less the result of his self-reflection, which primarily manifests itself in the execution. What would art be if we neglect execution, if we abandon the quest for function? It would be reduced to mere ‘built objects’, entirely devoid of meaning. 

By titling his pieces, the artist shows an intention to differentiate them. However, he could also have a different intention in mind, provided that one does not lose sight of the totality. Claude Schmitz titles his works by referencing former transformations of form and text, whose conceptual programme requires the wearer to take a stance and become involved, or engaged, on a certain level, either actively or passively, yet remaining below the surface. Anyone observing his easy manipulation of traditional materials might think his work is the product of craftsmanship alone, but this is not the whole story. Nothing escapes logic, which is analogous to a complex equation and can, in much the same way as a mathematical formula, be beautiful.  Dietmar Tanterl, artist (Munich)

 

Claude Schmitz Brooch: Undertow 2011 Silver, glass, lacquer

 Claude Schmitz Brooch: Night Fruit 2011 Silver, lacquer, hematite

Claude Schmitz Brooch: What Remains 2011 Silver, pearls

 

 

 

Galeria Reverso
R. da Esperança 59/61
1200-655 – Lisbon
Portugal
Telephone: [phone]
Fax: [phone]
website: www.reversodasbernardas.com
mail: [e-mail]