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07/12/2014

EXPO ‘Jee Hye Kwon: Spotlight’ – Mobilia Gallery, Cambridge (USA) – 6-30 Dec. 2014

Classé dans : Exposition/Exhibition,Gal. Mobilia (US),Jee Hye KWON (S.KR),USA — bijoucontemporain @ 15:45
Jee Hye Kwon: Spotlight Exhibition PLEASE JOIN US TO MEET THE ARTIST & CELEBRATE JEE HYE KWON’S WORK SATURDAY, DECEMBER 6, from 3:00 – 5:00 p.m.

Jee Hye Kwon

Inspired by architectural forms and topographical shapes in nature, I aspire to create works which combine the renderings of an architect with the delicate skills of a master jeweler. Employing multiple gages of gold and silver wire in varied tones, my works are distinguished by their « see-through-spaces. » Fluidly interlinked organic forms suggest dynamic movement, especially accentuated by the white and black of silver and shakudo. Essential to my conception is creating a structure, with a sense of volume and lightness that invokes a feeling of infinite space. Jee Hye Kwon’s work is presented at Mobilia Gallery as a part of the series Spotlight Exhibitions that  feature a small collection of an artist’s most current work for a short period of time.

Jee Hye Kwon - Brooch Oxidized silver, tourmaline 3" x 4 1/2" X 3/4" Jee Hye Kwon – Brooch Oxidized silver, tourmaline 3″ x 4 1/2 » x 3/4″

Jee Hye Kwon - Necklace Oxidized silver, 14K gold solder, diamonds 8" x 8" x 1.5" Jee Hye Kwon – Necklace Oxidized silver, 14K gold solder, diamonds 8″ x 8″ x 1.5″

Jee Hye Kwon - Necklace Oxidized silver, diamonds 10.5" x 11" x 3" Jee Hye Kwon – Necklace Oxidized silver, diamonds 10.5″ x 11″ x 3″

Jee Hye Kwon Rings -   Jee Hye Kwon Rings

 

Mobilia Gallery
358 Huron Avenue
MA 02138 -  Cambridge  – UNITED STATES
mobiliaart@verizon.net

EXPO ‘Rachelle Thiewes: Spotlight’ – Mobilia Gallery, Cambridge (USA) – 15 Nov.-30 Dec. 2014

Classé dans : Exposition/Exhibition,Gal. Mobilia (US),Rachelle THIEWES (US),USA — bijoucontemporain @ 15:16

Rachelle Thiewes: Spotlight Exhibition

PLEASE JOIN US TO MEET THE ARTIST & CELEBRATE RACHELLE THIEWES’ WORK
SATURDAY, DECEMBER 13, from 3:00 – 5:00 p.m.

 

Rachelle Thiewes

Rachelle Thiewes’s work is presented at Mobilia Gallery as a part of the series Spotlight Exhibitions that  feature a small collection of an artist’s most current work for a short period of time.

« The Chihuahuan desert of west Texas, where I live, has played a pivotal role in shaping the way I approach my jewelry. The barren mountains with the desert pushed up to their edges are bold, dramatic, aggressive and seductive, providing a continual source of inspiration and study. The luminous energy of light that bathes the desert can swiftly transform from sharp and shrieking to subtle and sensual, all within a day’s time. Capturing the refraction and dispersal of light with my jewelry through the orchestration of body motion has held my fascination for decades and continues to challenge and inform my ideas of light. » – Rachelle Thiewes

 Rachelle Thiewes - Slipstream Brooch #439 Steel, silver, automotive paint 3 1/4" x 2 3/4" x 3/4"Rachelle Thiewes – Slipstream Brooch #439 Steel, silver, automotive paint 3 1/4″ x 2 3/4″ x 3/4″

Rachelle Thiewes - Slipstream Brooch #441 Steel, silver, automotive paint 3 1/2" x 3 3/4" 1 1/4"Rachelle Thiewes – Slipstream Brooch #441 Steel, silver, automotive paint 3 1/2″ x 3 3/4″ 1 1/4″

 

Rachelle Thiewes - Heat Earrings #380 Steel, silver, 18K white gold posts, automotive paint 3" x 3" x 1 3/4"Rachelle Thiewes - Heat Earrings #380 Steel, silver, 18K white gold posts, automotive paint 3″ x 3″ x 1 3/4″ 

 

Mobilia Gallery
358 Huron Avenue
MA 02138 -  Cambridge  – UNITED STATES
mobiliaart@verizon.net

 

EXPO ‘Georg Dobler / Thanh-Truc Nguyen’ – Galerie Ra, Amsterdam (NL) – 15 Nov.-31 Dec. 2014

Over the coming period Galerie Ra will be presenting new jewellery by Georg Dobler, and his former student at the Hochschule Hildesheim, Thanh-Truc Nguyen.

 Georg Dobler Brooch: Untitled, 2014 Oxidized silver, gemstonesGeorg Dobler Brooch: Untitled, 2014 Oxidized silver, gemstones

Georg Dobler, brooch, 2014, silver/plasticGeorg Dobler, brooch, 2014, silver/plastic

Thanh-Truc Nguyen, brooch, 2014, steel/silverThanh-Truc Nguyen, brooch, 2014, steel/silver

Thanh-Truc Nguyen, broche, 2014, steel/silverThanh-Truc Nguyen, broche, 2014, steel/silver

 

 

Galerie Ra
Nes 120
1012 KE -  Amsterdam
NETHERLANDS
+31 20 6265100
mail@galerie-ra.nl

Coup de coeur : Julia Maria Künnap – une beauté qui COULE de source …

Classé dans : COUP DE COEUR,Estonie (EE),Julia Maria KUNNAP (EE),pierre / stone — bijoucontemporain @ 0:07

MELTING beauty ………………

Julia Maria Künnap graduated in 2004 from the Estonian Academy of Arts, Jewellery Art Department under Prof Kadri Mälk. Before this she studied at Konstfack, Stockholm and in 2006 was the Artist in Residence at Alchimia School of Contemporary Jewellery in Florence. She has exhibited in various group exhibitions throughout Europe and in 2013 presented her first solo exhibition in the Emerging Artist Platform at Sienna Patti.

Julia Maria Künnap, Is This The Happiness, 2012, brooch, smokey quartz, gold, 35 x 35 x 20 mm, photo: artistJulia Maria Künnap, Is This The Happiness, 2012, brooch, smokey quartz, gold, 35 x 35 x 20 mm, photo: artist

“..I usually don’t regard the equipment used for accomplishing my works as important enough to talk about separately, but questions that have arisen in connection with those fusible stones show that an explanation is needed. A dealer from Munich was convinced that I’m approaching the issue in a post-modernist fashion: I purchase a cut stone and melt it down by the corners – “the melting point of quartz is said to be quite low!” That is, for better or worse, impossible. There are no hat tricks, bamboozling or conjuring in making my work. All of the stones are cut from one piece of raw material without any glue or resin.
Working with this material in this way was as if I was stepping across some invisible doorstep. I had been told, stone cutting is an “entire science in itself” that demands “extremely great skills and experience”, as well as “very expensive equipment”. Additionally, I had a certain awe for a rare natural material such as large gemstone crystals – I didn’t want to grind them aimlessly into dust. Luckily, my art-academy education encouraged me: I nonetheless started searching for solutions to execute my idea, not for accommodating it or pouring it into a more simply- and quickly-workable material.
I derive from classic cuts when constructing my own, but I redo them according to my own style. I’ve used a step cut in the case of many stones: it is an older type of cut, which gives the stone a calmer and more static reflection, and it doesn’t shine in such a crazy way. The “Nobody’s Perfect” ametrine is cut using Standard Round Brilliant in principle, but I made it 9-fold instead of the usual 8-fold mirror-image symmetry – while something akin to a notched 8-pointed cross makes up (below) half of a standard brilliant pavilion, this stone’s design has nine branches.
My faceting workshop is located in my kitchen sink. The machine, with which I cut these stones fits onto an A4-size sheet of paper and costs less than the average Estonian’s holiday trip to a warm, sunny destination. I’ve gradually rebuilt and improved the machine according to my needs: for a faceted cut, it has a faceting head, with which I can hold the stone at the correct angle. For the most part, I cut the facet part first, and then cover the entire polished area with sealing wax for safety and carve end polish the flowing forms.
It’s quite pointless to talk about the amount of time spent working the stones. Raw crystal can be observed for a week or two, a couple of years, or a dozen before cutting. After the work is complete, there is always the feeling that it could have been done better; but I suppose that is merely the blink of an eye in comparison with the age of the stone itself.”

 Julia Maria Künnap, Molten, brooch, 2010, Smokey Quartz, gold, 3 x 3.5 x 2.5 cm, private collection in ItalyJulia Maria Künnap, Molten, brooch, 2010, Smokey Quartz, gold, 3 x 3.5 x 2.5 cm, private collection in Italy

I am inspired by imperfection. It is a strong source of motivation. If I see a perfect thing—an artwork, a poem—I just breathe in and breathe out. It just comes and then goes. But if I see something that irritates me, I start analyzing. Why am I irritated? Why isn’t it perfect? Where is the ‘mistake’ made? Usually, once I have deconstructed the whole piece in my mind, I already have so many good ideas. In the end, these ideas don’t have much to do with the source of inspiration. (Sienna Patti)

Julia Maria Kunnap, Regret, brooch– obsidian, gold – at Art gallery Putti "Endless closeness" exhibitionJulia Maria Kunnap, « Regret » brooch– obsidian, gold at Art gallery Putti « Endless closeness » exhibition

read her INTERVIEW on AJF by Aaron Decker (dec. 2012) :
« Can you comment on the juxtaposition of the facets with the parts that appear melted or in liquid form?
Julia Maria Künnap: There is a large contrast in many ways. The stones cannot melt like this. The drop could not freeze like this. Even if you could melt quartz, it would be so wrong. Gems just don’t melt. Glass does. It is trying to capture a moment in something so eternal as stone. »

Julia Maria Künnap - A Half At Every Angle, (brooch), 2014. Rock crystal, gold, 2 1/2 x 1 3/4 x 3/4Julia Maria Künnap – « A Half At Every Angle » brooch, 2014. Rock crystal, gold, 7.6 × 3.1 × 1.3 cm

JULIA MARIA KÜNNAP-EE,  brooch "From the Middle of a Dream", 2010, obsidian, gold, 50 x 20 x 10 mmJulia Maria Künnap - brooch « From the Middle of a Dream », 2010, obsidian, gold, 50 x 20 x 10 mm

Julia Maria Künnap -  it-starts-rai-ning earringsJulia Maria Künnap -  it-starts-rai-ning earrings

Julia Maria Künnap -   "Nubis" brooch 2011Julia Maria Künnap – « Nubis » brooch 2011 – obsidian, gold, 6.5 x 5 x 1 cm, photo: Ulvi Tiit, Collection of Estonian Museum of Applied Arts and Design, Tallinn, Estonia

 

 

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