Selected 4 SCHMUCK 2016 : Marjorie Schick
Marjorie Schick
Congrats to all the artists who made the SCHMUCK 2016 list, on show at the Handwerksmesse during #munichjewelleryweek 24/02–1/03/2016
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« In the jewellery world Marjorie Schick is a complete original. Over forty years she has built up an impressive oeuvre. Her colourful wood or papier-maché constructions make a powerful visual statement when worn as wearable objects. « (Book: « Sculpture to Wear. The Jewelry of Marjorie Schick »)
« I often construct forms of a scale which puts the work into the category of body sculpture rather than jewelry. »
« My work has been about exploring the boundaries of jewelry and sculpture since my first year in graduate school, though I did not quite understand it as that. Then, as I left school to begin my professional career, I found my direction in the work of sculptor David Smith: what would it be like to put your head or an arm through one of his works? That was 1966. I have been trying to achieve that fusion, to be both jeweler and sculptor (and something of a painter as well) ever since. I am as excited about this adventure today as I was more than forty years ago. » (CharonKransenArts)
« My work is a sculptural statement which is complete when off the figure yet is constructed and exists because of the human body. I am intrigued by the idea that the human body is capable of carrying large objects, both physically and visually; therefore, I
often construct forms of a scale which puts the work into the category of body sculpture rather than jewelry.
There are five major aspects to my work: the constructed three-dimensional form, the color relationships, the definition of space, the combination of patterns, and the scale of the objects in relationship to the human figure. My goal is to create a sense of visual tension among the formal elements of each object, such as from line to plane, from color to value, from one directional
force to another, or from the rhythms in the structure to the rhythms in the colors. Each object is studied and worked in totality, no part being any less important than any other.
I refer to the linear constructions I did in the 1980′s as three -dimensional drawings to wear and to the newer more organic works as sculptural paintings to wear. I hope that as objects they seem to be « alive » with aesthetic presence. The motivation for the work is never to fit into any trend but rather the work is done out of a passion for creating, for trying to do something significant » (Pittsburg State Univ.)
Marjorie Schick
Marjorie Schick Blue collar
Marjorie Schick painted papier mache « Spring Green » Necklace 1993.
Marjorie Schick
