BIJOU_CONTEMPORAIN

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26/10/2013

EXPO ‘Au-delà du précieux – Créateurs de bijoux contemporains européens’ – Galerie Paul Fort, Paris (FR) – 5-24 Nov. 2013

Parcours du Bijou «Circuit Bijoux» – Paris – à partir de SEPT. 2013

De septembre 2013 à mars 2014

bannière Circuits Bijoux

Hélène Aziza’s gallery will participate to the « Circuits Bijoux » in Paris w/ an exhibition titled “Beyond precious” presenting jewellery that challenges traditional notions of preciousness.

 

Beyond Precious - European jewels - 5-24 nov
Le mot «bijou» évoque immédiatement une notion de «précieux», de matériaux nobles, de valeur (monétaire).
Egalement, s’associe au mot bijou la notion de «portable». Or, il s’agit ici de montrer comment des créateurs réussissent à donner une nouvelle définition du précieux, en transformant des matériaux récupérés, en utilisant des matériaux «pauvres», ou en associant éléments précieux et non précieux, mais toujours de manière iconoclaste.
 Deuxième volet de l’exposition « Au-delà du Précieux » :

Du 5 au 24 novembre 2013 :  «  Au-delà du précieux  – Créateurs de bijoux contemporains européens »

Beyond Precious - 5-24 Nove

 

Grande-Bretagne : Peter ChangLiana PattihisAdam Paxon — Mahrana — Mark Woods
Allemagne : Bettina DittlmannMirjam HillerDaniel KrugerDorothéa PrühlBettina Speckner
Suisse : David BielanderOtto KunzliAlla Malova GuyBernhard Schobinger — Verena Sieber-Fuchs

 

Liana Pattihis, Necklace, 2013Liana Pattihis – 2013 -Necklace: ‘Istos’ Victoriana Choker – Silver cable chain, enamel
Bettina Speckner
Bettina Speckner - Brooch 2010 - Photoetching in Zinc, Silver, Diamonds
Alla Malova Guy - necklace Post Fossil 2011, ceramics, metal chain, flocking, epoxy resin, iron, magnet – Switzerland, Geneva, HEAD
Alla Malova Guy – necklace Post Fossil 2011, ceramics, metal chain, flocking, epoxy resin, iron, magnet
To-Have-and-to-Hold by Marc Woods - "Beyond Precious" Gallery Helene Aziza Paris

To-Have-and-to-Hold by Mark Woods

 
 

Galerie Hélène Aziza / 19 PAUL FORT
19 rue Paul Fort
75014 Paris
www.19paulfort.com

27/02/2013

Schmuck 2013 – EXPO ‘Neuer Schmuck für die Götter’ – Galerie Handwerk, Munich (DE) – 7 Mars-5 Mai 2013

Neuer Schmuck für die Götter / New Jewelry for the Gods

Galerie Handwerk zu Gast in den Staatlichen Antikensammlungen,
Vernissage 6. mars., 19 h -

Le titre de l’exposition se réfère à l’exposition ayant lieu au même moment « Unsterblichen – les dieux de la Grèce » / The title of the exhibition refers to the current exhibition “the Unsterblichen – Gods of Greece”.
in the National Antique collections Gallery.
The collection of antique and gold jewellery of the National Antique collections Gallery has a world-wide reputation. It appears extremely delightful to place contemporary jewelry of internationally renowned designers into this unusual context.

during SCHMUCK : Neuer Schmuck für die Götter -  Georg Dobler, DE (Georg Dobler necklace)

Teilnehmer :
Robert Baines, AU — Peter Bauhuis, DE — Manfred Bischoff, DE — Bettina Dittlmann, DE — Georg Dobler, DE — David Huycke, BE — Daniel Kruger, ZA — Christa Lühtje, DE — Bruno Martinazzi , IT — Francesco Pavan, IT — Dorothea Prühl, DE — Gerd Rothmann, DE — Jacqueline Ryan, IT — Philip Sajet, NL — Bernhard Schobinger, CH — Hubertus von Skal, DE — Tanel Veenre, EE — Graziano Visintin, IT

Neuer Schmuck für die Götter - brooch by Bettina Dittlmann, DE brooch by Bettina Dittlmann

Bruno Martinazzi - Ausstellung "Neuer Schmuck für die Götter" - Handwerkskammer für München und Oberbayern - Bruno Martinazzi

Neuer Schmuck für die Götter - by Francesco Pavan, IT Francesco Pavan
"Neuer Schmuck für die Götter" - Graziano VisintinGraziano Visintin
"Neuer Schmuck für die Götter" -  Bernhard Schobinger, CHBernhard Schobinger ring
Neuer Schmuck für die Götter - by Philip Sajet, NL Philip Sajet
Neuer Schmuck für die Götter - Tanel Veenre  Tanel Veenre
Neuer Schmuck für die Götter - by Daniel Kruger, ZA Daniel Kruger
Dorothea Prühl, DE  ("Neuer Schmuck für die Götter") Dorothea Prühl
"Neuer Schmuck für die Götter" - Georg Dobler Georg Dobler brooch
Diashow zur Ausstellung "Neuer Schmuck für die Götter" - Handwerkskammer für München und Oberbayern - Hubertus von Skal (DE) Hubertus von Skal – ring
Robert Baines, AU Robert Baines ring
Manfred Bischoff, DE - Ausstellung "Neuer Schmuck für die Götter" -  Manfred Bischoff

 

Galerie Handwerk
Königsplatz 1,
80333 München
Di-So 10-17, Mi 10-20 h
www.antike-am-koenigsplatz.mwn.de/antikensammlung

04/04/2012

EXPO ‘Die Renaissance des Emaillierens’ – Galerie Handwerk, Munich (DE) – 9 mars-14 avril 2012

Sonderöffnung Die Renaissance des Emaillierens – Internationaler Schmuck und Gerät, — Galerie Handwerk

Das Emaillieren gehört zu den klassischen Gold- und Silberschmiedetechniken. Das seit über 3500 Jahren bekannte Verfahren stellt eine der ältesten und haltbarsten Methoden dar, Farbe auf Metall aufzubringen und den betreffenden Gegenstand, Schmuck oder Gerät, damit besonders zu akzentuieren.

In der zeitgenössischen Gold- und Silberschmiedeszene hat das Emaillieren in den 1970er und 1980er Jahren eher ein Schattendasein geführt. Seit einigen Jahren erlebt die Technik eine Renaissance. Die Galerie Handwerk in München nimmt dieses Phänomen zum Anlass einer Ausstellung, zu der 41 Gestalter aus 15 Ländern eingeladen wurden. Gezeigt werden Schmuck und Gerät.

Seit den 1990er Jahren spielt Email im Avantgardeschmuck zunehmend eine größere Rolle. Dabei wird mit den unterschiedlichsten Verfahren, Zellenschmelz, Grubenschmelz, Fensteremail, gearbeitet und oftmals auch experimentiert. Viele Goldschmiede haben ihre ganz eigene, persönliche Herangehensweise gefunden. Auffallend ist, dass das Verfahren sehr unkonventionell gehandhabt wird und ganz offensichtlich nicht nur die dem Email klassisch zugeschriebenen Effekte – Farbe, Transparenz, Leuchtkraft – gesucht werden.

Der Aspekt, durch Email Farbe auf das Metall aufzubringen, ist nicht mehr entscheidend, längst sind Lack und Farbe gebräuchlich. Nicht, dass die farblichen und malerischen Möglichkeiten des Emaillierens ihre Wichtigkeit verloren hätten, doch scheint heute die Auseinandersetzung mit der Oberfläche und das Spiel mit ihren reizvollen haptischen Qualitäten der gemeinsame Nenner zu sein.

Email kann transparent, glatt, in kräftigen Farben leuchtend sein und sich durch eine makellose, perfekte Oberfläche auszeichnen. Häufig wird aber auch eine matte oder körnige Oberfläche wie bei Pigmentpulver gesucht, oder die Oberflächen sind aufgebrochen und wirken wie korrodiert.

Beim Gerät hat sich die Verwendung von Email in den letzten 20 Jahren grundlegend geändert. Eine sinnliche Oberflächengestaltung, die ihre Ästhetik häufig in schlichten Formen und monochromen Farben sucht, hat das Figürliche und Ornamentale verdrängt.

Die Ausstellung in der Galerie Handwerk versucht, die unterschiedlichsten Positionen zeitgenössischer Schmuckkünstler zum Thema Email vorzustellen und dabei auf die Aktualität dieser alten Goldschmiedetechnik hinzuweisen. Sie wird wenige Tage vor Beginn der Internationalen Schmuckschau eröffnet und ist ein Teil der umfangreichen Schmuckpräsentationen während der Internationalen Handwerksmesse München.

Artists on the show:

Jamie Bennett, USA| Adrean Bloomard, IT | Stephen Bottomley, GB | Helen Carnac, GB | Bettina Dittlmann, DE | Gemma Drapper, ES | Beate Eismann, DE | Ulo Florack, DE | Christiane Förster, DE | Carolina Gimeno, CL | Christine Graf, DE | Kirsten Haydon, AUS | Hiroki Iwata, JP | Karin Johansson, SE | Ike Jünger, DE | Kaori Juzu, JP | Astrid Keller, DE | Young-I Kim, KR | Nikolaus Kirchner, DE | Jutta Klingebiel, DE | Beate Klockmann, DE | Esther Knobel, IL | Daniel Kruger, ZA | Gualan Liang, CN | Stefano Marchetti, IT | Katharina Moch, DE | Nazan Pak, TR | Francesco Pavan, IT | Ramón Puig Cuyàs, ES | Jacqueline Ryan, IT | Phillip Sajet, NL | Isabell Schaupp, DE | Barbara Seidenath, USA | Vera Siemund, DE | Silke Trekel, DE | Elizabeth Turrell, GB | Jessica Turrell, GB | Graziano Visintin, IT | Agnes von Rimscha, DE | Silvia Walz, ES | Annamaria Zanella, IT .

EXPO 'Die Renaissance des Emaillierens' - Galerie Handwerk, Munich (DE) - 9 mars-14 avril 2012 dans Adrean BLOOMARD (IT) renaissance
Francesco Pavan
14c0830454824f6cd3da0390603886f1size2 dans Allemagne (DE)
Francesco Pavan
Bettina Dittlmann, DeutschlandBettina Dittlmann
 dans Annamaria ZANELLA (IT)Bettina Dittlmann
 dans Barbara SEIDENATH (DE)Elizabeth Turrell
NECKLACE;+plastic,+enamel,+cz,+pvc+cord dans Beate EISMANN (DE)
Silvia Walz, SpanienRamon Puig Cuyàs, Spanien
Silvia Walz                —                   Ramon Puig Cuyàs
3ca4c5bdf02814872a37d90801aafc65size2 dans Bettina DITTLMANN (DE)
Christine Graf
6fb5a9a26a8ad7818cb07f68a52923b8 dans Carolina GIMENO (Chili)
Stephen Bottomley – Deep blue brooch – 2012 – Oxidised silver, enamel, and gold
Annamaria Zanella, ITEsther Knobel, Israel
Annamaria Zanella                —                  Esther Knobel
9657766b2d7773b20b3c39fc3282bfddsize2 dans Christine GRAF (DE)
Beate Klockmann
Christine Graf, DENazan Pak, TR
Christine Graf            —                 Nazan Pak

Adrean Bloomard, ItalienJacqueline Ryan, Italien

Adrean Bloomard            —         Jacqueline Ryanf516d717553db4ef78e7562e4e89de03size2 dans Daniel KRUGER (DE)Vera Siemund

fbc0f2f162d6a0c7fd4cfac99fff9d40size2 dans Elizabeth TURRELL (UK)Jamie Bennett
9b6231cb9d2f96f6accd8c6faa15fb0esize2 dans email / enamel
Silke Trekel

Downloads : Broschüre zur Ausstellung « Die Renaissance des Emaillierens » ( PDF 3926 kB)

Galerie Handwerk
Max-Joseph-Straße 4
Eingang Ecke Ottostraße
80333 München
Tel. 089 595584
angela.boeck@hwk-muenchen.de
hwk-muenchen.de/galerie

11/11/2011

EXPO ’111 ANELLI ‘Foreverrings & Ringchen’ ‘ – Marijke Studio, Padova (Italy) – 11-Nov.-24 Dec. 2011

111 ANELLI ‘ Foreverrings & Ringchen ‘… e NUVOLE ROSSE
Artists: Bettina Dittlmann, Michael Jank

EXPO '111 ANELLI 'Foreverrings & Ringchen' ' - Marijke Studio, Padova (Italy) - 11-Nov.-24 Dec. 2011 dans Bettina DITTLMANN (DE) Invito%20Nuvole%20Rosse

111 FOREVERRINGS, forged in finegold, fine silver, copper, mild steel in cooperation by Dittlmann & Jank alternated with ‘RINGCHEN’ (wire rings, iron enamel and garnet by Bettina Dittlmann.

- NUVOLE ROSSE screenprinted on T-shirts by Michael Jank
- Pendants in iron and enamel and brooches in acrylic glass by Bettina Dittelmann

For this occasion – peculiar, unique opening’s date – 11.11…11 – a special piece of jewellery will be designed by the artists

http://www.grassimesse.de/uploads/pics/jank.jpg

German jewellery artist Bettina Dittlmann is known for her richly detailed jewellery often comprising rhythmic structures made up of iron or silver. In many of the pieces, the metals are covered in coloured enamel or serve as a setting for stones. As a rule, the structures are powerful and tightly compact – yet sometimes the jewellery consists of nothing but a thin, black wire forming a fragile figure. In these cases, it is as though the artist were drawing a pure and delicate line in the air in a defiant attempt to negate the metal’s inherent heaviness.

http://www.thinktank04.eu/image/Gift_Dittlmann-1288.jpg

 

The Fürimmerringe (‘Foreverrings’)
Bettina Dittlmann has fashioned jointly with her partner and artist colleague Michael Jank are a quite different proposition. The surfaces of the rings have a patina of muted colours, as if they had been lying in the earth. The metal is chunky, the forms roughly hewn; the surfaces bear signs of hammer blows. During the creation process the workpieces move back and forth between the two artists. The swapping of the half-finished rings could be seen as a gesture of giving. When a ring is finished, it is impossible to say who was responsible for creating which detail, which hand made which imprint with the hammer, and which artist made which decision.

The exchange of workpieces between the two artists can also be seen as a metaphor for the social function of the ring; it is an object that is given and received. Furthermore, the ring is a sign of belonging and affection. These rings look as if they are capable of surviving a fair number of difficulties and crises. With their physical weight alone they are an eloquent expression for the seriousness of the commitment we often make in our close relationships – they are forever. Are we willing to wear these rings and to enter into this kind of undertakings?

http://www.artaurea.com/system/attachments/1599/original/Fuerimmerringe_Dittlmann-und-Jank.png
Forever Rings by Dittlmann & Jank. Copper, silver, iron.

http://si.wsj.net/public/resources/images/EW-AG839_collec_G_20090513135152.jpg
Bettina Dittlmann & Michael Jank‘s ‘Foreverrings’ (2008) in steel (left) and silver (right)

 

 

Marijke Studio
Via A.Gabelli , 7
35121 – Padova
Italy
Telephone: + 39 049 663615
Telephone: + 39 3483136216
website: www.marijkestudio.com
mail: marijke@marijkestudio.191.it

13/05/2011

COUP de COEUR : Bettina DITTLMANN – coloured structures with enamelled lines

« Bettina Dittlmann (Born in Passau (DE) in 1964) is inspired by historical jewellery, ranging from mourning Victorian jewellery to American Indian pieces. Dittlmann studies the historic forms and content, which later influence her own work. Drawing is an important part of Bettina Dittlmann’s life, often a starting point for a piece of jewellery. » (« Fused » exhibition at Flow Gallery, show curated by Melissa Rigby, the Chairman of the British Society of Enamellers – 2011)

« ‘Sometimes the setting is full without a stone. Sometimes I free the ironwire from the enamel to set the stone. Sometimes I set the stone into the enameled bezel. Sometimes I fill the bezels with enamel, so the enamel becomes the ‘stone’. Garnet resists the heat in the kiln . The enamel strengthens the prongs. The enamel sticks to the garnets and covers them. It hides the cut gem.Enamel chips sparkle like cut stones. Pyrit rocks sparkle like diamonds. I try to work with the enamel, try to understand its laws and try to break them, but the enamel always wins!(Bettina Dittlmann – Published in Metalsmith, Exhibition In Print 2003, volume 23 number 4″)

COUP de COEUR  : Bettina DITTLMANN - coloured structures with enamelled lines dans Allemagne (DE) drahtringchen-eisen-granat
Bettina Dittlmann – rings with garnets

 

« Pristine precision and elegant design characterise the work of Bettina Dittlmann, a jeweller who employs enamel in much of her work. Her international reputation has taken the medium of enamelling into contemporary jewellery practice, with its emphasis on innovation in both technique and design. Bettina’s pieces, constructions of soldered binding wire and enamel, often incorporate precious and non-precious stones: the essence of her work is the combination of delicacy and strength.
Although they are completed with the appropriate findings, Bettina Dittlmann does not intend all of her brooches to be worn, but she is delighted when they are. Her large complicated binding wire structures are comprised of thousands of soldered joints. Instead of material value, Bettina is making something precious by using time.
Jewellery enamels fire successfully on to the steel wire at around 760º, and Bettina builds the joints of her constructions with IT solder, which is workable at this temperature. The firings varying according to the enamel used. Bettina judges the correct time and temperature by instinct. Because the thin wires transport heat immediately, the firings are 30–40 seconds long. She is currently experimenting with liquid enamel.
To get the enamel to adhere to the wire, Bettina finds that spit works best as an adhesive, behaving as an incredibly good glue and firing out without stains or bubbles. She mixes the spit with water and squeegee oil, paints the mixture on to the wire, and then applies the enamel by sifting. The first few firings take the enamel to a gloss finish, making a hard surface which ensures a good bond to the wire, but the last layers are underfired to achieve the granular effect. Complicated structures can require 60–70 firings: the inner wires are enamelled first and often the whole work is turned during firing. The way the pieces are constructed determines the colours, with the precious and non-precious stones pin-pointing the nodes in the design. Bettina Dittlman has always wanted to make complex pieces – shapes that take a long time time to describe, but she is also interested in the simple. Historical jewellery is a source of inspiration, ranging from mourning jewellery and Renaissance jewellery to Victorian jewellery and American Indian pieces. She studies the historic forms and content, which later influence her own work. Drawing is an important part of Bettina Dittlmann’s life. She draws what she thinks about, and often this is a starting point for a piece of jewellery. During the process of making, the drawing continues. For her abstract pieces, Bettina begins by adding circles to each other, working spontaneously with no final concept in mind. The accompanying drawings might be concerned with the construction of the developing piece or with ‘what the piece is about’, and the two influence each other back and forth as she continues assembling. She adds that if she really knew what her work was about, she probably wouldn’t make it any more. Bettina’s training included studying the techniques of silversmithing at a technical school in Germany and subsequently working two years with a jeweller. This was followed by two years at the Academy of Fine Arts in Munich, where she had to begin to develop her own path and to ‘find out how and why to go on, and what was valid’. Interestingly, she realised that she had retained the influence of her high school art teacher, with whom she studied art history and art and learned about the quality of line. There followed eighteen months at the State University of New York at New Paltz. Here drawing became particularly important to Bettina because, in the beginning, she couldn’t speak much English. It was at New Paltz that Bettina learned to enamel, taught by Jamie Bennett, who said that enamel could translate the colour in her drawings to her work. Jamie Bennett was challenging enamel and this is what inspired her. She had been making pieces with binding wire at the time, investigating spike, pod and flower forms, and this was the start of finding her unique way of working. In addition to making her wire and enamelled sculptural jewellery, Bettina produces a range of rings with her partner Michael Jank. He has his own career as a printmaker, but together they are working on forged rings called ‘Foreverrings’, each making their own pieces but selling them together. Neither soldering nor polishing are part of the process, which involves melting the metal, punching a hole, and hammering out a thick, powerful ring shape. The technique is fast and spontaneous, in fact completely opposite to Bettina’s practice in enamel. Shefeels that it is important for her body and mind to do hard physical work after the hours spent with delicate, precise and intense soldering, stone setting and enamelling .« (British Society of Enamellers – summer 2006)

http://www.rosemarie-jaeger.de/images/Bettina%20Dittlmann/verschiedenes.jpg
Bettina Dittlmann  ‘rinchen’

http://www.galerie-helene-poree.com/images%20artistes%20et%20design/Dittlmann/Ditt-10-RING.jpghttp://www.galerie-helene-poree.com/images%20artistes%20et%20design/Dittlmann/Ditt-07-RING.jpg

 

http://www.galerie-helene-poree.com/images%20artistes%20et%20design/Dittlmann/Ditt-09-RING.jpghttp://www.galerie-helene-poree.com/images%20artistes%20et%20design/Dittlmann/Ditt-02-RING.jpg

 

http://www.galerie-helene-poree.com/images%20artistes%20et%20design/Dittlmann/Ditt-03-RING.jpghttp://www.galerie-helene-poree.com/images%20artistes%20et%20design/Dittlmann/Ditt-01-RING.jpg

 

 

Bettina Dittlmann
Bettina Dittlmann pendants

http://media.vam.ac.uk/media/thira/collection_images/2009CC/2009CC6146_jpg_ds.jpgBrooch
Bettina Dittlmann- brooch – Iron and enamel – 2007-2008 (to SHOP on V&A website)

http://www.galerie-stuehler.de/dittlmann/Dittlmann.-Brosche.-Blume-R.jpg
Bettina Dittlmann- brooch ‘Orange-Rot’, 2003 -Eisen, Emaile

http://www.galerie-helene-poree.com/images%20artistes%20et%20design/Dittlmann/Ditt-27-2003-fer-GDE-AGDT.jpg

http://www.sofaexpo.com/NY/2007/img/galpgs/jwerk_right_Dittlmann.jpg
Bettina DittlmannBrooch, Iron, garnet – 2007

 

http://www.polyvore.com/cgi/img-thing?.out=jpg&size=l&tid=26763669
Bettina Dittlmann (& partner Michael Jank)  - ‘foreverring’

http://www.galerie-helene-poree.com/images%20artistes%20et%20design/Dittlmann/Ditt-29-2002-RDE-ROUGE-AGDT.jpg
Bettina Dittlmann« Big red » Brooch

BettinaDittlmann dans Bettina DITTLMANN (DE)
Bettina Dittlmann - Red brooch, 2005, red ironwire enamel

http://www.galerie-helene-poree.com/images%20artistes%20et%20design/Dittlmann/Ditt-30--2002-OURSIN-GD.jpg
Bettina Dittlmann -broche « oursin » (photos galerie Helène Porée)

http://www.galerie-helene-poree.com/images%20artistes%20et%20design/Dittlmann/Ditt-23-1996-COEUR-GD.jpg

OUI, Bettina Dittlmann - on AIME votre travail ! il me fascine !

 

 

ENAMEL – innovation in vitreous enamel – by Jessica Turrell- symposium-presentation

10/03/2011

EXPO ‘Fused -contemporary enamel’ – Flow Gallery, London (UK) – 9 Mars-28 Mai 2011

 Fused -contemporary enamel

This show, curated by Melissa Rigby, the Chairman of the British Society of Enamellers, aims to challenge the pre-conceived ideas attached to enamel by questioning technique, process and aesthetic and to explore contemporary artist’s voices within this ancient medium.  

https://lh6.googleusercontent.com/-UMFNGtQpHU4/TXPxqAAiceI/AAAAAAAAIDE/bon9f3OjqwI/s1600/Captura+de+pantalla+2011-03-06+a+las+21.41.39.png

Enamelling, the art of fusing glass onto metal with heat, is one of the most ancient and durable means of adding colour to metal. Fused brings together artists who use the traditional enamelling technique in new and exciting ways, creating a fresh visual language for this process. Their application of enamel gives an arresting beauty and unique patina to a diverse group of objects, panels and jewellery.

 

Artists (for jewelry):
Carola Bauer, Stacey Bentley , Bettina Dittlmann, Lydia Feast, Kirsten Haydon, Hiroki Iwata, Karin Johansson, Kye-Yeon Son

Bettina Dittlmann
Bettina Dittlmann

Bettina Dittlmann is inspired by historical jewellery, ranging from mourning Victorian jewellery to American Indian pieces. Dittlmann studies the historic forms and content, which later influence her own work. Drawing is an important part of Bettina Dittlmann’s life, often a starting point for a piece of jewellery.

Carola Bauer
 Carola Bauer

Carola Bauer captures incidental gestures in her jewellery; the cinema ticket in a coat pocket, twisted to a paper roll or the accordion-folded slip of paper. Bauer hopes to remind the observer of gestures. The surprises that she experiences in the search of forms also happen during the handling and use of enamel colours.

Stacey Bentley

Stacey Bentley

Stacey Bentley is inspired by urban scenery. Becoming increasingly attentive to the unexpected and unnoticed components of this industrial environment allows Bentley to discover an elegant and mysterious aesthetic. The jewellery explores the new possibilities and ideas that industrial liquid enamel can bring to contemporary jewellery.

Karin Johansson
Karin Johansson

Karin Johansson’s work is a treasure hunt among things and stray thoughts that arise and are discarded and then meet again. Out of this process grows something enduring. “I collect, small things that fit in my matchboxes: actual pieces or abstract images caught in flight.”

Kirsten Haydon
Kirsten Haydon

Jewellery is a personal and sentimental medium. Historically, objects were created in the form of miniature representations of landscapes and icons that reminded people of their journeys and experiences. Kirsten Haydon travelled to Antarctica as an Arts Fellow. Since that time she has been exploring the depiction of this landscape, its remoteness and simplicity of landscape. “The sparseness of the landscape allowed me to focus on the man-made objects within it.”

Lydia Feast
Lydia Feast

Lydia Feast explores the concept of contrasting elements. Echoing references to time and nature whilst combining a modern clean aesthetic, this collection ‘Chaos &Calm’ brings together contrasting elements illustrating a harmony between chaos and calm, new and old and silence and noise. Inspired by her research into chaos theory: “the underlining order in some of nature’s most random processes”. Each piece is unique as a result of the carefully controlled but ultimately random outcome.

Kye-Yeon Son
Kye-Yeon Son

Kye-Yeon Son explores positive and negative spaces through her branch structures. Her work symbolizes the human cycle of growth, death, and renewal. They seem to capture intangible emotions, spirits or memories.

Hiroki Iwata
Hiroki Iwata

Hiroki Iwata takes inspiration from nature around him describing it as « an irreplaceable treasure ». His brooches made of silver, enamel and aluminium foil reflect his aim to produce feelings of empathy with the motifs of the natural world in the viewer.

 

 

Flow Gallery
Yvonna Demczynska
1-5 Needham Road    London   W11 2RP   UK
Tel: +44 (0)20 7243 0782
info@flowgallery.co.uk

 

Image de prévisualisation YouTube

 

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