During SCHMUCK 2016 : EXPO ‘NEW WORK from a NEW WORLD’ – Galerie Jordanow, Munich (DE) – 25-28 Fevr. 2016

NEW WORK from a NEW WORLD

Galerie Biró in cooperation with Jewelers’Werk USA
At  Galerie Jordanow, Zieblandstr. 19, 80799 München
Öffnungszeiten: 25.-28.02. 2016. Täglich von 11 bis 19 Uhr

Sélection d’artistes américains :

Thea Clark — Rebekah Frank + Iris Eichenberg — Missy Graff — Lisa Gralnick — Mielle Harvey — Timothy Veske-McMahon — Darcy Miro — Edgar Mosa — Seth Papac — Carolanne Patterson — Sharon Portelance — Lauren Tickle-Tietje — Aric Verrastro — Jonathan Wahl –  Sayumi Yokouchi

Thea Clark 2016 - Ice - brooch, 2016, pigmented plaster, resin, anthracite, wood, metals.

 Rebekah Frank – Max height 3 composite – rectangle series

Missy Graff  Lengthen 2013 – Fascia series

Lisa Gralnick :   Gold Zoloft necklace – The Gold Standard : Gold Standard Part I: Commodification & Sensible Economy - works related to value of object

Mielle Harvey – golden bird finger ring 2011

Timothy Veske-McMahon – Glyph/Borne

Darcy Miro – Oxidised silver cuff bracelet, six black diamonds 

Earropes by Edgar Mosa | photo by @josephmcs | modeled by @sarah_mccall

Seth Papac  Brooch, 2015 -Brass, powder coated brass frame, velour

Sharon Portelance- Memory Breathes – « Wreath for Liam and Maeve » bracelet - sterling silver, 22ktgold

Lauren Tickle  « Is it Legal? »   brooch 2015

Aric Verrastro  - Timekeepers serie -  Here to There  Steel, driftwood, sterling silver, acrylic paint, thread  105x9x2cm  Necklace  2015:

 Jonathan Wahl - « Faceted » / charcoal

Sayumi Yokouchi, Untitled, 2015, brooch, thermoplastic, silver, white gold, 45 x 55 x 10 mm, photo: artist

 

 

Galerie Jordanow, Zieblandstr. 19, 80799 München

Galerie Biró
Zieblandstrasse 19
80799 München
Tel: + 49 (0) 89 27 30 686
[e-mail]
Opening ours: Thursday to Friday 11am to 16pm, Saturday 11am to 2pm
www.galerie-biro.de

EXPO ‘Darcy Miro: Part of a Whole’ – Gallery Loupe, Montclair (NJ) (USA) – 5 Mai-12 Juin 2012

Darcy Miro: Part of a Whole

Darcy Miro‘s metal forms in sterling silver, bronze and 18kt gold are a melding of her highly evolved metalsmithing skills and a love for the organic. Her mixed metal cuffs, rings, bracelets and earrings are formed through techniques such as piercing and constructing collage-like forms. Her work references nature, architecture and the body with the relationships explained by the artist in this way: « I think the connections between people, their creations and nature is a flow, which I am capturing. »

Miro is inspired by closely observing nature and archaeology…an event as simple as watching ants bore holes in a piece of dead wood or noticing a pile of leaves decaying. As she says, « I observe the tiniest of incidents, translating the information from tools to wax. » After carving individual pieces in wax the parts are cast in metal and then joined and assembled. Finally, the work is buffed, polished, pickled, or undergoes other processes to add color, durability and texture.

Darcy Miro  Cuff: Banded Coral 2012  Oxidized sterling silver, 18K gold, black diamonds  Photo by Lauren Coleman

Darcy Miro  Cuff: Layered with Sprinkles 2012  Raw sterling silver, black diamonds  Photo by Lauren Coleman

 

 

Gallery Loupe
50 Church Street
NJ 07042 – Montclair/ New Jersey
United States
Telephone: [phone]
Fax: [phone]website: www.galleryloupe.com
mail: [e-mail]

EXPO ‘Darcy Miro Sculptural Jewelry’ – Shibumi Gallery, Berkeley,CA (USA) – 2 Avril-29 Mai 2011

Please join us for a special opening:   Darcy Miro – Sculptural Jewelry 

April 02 – May 29, 2011
*Artist Reception:
Saturday, April 02, 4-7pm
Informal discussion about her process from 4-5pm

Darcy Miro will be in attendance and will talk about her work and process from 4-5pm and the opening will continue until 7pm. Darcy lives and works in Brooklyn, New York. One of her most known works is the collaboration of the facade of The American Folk Art Museum in New York City. Darcy has shown and sold work internationally.

Darcy Miro cuff

« My artistic practice focuses on jewelry, sculpture and functional objects because of the diverse challenges and connections between these disciplines for someone committed to working in metal. The challenge of working on shifting scales, moving between functional and non-functional art, and tailoring content to different forms are linked concerns for me. References to nature, architecture and the body are ever-present. Certain techniques, like piercing, constructing and collaging forms carry over. What is critical in all my work is the abstracted form, containing information and ideas. While a lot of what happens is intuitive and process based, underlying every piece is the belief that the natural markings and natural occurrences, man-made geometry and the human disposition to put things together in contexts, is a continuum, where all parts fit together no matter how disparate. As a life-long believer in “green,” practices, I think the connections between people, their creations and nature is a flow, which I am capturing. By composing forms from the various shapes and activities I observe in nature and life, I can tap into a huge well of sources. Thousands of ants swarming under a dead branch make tiny holes in the earth as they dig to escape. Leaves lying in a pile, slowly decompose, one becoming integral to another. A young woman’s skirt is short, medium and long, in an invented or perhaps accidental proportion. I observe the tiniest of incidents, translating the information with tools to wax. I pierce, pull and cut the wax altering the surface and interior. I obsess over every mark. Repetition is important for rhythm and connectivity. The controlled and random details are critical. The pieces of wax are then joined together, smoothly modeled, assembled or even destroyed so the parts can be rebuilt again. These forming activities add to the complexity of a shape, as well as it’s life and the experiences contained. A cuff may be flat with curved edges, or of big shifting shapes. Scale is critical to the work. While I make objects that are small, or can be added together to become big, and even huge, pieces can recall the shape of a volcanic eruption or a bubble in the sand. Once the wax is complete it is cast into metal, then the surface is buffed, polished, pickled or treated to many other processes I use to clean and unify a piece. I use different metals–sterling silver, bronze and 18-karat gold—depending on the project, for color, durability and texture. Transforming these variables into a coherent whole that can be worn on a wrist, finger, neck or ear is a matter of balance and judgment. Too much detracts from the wearer. Just enough is distinctive. Metal changes over time, particularly when it is worn and comes in contact with the body oils. Hence my pieces change their appearances. This ability to elude the fixation of time is important. So is the fact that every surface, inside and out is related, because they are of a piece like the skin of a snake. A mark is a memory of someone touching something, carrying all the information of that moment. » (Darcy Miro)

 

Shibumi Gallery
1402 Fifth Street
Berkeley . CA . 94710 (USA)
 t. 510.528.7736

Darcy MIRO – des bijoux sauvages de guerrier

more wearable sculpture than status symbol

« Based out of Brooklyn, New York, jeweler and sculptor Darcy Miro draws inspiration from nature, architectural form, and the body. Each of her pieces is meticulously crafted from sterling silver, 18 or 24 karat gold, or white bronze. The occasional diamond softens the raw nature of the pieces. The materials she uses reflect the embodiment of her work: strong, bold, and organic. Her sculptural background is evident as the artist’s jewelry takes on the role of wearable art.
“The metal material is totally altered and it is also sculpted in different abstract shapes, some recall flowers, others a topographic map and occasional geometry among other references” says Miro. “I observe everything in my daily life; the water drips on the edge of the sink, the arrangements of leaves on the sidewalk, the relationship of a skirt’s hem to the legs within. I obsess over each mark, the controlled or random details are critical”.
After graduating from Rhode Island School of Design with a degree in Jewelry and Metalsmithing, Darcy has since gained over 15 years of experience in creating custom jewelry, sculpture, and architectural works. For over a year, her quaint showroom in Manhattan’s West Village has become a forum for the public to view and admire her work. Her sculpture has even become a staple of New York culture, as she completed a collaborative installation piece for the façade of the Museum of American Folk Art in 1999. Her work continues to flourish, with many exciting collaborations on the horizon. »

Darcy Miro cuff bracelet - oxidised silver & gold

Darcy Miro cuff bracelet -18 & 24 k gold with black diamond

Darcy Miro cuff bracelet -oxidised silver & black diamonds

« sculpted in different abstract shapes, some recall …. a topographic map »

« Each Miro piece seems both thoroughly modern and at the same time an archaeological find  » (Ganoskin) : oui,  quand je les vois je vois le masque en or d’Agamemnon, le site sauvage de Mycènes* et ses guerres passées, les Atrides* et leurs guerres fratricides …..

celui-ci m’évoque le poignet de force d’un guerrier Romain …..

« These « precious » pieces are not coddled into being. Miro pierces, pulls, and otherwise batters her wax casts to reflect forces of nature few jewelry designers choose to explore: erosion, decomposition, eruption. Once the piece is case, Miro works the metal itself, leaving it grainy as an anthill or smooth as a pebble-or a little of both. The resulting work is like a fragment of a coral reef, shell, or rusted metal found washed up on the sand. The owner herself becomes the final link in the creative process, as the piece bends and changes color with wear. » (Ganoskin)

« Her one-of-a-kind pieces are inspired from such everyday things as leaves and side-walk cracks (she uses found objects to shape sheets of wax which are then cast into metal). Her line is crafted from oxidized copper, gold, and sterling silver.« 

Et encore une fois, un travail du métal d’une force impressionnante …. fait par une jolie jeune femme !!! ça, ça me laisse béate …. d’admiration !!

 

* Mycènes et les Atrides : « Agamemnon, Electre, Oreste, Clytemnestre, Egisthe, ici dans ces murs résonnent encore l’écho de leurs trahisons, vengeances, adultères, parricides. Atrée et Thyeste sont maudits par leur père et bannis pour avoir tué leur plus jeune frère. Envers Thyeste qui a tenté de lui ravir le trône, Atrée voue plus tard une haine implacable, et ivre de vengeance massacre trois de ses fils. Afin de régner, Thyeste ordonne à Égisthe, son fils, d’assassiner Atrée. Puis Agamemnon, fils d’Atrée, s’empare du trône de Mycènes. Egisthe séduit Clytemnestre, femme d’Agamemnon, et fait assassiner celui-ci à son retour de la guerre. Sept ans plus tard, Oreste, fils d’Agamemnon, revenu d’exil tue  mère et amant. Ses sœurs, Iphigénie et Électre, connaîssent les mêmes tourments, la première sacrifiée par son père, la seconde condamnée à mort pour avoir vengé son père. Avec Oreste s’éteint la lignée des Atrides à la descendance maudite. »-
Petite, on rentrait à Athènes, le soir, après un week-end à la mer …. et on entendait des chiens (des chacals ?) hurler, là-haut, sur la colline de Mycènes ….. et moi qui adorait les légendes, pétrifiée, je pensais entendre les cris de ces rois assassinés ….. je frissonnais avec délices au fond de la voiture…..