International contemporary art jewellery created by Michael Becker, Body Politics, Beate Eismann, Isabell Schaupp, Stephanie Jendis and Nora Rochel
With this exhibition we present jewellery artists whose works reveal the strength of art that can be worn as attire.
Galerie Pilartz
Zeughausstrasse 10
50667 – Cologne
Germany
Telephone: +49 (0)221-168 268 77
website: www.pilartz.com
mail: info@pilartz.com
Isabell Schaupp at Internationale Handwerksmesse
IHM, New Munich Trade Fair Center – Hall A1, Stand 529
(Munich, Germany) – 16-Mar-2011 – 22-Mar-2011
Black beads serie – brooches – Silver, copper, enamel, photo, onyx, spinell, plastics :
IHM, New Munich Trade Fair Center
Messegelände
81829 – Munich
Germany
Telephone: 0049 89 5119 248
The Innovation in Enamel Jewellery database is one of the outcomes of the Arts and Humanities Research Council (AHRC) funded three-year fellowship Innovation in Vitreous Enamel Surfaces for Jewellery.
As part of the research project extensive research was undertaken to identify a group of internationally prominent contemporary jewellers whose practice demonstrates an open and innovative approach to the use of enamel. When complete the database will feature images and supporting information on the work of approximately 30 artists. The aim of the database is to highlight the potential of enamel as an expressive and contemporary medium as well as serving as an important research tool.
The database, which is fully searchable, focuses exclusively on enamel jewellery and complements the existing archive ICVEA (International Contemporary Vitreous Enamel Archive) that is also hosted by the University of the West of England and which includes a broad range of contemporary enamel work.
Currently the database features the work of the following artists:
Carola Bauer – Germany
Jamie Bennett – USA
Stacey Bentley – UK
Patrizia Bonati – Italy
Stephen Bottomley – UK
Jessica Calderwood – USA
Lydia Feast – UK
Mirjam Hiller – Germany
Ike Junger – Germany
Kaori Juzu – Denmark
Ann Little – UK
Lianna Pattihis – UK
Jacqueline Ryan – Italy
Isabell Schaupp – Germany
Vera Siemund – The Netherlands
Marjorie Simon – USA
Elizabeth Turrell – UK
Jessica Turrell – UK
Annamaria Zanella – Italy
The following artist will be added in early autumn 2010:
Jennaca Davies – USA
Carolina Gimeno – Spain
Christine Graf – Germany
Sangeun Kim – UK
Natalia Pinchuck – USA
Barbara Seidenath – USA
Jessica Turrell
(UWE – University of the West England – Bristol – AHRC (Arts and Humanities Research Council) Vitreous Enamel Research Project)
Awarding body: Arts and Humanities Research Council
Awarded to: Jessica Turrell
Project duration: 1.09.2007 – 31.08.2010
introduction:
The research project is based on the premise that there is huge and largely unexplored potential for innovation within the field of enamelled jewellery. By taking both a practice-led and theoretical approach the aim of the project has been to identify factors that might hinder innovation and present a series of alternative approaches that encourage a more experimental and open-minded approach to enamel.
Research Context
The practical aspects of the research project were underpinned by theoretical and contextual research into the place of enamel in contemporary jewellery practice. This included a wide-ranging visual and literature survey. Web-based research combined with a series of visits to individual practitioners in the USA and Europe as well as to significant exhibitions and collections in Europe, the UK and USA, provided a broad overview of current enamel jewellery practice. This contextual research led to the identification of a number of contemporary jewellers for whom enamel forms a significant part of their practice. A methodology was developed by which the output of these jewellers was analyzed and then allocated to one of three distinct categories. These were as follows:
Skilled (fine) – broadly work that concentrates on traditional enamelling techniques to create work for a mainstream or commercial market.
New – where the work itself engages with contemporary ideas but where enamel is used simply to add a paint-like layer of colour to the surface of the piece using only basic techniques.
Innovative – where the two practices overlap and the artist is able to demonstrate both a k
A selected group of individuals, identified through this process as falling into the Innovative category, were then invited to submit images and supporting written material to the new Innovation in Vitreous Enamel Surfaces in Jewellery database that operates alongside (and is complimentary to) the existing International Contemporary Vitreous Enamel Archive (ICVEA) currently held by the Enamel Research Unit at the University of the West of England, Bristol.
Link to Innovation in Enamel Jewellery database
The contextual and theoretical aspects of the project are examined in depth in an article for Craft Research entitled Surface and Substance – a call for the fusion of skill and ideas in contemporary enamel jewellery.
The article is available online at the following site: craft research journal online
Discussion Forum
A variety of approaches have been taken in order to stimulate debate and comment regarding the place of enamel in contemporary jewellery practice. The first of these was a discussion forum entitled ‘Innovation in Enamel’ which has involved a number of internationally prominent enamel artists all of whom demonstrate a non-traditional approach to their enamel practice. The central aim of this forum has been to highlight the potential of enamel as an innovative medium and to stimulate debate about the aesthetic, conceptual and practical considerations that govern the use of enamel in contemporary jewellery practice. The forum has operated as a members’ only project, meaning that the site can only be accessed by registered members and they alone are able to view the content and submit comment. The rational for this was to encourage those involved to freely discuss their ideas without the constraints of operating within a public arena.
Selected extracts and a summary of the discussions threads can be accessed here.
In addition to the forum site, Jessica has initiated a discussion strand -‘Surface and substance: the place of enamel in contemporary jewellery practice’, which appears on the International Art Jewellery Online Community, Klimt02 – www.klimt02.net/blogs
These two discussion strands have informed the written and theoretical aspects of the research and the production of a number of case studies.
Case Studies
The case studies feature artists who were chosen as representative of a broad and diverse range of approaches to enamel :
Stephen Bottomley, Yellow Drape Neckpiece, Laser-cut steel and enamel -(Photo: John K. McGregor)
Liana Pattihis, Coral Red Snake Chain Brooch 2009
Isabell Schaupp, Brooch, Enamel, copper, silver, 2009
Christine Graf, 2010
In order to promote innovative enamel jewellery to the widest possible audience Jessica is currently curating a significant international exhibition that will feature a group of jewellers identified for their innovative use of enamel. The show will begin its tour at Contemporary Applied Arts in London in late 2011, and will then travel to a number of venues across the UK including to the Ruthin Craft Centre in Wales.
Practical and Technical Research
The focus of the practical element of the research has been an investigation into the use of innovative and experimental enamelling techniques in the production of contemporary jewellery. Methods and approaches more usually associated with large-scale and panel enamelling and industrial processes have been adapted for use in wearable pieces. This investigation is supported by the development of a range of techniques that allow for the creation of three-dimensional forms that can be successfully enamelled.
The practical and technical aspects of the research fall into two main categories, these are the production of three-dimensional forms capable of being enamelled in the round and the development of enamelling techniques suitable for application to these three-dimensional forms.
Three-dimensional form trials
Initial research involved investigations into the use of three-dimensional forms created using traditional forming, construction and joining methods. The most commonly used joining technique is the use of high melting-point (or hard) silver solders. The received wisdom is that it is not possible to enamel directly over a soldered joint as the solder will discolour the overlying enamel and can in some cases cause it to come away from the soldered joint. In order to test this theory, extensive investigations were undertaken into the use of a group of silver alloy solders, which were tested for their stability and the effect that they had on the subsequent layer of fired enamel.
Although some solders gave better results than others they all visibly interfered with the enamel they were directly in contact with in some way.
As an alternative to the use of solders, fusion and laser welding were investigated. Both these methods use high levels of accurately directed heat to achieve a fused joint that does not require any additional solder. Although, to differing degrees, both of these techniques created a satisfactory join over which enamel could successfully be applied without too many problems the equipment required was not easily accessible, required outside assistance and was expensive to trial. For these reasons this avenue of research was not pursued.
It seemed that a seam free object should prove the ideal form over which to apply the enamel. There are a number of small-scale silver and copper-smithing techniques that can be employed to raise a seam-free hollow form from a flat sheet of meta,l but such methods are technically demanding and particularly difficult on a small scale. Thus this avenue of research was also rejected. Instead, the technique of electroforming seemed to offer a versatile and accessible method for the creation of 3D forms, and it became clear that a detailed investigation of the technique would prove to be the most productive strand of research.
To this end bespoke electroforming equipment was researched, designed, and built, and a series of tests undertaken. Research and trials were carried out to establish the most suitable materials and methods of production of base forms upon which metal might be deposited during the electroforming process.
Discussions took place with colleagues from the 3D Research Laboratory within the CFPR into the possibilities of creating mandrels using rapid prototyping techniques, and the indicative trials that were carried out to ascertain the suitability of the RP process to create electroforming mandrels and the potential for the medium with which the object is printed both to withstand the process and be easily removed as a core prior to enamelling. As a direction for further research these initial trials hold a lot of promise.
This collaborative strand of research was documented in a poster presentation given during the IMPACT 7 conference in 2009.
In order for the electroforming process to occur it is necessary that the surface of the object to be electroformed is able to conduct an electrical current. As a number of non-conductive materials had been identified as appropriate to this research it was therefore necessary to undertake a further series of trails to establish the most suitable electro-conductive coatings for the purposes of the project.
The final experiments in the production of the underlying electroforms was to trial all the variable of the electroforming process itself to establish the best method for the creation of a smooth and stable form of an appropriate surface and structure that would withstand the application of enamel.
Enamelling trials
In order to develop methods for the application of enamel to the three-dimensional forms resulting from the first strand of investigation, a comprehensive series of tests for the application and adhesion of jewellery and industrial enamel to two and 3D surfaces was undertaken. Stilting and firing methods for 3D objects enamelled in the round were also investigated. Methodology for the recording of technical tests has been developed and trialed and a standardized format has been developed, informed by these trials, which has been used to record the results of all tests undertaken.
Practical Outcomes
On completion of the practical trials a group of jewellery pieces were created using the methods established as most appropriate in the realization of a defined personal aesthetic. These pieces were exhibited at Contemporary Applied Art in London during June and July 2010.
Jessica Turrell- Electroformed and enamelled pendants
Jessica Turrell- Electroformed and enamelled pendants
Dissemination
The practical and theoretical outcomes of the project were disseminated by a number of methods throughout the period of the research.
symposium:
A symposium was held at the Bower Ashton Campus, University of the West of England in July 2010:
Read a review of the symposium here – http://www.iom3.org/news/enamoured-enamel
SUMMARY:
Addressing an audience composed of professional makers, academics, researchers and students the symposium examined the place of enamel within contemporary jewellery practice, celebrating its potential as an exciting and innovative material. At a time when increasing numbers of contemporary jewellers are rediscovering enamel this event offered a timely opportunity for the sharing of information and ideas plus a chance to network and take part in debate.
Conclusion
The ultimate aim of the project has been to demonstrate the potential of enamel as an exciting and innovative material and to thus affect a change in the commonly held perception that enamel is a medium not readily associated with contemporary jewellery practice. It is anticipated that the dissemination of the outcomes of the research project Innovation in Vitreous Enamel Surface for Jewellery will go some way towards the creation of an environment where the innovative potential of the material is more widely recognized, both by the jewellery community and within art education, thus allowing a more ambitious and rigorous enamel practice to flourish.
Visit the CAA exhibition page at http://www.caa.org.uk/exhibitions/archive
Jessica Turrell
« The intimate scale of jewellery is a central factor in my practice. I strive to create work that has a tactile delicacy and that rewards the wearers close attention with an intricate and detailed surface. Over recent years I have developed an experimental approach to enamel by which I seek to create work that moves away from traditional jewellery enamel practice in order to achieve a more ambiguous and expressive surface quality. » (Jessica Turrell)
Exhibitions 2010 – Showcasing a New Collection of Enamel Jewellery : 18 June – 17 July 2010, London
Elizabeth Turrell – cross Badges (exhibition « The Enamel Experience », Velvet da Vinci Gallery, 2008)
Sieraad : International jewelry art fair in Amsterdam. The fair will include the 50 best entries for the international design contest New Traditional Jewellery and the presentation of « Inspirations »
This year the theme of SIERAAD Art Fair as well as of the New Traditional Jewellery design contest is TRUE COLOURS. A brilliant concept, for it calls for new artistic exploration on the part of designers and a search for their own creative roots.
In the meantime 200 jewellery artists have registered to show their work at SIERAAD, which is the largest number of participants since the beginning of the fair. From November 4 through 7 they will show the wide range of their creativity to the public in the Gasholder on the Westergasterrein in Amsterdam. The fair will include the 50 best entries for the international design contest New Traditional Jewellery.
Participants 2010
Uta Knoop - necklace
Arata Fuchi (at Creative Jewellers on show)- Ring – silver : silver powder : oxidized silver powder : fine gold : fine silver
Mirjam Dreher and Penkaar Abova at/from Fachhochschule Trier
Uli Rapp - new creations for SIERAAD
Fabienne Vuilleumier – broche « Villa Dutoit »
Enregistrer
Isabell SCHAUPP new work
« Due to their partly technical partly organic appearing shapes my new jewelery works seem to belong to a yet unknown flora and fauna. Photos of satellite, funnel and tentacle like wire structures talk an emblematic sort of language. Time and again these delicate wire structures emerge from the surface, appearing to stretch out towards the observer.
The objects become minute amulets and catalysts, attempting to establish direct contact with the environment«
SIERAAD Art Fair
« People wear jewellery for very different reasons – from habit or from a form of self- respect, when one has to dress for a certain occasion, but also in memory of a beautiful moment or a certain person. Jewellery is also worn simply because one is happy to be alive, from the need for something new and in anticipation of things to come. Just as people wear jewellery for different reasons, they also differ in taste and physical appearance. Some people can spend more money on jewellery than others. But where is a contemporary selection to be found that, as far as diversity is concerned, surpasses all other forms of presentations in the way of ideas, materials and price range?
SIERAAD was set up in 2001 as a platform for people who have chosen a fantastic profession in which they can realize all their ideas but who, being self- employed, have only limited possibilities to put their work on the market. The need for such a platform is apparent from the growing number of participants from many different countries who would like to present themselves. This year the work of independent jewellery designers from more than ten countries will be on show. The direct confrontation with the public does not only serve a necessary, economic purpose – it may also result in some feedback regarding the content of their work, which in turn may lead to new developments.
Realizing this edition of SIERAAD Art Fair means that the ideal form of the fair has been realized at the same time. With its characteristic outline and beautiful open space the former gasholder on the premises of the Amsterdam WesterGasfabriek is the right spot with the right atmosphere. The location is spacious enough to create an individual place for each designer while still maintaining the coherence. The fair displays jewellery in all its manifestations and furthermore, presents a small number of goldsmiths that design silver plate.
What goes for vases or paintings goes for jewellery as well – enough is never really enough. Obligations and restrictions are self-imposed values. What really matters is the joy that can be experienced from a work of art. Apart from the wealth of forms and colours, what is especially important are the associations one may have with it and the way one can live with it. That is why the fair is just as interesting for people who seldom buy jewellery as for collectors of these items of cultural significance. Unique objects in a variety of price ranges are to be found here as well as jewellery made in small numbers.
By means of a few centrally located presentations the range of the concept ’jewellery’ is shown. This year it will be an exhibition in which jewellery designers write history, entitled “Medieval Mystery solved”. Jewellery can also symbolize loss and sorrow, which becomes clear from the impact of “Bomb Wreck Jewellery”. As organisers of this fair, Astrid Berens and Maarten Bodt are aware that an increase in new talent is crucial for the profession of jewellery design. Therefore, this year they offer space to students of the section Jewellery & Product Design of the College of Arts in Maastricht. Using new computer technology jewellery designers associated with the Formativ from Düsseldorf make unexpected possibilities and jewellery tailored to the individual visible and tangible. For those who want to increase their knowledge about jewellery there will also be a stand with books on this subject.
In short, everybody can find something to his liking on this edition of SIERAAD Art Fair, if only, for starters, a personal remembrance of this confrontation with the many-sidedness of contemporary jewellery. » (Marjan Unger, art historian and publicist)
Alexa-Maria Klahr (DE)
Anat Sapir - glass jewelry
Christiane Köhne (DE) - Brosche ‘rosa Fischernetz’ plastikblumen
Dorit Schubert (DE)
Fabienne Vuilleumier (FR) – ‘Villa Dutoit’ bracelet
Hsiu-Hsuan Huang Painted Necklace, 2007 (Turquoise, canvas, oil paint)
Julia Funk (DE), Kragen, ‘Die Orientierungslose’
Nora Rochel (DE)
‘Ramjuly‘ (Emanuela Deyanova & Antoaneta Petrova) – rings
Sally Collins (UK) ‘Make Do And Mend’ collection
Stephanie Hensle (DE) – brooch- iron, silver plated with magnetic plastic gemstones
Tove Rygg (CH)
Uli Rapp (NL)
Uta Knoop (DE) ‘confetti’ necklace
NEW TRADITIONAL JEWELLERY GROWS INTO A BIENNIAL EVENT
THEME INTERNATIONAL DESIGN CONTEST AND EXHIBITION IN 2010: TRUE COLOURS
Starting with the fourth edition, New Traditional Jewellery (NTJ) will become a biennial event. The three preceding editions of this international design contest and the ensuing travelling exhibitions have been proof of the success of this project and its right to exist. The quality requirements as to the nature and scope of and entries for the event are becoming increasingly strict. In order to meet these requirements in a professional manner NTJ will become a biennial design contest.
The next edition will be in 2010. For the design contest and exhibition 2010 the technical jury of New Traditional Jewellery (NTJ) has chosen the theme ‘True Colours’ because literally as well as figuratively this theme offers considerable scope for inspiration.
The 2010 theme: ‘True Colours’
Showing your true colours means that you show what your real attitudes and qualities are. You can approach True Colours from a social perspective; society is full of topical colour coding. Other examples may be found in heraldry, folklore and science.
True Colours refers to colours and pigments. Over the centuries the palette of art history has been determined by precious mineralogical and biological pigments that were obtained from ground semi-precious stones, processed metals, and earth, seeds and plants – materials that did not always bear the test of time; in the course of time white lead e.g. turned black.
The link between the theme ‘True Colours’ and contemporary jewellery design is obvious. From time immemorial the significance and appreciation of jewellery have pre-eminently been determined by colour.
From the use of gold or silver to enamels and mineralogical and biological stones: colour is a language. In the seventies and eighties it became manifest how rich this language is. The application of textiles and Perspex in jewellery led to a new form language and use of colour – an important stage in the emancipation of contemporary jewellery design.
True Colours is about the history, meaning, value, magic and power of the language of colour.
The importance of NTJ
For every edition of New Traditional Jewellery an inspiring theme is chosen. Participants are challenged to reshape historical or traditional jewellery. They do not submit just their design – they must also submit pictures and information about the historical or traditional ornament on which their concept is based.
This is the characteristic added value of NTJ: past and present are bridged by artists in a very personal way. A technical jury selects fifty to seventy designs which are on show in an exhibition during the SIERAAD fair, where the winners of NTJ are also officially announced.
When taking part in this contest, jewellery designers from all over the world make use of a new platform where they give shape to their vision of a tradition and a theme. This design contest and the ensuing travelling, international exhibition have become a showcase for developments in contemporary jewellery in the new millennium.
Foundation Art in Business is the initiator of New Traditional Jewellery. Its objective is the promotion of knowledge and appreciation of the art of jewellery in the business world, among private individuals and civil authorities. In this ways FAB wants to bridge the gap between artists and buyers and between tradition and today’s world.
…. among them : Annika Pettersson (SE), Denise Julia Reytan (DE), Floor Mommersteeg (NL), Giovanni Sicuro (IT), Isabell Schaupp (DE), Kirsten Spuijbroek (NL), Tamara Grüner (DE), Thea Clark (US), Willemijn de Greef (NL), Atty Tantivit (Thailand), Carolina Gimeno (Chile), Dora Haralambaki Greece, Fabrizio Tridenti (IT), Vivi Touloumidi (GR), Nicolas Cheng (SE) ………………
Amanda Caines (UK) — Carolina Gimeno (Chili)
Dora Haralambaki (Greece) – ceramic jewellery
Nicolas Cheng – ‘The Beauty of Nothingness’ - brooch – loofah, sponge, cotton
SIERAAD
WesterGasfabriek
Haarlemmerweg 8-10
1014 BE – Amsterdam (Netherlands/Hollande)
Tel : 00 31 (0)33 4337009
info@platformsieraad.nl
http://www.sieraadartfair.com
en 2007, à la HAWK Fachhochschule ………. Le fil rouge de la relation, du lien (social ?)
« Meine Diplomarbeit erzählt vom Mensch als sinnliches, Verbindung- suchendes Wesen, von seinen Beziehungen zu anderen, zu seiner Umwelt und zu sich selbst. Nicht selten werden diese Beziehungen dabei zu Verstrickungen, Verwirrungen – ‚Ver– Bindungen’, ein Thema, das in meiner Arbeit immer wieder auftaucht. Durch die Kombination von Email und Fäden (bzw. Stoff) und das Hinzufügen ungewöhnlicher Elemente wie Trichter, Tentakel und Saugnäpfe, erhalten diese Beziehungen eine neue Bedeutung und einen ungewöhnlichen, fast poetischen Reiz.« (Isabell Schaupp)
(« Ma thèse dit l’homme comme une nature sensuelle, la recherche de connexion, ses relations avec autrui, à son environnement et à lui-même. Souvent ces relations sont des complications, de la confusion. Aller vers ? des Liens ? Un thème qui apparaît dans mon travail encore et encore. La combinaison du courrier électronique et du fil (ou tissu) et l’ajout d’éléments inhabituels, comme des entonnoirs, des tentacules et ventouses pour maintenir cette relation, donne un sens nouveau et inhabituel, presque un charme poétique….. » (dixit le traducteur google…))
from ‘ANATOMY LESSONS’ exhibition, at « Taboo Studio« , San Diego (USA) 7 mai-18 juin 2010
Des bijoux qui représentent le corps humain, mais fractionné, bout à bout, comme des petits cailloux pour la mémoire semés par un Petit Poucet qui voudrait retrouver le (bon/droit) chemin ….
et, dès le départ, la série de Jessica Calderwood nous fait de l’oeil …..
Jessica Calderwood - ‘Portrait of an Eye’ Brooch/Pendant – Enamel on copper, sterling, stainless steel
Jessica Calderwood, Blink (enamel, copper and sterling silver)
Jessica Calderwood ‘Asymmetry’ Brooch- Enamel on copper, sterling, 18k foil.
Jessica Calderwood - ‘Portrait of a Nose’ Brooch Enamel on copper, sterling, stainless steel
Jessica Calderwood - ‘Portrait of an Ear’ Brooch/Pendant - Enamel on copper, sterling, stainless steel
Jessica Calderwood - Navel Brooch/Pendant - Enamel on copper, nu-gold, sterling, stainless steel
Jessica Calderwood (US) – ‘Before and After’ Brooch (reversable) – Enamel on copper, sterling, stainless steel, 18k foil
« My most recent series consists of psychological portraits that address ideas of consumption and personal obsession using irony, humor and vibrant color. Using a combination of traditional metalsmithing processes, such as raising and die-forming as well as industrial processes such as laser-jet cutting, this work aims to merge contemporary enameled imagery with traditional forms.« ( Jessica Calderwood)
Diane Falkenhagen « After Canova’s Paulina » Brooch/Pendant – 2010
cette broche de Diane Falkenhagen illustre parfaitement ce sentiment de « corps morcelé« , mis en pièce(s) ……
Julia D. Harrison - Rosebud Brooches -wood, lacquer, gouache, epoxy + more
Julia D. Harrison (US) ‘Holler’ Brooches – wood
Sarah J.G. Wauzynski, ‘Small Demands’ – brooch – sterling silver, egg tempera pigment, gold
Randy Long (US) – Brooch – Sterling, hand carved marble
Randy J. Long- St.Sebastian Brooch – handcarved shell cameo, 22k gold
Margaux Lange, The Kiss (sterling silver, plastic and epoxy resin)
Kathleen Browne (US) – ’5 Moments’ brooch -fine & sterling silver, enamel
« The images used in this series of jewelry pieces are appropriated from a pulp magazine printed during the 1950’s titled Secrets. The magazine photos were overly dramatic and stagy, both tragic and unintentionally comic, but somehow they captured the zeitgeist regarding female transgression. These reconfigured images freeze a moment in the daily drama of our lives and, set as jewels, they serve as paeans to the mundane.
By first manipulating, then converting these images to enamel decals (and firing them onto the surface) I can exploit the historical conventions of enameled portrait miniatures, and, in particular, 18th century decal transfers. Hand-painted enamel portrait miniatures were luxury items but with the development of the decal transfer process, in the mid-18th century, such jewels were affordable to a wider audience. Then as now the enameled image serves to provide a democratized view of time and place. » (Kathleen Browne)
Anne Donzé (FR) – ‘qui a perdu son teton’ – broche, fonte en argent
Pauline WIERTZ (NL) – Bijoux ceramique – Boucles-citrines
Yuyen CHANG (Taiwan) – Mao-Fa Series (Untitled Pendant) (2007) copper, enamel, copper wire, sterling silver
Yuyen Chang est cette artiste qui a fait une série de broches sur les « orifices » ………. c’est le moment où jamais de les présenter …. les broches, pas les orifices ……
Yuyen CHANG (Taiwan) -Orifice Series – Untitled Brooches – copper – 2000-2002
Claire Lavendhomme - « Le plus profond c’est la peau » 2007. Bagues – argent, photo, résine, sable.
Melanie Bilenker, ‘Feet’ 2007 – brooch – gold, sterling silver, ebony, resin, pigment and hair
Esther Knobel -brooch- sterling silver with perforated (drilled) drawing sewn with iron wire
![[kristenbeeler,+brooch.jpg]](http://2.bp.blogspot.com/_sXzQZzhRKYA/R-r6EIHRqDI/AAAAAAAAAPQ/rzc0vGHPgFE/s1600/kristenbeeler,%2Bbrooch.jpg)
Kristin Beeler (US)- brooches – drawing is ink on mother of pearl
Ramon Puig Cuyas (ES) – broche
Sally von Bargen – ‘Short Stories’ serie – ‘wish’
Isabell Schaupp (DE) ‘hands’ series
et… ma dernière « trouvaille » … mais ne dit-on pas qu’on garde le meilleur pour la fin ? 
![[gijs.jpg]](http://1.bp.blogspot.com/_dUyHBClqjkA/SLpXQpKet9I/AAAAAAAAGfQ/0BYS1NRfHmw/s1600/gijs.jpg)
Gijs Bakker (NL) – collier ‘Johnny Awakes’ – silver, photography – 1998
« Mon truc en plumes
Plumes de zoiseaux
De z’animaux
Mon truc en plumes ….
Ça fait rêver….. »
(Zizi Jeanmaire)
bijoux en plumes
Arline Fisch‘Twill’ necklace, 1970 – Woven sterling, feathers
Arline Fisch ‘Feathers’ bracelet, 1974 Sterling, leather, feathers.
Susie Ganch – feathers earrings
Antria Prasinou (GR) – ‘Magic Wheel’ – Brooch – Silver, feathers 2009
c’est drôle, la plume n’a pas l’air d’avoir bonne presse dans le monde du bijou moderne. Elle bat de l’aile, si je puis me permettre ….. Si elle apparait, c’est discrètement (boucles d’oreilles, éventuellement bagues), ou alors pour évoquer de suite un coté « cul-cul », monde de filles, houpette, boa et tra-la-la ….
En 2005, le directeur artistique de chez Lemarié, le célèbre (et unique maintenant) plumassier de la place de Paris, a créé une ligne de bijoux utilisant les plumes … il était bien placé pour savoir de quoi il en retournait ! plumes de coq taillées et acérées donnaient des bagues à la présence légère mais à forte personnalité … hélas, plus rien de neuf à l’horizon depuis ….
La plume, sa légéreté, son mouvement, sont évoqués (collier de Kayo Saito,broche d’Isabell Schaupp, bracelet de Joanne Cox, collier de Louise Nippierd ou de Simone Svoboda, jusqu’au collier de virginie BOIS qui rappelle les parures en plumes des Indiens d’Amérique du sud …), mais elle n’est pas franchement utilisée …. en tout cas, je ne la vois pas souvent ! C’est vrai aussi que ça a été tellement galvaudé ! moi, dès que je vois une plume de paon qui pendouille, je m’enfuis en courant !
« C’est au printemps dernier que la Maison Lemarié, réputée pour son savoir-faire de plumassier auprès des grands noms de la mode et de la couture, a lancé sa première ligne de bijoux. Pour sa deuxième saison, la marque, sous l’impulsion de son designer Eric-Charles Donatien, injecte une nouvelle dose de détails décalés et booste son image « bon chic ». Des couleurs qui claquent (fuchsia, rouge carmin, bleu pétrole), des plumes de paon taillées comme des écailles, des plumes de coq affûtées comme des lames, des effets plumeau, des éclairs argentés… Plus que du caractère, ces bijoux ont un look, une «gueule». » (nov 2006, Madame Figaro)
Lemarié par Eric-Charles Donatien- Broche Étoile du Sud en plumes, argent et cristaux
Lemarié par Eric-Charles Donatien - Bague ‘Oursin’, plume d’oie, argent, strass (merveille !)
« Des plumes aux noms « exotiques », mais dont l’origine est parfois plus prosaïque. Comme le «marabout» qui se trouve être en fait du duvet de dinde… parce que «duvet de dinde, ça évoque plutôt la couette ou l’oreiller, ce n’est pas très ‘glamour’», confie Eric-Charles Donatien. Mais il y a aussi une autre explication : c’est que le commerce la plume – comme celui des peaux et fourrures – est régi par la Convention de Washington, qui pour résumer, le restreint aux oiseaux dont on mange la chair, c’est-à-dire principalement pour, la maison Lemarié, coqs, oies, faisans et autruches. Les plumes d’autruche proviennent d’Afrique du Sud et de pays d’Amérique du sud, comme celles de nandous, beaucoup de plumes viennent également d’Asie. Des provenances qui nécessitent une grande vigilance. «On jongle avec ce qu’on trouve sur le marché, et le stock de la maison», conclut Eric Charles-Donatien. …. chez Lemarié, on s’efforce de «casser certaines idées reçues sur la plume», notamment celle qui l’associe systématiquement au spectacle sexy. Avec la ligne de bijoux, qu’il a créée depuis 2005, Eric Charles-Donatien, a voulu que par le biais «d’ un travail graphique et technique inattendu (…) la plume devienne objet de design». Une collection réalisée avec l’orfèvre Goossens, qui fait partie, avec Lemarié, des sept ateliers d’art rachetés à partir du milieu des années 1990 par Chanel : le parurier Desrues, le chapelier Michel, le brodeur Lesage, le bottier Massaro et l’atelier de création de fleurs artificielles Guillet. Une façon de faire vivre ces métiers devenus rares et de moins en moins enseignés. Chaque atelier continue à travailler pour d’autres maisons de couture et a été incité à développer des activités complémentaires, comme l’école de broderie de Lesage ou les collections de bijoux de Lemarié. » (Danielle Birck-Article publié le 25/02/2008)
Fifi la Ferraille- été 2008- collier en plumes de coq, pvc- pièce unique
Betony Vernon, bague plumes
Mikala Mortensen (DK)- necklace- silver, feathers
Christine Bossler – ‘Distance’ – silver, copper, brass, music wire, silicone, feathers – 2001
Annie Mesplet-‘Colliers d’Ailleurs’- été 2008- lien cuir Touareg, plumes
Eric Halley- b.o. plume- 1997
Eric Charles-Donatien pour Lemarié – bague ‘Spirale’
Louise Barthélemy (Groupe Arcanes) – sillon de plumes, objet de main – argent, plumes 2003
deux superbes créations très modernes, sans le coté « ethnique » ou « frou-frou »
Jill Baker Gower – ‘glamour gem’ locket brooch- sterling, feather boa, mirror & plastic gem
Ligia DIAS – bracelet plumes, cuir & chaine
‘mikeandmaryjewelry‘ ring_a_day challenge
Cécile Boccara (FR)- collier plumes
Pascale Frey (FR) b.o. ‘éventails’ plumes de paon
Patricia Lemaire - bague ‘Lumière 1′ – 1999 défilé Hte Couture C. Rouxel
Patricia Lemaire- « Volutes » manchette -Parure de bras- cuivre émaillé, maillechort patiné, plumes d’autruches teintées et frisées 
Patricia Lemaire – ‘L’AIR’ – bague maillechort, plumes, inox
![[13.jpg]](http://3.bp.blogspot.com/_vds6hZ7PMWg/SowmgDpQXiI/AAAAAAAAAPo/7iaXkJf95Lw/s1600/13.jpg)
Dominique Thomas-Vansteenberghe -(BE) parure en argent, caoutchouc et plume de faisan
la plume évoquée par d’autres matériaux :
Kayo Saito – necklace & detail
Noriko Yamaguchi – paper brooch
Isabell Schaupp monatsbrosche sept09
Joanne Cox - Jewellery on the body
Louise Nippierd - fallen fowl – 1998
Radek Szwed - bracelet
Simone Svoboda – textile (feutre) plastique
Virginie BOIS collier taffetas (textile)
ET ……. à ALLER VOIR ABSOLUMENT ! sur le blog de Patricia Lemaire, une publication de ses bijoux en plume ! 
Enregistrer
nella galleria Handwerk una mostra sui diversi modi di usare le perle
dal 18 giugno al 31 luglio 2010
(oeuvre de Kasimir Oppermann (DE)
« Die Perle ist durch ihre schimmernde Oberfläche, die Ebenmäßigkeit ihrer Rundung – oder gerade gegenteilig durch die bizarren Formen – und ihre geheimnisvolle Entstehung bestimmt. Ihre Schönheit, ihr Glanz und ihre weiße Farbigkeit ließen sie zum Attribut der Göttin Venus werden.
Schon früh wurde die Perle in verschiedenen Kulturkreisen im Schmuck verarbeitet und mit symbolischem Wert belegt. Sie war zudem Zeichen für Macht, Status und Reichtum. In jüngerer Vergangenheit wurde die Perle in der Perlenkette zum grossbürgerlichen Statussymbol und geriet darüber etwas ins Abseits. In den letzten Jahren lässt sich nun ein neues Interesse an der Perle erkennen: Am Beispiel der Perle wird nicht nur über die traditionellen Funktionen von Schmuck reflektiert, sondern es werden auch neue innovative Formen der Gestaltung mit der Perle erprobt.
Die Ausstellung der Galerie Handwerk München beschäftigt sich mit diesen ungewöhnlichen Formen der Gestaltung nicht nur im Medium des Schmucks, sondern auch in der Installation, dem Bild und dem Objekt. Im Vordergrund steht jedoch der Schmuck.Werke von 43 internationalen Künstlern werden präsentiert, um einen
Überblick über die verschiedenen Tendenzen bei diesem aktuellen Thema zu geben. Nach einer jahrelangen Vernachlässigung der Perle, gerade im Bereich des Autorenschmucks, fällt nun ein intensives Interesse dafür auf. Dieses wurde auch wieder in der Sonderschau ›Schmuck‹ auf der Internationalen Handwerksmesse 2010 in München deutlich. Nach einer langen Zeit, in der Minimalismus, eine gewisse architektonische Konstruktionsweise und Funktionalität bei der Gestaltung von Dingen bzw. eine stark persönlich und kritisch geprägte Auffassung beim Schmuck im Mittelpunkt standen, ist nun wieder eine neue Freude an der Pracht und dem Reichtum, ein Rückgriff auf Ornamente und eine Formensprache festzustellen, die dem Barock entlehnt ist. Vor diesem Hintergrund scheint dann auch die Beschäftigung mit der Perle, deren Gestaltung im Barock einen Höhepunkt erfuhr, keinesfalls erstaunlich.
Perlen aus verschiedenen Materialien und der Reichtum in ihrer Formgebung werden an Beispielen internationaler Schmuckkünstler vorgestellt. Es sind Arbeiten aus Australien, Belgien, Deutschland, Finnland, Frankreich, Großbritannien, Italien, Japan, den Niederlanden, Norwegen, aus Österreich, der Schweiz, der Tschechischen Republik und den USA vertreten.«
Carmen Hauser
Jacqueline I. Lillie (FR/AT)
Alors je vous le dit de suite : hélas, je ne comprends pas un traitre mot de l’allemand …. et le charabia généré par les « outils traducteurs » ne m’aide pas franchement …. je vous le laisse (ci-dessous) rien que pour rire un peu ….
La perle est, par sa surface miroitante, la régularité de leur cycle – ou tout simplement le contraire prévue par les formes bizarres – et leur origine mystérieuse. Leur beauté, leur éclat et leur couleur blanche, ils sont laissés à l’attribut de la déesse Vénus.
Déjà Früh la perle dans les différentes cultures a été générée dans les bijoux et recouvert d’une valeur symbolique. Elle était aussi un symbole pour le pouvoir, le statut et la richesse. Dans un passé récent, la perle dans le collier à grossbürgerlichen symbole de statut et quelque chose est tombé en désuétude. Ces dernières années, peut maintenant détecter un nouvel intérêt pour la perle: l’exemple de la perle est non seulement à refléter les fonctions traditionnelles de bijoux, mais aussi de tester de nouvelles façons novatrices de la conception à la perle.
L’exposition traite de la Galerie Handwerk Munchen à ces formes particulières d’organisation non seulement dans le milieu des bijoux, mais aussi dans l’installation, l’image et l’objet. L’objectif, cependant, est le règne de 43 Schmuck.
Données comme numéro un dans les différentes tendances du présent . Après des années de négligence, en particulier dans le domaine des bijoux d’auteur, la perle suscite maintenant un vif intérêt. Ce fut encore plus évident dans l’émission spéciale « Bijoux » à la Foire commerciale internationale 2010 de Munich. Après un long moment, le minimalisme d’une certaine manière, la construction architecturale et de fonctionnalité dans la conception des choses et une vue très personnelle et critique dominé les bijoux dans le centre se trouvait, est aujourd’hui à nouveau une joie nouvelle dans la grandeur et la richesse, un Rückgriff ornements sur un formulaire et la langue afin de déterminer le baroque est dérivé. Dans ce contexte, la tâche semble à la perle, la conception d’un pic dans le baroque appris à ne pas surprenant.
Perles de divers matériaux et de la richesse dans leur conception sera présenté avec des exemples de Schmuckkünstler internationale.
Annelies Planteijdt (NL) – Laura Deakin (AU/DE) – Lucy Sarneel (NL)
Stephanie Jendis (DE) – Karin Seufert (DE) – David Bielander (CH/DE )
Alexandra Bahlmann (DE) – Evert Nijland (NL) –Ulla Ahola (FI)
Mirei Takeuchi (JP/DE) — Jacqueline I. Lillie (FR/AT) — Sam Tho Duong (VN/DE)
Francis Willemstijn (NL) — Katja Schlegel (DE)
Barbara Paganin - anemone rosso e bianco
Barbara Paganin - corallo nero
Barbara Paganin - rami di corallo nero
Barbara Paganin - geode — zucca (à droite)
Barbara Paganin - reef
Artists:
Ulla Ahola, FI — Isabelle Azaïs, BE — Alexandra Bahlmann, DE — Peter Bauhuis, DE — David Bielander, CH/DE — Célio Braga, BR/NL — Laura Deakin, AU/DE — Diana Dudek, DE — Sam Tho Duong, VN/DE — Petr Dvorák, CZ/AT — Shige Fujishiro, JP/DE — Line Garlind, NO — Karen Gilbert, USA — Jens Gussek, DE — Stephan Hampala, AT — Katerina Handlová, CZ — Carmen Hauser, DE — Susan Hoge, USA — Stephanie Jendis, DE — Maki Kawawa, JP — Florence Lehmann, FR — Wolli Lieglein, DE — Jacqueline I. Lillie, FR/AT — Outi Martikainen, FI — Julie Mollenhauer, DE/NL — Dorothee Neumann, DE — Evert Nijland, NL — Kasimir Oppermann, DE — Barbara Paganin, IT — Michael Petry, USA/UK — Annelies Planteijdt, NL — Katja Prins, NL — Uli Rapp, DE/NL — Lucy Sarneel, NL — Isabell Schaupp, DE — Katja Schlegel, DE — Danni Schwaag, DE — Helga Seimel, DE — Karin Seufert, DE — Etsuko Sonobe, JP — Mirei Takeuchi, JP/DE – Tarja Tuupanen, FI — Francis Willemstijn, NL
Galerie Handwerk
Max-Joseph-Straße 4
Eingang Ottostraße
80333 – München (Germany)
Tel : +49 89 595584
Fax + 49 89 595544
website: www.hwk-muenchen.de/galerie
mail: galerie@hwk-muenchen.de
en ce qui concerne les créateurs travaillant la PERLE, voir les articles précédents :
les anglais parlent de « pearl » pour LA perle, et de beads pour LES perles (de verre, de bois, de tissu …) ça simplifie les choses …..
