ALL PARTICIPANTS 2016 here
Here is a little SELECTION :
YANNICK MUR - French – www.yannickmur.fr - stand 45
ANNA VLAHOS - Greek/Australian – annavlahos.com - stand 11
ALL PARTICIPANTS 2016 here
Here is a little SELECTION :
YANNICK MUR - French – www.yannickmur.fr - stand 45
ANNA VLAHOS - Greek/Australian – annavlahos.com - stand 11
Artists’ Reception: Friday August 21, 6-8pm
A garnish can be anything from an adornment that adds or enhances the body (human or animal) to a functional or nonfunctional object that decorates and spices up a room. This exhibition will ask viewers and participants to examine the idea of a garnish made by 2 different subsets of makers who have come together to create an embellishment that satisfies both.
Satomi Kawai & Nikki Couppee, Neogems (Necklace), Plastic, etched copper, resin, pigment, sterling silver, brass, plexiglass, found shells, faux and real pearls, faux silver foil, hologram laminate
Brian Ferrell & Jillian Moore, Clompe Cluster (Brooch), basswood, polymer clay, resin, paint, wax
Peter Hoogeboom & Maja Houtman, Artichoke (Brooch), Ceramics (slipcasting), metalwork (basketry), silversmithing silver, porcelain
Tom Muir & Caitlin Skelcey, Expel, ABS Plastic, Sterling Silver, Automotive Paint and Clearcoat
Aric & Randy Verrastro & Long, Daydreaming (Neckpiece), Canvas, PLA, sterling silver, copper, enamel, china paint, steel, thread, acrylic paint, poly-fil
Linda Savineau & Steve Shelby, Sluggish Meanderings, Hammer printed brass, 3D printed nylon (SLS), driftwood
Marissa Saneholtz & Michael Dale Bernard, « She was lost to her dreams as flowers cascaded upon her. » (Neckpiece), Copper, steel, aluminum, silver, maple, vitreous enamel, powder coat, lacquer
Vincent Pontillo-Verrastro and Sharon Massey, Plume, Copper, PLA, graphite, enamel, rare-earth magnets
Statement from the organizers:
“A modern metalsmith/metal artist can be found working in traditional metals as well as in nontraditional materials. The designs can range from the classic to the extravagant, and the techniques can either be centuries old or decidedly current. The wide range of expression preferences, design options, materials, and processes has lead within our field to unfavorable misconceptions, misunderstandings and in some cases even outright disdain between artists. Each side considers itself superior to the other, seemingly not appreciating the clear advantages, benefits, and experiences each faction brings to the table. Quoting from Damian Skinner’s 2013 SNAG keynote lecture in Toronto:
“We are all family. Sometimes, family members don’t speak with each other, but we still are one big family. Let’s recognize this fact.”
Can our field overcome family division and send a much-needed signal to the metals + jewelry community? We appreciate and respect our historical past and acknowledge that current materials have a rightful place in jewelry/object making. Arriving at this message is the goal of this exhibition.” – Brigitte Martin and Rachel Timmins
Velvet da Vinci
2015 Polk Street,
San Francisco, CA 94109
Hours: Tuesday through Saturday, 11am – 6pm, Sunday, 11am – 4pm
SIERAAD 6-9 nov 2014 – Amsterdam
THE 13TH EDITION OF SIERAAD ART FAIR (SAF) WILL BE THE MOST INTERNATIONAL ONE YET. SAF IS THE ONLY PLATFORM IN THE NETHERLANDS WHERE PROFESSIONAL CONTEMPORARY JEWELLERY DESIGNERS FROM HOME AND ABROAD SELL THEIR WORK DIRECTLY AND IN PERSON. TO ADD LUSTRE TO THIS EDITION OF SAF THERE WILL BE SOME SPECIAL EVENTS AND STRIKING PRESENTATIONS.
La liste des participants commence somptueusement !!! : « Erato Kouloubi, ALCHIMIA Jewellery school in Florence, Alina Carp, Andrea Coderch Valor ……. Catalina Brenes, Catalina Gibert, …. Wu Ching-Chih, David Choi ……….. Dora Haralambaki, Edith Bellod, ……… Gabrielle Desmarais, George Giannoutsos, etc etc etc pour ne citer que mes préférés ……… la Royal Academy of Fine Arts d’Anvers … (voir la liste (lien ci-dessus)
Niki Stylianou – » Vessels and Matter II: Metaphors on Courtship, Intimacy and Domesticy » Necklace – Hand cut rubber, silk thread, watercolor – at stand 1
Maria Tsimpiskaki, Corruption collection, brooch, 2014 at stand 1
Catalina Gibert - Serra_2014 Necklace – at stand 41B
Andrea Coderch Valor - 2011. Silver, wood (bois de violet), silk. – at stand 41A
Liisa Hashimoto (HINGE Dept.) - 5set Red Seed Ring – at stand 48
Sylvie Jousset - « catch me cactus » bracelet – Argent, maillechort, vrais cactus & plantes grasses - at stand 74
Nevin Arig – brooch simple5 – at stand 71
they made a collective necklace !
Isabelle Busnel sharing a stand with Mia Kwon, Gabrielle Desmarais and Edith Bellod and this is our collective necklace
Eun Mi Kwon (Mia Kwon jewellery) – spring on skin #07 – 2014 – porcelaine at stand 75
Isabelle Busnel - neckpiece – at stand 75
Edith Bellod – at stand 75
Wu ching-chih- at stand 18
Judith Bloedjes – ring precious triplet 2014 – porcelaine
Catalina Brenes at stand 64
Alina Carp – brooch – at stand 25Lauren Markley -at stand 44
Raewyn Walsh Vessel pendant, 2012 NZ, silver, epoxy, silk thread
Eily O’Connell- at stand 31
Han-Chieh Chuang – red brick brooch serie – silver, copper, enamel, steel wire – at stand 38
Silvia Beccaria - gorgiera Splendor – 2011 - at stand 100
Karolina Bik - ‘graphium’ ring – peridot, argent oxydé
Linda Ezerman - Necklace with a story
Linda Ezerman - new work ! – Sea Seed Brooches – Balsawood, pigment(powder), laquer and stamen -
SIERAAD 2014 at stand 53
Jillian Moore – at stand 33
Maria Diana, bracciale perle, 2013 (porcelain, stoneware, gold) – at stand 67
Merav O. Roth Jewelry
Yung Huei, Chao (Taiwan). « Windows Series ». Nickel silver Bracelets (2010)
stand of Royal Academy of Fine Arts d’Anvers, with Vincent Verstrepen, Elitsa Macheva, Annika Wirken, Elya Tettelin, Josefine Mass, Mara Gabriela Grigoriu :
stand of Alchimia Contemporary Jewellery School, (stand 101), with :
Daria Borovkova (Russia), Amani Boudargham (Lebanon), Francesco Coda (Italy), Elena Gil (Costa Rica), Sana Khalil (Lebanon), Daniela Malev (Germany), Lilian Mattuschka (Austria), Carla Movia (Italy), Federica Sala (Italy), Maria Ignacia Walker (Cile)
Federica Sala neckpiece
María Ignacia Walker
Welcome to our world of lived-out deficiencies and psychopaths!
What are the adornments of dictators, despots, and the plain delusional ? What do they need in order to let their real personalities shine through ? What tools do tyrants have to show that they are in charge ?
Despoten sind – bei aller Einfalt – ein sehr facettenreiches Trüppchen. Sie wollen nicht nur geliebt werden. Nein, sie wollen ehrlich und echt geliebt werden. Notfalls mit Gewalt.
Doch: Womit schmücken sich DiktatorInnen, Grössenwahnsinnige, Möchtegerns und Trauminöds? Womit präsentieren sie sich, damit ihre wahre Persönlichkeit im richtigen Licht erstrahlt? Womit zeigen GrosskotzInnen, TyrannInnen und zu Höherem Berufene, dass die Macht mit ihnen ist? Besitzt der Mächtige Objekte der Macht weil er mächtig ist? Oder ist er mächtig, weil er Objekte von magischer Macht besitzt?
Und: Was gönnt der Despot sich selbst in einer launigen Minute? Welcher Schmuck feiert mit ihm in der Stunde seines Triumphes? Womit verwöhnt er seine Untertanen, damit sie sich ihm leichter unter tun? Und wie kann ich ihm huldigen, damit er meine wahre Liebe und somit seinen wahren Wert erkennt?
Diese und andere Fragen zum Thema RULE THE WORLD beherrschen das Thema der nächsten jurierten Schmuckausstellung bei Friends of Carlotta.
Willkommen in der Welt der gelebten Defizite und der Psychopathen in Bestform!
Ich freue mich auf die Pracht der Macht und darauf, Sie an der Vernissage vom 19. Juni 2014 ab 17h begrüssen zu dürfen. Oder an jedem anderen Tag während der Ausstellung. Herzlich Bruna Hauert
Despite their simple-mindedness, despots are a very diverse little group. All they want is
to be loved. Or rather, they want honest and real love. By force, if need be.
However, what do dictators, megalomaniacs, wannabes and the delusioned adorn themselves with? What do they use to cast their personalities in a positive light? What do fat cats, tyrants and those destined for greater things use to demonstrate that the force is with them? Do the powerful own objects of power because they are powerful? Or are they powerful because they own objects with magic powers?
What’s more: What do despots treat themselves to when they’re in a foul mood? Which pieces of jewellery are there to share the hours of victory with them? What do they spoil their subjects with in order to make them more eager to subdue themselves? And how must I worship these despots so that they recognise my pure love and therefore their true value?
These and other questions on how to RULE THE WORLD will be the dictating subject of the
next juried jewellery exhibition at Friends of Carlotta.
Jennifer CRUPI power gesture
Luitgard Korte - ring
Gregory Larin ‘Nice to meat you’ necklace – brass, textile, polymer
Jasmin Hess brooches « Love is what you PUT IN my heart » Brosche Holz, Textil, Garn, Silber
Brigitte Berndt – « man Eater »
Jillian Moore « PHASELOS »
The obscenely over sized piece did not hang like a pendant. It framed her face and seemed to cradle her body. It required a formal posture and bearing that teased out an air of decorum she was not always prone to pulling off. A hybridization of legume, embryo, and organ, the piece could not be more ripe. It‘s glossy surface, and speckled edges felt less like a thing made than a thing born. To the starving masses it was a promise of fertility, but to her enemies it was a reminder that she might gut them at amoment‘s notice
« I wanted to think of a jewel that affirm strength and power. in which the tyrant will exhibit their achievements represented by balls enclosed between cubes, like columns that recall the force of power.
A potential rosary made to be shown to confirm the ego and emphasize his power.
Object to show, but that becomes amulet and creates safety to the wearer »
« Jewelry to live every deficiency to the fullest extent. I choose to use a female and a male despot, creating two characters and two scenarios. They both compete for power, adoration, attention and they use the same weapons: the Penis, a symbol of power and dominance. My characters have a lot of insecurities for which they have to overcompensate with decoration and dubious behavior. The Penis becomes a symbol of desire and the despots see it as the object of their desire. The Penis becomes a cult object. Queen of all queens carries around a small wooden Penis pendant as a symbol of her dominance over men. It looks modest, unimportant and not too cared for. It is a trophy.
King of all kings carries around a wooden Penis to show he is the biggest, strongest and most precious of all. The piece is carved out of balsa wood and carefully finished. The piece is really easily imprinted if one doesn’t handle it with care, just like the King’s ego. The way it is worn, as a brooch on the shoulder, is disturbing for the wearer as well as for the viewer. »
Sam Tho Duong neckpiece
Friends of Carlotta Bruna Hauert,
Tel +41 44 261 87 07
Jillian Moore : Fruits of my labor
« For Jillian Moore’s first solo show in Belgium, « The Fruits of My Labor », an assortment of both major works and smaller, ready-to-wear pieces are presented. Regardless of scale, Moore’s work references biological forms of ambiguous origin. As a result, they straddle both the botanical and zoological. The bright colors paired with the thick gloss of her resin technique creates wearable pieces that are always luscious, and often a little vulgar in one way or another. Moore says of her work:
« Our natural tendency to seek out patterns results in a sensitivity to the congruities in biological forms. Deliberate exploitation of these phenomena results in objects that are both ambiguous and evocative. Some are organs removed from the body in which they once belonged, revealing structures with unknown functions. Others are complete specimens tagged with labels. Signs of dissection as well as taxonomy provide evidence of attempts to demystify these new organisms. However, this approach leaves many unanswered questions and highlights the inherent ethical compromise in these methods of understanding.
I choose materials and techniques that are transformative, resulting in objects that do not readily reveal the processes of their making. Copper may be hidden under layers of paint, the only exposed metal oxidized. The electroforming process allows for wax forms to be coated in copper leaving a hollow shell with textural encrustations–evidence of the acretivce nature of the process of building copper on a molecular level. The resin pieces are light in weight, built on a core of carved foam that is strengthened by successive layers of an opaque, water-based composite resin. The clear epoxy resin is then layered with paint to create a depth of surface typically expected of glass work. The slick gloss of the resin further mimics biology. »
Jillian Moore - brooch : Popel, 2009 – Foam, composite and epoxy resin, paint, nickel silver
Jillian Moore – brooches : Par Lobbe, 2009 – Foam, composite and epoxy resin, fabricated copper, paint, weighted and dyed cord
Jillian Moore – Piece: Porosus, 2011 – Foam, composite and epoxy resin, polymer clay, paint, rubber
SIERAAD 7-10 nov 2013 – Amsterdam
(Jillian Moore jewel)
Liisa Hashimoto (Shoe Ring ) – stand #67
Stephanie Voegele Neon yellow brooch
Min Ji CHO brooch
Rita Bey Yu Lin – waiting for blossoming
Margo Nelissen – zaaddooshanger 300
Davide Penso, glass jewelry.
Linda Ezerman beach in bloom groen 2
Katja Toporski Crucible 4 necklace – 2012 – Steel, Porcelain, Charcoal, Frankincense
Jillian Moore ring
1014 DD Amsterdam
SIERAAD Art Fair, international jewellery design fair – 01.Nov.2012 – 04.Nov.2012
This year the poster will feature a ring by Serin Oh from Korea, one of the winners of the biennial international design contest New Traditional Jewellery 2010: True Colours. After the great success of last year another delegation of Korean contemporary jewellery designers will be present at the fair this year – definitely something to look forward to because in our Western eyes these artists give a unique interpretation of their cultural history.
Uk Collect_ive stand 35, a new generation of UK Art Jewellers, with Farrah Al-Dujaili – Laura Bradshaw Heap – Melanie Codarin — Katie Lees — Yu-Ping Lin — Grace Page — Natalie Smith — Anna Wales
1014 DD – Amsterdam – Netherlands
Telephone: 00 31 (0)33 4337009
mail: firstname.lastname@example.org on FB : https://www.facebook.com/pages/SIERAAD-Art-Fair-international-jewellery-design-fair/106391316050449?ref=hl
ALL PARTICIPANTS here
with, among them :
Alchimia Contemporary Jewellery School in Firenze Italy:
Valentina Caprini IT — Andrea Coderch Valor ES — Patrick Davison GB — Catalina Gibert Nadal ES — Sam Hamilton IR — Dinah Lee USA — Weronika Marek PL — Izabella Petrut RM — Giulia Savino IT — Anna Helena van de Pohl de Deus USA
‘NEW NOMADS’ New Traditional Jewellery 2012
More Info: http://www.newtraditionaljewellery.com
For the 2012 design contest and exhibition the professional jury of New Traditional Jewellery (NTJ) has chosen the theme ‘NEW NOMADS’, because both literally and figuratively this theme offers many possibilities for inspiration.
the professional jury of New Traditional Jewellery (NTJ) at (hard !) work ….
The history of jewellery is as old as mankind. While people went in search of parts with the best living conditions they carried their valuables with them, wearing them on their bodies. Jewellery that represents economic and social status, as it still does nowadays in the case of nomadic tribes. The dissemination of religions went hand in hand with an unprecedented range of religious jewellery and ornaments, ranging from small containers for religious texts to reliquaries and portable altars.
To this day, jewellery made of stable materials like gold and gems is the guarantee for your ‘ticket home’ in times of crises or when you have to flee from high-risk areas. Due to the global financial crisis prices of this so-called ‘flight gold’ have skyrocketed. Is there an alternative? Nowadays there are quite different streams of migrants but the principle is the same: people in search of parts with better living conditions. The whole world is on the move, from refugees to tourists, from emigrants to employees of multinationals. And you don’t even have to get up from your chair: Skype e.g. has made videoconferencing into a social medium.
NTJ asks contemporary professional jewellery designers to build bridges between the traditional jewellery of e.g. nomads, pilgrims, explorers, globetrotters, refugees or colonists and possible symbols bearers representing the mobility of the ‘NEW NOMADS’. Check the attachments for conditions and criteria.
all nominees New Nomads:
Ariane Ernst D — Alejandra Solar Mex — Auk Russchen NL — Barbora Dzurakova SK — Casey Fenn UK — Dana Hakim IL — Daniela Malev D — Edu Tarín ES — Hee Won Kang ROK — Heng Lee RC — Hester Popma-van de Kolk NL — Jie Sun CN — Judy McCaig UK — Juliane Keßler D — Katharina Dettar D — Laila Smith UK — Leon Mommersteeg NL — Maria Hees NL — Matthew+Amanda Caines UK — Maryvonne Wellen NL — Minna Karhu FIN — Noa Liran IL — Patricia Domingues P — Peter Vermandere B — Petra Bole SLO — Raewyn Wash NZ — Ricarda Wolf D — Robean Visschers NL — Roseanne Bartley Au/NZ — Sang-Hee Park ROK — Saskia Govaerts B — Sina Wassermann D — Sung-Min Jung ROK — Tabea Reulecke D — Verena Klette D — Vernon Bowden NZ –
the exhibition “New Nomads” will be then shown in MMKArnhem (museum for Modern Art in Arnhem) , November 24. – January 27. 2013!
The next exhibition will be published after the summer.
Maria Hees (NL) – Necklace: foam, porcelain, rubber
Roseanne Bartley (AU/NZ)
Noa Liran (IL)
A Design Museum, London touring exhibition
at NGV (National Gallery of Victoria)
Unexpected Pleasures looks at what we mean by jewellery from a number of different perspectives. Taking as its starting point the radical experiments of the Contemporary Jewellery Movement that challenged a conventional understanding of the language of personal adornment, and looking instead at the essential meanings of jewellery, the exhibition brings together important work from around the world, and looks at it from the point of view of the wearer as well as the maker. Contemporary Jewellery in this sense is at the intersection of art and design.
Curated by Dr. Susan Cohn for the Design Museum, London with exhibition design by Ab Rogers Design and graphics by Barnbrook.
« UNEXPECTED Pleasures, an exhibition of the world’s ugliest, loveliest, most intriguing contemporary jewellery, opened at the National Gallery of Victoria International yesterday.
»Everything here is designed to be worn, » said guest curator and jewellery designer Susan Cohn.
Visitors took that as a challenge, moving through 180 dimly lit curiosities by the world’s most radical designers, trying to imagine what it would be like to wear a necklace of glass and ceramic dildos. Or a tubular »veil » collar like a pearly plastic version of Ned Kelly’s helmet. Or a cluster of rusted bolts and nails on a silver »Screw Ring ».
»After procreation and survival, our next instinct as humans is adornment, » Cohn said when asked, »Why? »
»Adornment is about attracting a mate, which in turn, is about procreation and survival. »
Some humans, however, obviously require more complex, intellectual adornments than others. »Yes, some wearers will want something that speaks that way for them, » Cohn said. Among the exhibits was a vast choice of such expression, from the minimalist exquisitry of a grey sunray-pleated yoke, to a clump of small pale »tumours », photographed bursting through a model’s frock. The latter was in a category of radical ideas.
NGV director Gerard Vaughan said the exhibition offered »a fresh view of the many meanings associated with jewellery ».
The visiting director of London’s Design Museum, Deyan Sudjic, said it was the result of a »long, drawn-out, cerebral process », and that is precisely how it felt.
Unexpected Pleasures: The Art and Design of Contemporary Jewellery, is a Design Museum, London, exhibition funded by the Joan and Peter Clemenger Trust.
It is free and runs until August 26, when it will travel to London. (Daily Life.com.au)
Art and design come together through its exploration of the radical experiments of contemporary jewelers who have pushed the boundaries. Navigate your way through the labyrinth of themes; Worn Out (celebrating the experience of wearing jewellery), Linking Links (looks at the way in which narratives are expressed through sub-themes and creative systems) and A Fine Line (offers insight into the origins of contemporary jewellery today) in an exhibition that is not to be missed.
Sally Marsland (AU) – Flat colour, brooches (2002) – epoxy resin mixed with powdered pigment - Photo: Jeremy Dillon
Doug Bucci, USA, Trans-Hematopoietic neckpiece (2010).
Susie Ganch, USA, Yellow dust, brooch (2010)
David Bielander, Scampi, armband/bracelet, 2007
Karl Fritsch Screw ring 2010 silver, nails, screws
Karl Fritsch, New Zealand, Steinhaufen, ring 2004
Hyewon Kim - Torn 1 (2011) – resin, twigs Photo: Myoungwook Huh
First on show at the National Gallery of Victoria, Melbourne, 20 April – 26 August 2012, this exhibition will also tour to the Design Museum in London, 5 Dec 2012 – 3 Mar 2013. Melbourne based designer and maker Dr. Susan Cohn (interview with The Age) has curated this exhibition for the Design Museum and is also co-author of the substantial catalogue documenting this event as well contributing to the discussion about contemporary design and making.
180 St Kilda Road
(Daniel DiCaprio – brooch )
The world is full of life and organisms that thrive in a multitude of ways. From the seemingly mundane to the flat-out bizarre, « things » have found a way to survive. People are both part of the living world, and manipulators of it. An ever-changing world and life’s ability to adapt is the theme for this exhibition. The work presented shows a reverence for these creatures, the inner spark that ignites life, and the ability to survive.
Daniel DiCaprio (courtesy of Charon Kransen Arts) – Emily Watson – Hilary Pfeifer – Jillian Moore — Märta Mattsson (courtesy of Sienna Gallery) – Masako Ondera – Masumi Kataoka (courtesy of Charon Kransen Arts) — Satomi Kawai
Märta Mattsson Beetle Brooch
Masako Onodera : Cluster of Sloughs pendant
Satomi Kawai : Biorhythm I brooch
« Sparkle Plenty is the annual jewelry exhibition put on by Quirk Gallery in Richmond Virginia. And this year I was given the opportunity to curate it. As a jeweler I thought of the exhibitions that have inspired me in the past. I wanted to create a show that displayed my particular interests in jewelry and other new work that I find exciting. I also wanted to take this chance to exhibit the work of other young jewelers, most of whom are making these exceptional pieces within the first decade of their professional careers. These are the ones who inspire me and challenge me to keep working in the studio. These are some of the artists that I feel add interesting new ideas to the larger art jewelry dialog. I chose the theme of biologically influenced jewelry, the lifeblood of my own work and the narrative that attracts me to certain pieces. The official prospectus of the show went something like this: “The world is full of life and organisms that thrive in a multitude of ways. From the seemingly mundane to the flat-out bizarre, “things” have found a way to survive. People are both part of the living world, and manipulators of it. An ever-changing world and life’s ability to adapt is the theme for this exhibition. The work presented shows a reverence for these creatures, the inner spark that ignites life, and the ability to survive.”
From this theme came Organ/ism, a collection of eight jewelers exploring the biological world around us. Jillian Moore was one of the first artists that came to mind. Jillian’s work has always appeared to me like animals that have evolved through an alternate reality. Their existence is imagined into being, and inspired by the creatures that you think couldn’t possibly exist. They are often presented like taxonomical displays or snapshots of them in mid-autopsy. This format doesn’t try to provide more answers; rather it adds another layer to the mythology of the creature. Hilary Pfeifer’s work offers a similar interpretation of the biological world, presented “somewhere between humor and curiosity”. Her diminutive and charismatic pieces swarm on gallery walls, displaying the multitude of living adaptations. Her installations of brooches or necklaces can be like looking through a microscope into a thriving Petri dish, one colonized by single cell cartoons. These masses of form offer a greater understanding of the individuals, and like Jillian’s work, add an additional layer to a complicated story.
Masumi Kataoka’s work comfortably walks a line between beautiful and disturbing. Her organ forms, made from actual organs (hog gut and leather), are like a miniature trip to the displays of medical curiosities at the Mutter Museum. They provoke a curiosity in me that always wants to see what is coming up next. She has said that her inspiration came from Japanese idioms that express where emotions reside. This is also expressed in English, when an emotion is felt in your gut or in your heart.
Our shared interest in attraction versus repulsion is an underlying theme of this show. As you can imagine it would be when jewelers work with dismembered body parts. Märta Mattsson’s jewelry exemplifies this dichotomy. She presents wearable objects made from what some people fear the most, insects. Their electroformed and lacquered bodies are encrusted with cubic zirconias, presenting a glamorous version of what is essentially a dissected insect. This allows you to confront what it is you find attractive or disturbing about the creature. Masako Onodera also thrives on this theme. Jewelry emerges from the body like additional appendages from the chest or neck. Materials like leather, felt and skin-toned found objects make this connection all the more realistic. Masako’s jewelry addresses the human connection to the living world and our part in its story.
Organ/ism is addressed in a more personal matter with Satomi Kawai’s jewelry. Her interest lies in the biological rhythm of the female body, the way this connects to culture and more specifically, her own childhood. Materials like wool, cotton and silk relate to Satomi’s own family history, while cellular imagery and bodily forms relate to a larger family. One shaped by evolution. Emily Watson approaches this theme from yet another direction. Her work associates the anatomy and geography of the human race. The work shows how we are both part of the biological world and manipulators of the environment we live in.
I was nervous as a first time curator about the way everything would come together. Not just if everyone would agree to participate or if we would be able to meet all the deadlines. I was concerned with viewers making the same connections that I have made, or alternatively, have I simplified an idea so much that I am beating a dead horse? Although even that might work well with this theme. »
On view from December 2, 2011 to January 3, 2011A solo exhibition of new work by Bruce Metcalf.
Reception December 2nd, 5:30-8:30pm
Bruce Metcalf- Dentate, 5.75″ x 2.5″, Maple, 18k yellow gold, 2011
Bruce Metcalf – Heart Speaking, 5.5″x 2.5″, Maple, 24k gold-plated brass, gold leaf, 2011
Also featuring work by Jillian Moore On view from December 2, 2011 to January 14, 2012.
Jillian Moore- « Tentaculi« , Fabricated and electroformed copper, paint, ink, 2010
Jillian Moore- « Lobus » – Foam, composite & epoxy resin, felt, fabricated copper, paint- 2011