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15/04/2011

EXPO ‘Mediterraneo’ – Museo di Storia Naturale del Mediterraneo, Livorno (IT) – 12-19 Avril 2011

 MEDITERRANEO

INTERNATIONAL EXPOSITION OF CONTEMPORARY JEWELRY

la Provincia di Livorno con il Museo di Storia Naturale in collaborazione con il Gruppo Toscano dell’AGC (Associazione Gioiello Contemporaneo) e il Garden Club sezione Livorno, hanno organizzato un nuovo capito legato ai gioielli contemporanei sul tema del Mediterraneo.

EXPO 'Mediterraneo' - Museo di Storia Naturale del Mediterraneo, Livorno (IT) - 12-19 Avril 2011   dans AGC Italia copertina1_2_2

Per questa occasione sessanta artisti (designer del gioiello contemporaneo) di tredici paesi differenti, dall’ Italia a Singapore, dalla Russia a Gerusalemme si confrontano con il Mediterraneo, il “Mare Nostrum” da sempre punto ideale di incontro, contaminazione di idee, culture, linguaggi e tradizione, un luogo dove le differenze hanno sempre rappresentato la sua ricchezza e l’ essenza stessa della sua civiltà. Cultura ed arte affinchè il “Mediterraneo” continui a rappresentare attraverso un autentico dialogo ed una convinta accettazione della convivenza, tra la compresenza e interazione degli opposti, un bacino di crescita per la società contemporanea. Gli artisti, partecipando a questa manifestazione, arrivano alle sponde del “ pensiero mediterraneo” e attraverso le loro identità, con la luce,i colori, i miti, i segni della storia e delle tradizioni, elaborano un linguaggio condiviso ed aperto alle diversità accrescendo, così, la consapevolezza della necessità di una coerenza propositiva nell’ambito della cultura del gioiello contemporaneo che ne garantisca una propria funzionalità storica.

E’ previsto un premio di 1000 euro rivolto agli artisti fino ai 35 anni di età che sarà aggiudicato dall’ opera più rappresentativa della tematica legata al Mediterraneo.

 (GRAZIE al web « seroxcult-oggi in italia« per l’informazione e la LISTA degli artisti !)
Farrah Al Dujaili — Susanna Baldacci — Graziano BarzettiFrancisca BauzaDoris Betz — Elena Bonanomi — Narciso Bresciani — Luciano Capossela — Valentina Caprini — Dania Chelminsky — Andrea Codervalor — Coral CohenTrinidad ContrerasFabio Corsini – Frances d’Antree — Corrado De Meo — Laura De Tanti — Valentina Della Rosa — Anja Eichler – Michela Silvana Farano — Nicoletta FrigerioFrancesca Gabrielli – Carlotta Gambineri — Amira GattasTamara GrunerHeidemarie Herb — Serena Holm — Younghee Hong Annamaria IodiceAnastasia KandarakiRallou KatsariAline KokinopoulosClaire LavendhommeEuik yung Lee — Ina Lee — Ji Liu — Angelo Lomuscio — Leonora Laura Lucani — Gerti Machacek — Maria Mamkaeva Cristina Marti MatòJudy Mc CaigKatharina MochViktoria MunzkerGular Mustafa — Alja Neuner — Ariel Matias OrtegaStefano PalestiniLiana Patthis – Barbara Pepe — Marco Picciali — Christine Richard – Walter Romani — Marco Sardi — Giulia Savino — Chiara Scarpitti — Xinzi Song — Sonia Spano — Maurizio Stagni Chiara Trentin — Jessica Turrell — Anna Van de Pol — Ingeborg Vandamme — Karen Vanmol — Gabi Veit — Federico Vianello — Lada Vosejpkova

http://www.artearti.net/images/uploads/Img7634.jpg
l’articolo di Giulia Mantelli in « Arte e Arti Magazine » , anche se MOLTO interessante, non dice di chi è questo gioiello ! :-( se qualcuno mi lo sa dire ……

 dans Aline KOKINOPOULOS (FR)
Euik Yung Lee

(Ma menomale che Valeria Accornero dil web « gioiellocontemporaneo » è la !!! fotografie E di chi sonno ! LUSSO !! GRAZIE Valeria ! :-) )

http://gioiellocontemporaneo.files.wordpress.com/2011/04/schermata-2011-04-18-a-13-06-06.png

Francesca Gabrielli 

 dans Amira GATTAS (FR)
Trinidad Contreras

http://www.charonkransenarts.com/artist-images/bauza/bauza03.jpg
Francisca Bauza

 

Museo di Storia Naturale
Livorno (IT)

25/01/2011

Innovation in ENAMEL jewelry – Research project by Jessica Turrell

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

Electroformed and enamelled pendants
 Jessica Turrell

 

 

 Innovation in Vitreous Enamel Surfaces in Jewellery

(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 :

Innovation in ENAMEL jewelry - Research project by Jessica Turrell dans Annamaria ZANELLA (IT) bottomley_large
Stephen Bottomley, Yellow Drape Neckpiece, Laser-cut steel and enamel -(Photo: John K. McGregor)

pattihis_large dans Barbara SEIDENATH (DE)
Liana Pattihis, Coral Red Snake Chain Brooch 2009

isabell_schaupp dans Carola BAUER (DE)
Isabell Schaupp, Brooch, Enamel, copper, silver, 2009

christine_graf dans Carolina GIMENO (Chili)
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.

finished2 dans Christine GRAF (DE)
Jessica Turrell- Electroformed and enamelled pendants

fiinished1 dans Elizabeth TURRELL (UK)
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

JessicaTurrell dans email / enamel
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

All images from The Enamel Experience at Velvet da Vinci Gallery,

 

Elizabeth Turrell – cross Badges (exhibition « The Enamel Experience », Velvet da Vinci Gallery, 2008)

 

Image de prévisualisation YouTube

 

Image de prévisualisation YouTube

13/11/2010

EXPO ‘Foc – Fire’ – Galeria Dterra, Sant Cugat del Valles (Barcelona, ES) – 19 Nov. 2010-29 Janv. 2011

FOC / FIRE
joies d’autor: Liana PattihisAna Heimann
2010 November 19 – 2011 January 29

http://18kt.files.wordpress.com/2010/11/download.jpg

EXPO 'Foc - Fire' - Galeria Dterra, Sant Cugat del Valles (Barcelona, ES) - 19 Nov. 2010-29 Janv. 2011 dans Ana HEIMANN (CH) 37757_474104568241_167025073241_6691664_5359078_n
Liana Pattihis Art Jewellery – Work 2009-2010

18572_274111618241_167025073241_4714311_8369444_n dans BARCELONA
Liana Pattihis- Coral Red Single Link Chain Necklace 01, 2009 – silver Trace Chain, Enamel L120cm

18572_274118343241_167025073241_4714374_2457104_n dans Exposition/Exhibition
Liana Pattihis- Shades of Red and Black Lapel Brooches, 2009 – silver Chain, Copper, enamel, Stainless Steel.

 

Dterra
Avenida Anselm Clavé 9
08172 Sant Cugat del Vallès
tel. +34 936747807
info@dterra.es

 

02/10/2010

EXPO ‘Liana Pattihis: Chained’ – Hellenic Centre, London (UK) – 12-15 Nov 2010

Classé dans : Exposition/Exhibition,Grande-Bretagne (UK),Liana PATTIHIS (CY/UK) — bijoucontemporain @ 5:43

 Liana Pattihis : Chained

EXPO Liana Pattihis

« Αλυσοδεμένο- Alysodeméno meaning ‘Chained’, represents a body of work, a journey in time which links pieces created from 2005 to today, from my early experimentations with enamel, through to the ‘knitted chain’ and ‘Istos’- ‘Webb’ series, which are inspired by the intricate lace and embroidery of traditional Greek and Cypriot costumes.
The title
Alysodeméno is used here primarily as a metaphor. The work not only involves enamel which is ‘chain bound’, but also reflects a personal visual language. As the future is inexorably linked to the past and the traditional is tied to the contemporary, so is the strong undivided link between what represents me as an artist and my Greek-Cypriot heritage.
 »

EXPO 'Liana Pattihis: Chained' - Hellenic Centre, London (UK) - 12-15 Nov 2010 dans Exposition/Exhibition IstosWebbNecklace012010
Liana Pattihis- ‘Istos’ Web Necklace 01 2010

http://1.bp.blogspot.com/_c6rbDXuXOgw/TH9pZxW4bsI/AAAAAAAAAsw/Xdt1Yj3CkDY/s1600/Istos-Webb+Necklace+01,+2010,+Liana+Pattihis.jpg

Liana Pattihis- ‘Istos’ Web Necklace – detail

BlueCircleBrooch2007 dans Grande-Bretagne (UK)
Liana Pattihis-Blue Circle Brooch 2007 – Silver, copper, enamel stainless steel – Inspired by Wassily Kandinsky’s Painting ‘Blue Circle’

http://3.bp.blogspot.com/_dDiJ3Beteq0/TNbks0he-gI/AAAAAAAAHME/1x3hurvBvTU/s1600/010-Blue_Knitted_3D_Brooch_02-2010-Liana_Pattihis.jpg

Liana Pattihis-Blue Knitted 3D Brooch – 2010

 

 

Hellenic Centre
16-18 Paddington Street, Marylebone
W1U 5AS – London
United Kingdom
Telephone: 020 7487 5060
website: www.helleniccentre.org
mail: maria@helleniccentre.org

 

NEXT EXHIBITION : 
2010  « Foc » / « Fire », Dterra gallery-workshop,
C/Anselm Clavé, 9 – St. Cugat del Vallès-Barcelona-Spain
November 19 – January 29  2011

10/09/2010

JOYA Barcelona 2010 – 16-17-18 sept 2010

JOYA – Semana de la Joyeria Contemporanea de Barcelona (Esp.) / Barcelona Contemporary Jewellery week

EXPO Joya 2010

JOYA Barcelona 2010  - 16-17-18 sept 2010 dans Andrea PINEROS (FR) showroom :
Michael Berger (Alemania, 1966)
Florence Croisier (Francia, 1965)
Marijke de Goey (Holanda, 1947)
Cilmara de Oliveira (Brasil, 1955)
Petr Dvorak (Austria, 1954)
Sara Engberg (Suecia, 1969)
Maki Kawawa (Japón, 1986)
Claudia Lassner (Alemania, 1982)
Yannick Mur (Francia, 1963)
Taisuke Nakada (Japón, 1983)
Liana Pattihis (Reino Unido, 1961)
Andrea Piñeros (Francia, 1972)

62842_1580243154893_1500099122_1437443_2695647_n dans BARCELONA
Petr DVORAK – collier ‘Europe’  – 27 perles de verre (les 27 états européens) avec inclusions de grenats

62842_1580243194894_1500099122_1437444_3104273_n dans Cilmara de OLIVEIRA (Brasil)
Yannick MUR – pendentif OH! – un délicat et minutieux travail de broderie d’argent et au fil d’or 18 carat

61283_1580241194844_1500099122_1437433_2616933_n dans Claudia LASSNER (DE)
Cilmara de OLIVEIRA – motifs de dentelle imprimée sur argent oxydé

61283_1580241354848_1500099122_1437437_950621_n dans Espagne (ES)
Maki KAWAWA (JP) – textil jewelry

 

(Plus les bijoux des créateurs présentés par les galeries DTerra, La Basilica et Klimt02)

62842_1580242954888_1500099122_1437438_3080082_n dans EVENEMENT / Type of EVENT
Nora ROCHEL – bagues (à galerie La Basilica)

JOYA’s goal is to promote national and international artists through distribution and
communication; supporting contemporary jewellery design and helping its growth in a hardly
exploited market. Moreover, JOYA is a platform for artists’ interaction, sharing of experiences, and discussion of their common issues – the place for exchange among artists, press, distributors and audience.
JOYA offers the designers a comfortable space and pleasant environment to make contacts and exhibit their pieces. Since the subject of the event changes each edition, the artists are supplied by basic and flexible furniture (table, chairs and lighting) that can easily be adopted according their own needs.

The registration is free and all entries must be submitted from February 15th, 2010 to May 30th, 2010. No entries out of deadline will be accepted.

 

JOYA
Convent dels Àngels (FAD),
Barcelona

www.joyabarcelona.com
Organization
Av. Diagonal 313, 3B
08009  Barcelona (Spain)
Tel. +34 93 459 2406
Mobile (+34) 619 83 70 69
Paulo Ribeiro paulo@le-departement.com
Anthony Chevallier anthony@le-departement.com
www.le-departement.com

Image de prévisualisation YouTube

Video JOYA 2009

06/07/2010

COUP de … ROUGE pour Liana PATTIHIS

Classé dans : BOOKS / BIBLIO,COUP DE COEUR,Liana PATTIHIS (CY/UK),VIDEO — bijoucontemporain @ 3:12

Liana Pattihis (Cyprus)

« Stretching the boundaries of what can be achieved with enamel as a medium, I have developed my own unique method of sifting and fusing it on a movable base.
My work comprises mainly brooches and necklaces made out of silver and gold chain alone, or chain attached onto a copper mesh base which are then enamelled.  Even though I have endless sources of inspiration, looking into Ancient Greek and Cypriot Jewellery had a tremendous influence on my work. The appeal to me is that each piece is unique. My designs cannot be pre-conceived; each piece is allowed to create itself. »

COUP de ... ROUGE pour Liana PATTIHIS dans BOOKS / BIBLIO
Liana Pattihis- Coral Red Snake Chain Brooch-2009 – Silver snake chain, copper, enamel, stainless steel

 dans COUP DE COEUR
Liana Pattihis- Coral Red Link Necklace 04- 2009 -  Silver Trace Chain, Enamel. Each Link is made of chain links which are interlinked and enamelled together as one piece

 dans Liana PATTIHIS (CY/UK)
Liana Pattihis- Coral Red Diamond Link Long Brooch 01- 2009- Silver Diamond Link Chain, Copper, Enamel, Stainless Steel

30996_116523055050167_114937468542059_93477_6682549_n dans VIDEO
sélection JOYA 2009

Image de prévisualisation YouTube

Video JOYA 2009 – Liana Pattihis at 6:00

 

BOOK :

joyas500e
My work is featured in a new book called ‘Dreaming Jewelry‘, published by Monsa Publications, Barcelona. (in Spanish and English) http://www.monsa.com/pw/diseno/joyas/

djy1

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