BIJOU_CONTEMPORAIN

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25/10/2010

Asian menu ???????

On a le bol, les baguettes, et le riz ….. manque peut-être le thé ? ;-)

Asian menu ??????? dans COUP DE COEUR
Zara Collins (AU) – Chop Suey stretch – bracelets

« Zara was a finalist in the prestigious Talente Award & Exhibition 2004 in Munich, Germany. Her ‘ChopSuey Stretch Bracelets’ are a fresh and cheeky appropriation of the humble chopstick. This continues Zara’s work with patterned chopstick earrings and ‘spike’ earrings.« 

http://www.polyvore.com/cgi/img-thing?.out=jpg&size=l&tid=9582346
Mikiko Minewaki (JP) – Bracelet ‘One de wan’ 2000 Miso-soup bowl

Mikiko Minewaki, Necklace, 2000
Mikiko Minewaki (JP) – necklace ‘One de chain’ Miso-soup bowl – 100 cm – 2000

« my idea come from…….
Anything hides a good form. I am making my pieces by the work of cutting off plastic goods.
Any object by being pieced can become wearable.
Things previously without connection to the body can become wearable to it by this simple operation.
I was born in the countryside of Japan.
Every day I picked flowers and leaves from the fields and made jewellery- necklaces, rings, crowns- from them.
This feeling is the source of my pieces.
One day I found the natural forms were hidden in plastic products.
So I started to pick the parts from my daily objects, and I keep searching for new forms in my everyday things.
It is happy to me if you could enjoy such a point of view when you saw my pieces.
Now,I have a pen with my hand but when we see it the next time, it may be a neck chains!  »

 dans Hsiang-Ling LU (Taiwan)
Hsiang-Ling, Lu – Rice necklace – rice, resin, threads

« I’ve been doing my final project of MA degree recently. I try to use rice and other combinations to explore the potential of this material. »

et voilà pour le thé !

Hogeboom-Pink dans Mikiko MINEWAKI (JP)
Peter Hoogeboom broche “pink”

Hogeboom-happy dans organics
Peter Hoogeboom broche “Happy”

08/09/2010

EXPO ‘Making Treasure’ – Birmingham City University, Birmingham (UK) – 13-22 Sept 2010

« Making Treasure  »

REALLY, REALLY  …. TREASURES !!!!!!!!!!!!!!  :-)

« Fantastical edible creations, modern re-interpretations of historical decorative arts, rubber glove garments and wearable drawings, a selection of what will be showcased at Making Treasure, the MA Jewellery, Silversmithing and Related Products graduate exhibition opening on September 13th.
The exhibition is the culmination of the intensive one-year long course taught at the renowned School of Jewellery, Birmingham City University.
The international group of makers join together to present new and original work that pushes conventional boundaries that co-exist within sculpture, fashion and fine art. The work exhibited challenges preconceived ideas of what jewellery and objects can be in form, material, function and scale whilst displaying individual aesthetics, design methodologies and artistic points.  »

EXPO 'Making Treasure' - Birmingham City University, Birmingham (UK) - 13-22 Sept 2010 dans BIAD Birmingham (UK) postcard+for+ma+show

Artists:
Farrah Al-Dujaili, Laura Brannon (UK), Li-Chu Wu (Taiwan), Miriam Rowe (US), Ningrui Zhou (China), Xiaorui Zhang (China), Yu-Ching Huang (Taiwan), Yuhan Ye, Hsiang-Lin Lu (Taiwan), Natalie Smith (UK), Simon Pattinson, Yi Lei Li, Yi Liu (China), Yu-Ping Lin (Taiwan), Suchanan Chinanuvathana (Thailand).

 

« Not only is perception of ourselves, of others and the world around us, a source of inspiration, it also invites us into an active and dynamic engagement, which is deeply related to the things we make. Considerations of sculptural form, composition, material, function and aesthetics are enhanced by contemplations of meaning, emotional investments and intellectual content.
The creative work of the makers in this exhibition address aspects of the most vital issues in contemporary applied arts; in their questioning of established ideas of what constitutes adornment, how decoration should be defined and executed, these works engage the eye and the mind simultaneously. They appeal to the intellect, whilst eliciting an instantaneous sensual reaction of pleasure, a desire to touch, hold, use and wear.
MA Jewellery, Silversmithing & Related Products is the overall title of the course. This is however a very limited and traditional description when one considers the wide variety of products that are within the province of the designer who has knowledge and expertise in the area of personal ornaments, body signification and decorative metal objects. The variety of materials, manufacturing techniques and processes available to an artist or designer in this field is far larger and of much greater potential than is indicated by the term ‘jewellery and silversmithing’ and has some affinities with industrial design, fashion design, fine art and sculpture and is often informed by intellectual engagements like general philosophy, conceptualisation or critical theory.
Our course philosophy addresses the existing and potential relationships within this sector, and educates its students to recognize, identify, understand and operate within this diversity. The philosophy of the course is embodied within a structured project programme that requires students to address vocational and academic research in design by applying their developing abilities and interests to a wide range of issues. Design experiences include ideas generation focused through strategies for concept development, the analysis of design problems and reflection on the relationships between personal objectives, cultural values, market identities, prototyping techniques and new technologies, thus enhancing knowledge and understanding, as well as facilitating the formation of professional studio methodologies. «   (Professor Jivan Astfalck, PhD )

 

Farrah Al-Dujaili
My design methodology revolves around the act of drawing
as an intuitive and subconscious process; geometric and organic components ‘grow’ alongside each other to create visual contrasts. Through a palette of feminine and masculine symbols, heavily detailed flowers and geometric shapes and crosshatched lines hybrid forms are created; not overtly floral, but organic and playful.
My making is immersed in metalwork because of the material’s ability to be visually delicate but physically strong. Fragments are created and later constructed to create the idiosyncratic detailing that appears in my drawings. I work within an intuitive mix of drawing and making that crosses over and intertwines.
I apply drawing materials of pencil, crayons and watercolours to a surface of enamel paint. This gives an interesting material link to my design methodology, enforcing the dialogue between drawing and making.

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Farrah Al-Dujaili- Untitled 3,neckpiece, 2010. Copper, spray paint, acrylic paint, pastels, watercolour pencils, paper

 

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Farrah Al-DujailiUntitled 2, Neckpiece, 2010. Copper, spray paint, thread.

 

Hsiang-Lin Lu
Rice is cheap, small, but vital
. I like the taste of rice, and the form of rice. I enjoy playing with the rice grains and placing them into different shapes. They are like bricks creating lush texture and speckled pattern.
In contrast, lace, delicate embroideries, and ribbons present the opulence and craftsmanship of aristocratic fashion. For some people, food is the only object they desire, unlike the ladies of the court who are chasing adorned shoes and beautiful garment or jewellery, the vast number of people need bread and water.
Rice is the food that most of the people in my country rely on. It is the symbol of living, a symbol that is cheap but essential, which is like potato or corn to others. The definition of ‘ordinary’ and ‘luxury’ at different levels of social status is contradictory and interesting. I use this ‘ordinary’ material to describe opulence, and also explore the meaning of value and preciousness in different contexts. The richness and tactile abundance in the texture of rice delivers a deluxe beauty in place of the lace and jewels. I use this cheap material to produce enchanting and original works.

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Hsiang-Lin Lu- I’ve been doing my final project of MA degree recently. I try to use rice and other combinations to explore the potential of this material. Here is one of them

 

Laura Brannon
‘Deadlights’
I create Jewellery that is grotesque yet intriguing by using rubber, plastics and found objects. Symbols from our collective subconscious, weird imagery of clowns, costumes, monsters and madness have fuelled this idiosyncratic collection.
The objects show elements of play amongst those of fear- this ambiguity can give the viewer an uncomfortable feeling as it requires to engage with two contradictory ideas at the same time. This I find fascinating!
My making process is spontaneous but controlled. I use a wide range of materials including rubber, plastics, foam and found objects. These contrasting textures and clashing colours are amalgamated, allowing the pieces to develop sculpturally. The use of ready-mades gives structure to the work and increases uncanny feelings. We know these ready-mades but when they are positioned within this madness, they offer new perspectives- we have to take a second look.

 dans Exposition/Exhibition
Laura Brannon - furry brooch

 

Li-Chu Wu
Paper has, without doubt, many varied uses. However, multiple layered paper interests me with its subtle movement and tactile qualities. I aim to recreate the link between the material and its original source in the natural environment. Pure and organic elements reveal a delicate and subtle visual language. The pieces function both as wearable pieces of body adornment and as sculptural objects off the body. The soft and subdued tones of colour that I choose give a quiet, calm and contemplative quality to the pieces.
Time is an essential element through the making progress; time, nature and I form my works, meticulous working processes enable me to develop a range of elements, which create the compositions.

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Li-Chu Wu- Brooch -paper, copper, paint and stain steel pin
Li-Chu Wu- Necklace -paper, ceramic and wire

 

Miriam Rowe
I am interested in the dialogue created when recognisable forms from the history of European fashion and the decorative arts are combined, changed, and reinterpreted in a modern material.
For this project I chose to focus on material research and development, exploring plaster as a primary material in jewellery. Plaster has long been used in architectural decoration, but the plaster I use has been chemically changed with modern products to create an altered material that is waterproof and suited for use in jewellery production. I explored surface enhancement and advanced construction techniques to further develop the jewellery. I developed my construction methods based on historical plasterwork, adapting these techniques to fit my personal design agenda.
The images and forms I use come directly from my photos and drawings, based on objects seen on my visits to museums and stately homes. My interest in the forms, patterns, and images from the rich history of European design inspires this collection of contemporary jewellery.

http://miriamrowe.files.wordpress.com/2010/06/p1070039.jpghttp://miriamrowe.files.wordpress.com/2010/06/p1070035.jpg
Miriam RoweGrey Ironwork Brooch – Pin detail &  Side

 

Natalie Smith
My work explores the ideas of growth, transformation and disintegration. I find inspiration in surrealist science fiction, which is rich in atmosphere and imagery. Many of the books describe apocalyptic landscapes and alternate worlds that are on the brink of geographical catastrophes. In these dramatic dreamscapes there are no utopias, emphasis is placed on mental explorations and evocative journeys of the isolated humans.
I create my pieces by combining permanent and temporary materials such as textiles and sugar. I like the pieces to have a constantly changing structure and once completed, begin their transient lives. Depending on how they are cared for they may dissolve in humid conditions, change colour or melt like an ice-lolly on a hot day revealing the materials underneath. The evolution of the work is something that interests me greatly. I do not attempt to try and control what happens to the pieces after they are finished. I like an element of surprise.

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Natalie Smith – Marvellous Medicine 1 -Brooch – 2010
Natalie Smith -‘Scrumdiddlyumptious’ Brooch, 2010

 

Ningrui Zhou
The theme behind my work is to create a “city in the sky”. My inspiration initially came from a plastic bag flying in the air which I saw when I looked up into the sky .This evoked a good feeling and I began to consider the concept and question of flying; why should jewellery not fly? My work evolved from this to become sculptural objects. I create objects from bamboo and Chinese rice paper, exploring form, shape and structure. The visual use of lines in the pieces, in the installation and images of my work build together an alternative city skyline. I hope people can find a feeling of freedom and escapism in my work. I express this idea by taking photographic views of the city and making short films to tell stories about my flying pieces.

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Simon Pattinson
My work derives from an exploration of the relationship between form and function. I look to create functional objects for the home which challenge and excite the user with designs which are serious yet play on their relationships. I have explored possibilities in form to create objects which invite interaction and arouse interest beyond mere function. Through these ideas I have created families of objects which communicate with one another and belong.
I look for relationships between materials, processes, colours and finishes, in different mediums including ceramics, metal and wood. I have used industrial processes to create some of the objects, whilst others have been developed using paper and card. When people interact with my work I want them to smile, to have fun with the objects, bringing joy to the relationship between object and user.

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Suchanan Chinanuvathana
“Line is a basic element that exists in nature as a structural feature such as branches of a tree, or as surface design, such as striping on a tiger or a seashell. It can also exist by implication, as the edge of forms or its silhouette”. (Joseph A. Gatto 1987)I am interested in linear form and structure; the way in which a simple component can be combined and connected to create complex patterns and forms. All of my pieces are created from only one element “line”. I use a combination of curved lines to create my own three-dimensional forms with my textured wire technique. I use my traditional fine jewellery skills to make sculptural and wearable jewellery by using precious metals with simple colour range to show the purity of the line and the structure. I aim to make each piece appear beautiful from all angles.

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Suchanan Chinanuvathana - bracelet 2010 – Mixed media

 

Xiaorui Zhang
My work explores exagerated form and flexible wearability. I am interested in the idea that clothes are usually dominant and jewellery secondary, worn as an accessory to add decoration. My enquiry reverses this concept. To show this emphasis I create large scale jewellery that attracts people’s attention and functions like an item of clothing.
I choose rubber gloves as my material, aiming to transform a mundane everyday item into beautiful and original objects. I explore special dyeing techniques on the rubber gloves. I aim to create a unique aesthetic combination of sculptural construction, dramatic colour and texture. I see my work as visually interesting pieces for every-day wearing.

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Xiaorui Zhang- Dyed rubber gloves, 14ct plated gold. (showed by flexible wearability)

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Xiaorui Zhang- Dyed rubber gloves jewelry

Yi Liu
My jewellery investigates notions of mourning and memorial jewellery, souvenirs that remember a loved one and which are a reminder to the living of the inevitability of death. I work predominately in plaster, which communicates a feeling of fragility related to our weak and transitory life.
Life is precious! I chose to work with tones of black, white and gray. These three tones are the background in my work and are combined with the highlights of copper and gold to form a contrast between preciousness and emptiness. I created images on plaster with symbols of death once used in Victorian mourning jewellery such as skulls, skeletons, and human hair, Memento Mori that are a warning against vanity.

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Yi Liufound objects, transfer, plaster, electroforming

 

Yi Lei Li
My inspiration comes from nature; the linear structure of plants is fascinating to me. I refine these natural shapes from my photographs of plants by overlaying line drawings. By using metal wire and crochet techniques I transfer graphic shapes into interesting and original three-dimensional structures to make wearable pieces of jewellery.
My collection is like a ‘garden’, every piece is unique with different colour, structure and other contrasts. They express feelings in the same way like in a real garden, where each kind of flower has its own beauty and character though they are different, they can enrich each other and be in harmony. In the process of exploring the linear structures and the balance between each piece and the whole group, I am trying to express the beauty I have found in nature.

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Yi Lei Li- copper wire, spray paint

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Yu-Ching Huang
My designs mirror myself and how I have been shaped by the people I have met.
I am looking for an answer to what might be a gentle and considerate.
Could silence be heard, even without talking?
Could virtue be seen, even without showing?
Could people not hurt each other, even though we all flawed?
Sometimes flowers and plants give me part of reply in the symbiotic relationships they have with other plants and organisms. Plants always have their individual characteristics but don’t interfere with each other. Maybe this is the reason I am fascinated by them.
I chose to use zips in my work to show the connections between people, events, things or places. People all want to connect and have graceful relationships like flowers in a garden.

http://1.bp.blogspot.com/_pB5EecEsq-I/TIIoxOlUo7I/AAAAAAAAAEI/H_KbUYrVImE/s1600/autumn-b-2.jpgmywork-4 dans Farrah AL-DUJAILI (UK)
Yu-Ching Huang- Autumn 2 – & ‘Plant our dream’ necklace

 

Yuhan Ye
My work combines popular fashion elements and bold colour which relate to Pop Art. I organise these elements as collage and stylised images of fashion and beauty. I create my own images from these fashion elements using computer software. The colour range within the images helps me to bring my work together as a collection.
Together with the illustrations and bold colours, I have also designed electronic circuits to extend my jewellery into the realms of light and sound. Adding the electronics makes my work more playful and gives an added function which encourages interaction. My illustrations can be illuminated by the light when worn in a dark place. I have also added sound sensors to my work, so that my work can be changed by the volume of the speed of speech and music.

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Yuhan Ye- Light up ring 1

Yu- Ping Lin
My work is process-based and structurally complex. I am never without a sketchbook where my ideas evolve so I am constantly drawing with brush strokes. The inks sometimes bleed into the Chinese rice paper and at other times they develop into more in-depth ideas and detailed images.
I did not set out to be a fashion designer or to create artwork relating to environmental issues but as my portfolio developed and I became interested in both style and ecology. My work tends to focus on inspiration from nature, the notion of folding and pleating, architectural structures, interaction with people and seduction of pattern and colour; the original pleasure captured by the structure of organisms and forms inherent in nature.

 dans Grande-Bretagne (UK)
Yu- Ping Lin - Inherence in nature 5 – ‘mushroom’

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Yu- Ping Lin - ‘bloom’

 

Birmingham City University
Vittoria Street
B1 3PA – Birmingham
United Kingdom
Telephone: +44 121 331 5940
website: makingtreasure.wordpress.com
mail: makingtreasure@googlemail.com

24/07/2010

MIAM ! des bijoux ! …… CHOCOLAT & C°…

 » While examining the psychological and sociological potency of chocolate ….. » (Anika Smulovitz)
en tout cas, si ce n’est le chocolat, qui inspire enormément (et particulièrement celui servi aux soirées de « l’Ambassadeur » ….. ;-) …..), la denrée alimentaire, détournée, inspire, et aspire à son rôle de bijou …. le stade « collier de pâtes » est largement dépassé, actuellement, un repas complet est possible, des « antipasti » au dessert ! quant ce n’est pas ce qui reste après un bon « gueuleton » qui nous est servi comme bijou … n’est ce pas Patricia Lemaire ???!!? emoticone

En tout cas, le thème a l’air d’être dans l’air du temps : voir le projet « Aesthetic Nutrition » d’Ana Cardim (juillet 2010) que je viens de trouver dans la dernière newsletter de Klimt02  : « With her project ‘Aesthetic Nutrition’, Ana Cardim seeks attention for the idea of the difference in quantity, and levels of value, between the esthetic value of gold and the value given to the basic human need for food. »

 

« I want to call attention to the power, importance, and beauty of   food. In our culture of  fast, disposable, and store-bought food, we often misunderstand our relationship to what we eat » ( Venetia Moushey Dale, in « 500 necklaces » book)

Venetia Moushey Dale - copper, BEANS necklace - 2003
Venetia Moushey Dale – copper, BEANS necklace

Mouche caramel/ caramel beauty spot   by Manolya KonukManolya Konuk- Mouche caramel/ caramel beauty spot (patch)

`Mute language` was used in the17th century by European aristocracy, as a way to talk with symbols rather than words. This beauty spot was a way to signify the intentions and dispositions of lovers.
Placing on the face or breast each have different meaning. As a finery made from caramel, the sweet jewel becomes a temptation to be eaten from the body itself. // Langague muet du XVII ème siècle, les mouches étaient le moyen de signifier ses intentions et ses dispositions. Ici de parure, le bijou sucré se fait tentation (Manolya Konuk- en vente à la Tate gallery)

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Polly WALES (UK)- bread ring  (MIAM !! YUMY !!;-) )

Marie Pendariès - BREAD giant neckpiece !!Marie Pendaries – ‘La traîne’ Collier. Pain de mie

David Bielander - Wiener & Weisswurst, 2009. Necklaces. Wood from original Thonet chair David BielanderWiener & Weisswurst, 2009. Necklaces. Wood from original Thonet chair

MIAM ! des bijoux ! ...... CHOCOLAT & C°... dans Ana CARDIM (PT)
Stephanie Hensle (DE)- ‘MEAT-LOVER’

« Meat. The word alone polarizes. For some it represents the sensuous, the erotic, life and carnal lust. For others it arouses associations of morbidity, decay and death. In its archaic and raw state it triggers aversion in many, but is welcome when served as a fragrant roast. It is peddled in discount shops and bargain counters, or traded for 200 euros per kilo.  Delving into these contrasting worlds, Stephanie Hensle explores the luxury of meat in context of adornment, indulging our lust for both on many levels. Inspired by the art of butchery, she packs resins, jewels and other traditional jewellery pieces into sausages and pâté. Throughout she redefines not only a typology for jewellery but also our relationships to creating and acquiring it. The act of slicing („100 grams of brooch, please“) defines the pedant or brooch pieces while addressing the system of value associated with jewellery. Typical sausage netting, meat hooks or skewers become fasteners attaching the pieces to the wearer. Left over pieces are wrapped like cold cuts for the purchaser‘s consumption.  A third group of pieces reflects on the human body as meat. Neck and body pieces hang like detached organs or mysterious growths. Cut open, they allow a glimpse into the skin-colored insides. And remind us, that the line between beauty and disquiet is fine yet elegant. » (Stephanie Hensle)

Emmanuel Lacoste  Ring: Chair (Flesh) 2009  22k gold, beef meat  The usual diamond is replaced with meat, as a metaphor of the human body preciousness Emmanuel Lacoste  Ring: Chair (Flesh) 2009  22k gold, beef meat  The usual diamond is replaced with meat, as a metaphor of the human body preciousness

chips-retouche_modifie-2 dans Anika SMULOVITZ (US)
Stéphane Landureau Collier “Chips’n Chic”, chips de dinette en plastique, argent, 2002 

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Margherita Marchioni - collana di pasta

40 dans Barbara UDERZO (IT)
Margherita Marchioni fruit collection

Ana Cardim Ana Cardim

402 dans Claire LAVENDHOMME (BE)
Hilde de Decker (BE) – organic rings

Hilde De Decker- veggie ring
Hilde De Decker – veggie ring

Luisa Bruni, “...e non è più occidente” Luisa Bruni - anelli « spezie » « …e non è più occidente »

 dans COUP DE COEUR dans David BIELANDER (CH/DE)
Hsiang-Ling LU – Rice piece  - rice, resin, threads

« For this assessment, I put new material and technique into my work. For fixing the fragility, I add resin with rice, for the replacement of fabric and rice sheets I made previously. I want to keep the delicate detail and the smooth texture of rice » (Hsiang-Ling LU)

5_rizcollier.jpgFanny Agnier - collier riz – argent, riz (silver & rice)
Fanny Agnier -« grenades » de riz (pour un mariage « explosif »)

frédérique Trinquese- Bracelet pelures de pommehttp://thecarrotbox.com/news/2008/0325.jpg
Frederique Trinchese- bracelet pelures de pommes (gauche)
Virginie Bois – bague en peau d’orange (droite)

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Leonor Hipolitowrapping foil ring & necklaceRéception chez l’ambassadeur …………….. ;-)

Le collier de la reine/ The queen necklaceManolya Konuk – ‘Le collier de la Reine’ – Here, perhaps more than in the other pieces, the material has taken up all importance. The queen necklace was the necklace of Marie Antoinette and hence can be seen as a prelude to the French Revolution. Symbol of excess and decadence, this jewel, never worn, caused the demise of the French Monarchy. Playing with words again, this chocolate abundance can provoke a ‘’crise de foi(e)’ which can be translated both as ‘‘sick by food’ as ‘‘loss of faith’.

 

kette_close_neu dans Emmanuel LACOSTE (FR)Jeannette Jansen utilise des papiers d’emballage de chocolat pour sa collection “Chocolate Eater. Réalisées à la main, on peut même lire le nombre de calories que l’on porte en bracelet, collier ou boucles d’oreilles !

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un gelato ??? collier Geri Nishi 

uderzo_chocolate.jpgBarbara Uderzo – bijoux en chocolat - ‘ruggine’ (rouille) & ‘boules’

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This jewellery collection is created in chocolate; necklaces, bangles and rings –designed specifically as romantic items for couples to eat together. Small, handcrafted production runs.
RUGGINE: Rusty iron in appearance, these are created using an old confectionary technique that uses cocoa powder dusting in its preparation.
BOULES: These are chocolates covered in an edible gold leaf foil effect.

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Barbara UderzoLiquirizia e marshmallow da indossare

Barbara Uderzo - glucogioiello- candy chain 2003 - marshmallows
Barbara Uderzo – glucogioiello- candy chain 2003 – marshmallows

« …… Oltre al cioccolato, citato nel titolo, il visitatore potrà ammirare anche i “Glucogioielli”, collane e bracciali realizzati alternando caramelle scelte, quali marshmallows, liquirizia, gommosetti, fruits….come nel caso della collezione “Candy Chains”; mentre per quanto riguarda la collezione “Uno Vero” è presente un’originale accostamento della materia alimentare, in un unico elemento in pietra dura irriconoscibile alla vista.« 

Anika Smulovitz Chocolate jewelry installation Catherine Clark Gilbertson
Anika Smulovitz - Chocolate (a collaboration with artist Catherine Clark Gilbertson) -2002 – Ferrero Rocher chocolate wrappers

« This body of work explores human interaction with objects, specifically the interaction of our lips with objects. While examining the psychological and sociological potency of chocolate in the pieces entitled Love Tokens, I became aware of the sensual power of our lips. This culminated in Chocolate, a collaborative interactive installation comprised of a series of impressions made in the gold foil wrappers of Ferrero Rocher chocolates. The impressions are of puckered lips or teeth. In its use of repetition, mass quantities of « faux » gold foil, reference to chocolate and to the mouth, the installation speaks of consumption, indulgence, passion, and consumerism. » (Anika Smulovitz)

Smulovitz Anika Chocolate Jewelry
Anika Smulovitz -Love Token (wedding bands) Ferrero Rocher chocolate wrappers 2002

Anika Smulovitz Chocolate jewelry choker necklace
Anika Smulovitz -Love Token (choker) - 2002 – Ferrero Rocher chocoate wrappers, wood, brass

Anika Smulovitz Chocolate jewelry rings
Anika Smulovitz -Love Token – rings

 dans Fanny AGNIER (FR)
Tatjana Panyoczki - ‘tutti frutti in pink’, brooch, 2010
and NO, you can’t eat it !!! it is made with … pom poms … waxed !

chocolate_rings_web dans Francesca di GIAMBERARDINO (IT)
Ambre France (UK) – « Eat me », « Suck me »… rings

« Diamonds are girls best friends! But chocolate wins the second place, so this is the perfect combination: chocolate and jewels! An idea from Ambre France (UK) who creates funny rings in chocolate! Mmm, I can’t wait to taste them, ops, I mean to wear them! «  (site « JewelleryScape« )

http://www.designboom.com/cms/images/ridcue/haunt02.jpg
Ted Noten – ‘haunted by 36 women’ exhibition - ‘chocolate hooker rings’

 

«  Gioielli da mangiare! Cathy, una giovane studentessa di arte, che ama creare bijoux e li presenta nel suo blog “La prochaine fois” Tra i suoi lavori, troviamo accessori realizzati con la frutta secca, l’idea da cui sono nati è curiosa: Durante un viaggio in Francia, Cathy ha assaggiato la frutta  essiccata e in particolare ha molto apprezzato il kiwi. Ritornata a casa, ha cercato questo tipo di frutta nei negozi americani ma non ha trovato niente del genere. Ha deciso allora di acquistare un essiccatoio per realizzare da sè queste dolcezze. Prima di mangiarsele però, Cathy le fotografava e, osservando la bellezza di queste fettine di frutta, ha deciso di sperimentare qualcosa di nuovo. Nascono così anelli e collane prodotti con le mele “Granny Smith” oppure “a base” di fettine di pera o di patate dolci. (« irisjewelry.it »)

driednecklaces04_thumb1fruitrings02
Cathy (blog “La prochaine fois”) - dried fruit jewelry project – Granny smith apple ring

fruitrings14driednecklaces10
Cathy (blog “La prochaine fois”)pear ring – necklace

« The fruit has been sealed, with either lacquer or wax. I wanted to see if these would hold up better/longer than the raw ones. However, I’m not a fan because it changes the meaning of the pieces somewhat – being sealed, they stop being about the moment and instead go into the preservation. And wax = bad because it just flakes off. I’m still on the hunt for different ways to treat the surface!« 

driednecklaces08
Cathy (blog “La prochaine fois”)Sweet potato necklace

Noémie DOGE (CH)  collier, pomme-de-terre, argent et cotonNoémie DOGE – ‘KRIELTJES’ collier, 2005, pomme de terre et argent

« Ce que je cherche à donner à mes objets, c’est ce que je ne trouve pas dans les parures des bijoutiers traditionnels: une richesse qui ne vienne pas de la préciosité des matériaux mais de la force visuelle, primitivement symbolique de l’objet. » (Noémie DOGE)

sans titre, 2008, pomme-de-terre, argent et coton by Noémie Doge, artiste plasticienne
Noémie DOGE   collier, 2008, pomme-de-terre, argent et coton

Julie Usel - Julie Usel from Geneva is doing her master degree at the Royal college of Art in London. Her work is now in Portugal at the “Steinbeiser” gallery in Lisbon until the 6th November. A collection of colored and unique jewelry made out of potatoes.   Julie Usel (CH) patates séchées et teintées

« You can bake ‘em or fry ‘em, hash ‘em or mash ‘em, and now… you can wear ‘em! Swiss jeweller Julie Usel has made the starchy tuber even more perfect with her dried and dyed potato rings. »

Helena Johansson - Feb 2010 - the potato jewelHelena Johansson - April 2010 -   The Potato Jewel has started to grow.
Helena Johansson – The Potato Jewel (Feb 2010 a then April 2010)

alimentaire- Patricia lemaire - Broche peau de  melonPatricia lemaire - Le temps des cerises- 1200 queues de cerises !
 Patricia Lemaire - Broche peau de  melon
 Patricia Lemaire - Le temps des cerises – 1200 queues de cerises !

Tanya Shin - made from organic like pomegranate seeds, passionflower,lemo, pomelo...parfum- tanya shin
Tanya SHIN (IL) – pomegranate seeds bracelet — parure de tête, oranges séchées

6 dans Frederique TRINCHESE (FR)
Claire Lavendhomme – « Le plus profond c’est la peau » 2009. Broche. Argent, photo, résine, citron

 

« Pommes de JONG » (Jacqueline de JONG, NL)

Klik op afbeelding om het venster te sluitenKlik op afbeelding om het venster te sluiten
Jacqueline de JONG, NL‘pommes de jong’ – 2009  varying sizes cm – jewelry – mixed media (gold-dipped potato skin

« For her current exhibition, de Jong has created a series of potato bijoux, « Pommes de Jong. » They consist of potatoes laid out to dry until they are totally shrivelled, and then dipped, roots and all, in a bath of molten gold, with surprising results – jewel-like objects in weird and wonderful forms.
Her interest in integrating the humble potato, which she cultivates in her garden in France, into her art, began in 2001 with her series of paintings inspired by Malevich, as the hair of The Farmer’s Wife (« Potato Hair »). This was followed in 2002 by a painted dialogue (« Harvest ») with the pioneering Russian artist.This theme continued with « Aardappeltaal’ (Potato Language), a collaboration with Jennifer Tee at the Van Abbe Museum in Eindhoven in 2003. In 2006, participated in the Biennale di Ceramica dell’arte (curated by Roberto Orth), in Albissola, Italy, with an installation of ceramic objects of « baked potatoes » for the home and garden of the Danish artist Asger Jorn (1914-1973).
« 

Francesca di Giamberardino  "la caramella" Francesca di Giamberardino  – ‘La Caramella’ – candy -yellow gold-silver- Murano glass pearls

113401 dans Geri NISHI (CA)
Yoko SHIMIZU« coffee-ring »  silver, coffee, resin (Galerie Slavik)

bon, maintenant, on se boit un petit coup ?

Katharina Ludwig - ice jewels Katharina Ludwig – ice jewels

http://irisjewelry.it/files/2010/03/gioielli-by-yoav-kotik.jpg
Yoav Kotik

513 dans Helena JOHANSSON (SE)
Mason Douglas  (US) soda can rings

aesthetic+nutrition1 dans Hilde De DECKER (BE)Aesthetic+Nutrition2 dans Hsiang-Ling LU (Taiwan)

 project ‘Aesthetic Nutrition’, Ana Cardim

« How does nutrition, on a socio-economic level and in its’ most basic form, relate to the aesthetic values of today’s society? This question can only come from Ana Cardim, who has a passion to make interactive, sociable jewelry-art. This takes shape in her recent project “Aesthetic Nutrition”.
The project consists of a video, projected on a wall, three heaps of rice, chopsticks and three bowls containing one, two and three hand-made rice grains. Each grain is made from pure gold, weighs half a gram, and has the economic value of about 15 kilos of eatable dry rice. (How many grains would that be?) In total, the project exists of three grams of gold, enough for a beautiful gold ring, and 90 kilo’s of rice, which can provide a meal for 1800 people! In the video you’ll see a girl trying to eat it all… Everyone that visited ‘Aesthetic Nutrition’ was given a cup filled with delicious rice-pudding.
With her project ‘Aesthetic Nutrition’, Ana Cardim seeks attention for the idea of the difference in quantity, and levels of value, between the esthetic value of gold and the value given to the basic human need for food.
I am glad this project touches the subject of discrepancy in value and quantity from an aesthetic point of view. The rice-colored, ceramic bowls that contain the golden grains, are shaped like up-side-down rice heaps and make a good visual contrast with the actual heaps of rice. The chopsticks both separate and connect the two, underlining the visual link. The video shown on the wall, completes the display. The action of handing out cups of rice-pudding causes the viewer to connect to the exhibit. How can you resist thinking about the subject, when looking at the serene beauty of the whole set-up, whilst eating yummie pudding!
The launch of the ‘Aesthetic Nutrition’ project happened on the 6th of July, and was commissioned by Bypass, an art magazine that invites artists to write about their work. The second magazine is due to be released in October 2010 and will contain an extensive article by Ana Cardim.
‘Aesthetic Nutrition’ was held in Appleton Square, which is a multivalent space geared towards diverse artistic manifestations and towards the sharing of multidisciplinary experiences. It was the first time that they had work on display by a jewelry designer! » (Broes van Iterson)

Image de prévisualisation YouTube

(anacardimproductions)

06/07/2010

COUP de COEUR ! Lu Hsiang-Ling RICE jewelry !

Classé dans : COUP DE COEUR,Hsiang-Ling LU (Taiwan),VIDEO — bijoucontemporain @ 2:03

Lu Hsiang-Ling (Taiwan), ou « Zoelulu » comme elle se nomme sur son blog,  étudie le bijou à Birmingham (UK)

« For this assessment, I put new material and technique into my work. For fixing the fragility, I addes resin with rice, for the replacement of frabic and rice sheets I made previously. I want to keep the delicate detail and the smooth texture of rice.« 

http://4.bp.blogspot.com/_DDARWatdC2g/TAhVPZkU7SI/AAAAAAAAAC4/29dffaU4HRs/s1600/rice+piece6.jpg
rice piece – délicatement merveilleux… et insolite ! CRAQUANT, quoi ! :-)

COUP de COEUR ! Lu Hsiang-Ling RICE jewelry ! dans COUP DE COEUR rice+piece1

rice+piece4-2 dans Hsiang-Ling LU (Taiwan)rice+piece3 dans VIDEO
rice piece 3 & 4 – rice, resin, threads

(découverte sur « kit&caboodle« )

Rice project , à voir sur Flickr : «  this album is for my MA project works »

photophoto  photophoto

photo

photophoto

 

vous pouvez voir ici une VIDEO sur son travail

 

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