COUP de COEUR …. BLACK is BLACK with Tiina Rajakallio

Tiina Rajakallio

myday-byday ‎ Tiina Rajakallio in Rome on 10 may 2017

Finnish artist Tiina Rajakallio in Rome the 10th of may 2017, for the first time for a solo exhibition of contemporary jewelry at myday-byday space in Via Luca della Robbia 76, Testaccio. Gallery hours 10 30/19 30.

 » I am thinking about the present-day Western people and their connection with nature.
How natural the contact is? Is it romanticized, magical, run by economical efficiency or totally gone? Are we still part of the nature? And what is the relationship between spirituality and nature contact?
We have always been dependent on nature that is providing us the essentials of life. But is the aim for a never-ending growth and progress made us think everything here is only for us? «  Tiina Rajakallio

Tiina Rajakallio

Tiina Rajakallio

Tiina Rajakallio

Tiina Rajakallio

Myday-byday interview to Tiina Rajakallio:
1) Where is your inspiration coming from ?
Widely speaking I’m interested in everyday life of a contemporary Western people. I’m working with questions that intrigues or troubles me, things I would like to have a conversation about. And of course there is a lot of curiosity towards the body, communication and a piece of jewellery involved.

2) What are you trying to communicate in particular with your artwork?
It depends. At the moment I would like people to think about their own relationship with nature but also the common contact we have with it. How natural the contact is? Is it romanticized, magical, run by economical efficiency or totally gone? Are we still part of the nature? And what is the relationship between spirituality and nature contact? We have always been dependent on nature that is providing us the essentials of life. But is the aim for a never-ending growth and progress made us think everything here is only for us? I would like my work raises thoughts, I’m not to judge anyone, it would be hypocrite to do that.

3) Which material you prefer to use and why ?
It depends of the theme of the work. In an ideal situation the material tells the same story and even adds something to it. At the moment I use a lot of wood and combine it for example with recycled rubber. An old inner tube of tractor or bicycle, even it may be a bit old-fashioned as an object, it tells about our culture and our creative ability to utilize our surrounding. The material is protective, elastic and doesn’t decay really. Even there is some natural rubber in the mixture, it reminds many people about oil.

4) How much value do you give to researching material for your creations?
Of course there is some material research needed. But if it means new technical solutions and extraordinary inventions my works are rather simple in that sense.

 

5) Is it more important for you the process, or the final artwork itself?
Both are important. I love that hands-in investigation part of a work. But sooner or later there is a deadline waiting and you just need to start to make decisions. However every step is leading me further and to me ready pieces are also steps of the same process. The difference is many times the ready pieces are the only steps others will see.

 

6) Is there an artist you prefer and why ?
I admire many artists. Some because of their clever and brave ideas, some because of theis technical skills or expression, honesty and dedication.

 

7) Have you ever thought to collaborate with other artists , or you like to work on your own?
I love working on my own, but time to time it would be interesting to try to share the process with someone else. I have collaborated with other jewellery artists but it would be really interesting to do that with artists from another field. 8) Where do you feel you are at with this last collection?
It is a one step further from the series I called White Moments. I’m like walking around the same source inspired by the different aspects of it. I seem to go back and forth sometimes when there are so many sides to be discovered.

9) What have you discovered of yourself, are you sattisfied ?
I think I learned more about my own ability to endure stress, priorities and time managemenent and that one can’t cope totally alone.

10) Two words to describe your last artwork collection.
Still together?

 

myday-byday

Via Luca della Robbia 76, Testaccio, 00153 Rome

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Prix européen des Arts Appliqués /European Prize for Applied Arts – Wcc-bf, Anciens Abattoirs, Mons (BE) – 24 Oct.2015-10 Janv.2016

Prix européen des Arts Appliqués

European Prize for Applied Arts

Friday 23 October 2015: opening ceremony and Prize awarding Master Prize and Young Talent Prize and Mons 2015 Prize At the Grand Hall of the « Anciens Abattoirs » of Mons Exhibition from 24 October 2015 until 10 January 2016

 

L’objet d’art actuel, en tant que trace du temps, reflète l’évolution de notre société avec talent et ingéniosité. Aujourd’hui, plus que jamais, le secteur des art appliqués tient une place de choix sur la scène artistique contemporaine, ce que ne contredira pas la troisième triennale du Prix européen des Arts appliqués qui propose les créations de pas moins de 78 créateurs venant de 18 pays d’Europe. Tous, sans exception, apportent une matière, une forme, une couleur, une âme à leur œuvre. Qu’il s’agisse d’arts appliqués à vocation utilitaire ou d’expression libre, les créations ici exposées détruisent les barrières entre les catégories et démontrent tout le talent, la créativité, l’innovation et l’ingéniosité nécessaire à leur élaboration. C’est dans le cadre de «Mons, Capitale européenne de la Cultureen 2015» que cette troisième édition du Prix européen des Arts appliqués vient apporter sa touche contemporaine aux différents domaines de création,qu’ils soient céramique, verre, bijou, mobilier, textile, objets de décorationou encore stylisme…

 

Trois prix sont décernés par un jury d’experts :  le Prix des Maîtres d’art (prix de la Fédération Wallonie-Bruxelles),le Prix Jeune Talent (prix du WCC-Europe) et le Prix Mons 2015.

Annamaria Zanella. – Purple Tubes, 2014 6 x 6 x 2 cm Photo : Daniela Martin

 

participants :  Cécile AHN — Barbara AMSTUTZ  — Nevin ARIG  — Hayley BECKLEY — Marian BIJLENGA — Iris BODEMER –  Nicolas BOVESSE  –  Abigail BROWN  — Sébastien CARRE  — Hermien CASSIERS  — Mathilde CAYLOU  — Marion COURTILLE  — Betty CUYKX — Annette DAM — Tania DE BRUYCKER  — Silke DECKER  — Elisa DEVAL  — Patricia DOMINGUES — SamTho DUONG  — Anja EICHLER  — Sanna ESKOLA  — Maria ESPERSEN  — Flora FIXY  — Nicolas GALAND  — Maryan GELUK  — Christine GRAF  — Margret GUDNADOTTIR  & Olof BJARNADOTTIR  –  Gesine HACKENBERG  –  Michal HANULA  — Malene HARTMANN RASMUSSEN  — Peter HOOGEBOOM  — Camille JACOBS  — Hannah JORIS  — Kaori JUZU  — Ulla & Martin KAUFMANN  — Ulrike KLEINE-BEHNKE  — Saerom KONG  — Tine KRUMHORN  — Therese LEBRUN  — Typhaine LEMONNIER  — Juliette LEPERLIER — Christoph LEUNER  — Ria LINS  — Ruediger LORENZEN  — Yves MALFLIET  — Sofja MARKAROVA  — James MASKREY  — Hugo MEERT  — Hilde METZ  — Frank MEURER  — Rosa NOGUES  — Monika PATUSZYNSKA – Kirsten PLANK  — Tiina RAJAKALLIO  — Marie-Noelle RISACK  — Zoe ROBERTSON  — Bruno ROMANELLI  — Verena SCHATZ  — Isabell SCHAUPP — Helena SCHEPENS  — Karin SEUFERT  — Antonino SPOTO  — Edgars SPRIDZANS  — Frank STEYAERT  — Esther SUÁREZ RUIZ  — Kyoko SUGIURA — Dominique THOMAS-VANSTEENBERGHE  — Alexandra TOLLET  — Yayoi TSUJI  — Jessica TURRELL  — Flora VAGI  — Reinhilde VAN GRIEKEN  — Karen VANMOL — Nelly VAN OOST  — Esther VAN SCHUYLENBERGH  — Luzia VOGT — Monique VOZ  — Annamaria ZANELLA

Nelly Van Oost – With feelings, 2014 47 x 43 x 35 cm Photo : Ophélie Friberg

Flora Vagi. – Pillowaves I, 2014 9 x 9 x 3 cm Photo : Flora Vagi

Jessica Turrell. – Field Unit, 2014 20 x 20 x 1 cm Photo : Mark Ashbee

Patricia Domingues (M.A. 2013) • Brooch « Set Free & Matter » • Necuron, Steel • 2014 • ©photo by Manuel Ocaña

Luzia Vogt - Candy I, 2014 6 x 6 x 4 cm Photo : Luzia Vogt

Monique Voz   – Nomadic eating, 2015 2 x 2 x 8 cm Photo : Monique Voz

Dominique Thomas Vansteenberghe. – Don’t touch me, 2015 19 x 17 cm Photo: D.Thomas

Isabell Schaupp – Sliced tower building, 2014 7,1 x 7,1 x 2,8 cm Photo : Isabell Schaupp

Karen Vanmol

Rosa Nogués Freixas – Por la boca muere el pez, 2015 30,5 x 10 x 6 cm Photo : Rosa Nogués  

 Zoe Robertson - Subscribe series, 2014 80 x 35 x 15 cm Photo : Zoe Robertson

Ria Lins - Beware, 2014 65 x 5 x 3 cm Photo: Dries Van den Brande

Hermien Cassiers   -  Earrings, 2013 gold Photo: © Nice Job

  Sebastien Carré  Bracelet Inflammation # 6, 2013 11 x 11 x 4 cm Photo: Milo Lee

 Saerom Kong.  – Pink Daisy, 2015 9,4 x 6,4 x 3 cm Photo: Saerom Kong

 

 

Les Anciens Abattoirs/ Galerie du WCC-BF 17/02, rue de la Trouille 7000 Mons (Belgique) www.wcc-bf.org Exposition du 24 octobre 2015 au 10 janvier 2016 Exhibition from 24th october to 10th january 2016 Tous les jours (sauf le lundi, et les 24, 25, 31.12.2015 et 01.01.2016) de 10h00 à 18h00 Open everyday (except Monday, 24, 25, 31.12.2015 and 01.01.2016)  from 10:00 to 18:00

EXPO ‘Lahti Jewellry’ – Galerie Pont & Plas, Gent (Belgium) – 2 Juin–5 Oct. 2013

Lahti Jewellry at Galerie Pont & Plas, Gent, Belgium -    Finnish and international jewellery designers will present their visual view of Lahti (town in a bay of Finland, traditionally considered as a melting-point for different cultures), with each one using Lahti as the theme for designing and producing a piece of jewellery.  Curated by Helena Lehtinen and Anna Rikkinen, and with a lovely catalogue!

Artists:  Sara Borgegård Älgå — Eija Mustonen — Kim Buck — Seth Papac — Gemma Draper — Ruudt Peters – Iris Eichenberg — Tiina Rajakallio — Jantje Fleischhut — Constanze Schreiber — Gesine Hackenberg — Nelli Tanner — Hanneke Van Hage — Ketli Tiitsar — Hanna Hedman — Terhi Tolvanen — Jeannette Jansen — Tarja Tuupanen — Agnes Larsson — Tanel Veenre – Mia Maljojoki – Amandine Meunier — Francis Willemstijn — Annika Åkerfelt — Javier Moreno Frias.

 

 

Galerie Pont & Plas
Hooiaard 6 (hoek Graslei),
B-9000 Gent, BE
[phone]
http://www.pontenplas.be/

EXPO ‘The Black of Night’ – Galleri Seilduken, Oslo (NO) – 18-21 Jan. 2013

KL!NK & Friends present: The Black of Night

KL!NK Metal invites you to our exhibition: ‘KL!NK & Friends present:The Black of Night’ during the Nordic jewellery exhibition and symposium ‘From the Coolest Corner’in Oslo.

Six Norwegian and nine specially invited jewellery artists from the Nordic countries show necklaces based on the theme ‘The Black of Night’.
We hope to see you all at the opening in Galleri Seilduken at Khio at 17:00!
For more information see our website; www.klinkmetall.no

participants :
Norway:
Anna Talbot –  Anne Léger – Hedda Bjerkeli – Helene Josefsen Linkosuonio – Runa Vethal Stølen  – Toril Bonsaksen
Sweden:
Lisa Björke – Yasar Aydin
Finland:
Krista Ruohonen –  Tiina Rajakallio
Denmark:
Louise Grenaa  –  Pernille Mouritzen – Sarah Hurtigkarl
Iceland:
Hildur Ýr Jónsdóttir
Estonia:
Katarina Kotselainen

 

Hildur Ýr Jónsdottir, Festi, 2012 – necklace made from old rubber rings used in fishing nets

Yasar Aydin

Helene Josefsen Linkosuonio  – The Invisible, 2010. Patinated copper object, ca 30cm long. Photo: Ingrid Løvtun

Anna Talbot

Hedda Bjerkeli – ‘Crystal cluster’ necklace – silver, hematite and slices of lepidolite (purple mica)(back view)

Anne Léger – Nocturne 2012 – necklace – carved wood, silver, enamel, pearl

Toril Bonsaksen – physalis-alengi – Earrings. Copper, silver, 2011

Runa Vethal Stølen – brooch

Katarina Kotselainen -   Necklace: Night is dark  Foto: Salla Lahtinen

Sarah Vedel Hurtigkarl

Krista Ruohonen: Sense – limit – imagination

Oslo National Academy of the Arts – Galleri Seilduken –

 Fossveien 24, Grünerløkka

0551 Oslo, Norge

EXPO ‘Ashes and Diamonds’ – Galleria Pihatto, Lappeenranta (Finland) – 31 Oct.-25 Nov. 2012

Ashes and Diamonds
Contemporary jewellery from Finland

Ashes and Diamonds is a curated contemporary jewellery exhibition, that’s part of the World Design Capital Helsinki 2012- program. Contemporary jewellery, which is rarely showcased in Finland, is a marginal and groundbreaking form of art. 18 artists and 36 works in total were chosen for the exhibition, which is curated by Päivi Ruutiainen (who’s currently preparing her doctorate on contemporary jewellery)  in cooperation with HUMAK and The Jewellery Art Association in Finland.
The mission of the exhibition is to break both the preconceptions about jewellery as an art form as well as the limits of the art world. The project will also give an opportunity for finnish jewellery artists to showcase their art and increase public knowledge of contemporary jewellery.

After Platina, the exhibition can be seen at :
Lahti, Finland: Muotohuoltamo, 3.10.2012 – 24.10.2012
Lappeenranta, Finland: Pappilan Pihatto, 31.10.2012 – 25.11.2012

More information : www.tuhkaajatimantteja.fi

 

Artists :
Ulla Ahola — Eija Mustonen — Eero Lintusaari — Helena Lehtinen — Veera Metso — Terhi Tolvanen — Mia Maljojoki — Tarja Tuupanen — Kaisa Logren — Tiina Rajakallio — Elo Uibokand — Janna Syvänoja — Anna Rikkinen — Elli Hukka — Clarice Finell — Kati Nulpponen — Maria Nuutinen — Ari Pyörälä

Helena Lehtinen, from series Gardens

  Anna RikkinenTiina Rajakallio, necklace

Anna Rikkinen, pendant from series Varjojen huone (Shadow’s room)

 

 

GALLERIA PIHATTO
Valtakatu 80
53130 Lappeenranta
sähköposti: [e-mail]
puh. 040 680 4071

EXPO ‘ASHES AND DIAMONDS’ – Platina Gallery, Stockholm (Sweden) – 31 Aout-22 Sept. 2012

ASHES AND DIAMONDS

Contemporary jewellery from Finland

contemporary jewellery exhibition created as part of the World Design Capital Helsinki 2012 program. The exhibition will tour in Finland and other Nordic countries in the fall of 2012 :

*Stockholm, Sweden: Galleria Platina 31.8.2012 – 22.9.2012
*Lahti, Finland: Muotohuoltamo, 3.10.2012 – 24.10.2012
*Lappeenranta, Finland: Pappilan Pihatto, 31.10.2012 – 25.11.2012

This project is done in cooperation with HUMAK University of Applied Sciences, Saimaa University of Applied Sciences, and The Jewellery Art Association, and is curated by Päivi Ruutiainen (AM)

 

Ashes and Diamonds is an exhibition that displays the works of 18 Finnish artists representing different areas of contemporary jewellery art and design.

The exhibition gives a comprehensive overview of the different techniques and materials used in contemporary jewellery design today, as well as offering insight into the meanings a piece of jewellery can carry. Besides the traditional materials of precious stones and metals, modern jewellery design also makes use of gypsum, coal, organic raw materials, recycled materials, and other materials traditionally considered to be plain.

The Ashes and Diamonds exhibition will be accompanied by workshops, pop-up shops and HomeShopping events, where invited guests get to hear the artists themselves talk about their works.

Ashes and Diamonds will run until 16 June at the World Design Capital Helsinki 2012 Studio gallery.

Mia Maljojoki: Explosive Frozen Fireworks

Kaisa Logren: Flaneur / Et le Temps m’engloutit minute par minute, Comme la neige immense un corps pris de roideur (Baudelaire)

Kati Nulpponen: Petomaista rakkautta

Helena Lehtinen: Gardens, 2011

Helena Lehtinen, from series Gardens

Tiina Rajakallio, necklace from series UNHO

Tiina Rajakallio 2010

Tarja Tuupanen 2010

Helena Lehtinen 2009

Tiina Rajakallio, necklace

Anna Rikkinen, pendant from series Varjojen huone (Shadow’s room)

Elo Uibokand: Loss, 2011

EXPO ‘Un peu de terre sur la peau’ – Musée des Arts Deco, Paris (FR) – 15 Mars-19 Aout 2012

Un peu de terre sur la peau

Poursuivant une programmation prospective dans le domaine de la céramique contemporaine, après « Petits bouleversements au centre de la Table » en 2008 et « Circuit Céramique » en 2010, les Arts Décoratifs, en partenariat avec la Fondation d’entreprise Bernardaud, ont souhaité s’intéresser à l’utilisation que font certains artistes bijoutiers du matériau céramique. L’exposition « Un peu de terre sur la peau » a été conçue à partir d’œuvres très récentes, qui interrogent les codes ancestraux du bijou pour les projeter dans des perspectives nouvelles. Les 18 jeunes créateurs sélectionnés font souffler un vent de transgression sur ce domaine encore très attaché aux traditions. D’origine française, suisse, allemande, finlandaise, hollandaise, suédoise ou taiwanaise, ils proposent en 140 pièces marquantes leur vision iconoclaste du corps et de la parure.

Unlike traditional jewellery, the traditional craft of the goldsmith, since the 1970s contemporary jewellery has become a field of experimentation at the frontiers of art, design and the artistic crafts. In this exhibition, eighteen French, Swiss, German, Finnish, Swedish and Taiwanese, artists are proposing a new and personal vision in their work. Although some pieces were conceived in reference to the history of jewellery, they can be made with the most diverse materials, using every possible assemblage process, in function of the techniques, symbols and the culture during a given period. This exhibition, conceived by the Fondation Bernardaud, is being shown in the museum’s Contemporary Space.
The exhibition is curated by Monika Brugger.

Peter Hoogeboom, collier Spanish Collar, 1995 – Porcelaine, argent -© photo : Henni van Beek

A la différence du bijou classique – conçu comme un art appliqué, selon des techniques d’orfèvre et avec des matériaux généralement précieux – un « nouveau bijou » a émergé depuis les années 1970, caractérisé par son hybridité et conçu comme un lieu d’expérimentation, installé aux frontières de l’art et du design. Ce ne sont plus seulement les questions liées au coût des matériaux et au statut social qui sont posées par ces nouveaux artistes bijoutiers, mais plutôt le positionnement culturel du bijou en tant qu’oeuvre d’art, en relation au corps. Le bijou est redéfini par eux comme une pratique pleinement intégrée aux arts plastiques.
Depuis toujours, le bijou a joué un rôle d’indicateur social, traduisant une appartenance à un groupe et intégrant l’homme dans la société, mais pouvant marquer également une volonté de différenciation, de contestation de l’ordre établi. Parure intime donc « singulière », le bijou parle de notre corps, des liens qu’il tisse avec autrui et avec l’environnement. Les bijoux n’ont pas toujours été fabriqués en or, en argent ou en pierres précieuses. Ils peuvent également être conçus avec des matériaux les plus divers et grâce à tous les assemblages possibles, en fonction des techniques, des symboles et de la culture en vigueur à une époque donnée. Depuis la réalisation de bagues sigillaires en faïence dans l’Égypte ancienne, ou d’ersatz en terre cuite dorée imitant l’or dans la Grèce et la Rome antique, la céramique a été abandonnée et oubliée pendant des siècles dans le domaine du bijou. C’est en 1773, en Angleterre, que son emploi resurgit lorsque Joshiah Wedgwood inventa une pâte de grès fin constituée de différentes strates colorées qui imitait parfaitement le jaspe, pour des bijoux aux motifs néoclassiques ou des sujets romantiques en camées. Dans l’époque contemporaine, c’est au créateur hollandais Peter Hoogeboom que l’on doit d’avoir réconcilié de la façon la plus novatrice le grès ou la porcelaine avec le bijou, à partir de 1994. A cette réapparition remarquée, fait suite l’excellente initiative de l’European Keramiek Work Centre (EKWC), situé à ‘s-Hertogenbosch aux Pays-Bas, qui a proposé à de nombreux orfèvres contemporains des résidences de trois mois, leur permettant de travailler toutes les possibilités de mise en forme de la céramique dans le domaine du bijou.
Parmi les différents matériaux céramiques disponibles, c’est la porcelaine qui a le plus souvent aujourd’hui la faveur des artistes du bijou. Qu’elle soit utilisée par modelage ou moulage, seule ou en association avec le métal, le bois ou la pierre, la porcelaine peut changer d’apparence, de couleur et de surface. Lisse et pure, à la fois fragile et de grande résistance, elle épouse toutes les formes recherchées à condition d’en maîtriser les techniques et les contraintes, particulièrement celle liée à sa forte rétraction lors de la cuisson. Encore largement liée dans notre imaginaire aux arts de la table ou à la froideur technologique du matériel scientifique, la porcelaine peut aussi devenir un objet de désir, un déclencheur de sensations visuelles et physiques, lorsqu’elle est transformée en bijoux, en s’adaptant parfaitement aux exigences conceptuelles et poétiques des créateurs d’aujourd’hui. La preuve en est faite avec un peu de terre sur la peau…
Le projet Un peu de terre sur la peau… a été initié par la Fondation d’entreprise Bernardaud : l’exposition a été présentée à Limoges du 16 juin au 16 octobre 2010, puis a voyagé au Museum of Arts and Design à New York (USA), du 15 mars au 4 septembre 2011) et au New Taipei City Yingge Ceramics Museum à Taipei (Taïwan), du 30 décembre 2011 au 5 février 2012.

Terhi Tolvanen – collier « zig-zag » 2007

Participating artists:
Yasar Aydin, Sweden | Carole Deltenre, France | Willemijn de Greef, The Netherlands | Andi Gut, Switzerland | Gésine Hackenberg, Germany | Peter Hoogeboom, The Netherlands | Rian de Jong, The Netherlands | Manon van Kouswijk, The Netherlands | Natalie Luder, Switzerland | Evert Nijland, The Netherlands | Ted Noten, The Netherlands | Marie Pendariès, France | Katja Prins, The Netherlands | Tiina Rajakallio, Finland | Terhi Tolvanen, Finland | Luzia Vogt, Switzerland | Shu-lin Wu, Taïwan | Christoph Zellweger, Switzerland.

Marie Pendariès – La Dot – 2008 – porcelaine
Shu-Lin Wu, boucle d’oreille Girandole-Mokume # 2, 2010 – Porcelaine, argent  -© photo : Hsiao-Yin Chao

Manon van Kouswijk, ensemble de colliers modelés avec les doigts – Perles d’artiste, 2009 – Porcelaine  – © Ute Eiesnreich

Evert Nijland, collier Stucco / Wolkenlucht, 2006-2009 – Porcelaine, bois, or - © Eddo Hartmann

 

 

Musée des Arts Décoratifs – galerie d’Actualité
107, rue de Rivoli
75001 Paris
Tél. : [phone]

EXPO ‘UltraMarine’ – Tallinn, Estonia – 7 Oct.-6 Nov. 2011

UltraMarine as a word derivates from Latin ultra + marinus and means ’over the sea’ or ’beyond the sea’.
Ultramarine is a fiery blue pigment extracted from lapis lazuli, one of the oldest precious stones used in jewellery for thousands of years. Lapis lazuli or lazurite was imported to Europe from Middle Asia by sea via Venice, hence the name ’beyond the sea’.
Ultramarine was a rare and valuable colorant, as expensive as gold leaf because of its remote origin and complex production process. Medieval masters often used that exotic pigment for the uppermost colour layer only. Sometimes just the robes of Virgin Mary and li’l Jesus were painted using the priceless blue.
UltraMarine is a solo sailor’s route across the sea, an artist’s dialogue with a material that takes place while she works at her desk. One can spy a knowing smile on the countenance of she who has arrived at her destination – for the joy of surpassing oneself is the greatest pleasure of all. A co-conspirator knows the feeling well. The sea unites; the land divides. UltraMarine is bluer than the sea.

(Sara Borgegård – necklace: ULTRAMARINE 2011 – Iron, embroidery thread, lapis lazuli, spraypaint)

 

There are works of 51 artists from Estonia, Europe, US, Australia and Asia, which will be seen in an exhibition space specially set up for the occasion in the Noblessner district. UltraMarine exhibition will be accompanied by an 80-page catalogue which will be published for the opening of the exhibition.
The exhibition is initiated by four fellow jewellery artist from Estonia: Merle Kasonen, Julia Maria Künnap, Maarja Niinemägi, Kertu Tuberg.

UltraMarine is part of the programme of the European Capital of Culture Tallinn 2011 

 

Artists:
Dina Abargil — Linda al-Assi — Kätrin Beljaev — Marta Boan — Daniela Boieri — Sara Borgegård Älgå — Adam Grinovich — Ulvi Haagensen — Hanna Hedman — Sachiyo Higaki — Nils Hint — Pilleriin Jürisoo — Rainer Kaasik-Aaslav — Anni Kagovere — Merle Kasonen — Rallou Katsari — Annika Kedelauk — Mart Kekišev — Kristiina Kibe — Jenny Klemming — Katrin Kosenkranius — Lisa Kröber — Akiko Kurihara — Julia Maria Künnap — Teresa Lane — Beth Legg — Bruno Lillemets  — Liina Lõõbas — Veera Metso — Maria Militsi — Edgar Mosa — Maarja Niinemägi — Jaanika Pajuste — Tiina Rajakallio — Tabea Reulecke — Marzia Rossi — Deborah Rudolph — Ann Schmalwasser — Constanze Schreiber — Daniela Schwaag — Estella Saez Vilanova — Birgit Skolimowski — Adolfas Šaulys & Mari Relo-Šaulys — Nelli Tanner — Ketli Tiitsar — Kertu Tuberg — Elo Uibokand — Flóra Vági — Maria Valdma — Luzia Vogt

Tiina Rajakallio-  « Unho »  2011

Rallou Katsari – ‘WHISPERING LOUD’ – brooch gold, pigment 2007

 

Estella Saez - ‘BOYA’ brooch – oxidized silver, wool, paint 2008

 

Address: Noblessner Foundry, entrance at Tööstuse 48, Tallinn – Estonia
Website: www.ultramarine.ee
[e-mail]
Management: Merle Kasonen, Julia Maria Künnap, Maarja Niinemägi, Kertu Tuberg

«Cheveu un bijou !!!» hurle la Dame de Coeur

«!Tranchez-lui la tête!!! Cheveu un bijou!!!» hurle la Dame de Coeur, dans Alice …

mais … faut pas se faire de cheveux dans la vie !! ici, on est à un poil du bijou ….. si ce ne sont pas des bijoux au poil !!

Au-delà du dégoût que peut susciter l’emploi d’un tel matériau (à la « grande époque » du bijou en cheveux, à l’époque Victorienne, mode lancée par la très romantique Reine Victoria, cet engouement eu un grand succès dans les pays anglo-saxons mais suscita du dégoût et un certain rejet en France et dans le reste de l’Europe), ce n’est pas étonnant, à mon sens, qu’il suscite tant d’attrait parmi la jeune génération de bijoutiers : à force d’interroger le rapport du bijou au corps, le corps s’incorpore petit à petit au bijou lui-même.

 

 Tiffany Parbs – Extension (2008) – hand woven hair, digital print – photo Terence Bogue

« Contemporary art is getting hairy Long and silky; short and curly. Blond, brunette, red or grey. It’s hair and it has an important part in our perceptions of ourselves. It defines gender and visual identity, and is playing an important role lately in art — in jewelry, drawings or in mixed media pieces. Hair has long had a role in the work of artists and artisans. In the Victorian era, creating jewelry from hair became almost as popular as knitting or crocheting.  By using one’s own hair or that of a beloved family member women were able to design bracelets, chains, rings and earrings. Apart from jewelry, mourners would weave hair into decorative, memorial wall hangings. By the early 1900s using hair fell out of fashion. During the past 15 years, however, there’s been a fascination among contemporary artists using skin, nail clippings, urine and hair to create various forms of art. Fascinated with Victorian hair jewelry, artist and jewelry designer Melanie Bilenker has revived the art form. Like the Victorians who kept lockets of hair and miniature portraits painted with ground hair and pigment to secure the memory of a lost love, renders the « quiet minutes, the mundane, the domestic, the ordinary moments » from her own tresses. Bilenker observes various daily activities such as cleaning, bathing, dressing, resting or eating. She chronicles the private moments by setting the camera’s timer and goes about her business which can be anything such as eating chocolate, writing a note or enjoying a Saturday morning breakfast. Once she has the photographed images, Bilenker creates tracings of the forms within ghem with thousands of tiny strands of her own hair – which are eventually fixed in resin.  She meticulously layers several different drawings to give the appearance of depth, one as foreground, another as background.  The entire process takes the course of about a week of laying hairs, mixing resin, and then allowing it to cure.  Says Bilenker, « Once the hairs are set as line drawings within resin, I shape, smooth and polish the exterior.  I then fabricate the jewelry findings and set them.  The piece is then complete. »" (Courtesy Melanie Bilenker and Sienna Gallery)

Melanie Bilenker (courtesy of Sienna Gallery) - miniature portraits painted with ground hair

Melanie Bilenker

Each line in these drawings by Melanie Bilenker are made using strands of the artist’s own hair! The delicate drawings depict quiet scenes of domestic life which are sealed in Victorian-inspired brooches and rings.

 Galatée Pestre- Le Sens des Bijoux – Broche ‘Dans le Sens du Poil’ – argent, poils, inox (photo by flavorflavy)

Galatée Pestre- Le Sens des Bijoux – Broche ‘Dans le Sens du Poil’ (detail)

Nicola Scholz  Necklace: Untitled 2006  Pubic hair, gold

Rodrigo Acosta – necklace – pelo natural

Rodrigo Acosta-  « Lo permisivo de tu Dios », 2009.  Pendientes,pelo,latón, plata.  Fotos: Adolfo López  -   El cabello como armar de seducción y poder en el contexto de las distintas religiones a las que el hombre quiere pertenecer.  El pelo y lo prohibido, el pelo y la sabiduría, el pelo y la lujuria, el pelo y lo permisivo de tu Dios

Agnes Larsson, necklace, hair jewelry 2015

Agnes Larsson, necklace, hair jewelry – Remains 9, 2015, necklace, calf skin, aluminum, horse hair, 16 x 9 x 1.25 inches (« Agnes Larsson – Remains » EXHIBITION at Ornamentum gallery  August 8 – September 7, 2015 )

Carolina Hornauer Necklace: The collector 2009 Cotton thread, synthetic cotton, river pearls, silver, patina, steel wire, enamel on cooper, magnets, burned wood, tinted hair, parts constructed, silver ball chain, silver tube textured, stone, silver charcoal (casting piece)

Carla Castiajo -  brooch « Auto Portrait », 2007 – gold, hair

Carla Castiajo   « horror vacui »  « Full of you »   brooch (back) 6 x 5 x 3 cm   Gold, hair

Katie Wightman | Exploring the fragility of the female form. Experiencing hair loss as the result of illness, Katie uses precious metals and human hair to release the stigma and create pieces with a new found sense of beauty and power.

Tiina Rajakallio « Purity » 2008 – human hair

Monika Strasser – Hair Brooch 2012 - Hair, rubber, silver, steel – Series: On Beauty

Maho Takahashi  – “Celebration necklace” Human hair, glue - Central st Martins 2012

Noon Passama – KNOBS – graduate project 2010 – Brooch (“Black Hair Knob” brooch, 2010. Antelope fur, sheepskin, silver.) and Lucia King’s portrait: photography – DAN/NAD

Mielle Harvey – Hair Colored Red: 1998, ca. 14in, human hair, dye, bone (série « city tribal amulets »)

Mielle Harvey – (série « city tribal amulets« ) – Blond Hair and Pearls: 1998, ca. 14in, human hair, pearls, 14k gold

Marie Pendariès - Boucle d’or. Collier. Cheveu et or (gold & hair necklace)

Claire Baloge - « mais, vous avez un poil dans la main ! »  2005  Hair, silver

Claire Baloge - « Mes Tendres Poils »  -  2005 – hair, natural fibers, oxydated copper   

Marie Masson – necklace Cravate 2011, silver, horse hair, ribbon

Marie Masson, France Brooch, Toiletrie 04 Hair transplant, 2013 Latex, horse hair, semolina, leather, 7,5 x 5 cm Leatherwork technics, embroidery, jewellery technics. photo : Marie Masson

Eun Yeong Jeong -’Growth’ from Growth series – copper, wool, wood, horse hair

Farah Bandookwala (UK) redhead neckpiece – silver, fake hair

Farah Bandookwala (UK) « which one are you today ? »  neckpiece – 2007 – silver, fake hair 

Farah Bandookwala (UK) – blue hair brooch

Farah Bandookwala (UK) « platinum » ring

Sandra Buyck - fake hair neckpiece – Sint Lucas Antwerpen School – JOYA 2012

Clémentine Despocq – ‘Vénus’ – Parure de corps/Body ornament – Laiton, cheveux synthétiques/ Brass, synthetic hair  – (AFEDAP ) 2010

Olivia Creber - « Keeping Schtum » – resin, acrylic, brown horse hair – Edinburgh College of Art 2013

Roxane Amirouche  PERSONA – 2012  Masque de nuit  Laiton, cuir retourné, cheveux synthétiques,  Elastique  crédit photo Patricia Lemaire (diplome AFEDAP Paris 2012)

Ana Carolina Escobar (AFEDAP 2012) collier « chez moi chez moi »- cheveux , laiton, film thermopastique, papier

Julia Valle (Bresil) – hairy accessories

Mona Hatoum, Hair Necklace, 1995 – detail « human thoughts may not be what they appear to be at 1st glance, an idea that this necklace, made from the artist’s hair, play with » 

Kadri Mälk (Castle in the Air / ÕhuLoss) Brooch: Lossylong, 2013 Darkened silver, human hair, purple spinelPolly Van der Glas (AU) – hair jewelry – Sterling silver cast human hair plait necklace & Human hair knuckle ring 2008

Polly van der Glas -’red hair neckpiece’ 2008  -oxidised copper, red Human hair, oxidised sterling silver

Polly van der Glas (AU)  -  Since 2005 my work has centered on materials that were once attached to our bodies: human hair, teeth and fingernails. These materials were at one time part of an intimate, elaborate maintenance ritual.

Juan Harnie – (MAD) – Hair (2014) Brooches & necklaces. Resin, human hair, elastic band, silver

Juan Harnie – Hair (2014) Brooches & necklaces. Resin, human hair, elastic band, silver

Nina Khazani, Untitled (« a hairy tale ») – Human hair, gold-plated brass and linen – Royal College of Art 2012 dregree show

Anna Schwamborn, who has worked for Alexander McQueen and Vivienne Westwood and is studying at Central St Martins in London, uses real human hair and human ashes mixed with black bone china. Moxern Mourning Jewellery - Mourning jewelry, bracelet, human cremated ashes mixed with black bone china, human hair, « Wearable body pieces including human material « Morning Objects – The collection of objects contains post-mortem memorial pieces which include aspects of a deceased corpse, namely hair and cremated ashes »

Chiara Cavallo « Disturbs » – my curly hair, nylon tube, thread (Alchimia)

Géraldine Luttenbacher - at « NOIR comme BASALTE » 2015

Sylvia Burgoa -’Raiponce–La Colère’/'Rapunzel–Anger’ – Broche et Collier/Brooch and necklace – Argent, photographies acetate, fil d’or, fil d’argent, cuir/Silver, photographic acetate, gold thread, silver thread, leather – 2010

Francis Willemstijn- Gejaagd door de Wind, Zuiderzeemuseum – 2009 – Collier – Haar (human hair), git, glas, zilver, textiel Collectie Zuiderzeemuseum, Enkhuizen, NL

Francis Willemstijn – bracelet « Hair », from « gone with the wind » – silver, jet, glass, human hair, textile

 Amy Tavern - »Forget Me Not » sterling silver, spray paint, picture of my father, my father’s hair – detail Ana Goalabré – J’aimerais tant passer mes doigts dans tes cheveux – Cheveux et résine – 1997  tous droits réservés.
« Puisant dans la tradition des bijoux en cheveux, matériau depuis longtemps collecté dans des foires et marchés ou dans l’intimité des familles pour devenir parure, Ana Goalabré se joue de cet usage en coupant une de ses mèches et en y taillant une bague qu’elle envoie à un homme accompagnée de la missive «J’aimerais tant passer mes doigts dans tes cheveux». Cette phrase, appel érotique d’un corps d’artiste, devient le titre d’une série déclinant divers contenus aimants et sensuels, traditionnellement gardés jusqu’alors implicites au nom d’une morale et d’une bienséance rigoureuse et qui tout à coup semblent avoir gagné le droit de dire clairement le désir, qu’il s’agisse de celui d’une mère, d’un père, d’une amante, d’un amant… et ce dans toute sa trivialité. Pourtant, il n’y a aucune charge obscène dans ces bagues. Qu’elles soient très travaillées ou reprennent le mouvement naturel d’une mèche de cheveux, elles nous renvoient à nos jeux tactiles dans les cheveux de l’autre, en fixant le mouvement, image arrêtée puis détachée du corps pour n’en garder que la sensation. »
(Monique Manoha – Actes du colloque international Projections : des organes hors du corps (13-14 octobre 2006)

Rickson Salkeld – I am interested in the feminine ideal in relation to the female body.  I enjoy creating work that expresses my wish to both conform and  rebel against ideas of femininity. Through various materials and  processes I take from my own body both physically and metaphorically.  Hair can be used to comment on feminine allure and power, while  clear resin is used to symbolize an abundance of tears

 Azahara Santoro  (EASD Valencia 2012) -   bagues avec cheveux (rings with hair)  –
Tricomotealcyalgenfobia- Miedo irracional al pelo de las mariposas de coral plateado. Piezas unicas

Maria Ignacia Walker – MFA JEWELLERY AND BODY ORNAMENTS Alchimia contemporary jewellerySchool 2013 – 2015 –   A simple fact of life that María Ignacia Walker obsesses over: The shedding of hair. The obsession – losing them, collecting them, ordering them, measuring them and archiving them. The desire – to preserve these losses – It gives rise to “transcendieron”.  The discourse is not about beauty and it is not about sensuality, not even about cultural symbols that hair carries.  How much hair do you lose constantly, everyday ? How many pieces grow out of your body and die every moment ?  “The transcendents” are a homage to the moments when you lose your hair. Captured and immortalized in the fragility of the porcelain, they give perpetuity and freeze all their expressions in the moment of their detachment from the body. With a threading method, the artist uses horsehair as connectors. They show the lightness, energy and freedom, while demonstrating the real, natural movement of the hair. Together with the act of keeping and protecting the hair in a porcelain form, they are given another life that keeps them present through their absence.

Maria Ignacia Walker  – 2015 – TRASCENDIERON – Materials: Porcelain / Horsehair / Resin / Gold thread/ Gold

María Ignacia Walker  – 2015 – TRASCENDIERON

María Ignacia Walker  – 2015 – TRASCENDIERON

Maria Ignacia Walker – 2015 – TRASCENDIERON – Necklace-object, 28 x 45 cm, porcelain, horse hair and resin Photo by Marcos Bucco, courtesy of the artist

Maria Ignacia Walker – 2015 – TRASCENDIERON – necklace (detail)

Sébastien Carré – collection Hair Landscape – 2016 broche (bijoux réalisés pour une collaboration avec le blogger Cut by Fred )

MARION DELARUE — « Mania » – Traditional korean lacquer, korean hair. 2011 « During my stay in South Korea, I was struck by Korean ladies’ habits of playing with their hair fringes. As soon as they had the chance they would roll up their hair by making it slide between their forefinger and their middle finger and then pull on it softly. Since I was often bored during such long classes taught in a language I don’t understand, I spent time observing the students… »

Dionea Rocha Watt Pendant: Protection Locket, 2006 Silver, human hair 3.1 x 5.5 cm Piece for section History, Memory, Tradition (at  « Think Twice: New Latin American Jewellery » 2010-2011)

Dionea Rocha Watt (Brazil) – locket/hair

Raluca Buzura’s collection, “Hairy Tales” comes out of an imaginary world and it’s a combination of new materials such as polymeric rubber, pumice, artificial leather and artificial hair.  
at Autor 2015 – 7 – 8 November | Sala Dalles | Bucharest

Salome Lippuner  Neckpiece: Kin Kanshitsu 2008  Black and natural coloured Urushi on hemp-cloth,gold-leaves,horse tail hair  15 x 10 cm

REBECCA HANNON-USA Collier  Crin de cheval

REBECCA HANNON-USA -USA  Nest,Horse Hair Twist

AOI KOTSUHIROI - hair neckpiece – cabello humano en conjunto con piedras y pequeños cráneos

AOI KOTSUHIROI - hair neckpiece - cabello humano en conjunto con piedras y pequeños cráneos

 Aoi Kotsuhiroi Horse hair, horn, urushi lacquer and buffalo leather Vika Mayzel  (IL) – necklace (silver,wood,fur,leather)   Out of Cage vikamayzel.com

Lauren Passenti, « Cleaning Fish on a Sunday Morning » wrist piece, 2009, sterling silver, horse hair, 8 inches diameter

Eunmi Chun, zebra, 2011, brooch, small intestine of cow, silver, human hair, gold leaf, 120 x 40 x 75 mm, photo: artist

 Brooch by Eun Mi Chun: Giraffe 2011 23 x 8 x 9 cm. Human hair, gold leaf, small intestine of cow, seeds, silver

 

voir également les bijoux de Kerry Howley :

Decouverte : Kerry HOWLEY – Human hair as jewellery

Kerry Howley human hair jewelry

Kerry Howley Attraction/Aversion is a material exploration of how people can feel seemingly opposing emotional responses simultaneously. The necklaces are made of human hair, a familiar material that we take pride in. However once off of the body hair becomes an innate source of aversion.

 

 

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EXPO ‘Dark And Sweet’ – Galeria Articula, Lisboa, Portugal – 17 Juin-30 Juill. 2011

« Dark And Sweet »

You are warmly welcome to the opening of the contemporary jewellery exhibition  » DARK AND SWEET  » with the artists Elo Uibokand and Tiina Rajakallio, at the Gallery ARTICULA, Friday,
17 June , from 6 pm till 9 pm. The exhibition runs till 30 July.

 

Elo Uibokand is talented contemporary jewellery artist originally from Estonia. She studied jewellery and stone object design in Saimaa University of Applied Sciences, Lappeenranta, Finland and graduated 2009. Tiina Rajakallio is a Finnish emerging jewellery artist. She got her master’s at Konstfack in Stockholm, Sweden in 2008. They both are living and working in Lappeenranta, Finland. “Dark and Sweet” is their first collaboration together.
The dark side is often related to negative aspects of life. In this exhibition the darkness is necessary; it will highlight the light and sweet characteristics of our being. There are always two sides in every thing, together they’ll form a space where both is equally important and constantly in move, equally dependant on each other, so the harmony will be created.

Elo Uibokand has been exploring the theme by emphasizing the possibility for the encounter, femininity and tenderness in the subject by the brownish natural shades of copper and the oval-like shapes, referring to a human/woman. The cat has been obviously used as a symbol for the theme. Cats may be sweet and soft and purring…and at the next moment will bite your caressing hand. So there are oval shapes, smooth and easy to touch and handle and there are cats meticulously sawn out of the metal with sharp edges, as sharp as the bite of the cat. The cat images have been scratched to the surfaces of the metal, the drawings are subtle, even intimate – one has to come closer in order to see and recognize. Here, unlike in printmaking, the plate itself is the subject together with the earrings and necklaces sometimes sawn out from the same plate.

Elo Uibokand  The Power Cat Jewellery 2011

Tiina Rajakallio’s works are about forgetting as a part of remembering. Things get frighteningly lost and changed in our minds, there are empty spaces, black holes; moments we have no image about anymore. Rajakallio has been focusing on the aspect of catching the lost memory, using forms suggesting the handles, the vessels – abstract and concrete at the same time. The materials (mostly wood) have been treated in a different manner. Rough natural surfaces of the branches, slip surfaces carved and painted… You’ll be able to reach your memory… or it will slip away from your hands. The colour palette is delicately natural; except the deep dark ultramarine blue associated with the subconsciousness, the unknown and far away. There are necklaces and brooches to be found in Rajakallio’s series, somehow familiar and strange.

Tiina Rajakallio necklace – 2009

 

 

Galeria Articula
Rua dos Remédios 102
1100-450 Lisboa (Portugal)
http://galeriaarticula.blogspot.com
http://www.teresamilheiro.com
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