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14/08/2010

YuYen CHANG – fleshy, woundlike world

Classé dans : Taiwan (RC),www Ganoskin,Yuyen CHANG (Taiwan) — bijoucontemporain @ 12:43

Des « bijoux » qui dérangent, attirent -comme pourrait attirer un corps nu, partiellement dévoilé à travers un trou de serrure-, et en même temps « répugnent », comme si l’on pouvait -enfin- regarder (sans être vu) tous ces orifices « défendus » du corps humain ….. attraction-répulsion ….
« Should I look, or look away? In an instant, Yuyen Chang confounds the viewer. Her complicated work plays on our innate attraction to jewelry, its invitation to gaze, and our equally human repulsion from physical deformities: scars, growths, cysts, wounds. As baubles and boils incite these diametrically opposed responses, Chang’s difficult pieces send one scrambling for the socially appropriate behavior.
Chang’s work is intentionally anthropomorphic, disturbingly so. She likens her technique to that of a plastic surgeon, shaping and sculpting on and beneath the surface, using traditional fabrication methods like die­forming, chasing, and repousse. Yet Chang’s goal is hardly to beautify or’ improve’ her subjects; she labors to distort, to subvert. Though Chang made these pieces while still a student, she reveals an awareness of the allure-enhancing and status-bestowing powers of jewelry, especially in modern society, as well as our obsession with erasing any wrinkle, bulge, or flaw.
A most unusual jewelry artist, Chang bypasses witty and aims straight for unsettling. If one were simply to describe her navel- or mouth like brooches, they might seem wry or humorous, but in the flesh, as it were, her jewelry incites not a smile but a straight face-maybe even a wince. This is volatile territory, indeed; deformities are not a laughing matter. But our compulsion to look at them, Chang proves, is a fruitful topic for art indeed, especially art meant to be worn on the body.
Consider the brooches in her « Orifice Series’ ». At their center is an irregular orifice, from which poke crowded tongues? Fingers? Genitals? The brooches feel not quirky but creepy, sinister, abnormal. A similar sensation is elicited by a copper pendant in the same series. While finely executed, its bivalve, bloated form recalls a medical specimen, a detached organ, as if the owner were showing off her recently removed tonsils in a jar. »

YuYen CHANG - fleshy, woundlike world dans Taiwan (RC) MTS-S03-P14
Untitled (brooch), « Orifice Series, » 2001 copper  (Photo Jim Wildeman )

« The brooches in Chang’s most recent « Chi-Pa Series » assume more amorphic, growth-like contours. The artist coined the term « chi-pa » by combining the Chinese word for beauty or talent with that for scar or wound, to capture the ambiguous quality of these works. Yet the central, fleshy, woundlike gashes make it almost impossible to call them beautiful. One suspects a line of Yuyen Chang engagement rings is all but out of the question. Her intellectual yet visceral pieces defy not only social mores, but language as well. We’re going to need a new vocabulary to praise this complex work. » (The GANOSKIN)

MTS-S03-P15 dans www Ganoskin
Clockwise from top left: Untitled (brooch), « Chi Series, »-copper- 2002  –  Untitled (brooch), « Orifice Series, » – copper- 2001 –  Untitled (pendant), « Orifice Series, » 2002 copper, silver chain  — Untitled (brooch), « Chi-Pa Series, » 2002 copper  (Photos: Jim Wildeman)

 

12/08/2010

virus de la COMPARAISON ….? LUNATICART / Yuyen CHANG

Classé dans : COMPARAISON,Lunaticart (FR),virus de la COMPARAISON,Yuyen CHANG (Taiwan) — bijoucontemporain @ 17:44

Dessus, ou dessous, ornez votre épaule/aisselle !!!

Photo of Armpit Adornment
Yuyen CHANG - Armpit Adornment – silver , synthetic hair extensions – 1999

LunaticArt epaulet‘Lunaticart’ - “A night in Paris” epaulette -  Ostrich feathers, silver sequin beads, silver chains

02/08/2010

Le CORPS en morceaux ………. from ‘ANATOMY LESSONS’ exhibition

from ‘ANATOMY LESSONS’ exhibition, at « Taboo Studio« , San Diego (USA) 7 mai-18 juin 2010

Des bijoux qui représentent le corps humain, mais fractionné, bout à bout, comme des petits cailloux pour la mémoire semés par un Petit Poucet qui voudrait retrouver le (bon/droit) chemin ….

et, dès le départ, la série de Jessica Calderwood nous fait de l’oeil …..

Jessica Calderwood, Portrait of an Eye Brooch/Pendant, Enamel on copper, sterling, stainless steel
Jessica Calderwood -Portrait of an Eye’ Brooch/Pendant – Enamel on copper, sterling, stainless steel

http://greendragonladyvintage.files.wordpress.com/2008/11/calderwoodjblinkfront.jpg
Jessica Calderwood, Blink (enamel, copper and sterling silver)

See image caption.
Jessica CalderwoodAsymmetry’ Brooch- Enamel on copper, sterling, 18k foil. 

Jessica Calderwood, Portrait of a Nose Brooch, Enamel on copper, sterling, stainless steelJessica Calderwood, Portrait of an Ear Brooch/Pendant, Enamel on copper, sterling, stainless steel
Jessica Calderwood  -Portrait of a Nose’ Brooch Enamel on copper, sterling, stainless steel
Jessica Calderwood  -Portrait of an Ear’ Brooch/Pendant - Enamel on copper, sterling, stainless steel

Jessica Calderwood, Navel Brooch/Pendant, Enamel on copper, nu-gold, sterling, stainless steel
Jessica Calderwood - Navel Brooch/Pendant - Enamel on copper, nu-gold, sterling, stainless steel

Jessica Calderwood, Before and After Brooch (reversable), Enamel on copper, sterling, stainless steel, 18k foilJessica Calderwood, Before and After Brooch (reversable), Enamel on copper, sterling, stainless steel, 18k foil
Jessica Calderwood (US) – ‘Before and After’ Brooch (reversable) – Enamel on copper, sterling, stainless steel, 18k foil

« My most recent series consists of psychological portraits that address ideas of consumption and personal obsession using irony, humor and vibrant color. Using a combination of traditional metalsmithing processes, such as raising and die-forming as well as industrial processes such as laser-jet cutting, this work aims to merge contemporary enameled imagery with traditional forms.« ( Jessica Calderwood)

Le CORPS en morceaux .......... from 'ANATOMY LESSONS' exhibition dans Anne DONZE (FR) 548_2B1T3065
Diane Falkenhagen   « After Canova’s Paulina » Brooch/Pendant – 2010

cette broche de Diane Falkenhagen illustre parfaitement ce sentiment de « corps morcelé« , mis en pièce(s) ……

http://greendragonladyvintage.files.wordpress.com/2008/11/harrisondozenrosebuds.jpg
Julia D. Harrison - Rosebud Brooches -wood, lacquer, gouache, epoxy + more

Julia D. Harrison, Holler Brooches,
Julia D. Harrison (US) ‘Holler’ Brooches – wood

http://greendragonladyvintage.files.wordpress.com/2008/11/wauzynksismalldemands.jpg
Sarah J.G. Wauzynski, ‘Small Demands’ – brooch – sterling silver, egg tempera pigment, gold

See image caption.
Randy Long (US) – Brooch – Sterling, hand carved marble

See image caption.
Randy J. Long-  St.Sebastian Brooch – handcarved shell cameo, 22k gold

http://greendragonladyvintage.files.wordpress.com/2008/11/mllange-the-kiss.jpg
Margaux Lange, The Kiss (sterling silver, plastic and epoxy resin)

See image caption.
Kathleen Browne (US) – ’5 Moments’ brooch -fine & sterling  silver, enamel

« The images used in this series of jewelry pieces are appropriated from a pulp magazine printed during the 1950’s titled Secrets. The magazine photos were overly dramatic and stagy, both tragic and unintentionally comic, but somehow they captured the zeitgeist regarding female transgression. These reconfigured images freeze a moment in the daily drama of our lives and, set as jewels, they serve as paeans to the mundane.
By first manipulating, then converting these images to enamel decals (and firing them onto the surface) I can exploit the historical conventions of enameled portrait miniatures, and, in particular, 18th century decal transfers. Hand-painted enamel portrait miniatures were luxury items but with the development of the decal transfer process, in the mid-18th century, such jewels were affordable to a wider audience. Then as now the enameled image serves to provide a democratized view of time and place. » (Kathleen Browne)

anne donzé - qui a perdu son teton
Anne Donzé (FR) – ‘qui a perdu son teton’ – broche, fonte en argent

Pauline WIERTZ
Pauline WIERTZ (NL) – Bijoux ceramique – Boucles-citrines

33YCx dans Claire LAVENDHOMME (BE)
Yuyen CHANG (Taiwan) – Mao-Fa Series (Untitled Pendant) (2007) copper, enamel, copper wire, sterling silver

Yuyen Chang est cette artiste qui a fait une série de broches sur les « orifices » ………. c’est le moment où jamais de les présenter …. les broches, pas les orifices ……

photo of Orifice Broochphoto of Orifice Broochphoto of Orifice Brooch
Yuyen CHANG (Taiwan) -Orifice Series – Untitled Brooches – copper  – 2000-2002

Claire-Lavendhomme-5-440x271 dans COUP DE COEURClaire-Lavendhomme-1-440x271 dans Diane FALKENHAGEN (US)
Claire Lavendhomme - « Le plus profond c’est la peau » 2007. Bagues – argent, photo, résine, sable.

http://greendragonladyvintage.files.wordpress.com/2008/11/07_06feet.jpg
Melanie Bilenker, ‘Feet’ 2007 – brooch – gold, sterling silver, ebony, resin, pigment and hair

http://www.siennagallery.com/images/exhibitions-main/ek175.jpg
Esther Knobel -brooch- sterling silver with perforated (drilled) drawing sewn with iron wire

[kristenbeeler,+brooch.jpg]Beauty and Other Monsters at Velvet da Vinci Gallery,
Kristin Beeler (US)- brooches – drawing is ink on mother of pearl

http://www.swansea.gov.uk/media/images/c/o/1227.08Aspice_me_1.jpg
Ramon Puig Cuyas (ES) – broche

30300_115589165142911_100000754855215_87157_2798696_n dans Esther KNOBEL (PL)
Sally von Bargen – ‘Short Stories’ serie – ‘wish’

7c dans Gijs BAKKER (NL)6c dans Isabell SCHAUPP (DE)

Isabell Schaupp (DE) ‘hands’ series

 

et… ma dernière « trouvaille » … mais ne dit-on pas qu’on garde le meilleur pour la fin ? ;-)

[gijs.jpg]
Gijs Bakker (NL) – collier ‘Johnny Awakes’ – silver, photography – 1998


20/03/2010

EXPO ‘Chased + Repoussé’ – Velvet da Vinci gallery, San Francisco (USA) – 17 mars – 18 avril 2010

Velvet da Vinci in San Francisco presents: Chased + Repoussé, an exhibition shown in conjunction with the release of the recent publication, Chasing and Repoussé, Methods Ancient and Modern, by Nancy Megan Corwin.

This exhibition includes work from twenty-one contemporary artists who share a passion for these ancient metalworking techniques, many of whom have work included in Corwin’s book. The twenty-one artists reflect a range from traditional roots to modern approaches to the practice of chasing and repoussé. Dating back to antiquity, the technique has been used to add embellishment on armour, large scale sculpture, and gold and silver jewelry. The Statue of Liberty was formed from a sheet of copper using chasing and repoussé, as was the mummy mask of King Tutankhamen.

« Chasing and repoussé are methods of metalworking in which the metal is embossed from both front and back, creating a three-dimensional form from a two-dimensional sheet. Repoussé is a French word meaning « to push up or forward. » It refers to a family of techniques that form sheet metal. Repoussé can be thought of as focusing on the creation of volume, while chasing is work done to the front such as planishing, lining, matting, and making crisp edges on forms that were raised from behind.
The techniques of chasing and repoussé are traditionally used to add detail to the surface of a piece of hollowware or jewelry. Sheet metal, hollow-formed metal, flatware, and sculptures can all be chased (textured and refined from the front with steel tools called chasing tools and using a chasing hammer), and worked from the back with soft-faced steel tools (repoussé).
The work is held steady in a material called pitch (wood-based resin combined with wax and plaster), and hammered with fine steel tools. Pitch can be held in a heavy metal bowl, spread on a piece of wood or poured into the hollowware piece that is being chased. The versatility of this material is what gives chasing its sculptural and detail possibilities. Contemporary metalsmiths continue to apply these techniques in both traditional and non-traditional ways. What makes these techniques contemporary is the freedom that many artists experience in terms of content and aesthetic
. »

Artists:
Candace Beardslee, Jessica Benzaquen, Davide Bigazzi, Kate Case, Yuyen Chang, Nancy Megan Corwin, Christina Gebhard, Catherine Gilbertson, Catherine Grisez, Komelia Hongja Okim, David Huang, Cheri Lewis,  Keith Lewis, Charles Lewton Brain, Jackeline Martinez, Joe Meunch, Liza Nechamkin, Miel-Margarita Paredes, Linda Kindler Priest, Suzanne Pugh, Greg Wilbur.

EXPO repoussé- Catherine Clark Gilbertson 'Spiral' earringKeith Lewis 'Descent' brooch - silver, gold, limoges & basse-taille enamel (back)EXPO repoussé- Linda Kindler Priest- brooch 'dreams of the Big Cheese' gold,citine slice, orange saphires.jpgEXPO repoussé- Nancy Megan Corwin 'White and Black' broochEXPO repoussé- Yuen Chang brooch - orifice series- silver
Catherine Clark Gilbertson ‘Spiral’ earring
Keith Lewis ‘Descent’ brooch – silver, gold, limoges & basse-taille enamel (back)
Linda Kindler Priest- brooch ‘dreams of the Big Cheese’ gold,citine slice, orange saphires
Nancy Megan Corwin ‘White and Black’ brooch
Yuyen Chang brooch – orifice series- silver

 

Velvet da Vinci
2015 Polk Street
CA 94109 – San Francisco (USA)
Tel : 415.441.0109
Fax : 415.386.2492
mail: info@velvetdavinci.com

BOOK :  « Chasing and Repoussé, Methods Ancient and Modern« , by Nancy Megan Corwin.

Chasing and Repoussé book

 

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