Découverte : Anna Tascha LARSSON

 » The Unavoidable Project of Life » , August 25, 2007 – May 12, 2009
School feels empty now, but the memories of us stay loud. This is an unavoidable project, dealing and living through a heartbreaking loss. It’s a project where I found the climax of my pain and set myself free.
Through my work, I went straight into the wound; released the pain and gave it a voice and a body. The process and its needs are continuing and changing all the time.
The greatest part in crisis and grief is healing, evolution and the art of sharing, but the most powerful and strengthening part was the genuine experience of anger. It was claiming my right to express true, human feelings of injustice. (Anna Tascha LARSSON, Bachelor work 2009, Konstfack Spring Exhibition)

Year of birth 1983 Place of birth Karlstad, Sweden

The Unavoidable Project of Life, August 25, 2007 – May 12, 2009

Anna Tascha LARSSON -  Necklace, 2009

Anna Tascha LARSSON -  Rings, 2009

Découverte : Göran Kling

« Göran Kling’s work. Big, bold and bizarre. » dit « The Bibelotphile » blog, où je l’ai découvert

« Swedish student Göran Kling, with a background as a goldsmith, based his degree project at University College of Arts Crafts and Design around thoughts on how jewellry in certain forms and shapes are valued different. His necklaces became stereotypes of classic forms and symbols (i e The Heart, The Cross, The Dolphin etc) and do of course suit this, the most recent era, of Pop Art Fashion.  » (july 2009) (blog 2faced1)

« Traditional items of jewelry are like images. Like representations of themselves. Images of ordinary things such as crosses, Mercedes emblems and hearts. Eagles, dolphins and wolves are also popular.
What the images represent does not seem to be that important. Wearing these symbols does not mean you need to have a particular relationship with dolphins, God or Mercedes cars.
The significance of a dolphin or a cross made of gold simply seems to be that it is an item of jewelry – something valuable. Something you were given by your grandmother when you were confirmed or by your children on your 60th birthday.   » (Göran Kling - Bachelor / Ädellab/Metal Design -  Konstfack 2009 (SE))

Göran Kling -  No title (Steel, approx 60 cm)

Göran Kling – No title (wood, laminated, ca 60 cm)

Göran Kling -  No title (Black mdf, approx 60 cm)

BLACK is BEAUTIFUL – Agnes LARSSON

Agnes Larsson :

2005-2007	Studium an der Konstfack University College of Arts, Crafts and Design, Stockholm, Ädellab – Silversmithing & Jewelry, bei Prof. Ruudt Peters, Helena Lehtinen, Karen Pontoppidan, abgeschlossen mit Master of Fine Arts
2006	Minor Field Studies, Saathicenter, Indien
2002-2004	Studium an der Konstfack University College of Arts, Crafts and Design,Stockholm, Ädellab – Silversmithing and Jewelry, bei Prof. Ruudt Peters, Kim Buck, Christer Jonsson, abgeschlossen mit Bachelor of Fine Arts
2001-2002	Ausbildung an der Nyckelviksskolan, Stockholm, Metal design and Craft

« I let the material lead the way threw the working process, drawing inspiration from thoughts about gravity, lightness and heaviness, death, life, transparency and darkness, growth, decomposition and transformation to show contrasts like fragility and strength, depth and surface, darkness and light. »(Agnes Larsson)

Agnes Larsson – carbo necklace

November 2010 at  SOFA Chicago Art Fair

 Susan Cummins, Chair of the Art Jewelry Forum (AJF), and Susan Kempin, Award Program Chair, are pleased to announce this year’s (2010) Emerging Artist Award winner, Agnes Larsson. Larsson was chosen from among 117 entries, from 38 countries.
The goal of the Emerging Artist Award is to acknowledge promise, innovation and individuality in the work of emerging jewelers. The competition is open to makers of art jewelry who have recently completed their professional training and have not been a featured artist in a commercial gallery or museum. Larsson will receive a $5,000 cash award. In addition, her work will be featured by an AJF member gallery at the Sculptural Object and Functional Art (SOFA) Expo in Chicago and in AJF ads, and she will serve as a juror for next year’s competition.
Jurors for the 2010 competition were Namita Wiggers, Curator at the Museum of Contemporary Craft, Portland, Oregon; Susan Beech, long-standing member of AJF and collector of contemporary jewelry; and Sharon Massey, jeweler and recipient of the AJF’s 2009 Emerging Artist Award.
Criteria used in the judging were originality, depth of concept and quality of craftsmanship.  Larsson used carbon and horse hair in this series of work she submitted. She allows the material to lead the way through the working process, drawing inspiration from thoughts about gravity, lightness and heaviness, death, life, transparency and darkness, growth, decomposition and transformation to show contrasts like fragility and strength, depth and surface, darkness and light.
Juror Susan Beech commented, ‘This body of work most exemplified the guidelines for judging: originality, depth of concept and quality of craftsmanship. The use of carbon and horsehair, original materials, work well together. The first thought that came to mind when I looked at this body of work was elegant.’ Sharon Massey added, ‘Agnes Larsson presents a cohesive body of work that I found quite unusual and poetic. Her forms are simple, emphasizing the texture and blackness of the carbon as well as the fragility of the horsehair. Her artistic voice seemed the most authentic and unique.’
Larsson received a BFA, in 2004, and an MFA, in 2007, in Silversmithing and Jewellery from Konstfack University College of Arts, Craft and Design, Stockholm, Sweden. (AJF blog)

Agnes Larsson, Carbo, 2010, mixed media, 16 x 18 x 1 inches

Carbo serie, 2010

Agnes Larsson  jewelry – Charcoal, horse hair and wire

Agnes Larsson, Carbo, 2010, mixed media

BKV-Preis für Junges Kunsthandwerk 2010 :  3rd Preis: Agnes Larsson (Schweden, Stockholm)

Karbon, kohlenstofffaserverstärkter Kunststoff, ist ein ungewöhnliches Material für Schmuck. Bei der Herstellung der Stücke spielte auch der Zufall eine Rolle. Die Farbe Schwarz, die reizvollen Oberflächen, die Bruchspuren: Erst bei der bewussten Beschränkung auf einfache, aber elegante Grundformen kommen sie zum Tragen. Ein wirkungsvoller Kontrast ergibt sich auch daraus, dass die schwer wirkenden Objekte in Wirklichkeit ziemlich leichtgewichtig sind.

(le charbon …. est un matériau rare pour les bijoux. Dans la fabrication des pièces « l’accident » a également joué un rôle. La couleur noire, les belles surfaces, les traces de fractures : ce n’est que lorsque la restriction délibérée des formes de base entre en jeu, simples mais élégantes. Un contraste efficace en raison du fait que les objets, d’apparence lourds, sont en fait assez légers en réalité)(traduction google …) 

Diese Auszeichnung ist dotiert mit EUR 1.000.-

Découverte : Béatrice BROVIA

« Truth is, every clean cut brings along the unavoidableness of death. A part of us, be it a stage our body or psyche is in, has to perish. If I grow up – which I’d better do! – there is, on one side the celebration for an important passage being achieved and on the other, the death of the child I used to be.
To linger in childhood would be no solution either as I would be condemned to being dependent on many limitations, my fears above all.
My work is about initiation and being shaped into individuals.
Each action (de)forms pure matter, tabulae rasae.
I see the whole artistic process as a struggle; something liminal, constantly in a stage of becoming and therefore hard to grasp or to perceive as finished.
The body of work itself is the tool I developed to open up further questions, rather than to find answers. » (Konstfack 2009)

Beatrice Brovia (IT) – ‘Ex-voto’, Wax, Textile  – 2009

 

COUP de COEUR ! Johanna PERSSON

Johanna PERSSON bachelor’s project

would love some more explanations about her work ! LOVE the neckpieces, and LOVE their presentation/pictures !

discovered at Ädellab Metal Deartment/Jewellery, Konstfack, Stockholm, Sweden

 

she’s actually exhibited at Platina gallery, « It’s a jewel – not a doll » exhibition (Stockholm, Sweden – 22Apr-22May 2010)

« Sex is a search to become whole, to find harmony. This is life. This is a part of romance, of  maturity, of pleasure, of love.
My pieces talk about sexuality; constructed by forms that give you associations and trigger your imagination. The female, flamboyant and decorative aspect indulges and gives room for fantasies.
There are shapes which frivolously assume the role of the phallus or sometimes the female sex, its lushness and sensual luxury have the imprudence of demanding both space and attention. To me, they are joy and satisfaction, thoughts and dreams about sensual desire, and without the deceptive likeness to the real thing, they will lead you into your dirty  mind. » (Konstfack 2009)

 

EXPO ‘BROOCHMANIA’ – Galerie Rob Koudjis, Amsterdam (NL) – 5 juin-3 juill. 2010

BROOCHMANIA
a project of Ädellab, the jewelry department of  Konstfack University College of Arts, Craft & design,  Stockholm - Here are the results of study about brooches that students have been doing during the last year.

« Ädellab, the jewellery department of the Konstfack University College of Arts, Crafts and Design in Stockholm has developed in recent years into one of the leading educational centers of its kind. The jewellery made by its graduates is as surprising as it is pioneering. The Rob Koudijs Gallery gladly accepted professor Karen Pontoppidan’s invitation to participate in the Broochmania project.
During the last school year, students closely studied every facet of brooches in a series of five workshops. The ultimate goal of Broochmania was the realization of pieces crystallized from the training that would be suitable to exhibition in a gallery. Ward Schrijver was invited to Stockholm to serve as the curator selecting pieces for the exhibition. He chose brooches from 13 artists, ranging from first-year students to recently graduated masters.
The diversity of the work is spectacular: colourful, complicated collages contrast with clearly recognizable forms; the techniques vary from wildly proliferating growth processes to montages using existing perforated material. The distinctive individuals who study at Ädellab learn to manipulate every aspect of the brooch phenomenon as a means of artistic expression. «  (Copyright Galerie Rob Koudijs)

Lisa Björke - brooch

Yasar Aydin

Dana Hakim - brooch – iron, rubber, tape
Maki Okamoto - brooch – silver

Dana Hakim - brooches – ‘my four guardian angels’

Yi Shen, Untitled, 2010, mixed media

Nicolas Cheng, Untitled, 2010, mixed media

Annie Hagvil, Untitled, 2010, bronze

 Emille de Blanche

 Hanna Lundborg ‘in between’ brooch

Emelica Lidman‘Impressions/Imprints’ brooch

 
Sarah Vedel Hurtigkarl (DK)

 

Artists:
Dana Hakim, Bernhard Stimpfl-Abele, Nicolas Cheng, Jacob Erixson, Lisa Björke, Yasar Aydin, Maki Okamoto, Annie Hagvil, Yi Shen, Emille de Blanche, Emelica Lidman, Hanna Lundborg, Sarah Vedel Hurtigkarl.

 

Galerie Rob Koudijs
Elandsgracht 12
1016TV – Amsterdam
Netherlands
Telephone: [phone]
Telephone: [phone]
website: www.galerierobkoudijs.nl
mail: [e-mail]

 

Konstfack University College of Arts, Crafts and Design
Konstfack
University College of Arts, Crafts and Design
P.O. Box 3601
S-126 27 Hägersten  ( STOCKHOLM) Sweden
 [e-mail]

Telephone: + 46 (0)8 450 41 00
Fax: + 46 (0)8 450 41 29

Frida Åberg : why do we wear jewellery ?

Frida Åberg’s expression combines poetic value with romantic memories.
The material and tactical qualities of her jewellery reveal strong intent and judgement and a most sensitive approach to making.
The beauty of her jewellery lives in the space between the inner and outer expression of the object. The pieces are created around a feeling. Hidden memories materialise into objects that simultaneously appear to be fragile and immortal, and behold a strangeness that will capture the viewer.
Year of birth 1981 Place of birth Gothenburg, Sweden

« My project started with the question; why do we wear jewellery? And after that came; why do I make jewellery?
Through asking these questions I have found answers, some are for me and others are universal.
It is the emotional value the jewellery contain that makes the whole difference, that makes it worth wearing. The dreams and memories, people and places that lives within, and the abilities that seeps into it when we wear it.
I have chosen the branch as a material to work with. The branch is a small part of the whole tree, with the wind in its leaves and the roots in the soil. The small piece still contains the memory of the whole tree, and some part of it is feeling the wind and the soil, still being a part of a tree. Which people and what places are living in your jewellery? » (Frida Aberg, Bachelor work 2009, Konstfack Spring Exhibition)

 

« Remember and dream, 2009″ (Frida Aberg, Bachelor work 2009, Konstfack Spring Exhibition)

 

 

Current work :

« Sand and Oil«  – various fabrics, sewing thread and linseed – April 26, 2010

« The desert has time.The wind is slowly but surely turning the mountains into sand, the sand turning into sand dunes. Underneath is the oil, plant material that over an unimaginable time turns into this thick, black, desirable liquid.
And the cultures are quickly blinking by. Forming and disappearing. »
This is the piece which is going to be in the « I Care A Lot » exhibition.