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Selection 4 SCHMUCK 2016 : Fátima Tocornal

Fátima Tocornal- Petites rêveries …..

Congrats to all the artists who made the SCHMUCK 2016 list, on show at the Handwerksmesse  during #munichjewelleryweek  24/02–1/03/2016

« All through more the 30 years that I have been working professionnally, mainly in painting, and later video and jewelry, I have been narrating sensations, emotions and feelings that are part of the common imaginary. These images, sometimes undefined, calm and upset with the same intensity the spectator wit the intention that he feel and decode freely. Because of these my representations are nearer the lyric and subletness than of the narration, and because of theese, when someone explains me what one of my works sugest to him, he discovers truth that even myself did not know » (Context Gallery)

Fátima Tocornal - Fermall "Dreamers V" -    Materials: esmalt i llautó amb bany de plata Mida: 85x45 mm Fátima Tocornal - broche « Dreamers V » -  esmalte y latón con baño de plata-  85×45 mm

Fátima Tocornal - broche "Pequeños III" -  esmalte y cobre - 45x50 mmFátima Tocornal – broche « Pequeños III » -  esmalte y cobre – 45×50 mm

Fátima Tocornal - fermall / broche / brooch "pequeños II" - Context Galeria -: Fátima Tocornal – broche  « pequeños II »


‘A lo largo de los más de 30 años que llevo profesionalmente trabajando sobre todo en pintura, y más tarde en video y joyería, he ido narrando sensaciones, emociones y sentimientos que forman parte del imaginario colectivo. Estas imágenes, a veces indefinidas, calman e inquietan con la misma intensidad al espectador con la intención de que las sienta y descifre libremente. Por ello mis representaciones están más cerca de la lírica y la sutileza que de la narración, es por ese motivo, que cuando alguien me explica lo que le sugiere una de mis obras, me descubre verdades que ni yo misma sabía. » Fatima Tocornal

She lives and works in Barcelona. She followed Studies of Painting and Video at Escola Massana of Barcelona. She follows several trainings of Jewellery with Silvia Walz. Since 1987 she participates in individual and collective exhibitions, as well as Art Fairs and Festivals, in our country andabroad. She is member of Joyas Sensacionales, group coordinated by Silvia Walz.


Selection 4 SCHMUCK 2016 : Claire Lavendhomme

Classé dans : Belgique (BE),Claire LAVENDHOMME (BE),COUP DE COEUR,SCHMUCK (DE) — bijoucontemporain @ 0:03

Claire Lavendhomme, le sombre et le revers …. « Sithonia 2015 »

(La Sithonie est une des trois péninsules de la Chalcidique, située entre la péninsule de Cassandra à l’ouest, et celle de l’Athos à l’est. C’est également le nom d’un dème de la périphérie de Macédoine-Centrale)

Congrats to all the artists who made the SCHMUCK 2016 list, on show at the Handwerksmesse during #munichjewelleryweekInvited to the Internationalen Handwerkmesse Munchen  with the WCC-bf Gallery24/02–1/03/2016


« le bijou voyage avec celui qui le porte/ /son socle, c’est le corps« 

« « If we may be so bold: the sharp edge of sensitivity on the one hand, the very subtle construction on the other. All of it in a sort of perpetually threatened emotion. »
JM. H. 1993
« Claire Lavendhomme plays with ‘philosophical’ notions of life by using form in an almost statistical way. Neutral form reveals something subtle, vibrant, poetic, mysterious…” FS. 2014
When is a jewel beautiful, what does it mean?
What is woven within the notion of beauty.
What do aesthetics underlie ?
I think for me, the beautiful, is to say while concealing.
Like a kind of modesty, of veiling.
The search for beauty allows for a questioning which does not require an unequivocal answer.
For my jewelry I like appeal to the senses…to the sensations .
The jewel as vehicle of intimacy, color, poetry, void, sensuality, emotion, link, silence, sensitivity, hatred, love, cries, life, death, speech, laughter, art, … » (Apparat)

Claire Lavendhomme Pendant: Sithonia Mixed media 14 x 8 x 2 cm: Claire Lavendhomme Pendant: Sithonia Mixed media, steel 14 x 8 x 2 cm

Claire Lavendhomme Brooch: Sithonia Mixed media, silver 8 x 4 x 2 cm: Claire Lavendhomme Brooch: Sithonia Mixed media, silver 8 x 4 x 2 cm

Claire Lavendhomme Brooch: Sithonia Mixed media, silver 8 x 4 x 2 cm: Claire Lavendhomme Brooch: Sithonia  – resin, graphite, argent 8 x 4 x 2 cm

Claire Lavendhomme Pendant: Sithonia Mixed media, silver 9 x 5 x 2.5 cm - Claire Lavendhomme Pendant: Sithonia Mixed media, silver 9 x 5 x 2.5 cm

Claire Lavendhomme Pendant: Sithonia Mixed media, silver 9 x 4 x 2 cm: Claire Lavendhomme Pendant: Sithonia Mixed media, silver 9 x 4 x 2 cm

Claire Lavendhomme Brooch: Sithonia Acrylic, silver 7 x 4 x 2 cm: Claire Lavendhomme Brooch: Sithonia Acrylic, silver 7 x 4 x 2 cm

Claire Lavendhomme Sithonia 5, Brooch, 2014, silver, mixed media, 5,5x4x1,5 cm: Claire Lavendhomme Sithonia 5, Brooch, 2014, silver, mixed media, 5,5x4x1,5 cm

sithonia : Claire Levendhomme - pendentif/broche - titane-argent: Claire Lavendhomme – sithonia :pendentif/broche – titane-argent




Selection 4 SCHMUCK 2016 : Kadri Mälk

Classé dans : blog ArtJewelryForum,COUP DE COEUR,Estonie (EE),Kadri MALK (EE),SCHMUCK (DE) — bijoucontemporain @ 0:12


Congrats to all the artists who made the SCHMUCK 2016 list, on show at the Handwerksmesse during #munichjewelleryweek  24/02–1/03/2016

Congrats to all the artists who made the SCHMUCK 2016 list, on show at the Handwerksmesse during #munichjewelleryweek / #jewellery #brooch by Kadri Mälk     brooch by Kadri Mälk

Kadri Mälk  Brooch: Very Guilty 2010  Siberian jet, black rhodium plated white gold, spinel, tourmalines  11.5 x 6.6 x 1.2 cm: Kadri Mälk  Brooches : « Very Guilty » & « Guilty » 2010  Siberian jet, black rhodium plated white gold, spinel, tourmalines  11.5 x 6.6 x 1.2 cm

interview :« Kadri Mälk – Love Me Or Leave Me Or Let Me Be Lonely »
By Aaron Patrick Decker (THANKS to AJF)

I ascended old stairs to a cozy apartment in Tallinn, Estonia, where I had the pleasure of interviewing the renowned Estonian jeweler Kadri Mälk. As the head of the metals department in the Estonian Academy of Arts, she shines a spotlight on younger Estonian jewelers. She has given rise to a generation whose work is strong, individual, and definitely Estonian. Mälk’s work is dark, poetic, and wholly of her own voice. Utilizing such traditional jewelry materials as gold, silver, gemstones, and jet, she creates a recipe whose melancholy fragrances permeate through all her work. 
Aaron Patrick Decker: How did you come to jewelry?
Kadri Mälk: Initially I studied painting for four years and really enjoyed it. Before that, I worked in a publishing house. After studying painting, I suddenly felt that maybe it wasn’t for me, maybe I needed something more intimate. After that I went to the Academy to study jewelry. I was either 28 or 29 when I graduated. I felt somehow that I was late, an autumn flower. I remained a freelance artist and was on my own for about nine years; meanwhile I was invited to teach. Initially it was just a small workload, like once a week. I enjoyed staying in my atelier and working on my own schedule and freedom. I liked it so much, no due dates and a kind of wild life, a lifestyle I still really appreciate.
After graduation I began some studies in stonework. First in St. Petersburg in a stone-cutting factory, a huge factory that received quite high-quality raw materials from Siberia. Then I studied gemology in Finland at the Lahti Design Institute for two years. I was offered to prolong my studies in London in 1993–94 and receive the highest degree one could get in gemological studies. During that time in Estonia, there was no one in the field of gemology. It’s a small field in general, but in Estonia, no one had this sort of certification.
But then my professor, Kuldkepp, fell ill and couldn’t return to the department anymore. Until this point I had worked alone. Leading a department is not just about being an ideological leader, there are other concerns about finances, and finding a team that works. You have to find people who fit together. I had no experience in this work so I was very afraid of the proposal to take the department. And especially since I was offered the gemological certification, which was seductive.
Simultaneously, I got a chance to work in Germany. I was young, bold, and at that time ready to jump. I applied to Bernd Munsteiner’s studio. He rejected me at first, saying he had too much work to also teach an apprentice. Somehow he changed his mind and decided to bring me in. They were intrigued by Estonia, the wild northern forest, so they said okay. He was concerned about my age and the time allotted; to learn stone cutting and faceting requires a large amount of time. I went in there not being able to speak German, and they had a certain dialect. I had some stone-cutting experience from St. Petersburg, but not at the level at which his workshop operated. It was very generous of him to take me.
We began at 7 a.m. and the first break was at 10:30 for some coffee. It was very tight and regimented. Funnily, during lunch they turned off the power in the shop; I thought I could work more during this time, but it was not allowed. He didn’t believe in the beginning that I could learn facet cutting, but at the end he was happy with where I got. I remember having a notebook and just trying to write down everything during lunchtime. I wouldn’t eat. I’d just write what the workers were saying. The old knowledge. It was my passion, stones.
You have said you were close with your professor; can you talk about your decision to take over the department?
Kadri Mälk: She was the reason I decided to take over the department. It was kind of fatal serendipity—as I saw it then, but not anymore. I had to do it because she could not. She was an extraordinary personality in the time and circumstances, she did not fit the environment, didn’t fit the times. If you read her writings, you could tell she had such a drive sourced from somewhere else. She had such a mission to pass on things to people, not in a direct way but in an indirect and metaphoric way. Her teaching methods were not pedagogical at all, she was often much more abstract. She locked the students in the room and said, “Just work.” All should be concentration, creativity driven to the work. No cinema, no theater, no magazines, no outside information, and it should all come from yourself, come through you. Extreme methods, but very effective. She wanted you to achieve the maximum. She was not very communicative, didn’t go anywhere, didn’t move around, her efforts were very concentrated on certain students. I can’t find the right words to completely describe her, but she wanted students to open up by closing off.
Do you think becoming a professor so early shaped you as an artist and continues to shape you?
Kadri Mälk: I was a baby professor. I was elected when I was 37. I had already been a renowned artist for some time, but as an educator, administrator, or team member, I had no experience. Looking back, I realize now the trust from admin and colleagues when I took over the department. My creative past supported me and proved to them I could survive in the school. Just recently somebody outside of the academy, and artists, came to me and said, “Now, Kadri, I realize you have done it well…” In the beginning, others were hesitant because I was seemingly unsuitable for the job. The highest hesitations came from me. I was unsure if I could rise to the occasion. And when the women came, 15 years later, it was some confirmation.
I just liked to make my pieces. And it’s so funny, I still go about my work in a similar way. Nowadays students are much more oriented by a schedule and thinking about making work for exhibition. Deadlines. My satisfaction came from my pieces, from the process. I liked how they came to me, how they happened. When I was in school, learning about the art field was not included. The professor tried to keep this off us, all these associations, how this works, etc. I remember asking her what happens when I graduate. She didn’t tell me anything about the real life of artists. It was all about the work. It was a conscious decision to keep the art world away from us.

Kadri Mälk  necklace "Amnesia" 2010  - ebony, tourmaline, silver, - photo Tanel VeenreKadri Mälk  necklace « Amnesia » 2010  – ebony, tourmaline, silver, – photo Tanel Veenre

Kadri Mälk - "Mid-day of life" 2008 brooch - jet, silver, almandine, smoky quartz - photo Tanel Veenre: Kadri Mälk – « Mid-day of life » 2008 brooch – jet, silver, almandine, smoky quartz – photo Tanel Veenre

Do you think your work changed during this period?
Kadri Mälk: No, not because of the Academy. The majority of my time went into the Academy, but this didn’t affect my work. In the first years, we gave assignments to students in the form of certain themes. Later on, especially at the MA level, where the study is more conceptual, they must meet their choices themselves to reinforce their spiritual identities.
Someone asked me, “What do you like best about teaching?” I feel lucky that I have the possibility to notice and follow how personalities develop and begin to blossom; how new talented personalities emerge in a creative surrounding; and how they act and react. And how passionate they may be in their work! It’s the achievement of every member of our staff.
Not much changed about me, either. Of course I had to modify my talking towards topics, concentrate, and learn to convey or see the methods that worked best, but at the core I didn’t change.
It’s very different to be just a teacher rather than the department leader. You are responsible for all that happens. The biggest difference is that the academy and the students are number one, followed by your work and your family. The academy and the students are number one. They can call me at any time if they need. I feel better in this. They know that they can come, they are not lost.
I think that’s quite admirable. I haven’t heard of another professor so invested in the program in the ways you are. What do you think some of the most important things to pass on to your students are, what do you hope they take away from you and the Academy?
Kadri Mälk: A kind of attitude, that you should believe in yourself. People shouldn’t take you off your path. Younger artists are vulnerable, in a condition to be shaped or reshaped; it’s important to tell them or convince them that whatever happens you should turn that attention in to yourself, otherwise you get lost. If you take into consideration all the opinions you hear, you get lost; there is so much noise. You don’t know where to look or where to go. You don’t orient yourself any longer in the world. Believe in yourself … it’s hard to when you’re young. Believe and be strong in your core.
Then your core begins to fortify?
Kadri Mälk: Yes, it becomes stronger. It crystalizes, the elements that are more important, the ones that are harder, take shape, and the rest falls apart. It comes with time, you shouldn’t force or exaggerate. You have to be patient.
There are so many conferences, so many books asking the big question—is jewelry art? It’s not my task to answer it.
My comment to it is very simple: love me or leave me or let me be lonely. 
Or to put it differently: take it or leave it or let me be lonely.
What do I mean with that? It’s very simple. There is always another way out. It’s not only taking or leaving. There is another possibility which is hardly seen. You just have to be patient and look carefully.
Also, the creative process has confusion, has crisis. You should not be afraid of these things, they are natural. Fear that your next work will fail is so very normal. Crisis is normal in art making. Art is always about starting again in hesitation.
What are your impressions of younger jewelers now coming into the field, at large and in Estonia?
Kadri Mälk: (long pause) It is very hard to generalize, even here the local scene is quite diverse. You can se
more design-oriented work, more personal work. I try to encourage these people who are afraid of having somehow veiled, personal, or exceptional ways of expressing. If they compare themselves to what is happening in different places with people their age, they begin unconsciously to bring other aesthetics into their own work. I want to encourage people who are different, who are slightly insecure.
Francis Bacon said, if you are going to decide to be an artist, you have got to decide that you are not going to be afraid to make a fool of yourself.
Making art is so simple—all you have to do is to wait quietly, staring at a blank wall until the drops of blood appear on your forehead. Be aware that criticism always comes along with creative work. If you can’t handle it, you have to quit.
How frequently and easily success transforms into depression! You can avoid it by leaving some loose threads in your work, some unresolved part that carries you forward in your new work. What you need to know in your next piece is silently present in your last. You can find it while looking in patience. It’s like a seed crystal for your next destination.
I am not really analytical like most. I am interested mostly in my unconscious choices, what I like and what triggers me.
If someone were to ask about your work, how would you describe it to them?
Kadri Mälk: Look at the originals. You should look at the original pieces and see for yourself.
Do you think that is an important idea, to see things in person?
Kadri Mälk: Yes. We are so much in the age of reproduction. We see the screen or the page with the picture. We don’t look at the original anymore, we don’t feel the tactility of the pieces or taste the iron. It is very harmful to humankind to go about it in this manner. Go to the originals. Otherwise it is so meta-meta, you don’t feel, you don’t know the scale, the details, or the material from the copies.
What are some of the things that inspire you?
Kadri Mälk: I don’t know what inspiration is exactly. Sometimes things are more intense and sometimes less intense. Sometimes I feel that I can capture things, forms, colors, something in the air, and sometimes I feel like sand is running through my fingers.
Consciously I cannot, but it comes more from my subconscious. There’s some differentiation between mental and physical subconscious. One is staying here (Mälk points to her head) and one is here (she points to her stomach), the first is mental and then the second is more gut, subconscious. The feelings are very different. Or maybe the frequencies are different. I like life in all its expressions, that’s my source
In talking about those two polar ways—analytical and emotional—in your work, do you bring them together, is there one that’s more important to you?
Kadri Mälk: Usually it’s subconscious, these decisions you make. They are made before they are at your conscious level. You made the decisions in a big fog. Just as in crystallization, they come into being. And when they are there, it is your choice to call them either consciously made or born out of the sky.
Looking at your work, there is a quality of instantaneous moment; going deeper, you find more and more. The work is quite striking and emotionally charged. Seems very palpable, like it has a heartbeat. There is also a melancholy quality to many of your pieces. Is that a conscious decision or a more subconscious one?
Kadri Mälk: A tiger cannot avoid his stripes! (She laughs.)
That’s a great analogy. 
Kadri Mälk: I am very shy describing my work. I am afraid I cannot reach the truth through verbalization.
There is this quality of Estonian jewelers, not a reluctance, but an ability to keep the integrity of the work. It’s hard to describe the work prescriptively in its conceptual and formal functions, often it acts like poetry, it speaks with power but is not completely resolute. What is your opinion of this attitude?
Kadri Mälk: When I think of my jewelry, it’s easier to describe it. “It’s blue, violet, black, and purple. There is fog, there are shades of magenta.” You can be precise without being clear. And unclear may also be precise. It’s very much an oxymoron.

Kadri Mälk, Downcast Face, 2013, brooch, black rhodium-plated white gold, black baroque pearl, black diamonds, black diamond dust, 120 x 72 x 12 mm, artist’s collection, photo: Tiit RammulKadri Mälk, Downcast Face, 2013, brooch, black rhodium-plated white gold, black baroque pearl, black diamonds, black diamond dust, 120 x 72 x 12 mm, artist’s collection, photo: Tiit Rammul

Being precise but unclear, can you talk more about this notion?
Kadri Mälk: It’s really a sort of hologram, like a puzzle. As a notion and phenomenon, I think it’s possible. 
It is an interesting facet of Estonian jewelry. Sort of irresolute.
Kadri Mälk: Yeah, it’s in a stage of becoming. Being on the way.
Yeah, it’s not negative, its more open. 
Kadri Mälk: Yes, an ambivalence. 
Is there something that you want people to get from your work?
Kadri Mälk: To share the unsharable. What often happens is that the viewer approaches in a superficial way, which is natural. On the foreground they see materials, especially if there are unusual materials.
I’ve used a lot of moleskin in my work and it’s taken a kind of attraction or peculiarity in my work. I don’t feel a need to explain the choices I’ve made. How it came to me, it was just an incident. Or a happy accident.
When all my stuff was stolen from my atelier, I found a coat of my grandmother’s from the war, made out of moleskin. I took it apart, slices of extremely thin, like silk, soft silk paper like. Then I saw these pieces. The tenderness at first, the sensuality of the material, and that the fur grew in only one direction. It was so thin, the fur. It had such a strong character, though. I started to work with this, used it a lot, the coat is now gone into all the pieces. I also think the animal is present in the work. The mole, he’s blind, he doesn’t have sight but has extreme animal spirit. All this orientation in time and space. I studied how they moved, their lives, did more research. How they were trapped and caught. This animalism was powerful and important for me in these works. But you aren’t going to retell the story. If you put it into a story, it’s banal. 
Can you talk more about the jet in your work?
Kadri Mälk: When I carve it, like timber or wood, it has nerves like a human body. The stones have structure, they direct you. They tell you where to go. You should go there and you shouldn’t make the wrong decision. There is a negotiation with the stone when I cut it. Jet is mute, silencium. Only a big dust is coming. Your lungs are filled with jet powder. Like stones are directing you in advance, there are inclusions, by heat they will crack more. Jet is completely mute. This is what fascinates me. It’s not much used in jewelry anymore. 
I lack the habit and custom and will to interpret my works after they have been completed. The work either tells you something or it doesn’t. Once you have completed it, then keep quiet. The work must know whether it radiates or not. The piece of jewelry in your mind, in your imagination, is always correct and beautiful. Resistance starts when you try to convert it into material. Oh, la la! Materials are like elementary particles—charged, heavily charged sometimes, but indifferent. They don’t tell you much, you have to tell them the truth.
You have staged events and produced a number of books—JUST MUST, Castle in the Air, etc.—about Estonian jewelry and jewelers. You have made the work coming from the Academy available to a much larger audience. Give us your thoughts about publishing these books and what your intentions were at the time you did them.
Kadri Mälk: Firstly, I love books. I love their smell and the shade of the voice when you turn the page and then unexpectedly see a new image … It’s both emotional and intellectual. Since 1989 I have published twenty-something publications, some of them out-of-print already. The first ones were really ugly ducklings, black-and-white … I’ve strived always to tell something different with them, it has been my passion. Indeed, they have been acting as ambassadors of Estonian jewelry in the world, although it was not intended. So many students coming from abroad have said the pull came from the books. Strange! Usually nowadays the urge comes from the Internet. 
To make an impression abroad is not as important as to make an impression in your own soul.
Thank you.

 Kadri Mälk - "Fresh, dried, only young" 2001 brooch - sarcodon imbricatus (mushroom), silver, almandines: Kadri Mälk – « Fresh, dried, only young » 2001 brooch – sarcodon imbricatus (mushroom), silver, almandines

Kadri Mälk, Medusa IV – ehisnõel (oksüdeeritud hõbe, kumm). Kadri Mälk, Medusa IV – ehisnõel (oksüdeeritud hõbe, kumm)


Selection 4 SCHMUCK 2016 : Henriette Schuster

Classé dans : Allemagne (DE),COUP DE COEUR,Henriette SCHUSTER (DE),SCHMUCK (DE) — bijoucontemporain @ 18:51

Sur le FIL du bijou, avec Henriette Schuster (Germany)

Congrats to all the artists who made the SCHMUCK 2016 list, on show at the Handwerksmesse  during #munichjewelleryweek  24/02–1/03/2016

Working with silver and thread, Henriette’s jewellery is arrestingly simple and direct: small elements, often in pairs, sit in delicate balance with one another, a subtle dance of interdependence and connection.

Henriette Schuster Henriette Schuster

« Almost Invisible » : « Henriette Schuster is a quiet jeweler, and the title of her show at Gallery Funaki Almost Invisible is perfect. She makes simple pieces with delicate domestic references or pure abstractions. There is nothing big or boisterous about her or her work. It is just humble, quiet poetry.
Susan Cummins: Henriette, what is your story? What compelled you to become a jeweler, and what was your path to learning how to do it?
Henriette Schuster: I have known I wanted to be jeweler since the age of six or seven. My grandfather built pianos, and I used to watch him at work when he handmade the keys using ivory, ebony, felt, bone, glue, and shellac. He didn’t say much, but one day he handed me a pair of his working pliers and a piece of wire. It was here that I began making jewelry.
I went against my parents’ wishes by dropping out of my studies in architecture and following the recommendation of Hermann Jünger to take up training in gold- and silversmithing at the renowned Neugablonz Fachschule für Glas und Schmuck (Neugablonz College for Glass and Jewelry). After completing my degree, I was accepted into the Academy of Fine Arts in Munich as one of Otto Künzli’s first students in 1991. I graduated in 2000. Simultaneously, I have worked in my own studio in Munich since 1988.
Can you talk about what you took away from your studies at the Academy in Munich? Are you still connected to a strong community of jewelers  who studied there? Do you work on jewelry projects together? What is a recent example?
Henriette Schuster: My training in Neugablonz had provided me with the skills to be a gold- and silversmith. That training is not a requirement but a good basis for further studies at the Academy. Entering the Academy meant leaving behind the safe terrain of the trade, even the jewelry, and facing the adventure of becoming an artist.
Artists are often envied for their freedom to do what they please, to think and work freely, but dealing with this kind of freedom is quite a challenge, and I realized this very quickly. To me, it means: paying attention to every detail; taking work and looking at it from another perspective or from upside down; always starting again, and not giving up but knowing when to give up; and taking time to find your own dialogue with your work, believing in it, and always double-checking. Find and hide. See and be seen. Fear and be brave.
For the past 13 years, I have worked in my small studio where I also have a gallery space. Here, I exhibit the works of other artists, not always jewelry artists. It is here, during the Schmuck fair in Munich, that I am able to reach an international public and to invite colleagues such as Lisa Walker, Karl Fritsch, Helen Britton, David Bielander, Volker Atrops, and most recently Doris Betz.
What leads you to pick the objects you include in your jewelry, such as balloons, cups, and mittens? Have you begun doing more abstracted shapes recently? Why? Does jewelry reflect the nature of the person who made it? Does yours? How?
Henriette Schuster: My work has always had a personal reference. I find metaphors for my memories, experiences, observations, difficulties, hopes, and dreams. I’m interested in the relationship (co-existence) of two elements and the balance they strike, how they move and fit together. I also apply these considerations to abstract geometrical forms. The abstract form allows a more spontaneous and playful way of working. These two themes have been the basis of my work ever since my studies.
Your jewelry is almost invisible. These days, the big and ambitious seems to steal the limelight, so why do you persist in doing things that don’t draw attention?
Henriette Schuster: When I hear this question, I remember that as a child I used to play the piano in the basement, hoping that someone would hear me….
Almost Invisible is what I called my drawings, and Katie Scott suggested that this should be the title of my exhibition at Gallery Funaki. I look upon the large stage from a distance, and at times I’m jealous, but it drives me crazy and exhausts me to take part in a big performance. And I can wait. I love working on my own. This is probably not a wise career choice, and some people even think I’m arrogant. But I feel nervous when people from all over the world who know my work come to visit. Last year, a visitor commented, “I love your work. It’s so humble.” This really touched me. » (THANKS to AJF)

 Henriette Schuster - Handschuhe - Silber 925 - 2011Henriette Schuster – Mittens – blackened silver 925, elastic – 2011

Henriette Schuster Pendant: Teacups, 2013 Blackened silver, elastic: Henriette Schuster – Pendant: Teacups, 2013 Blackened silver, elastic

Henriette Schuster - Haus - Gold 750-  2004Henriette Schuster - Haus – Gold 750-  2004

Henriette Schuster - plug - Silber 925 - 2005Henriette Schuster – plug – Silber 925 – 2005

Henriette Schuster - Arme - Silber 925 - 2003Henriette Schuster – Arme – Silber 925 – 2003

Henriette Schuster - wheels - 2010 - pendant - blackened silver, elasticHenriette Schuster – wheels – 2010 – pendant – blackened silver, elastic

Henriette Schuster - Scheiben - Silber 925 - 2010Henriette Schuster – Scheiben – Silber 925 – 2010

Henriette Schuster - Minute und Stunde - Silber 925Henriette Schuster – Minute und Stunde – Silber 925

Henriette Schuster - Räder - Silber 925 - 2010Henriette Schuster - Räder – Silber 925 – 2010

Henriette Schuster - "plug" 2005 - blackened silver, elasticHenriette Schuster - « plug » 2005 – blackened silver, elastic

 Henriette Schuster Pendant: Bell 2013 Blackened silver, elastic: Henriette Schuster Pendant: Bell 2013 Blackened silver, elastic 




EXPO ‘PRAGUE SCHMUCK 2015′ – Glass-museum ZIBA, Prague (CZ) – 4 Sept.-4 Oct. 2015

Classé dans : Exposition/Exhibition,MUSEE,Rep. Tcheque (CZ),SCHMUCK (DE) — bijoucontemporain @ 0:18

Prague, Czech Republic – The organizers of the Mercedes-Benz Prague Fashion Week have announced two exciting jewelry exhibitions, which will take place during their next edition. They are curated by the renowned designer, architect and author Eva Eisler. The exhibition will be held at the Ziba Prague Glass Experience Museum and will run from September 4 to October 4, 2015.

open on Friday, September 4, 2015 at 6:00pm

Schmuck 2015 Prague 2016

The two exhibitions will be centered around contemporary artistic jewelry.  The first and larger of the two is titled, “PRAGUE SCHMUCK 2015“. It is a curatorial version of the jewelry show held in Munich and highlights the season’s artistic and artisanal creations.
My goal was to select the best and most original examples that represent contemporary jewelry styles which are proof of the incredible freedom of creativity in the times in which we live and simultaneously confront Czech creating the world’s best”, says curator Eva Eisler. “When choosing I followed mainly my own intuition. Wearability was the condition for participating”
The Prague Schmuck 2015 will welcome 63 authors from 23 countries.
There will also be showing of contemporary Czech artistic jewelry. Here students and graduated from Prague’s KOV Decorative Arts Studio will also display their own creations.

Lukáš  Loskot, Director at MBPFW commented: The combination of jewelry and clothing collections in line with current trends and our understanding of fashion week. We want to pay attention to fashion in a broader context – fashion as a way of expressing your own personality. That is why we introduced in March of this year the first Czech conference on wearable technologies. And in September, we have a program to showcase jewelry. 

Both exhibitions will open on Friday, September 4, 2015 at 6:00pm. Entry is free to the public.

 Ramon Puig Cuyas  - Schmuck 2015 Prague Ramon Puig Cuyas

 Maria DiezMaria Diez

Mikiko Minewaki    - Schmuck 2015 Prague Mikiko Minewaki

Kimiaki Kageyama |   Schmuck 2015 Prague Kimiaki Kageyama

Carla Movia    - Schmuck 2015 Prague Carla Movia 

Eunmi Chun    - Schmuck 2015 Prague: Eunmi Chun


Elvira Mellado, EASD València  Elvira Mellado 


Diego Alves, Escola Massana  Diogo Alves « Observatório utópico » – Brass, copper, silver

Rosa Borredá, EASD València Rosa Borredá



 Glass-museum ZIBA

.m Na Prikope 20, 110 00 Prague 1 – Czech Republic (CZ)



COUP de COEUR – New works from Rodrigo ACOSTA : Tiempo de Des-Orden

Classé dans : COUP DE COEUR,Rodrigo ACOSTA (AR),SCHMUCK (DE),techniques textiles — bijoucontemporain @ 23:55

Rodrigo Acosta – 2014-2015 -  « Tiempo de Des-Orden »

« Mi investigación se base en la relación que se puede establecer entre la joyería,         la diversidad de prendas de vestir y su relación con la memoria y el cuerpo. »

  »Necesito el caos para ver lo nuevo. 
El caos de las ideas que se alojan en la mente. Elegir.
El caos de las palabras que queman la garganta. No callar (caso 2) »

Rodrigo Acosta - 2014-2015 -  "Tiempo de Des-Orden"


Rodrigo Acosta - 2014-2015Rodrigo Acosta – 2014-2015 – « Tiempo de Des-Orden » -  Caso 4 - Collar, textil, latón, plata, hilo de algodón. Fotos: Adolfo López. -
Rodrigo Acosta - 2014-2015 -  "Tiempo de Des-Orden" Necesito el caos para ver lo nuevo. Caso 4Rodrigo Acosta – 2014-2015 – « Tiempo de Des-Orden » -  Caso 4 - Collar, textil, latón, plata, hilo de algodón. Fotos: Adolfo López. Rodrigo Acosta - 2014-2015 -  "Tiempo de Des-Orden"   Rodrigo Acosta - 2014-2015 -  « Tiempo de Des-Orden » – Tiempo de Des-OrdenCaso 3, 2015. -El caos de los pensamientos que enturbian la mirada. Disfrutar. – Collar,Textil, latón, plata, hilo de algodón. – Fotos: Adolfo López

Rodrigo Acosta - 2014-2015 -  "Tiempo de Des-Orden"  caso 1 - Broche, textil, latón, plata, hilo de algodón, hilo de acero.Rodrigo Acosta - 2014-2015 -  « Tiempo de Des-Orden »  caso 1 – Broche, textil, latón, plata, hilo de algodón, hilo de acero

Rodrigo Acosta - 2014-2015 -  "Tiempo de Des-Orden"  caso 1 - Broche, textil, latón, plata, hilo de algodón, hilo de acero.Rodrigo Acosta – 2014-2015 -  « Tiempo de Des-Orden »  caso 1 - Broche, textil, latón, plata, hilo de algodón, hilo de acero.

Rodrigo Acosta - 2014-2015 -  "Tiempo de Des-Orden"  - tiempo de trabajo .... working processRodrigo Acosta – 2014-2015 -  « Tiempo de Des-Orden »  – tiempo de trabajo …. working process

Rodrigo Acosta - 2014-2015 -  "Tiempo de Des-Orden"  - tiempo de trabajo .... working processRodrigo Acosta – 2014-2015 -  « Tiempo de Des-Orden »  – tiempo de trabajo …. working process – en construcción 2…. RODRIGO ACOSTA ARIAS: Portfolio 2015 - back of a broochRodrigo Acosta : Portfolio 2015 – back of a brooch – Tiempo de Des-Orden – Caso 5, 2015.
El caos de lo nuevo. Comenzar. –
Broche,Textil, latón, plata, hilo de algodón, hilo de acero. Fotos: Adolfo López

RODRIGO ACOSTA ARIAS: Portfolio 2015Rodrigo Acosta : Portfolio 2015 -  brooch worn  – – Tiempo de Des-Orden – Caso 5, 2015.
El caos de lo nuevo. Comenzar. –
Broche,Textil, latón, plata, hilo de algodón, hilo de acero. Fotos: Adolfo Lópe

 RODRIGO ACOSTA ARIAS: Portfolio 2015 broochRODRIGO ACOSTA ARIAS: Portfolio 2015

Rodrigo Acosta : Portfolio 2015 -  Tiempo de Des-Orden – Caso 2, 2015 – El caos de las palabras que queman la garganta. No callar. – Broche,Textil, latón, plata, hilo de algodón, hilo de acero. Fotos: Adolfo López



During SCHMUCK 2015 – EXPO ‘Oscure Sacrifices II’ – 3stations, Munich (DEà 12-15 Mars 2015

Opening Thursday, 12. March 2015  15-19 h / 3stations

  »Oscure Sacrifices II«  , Jorge Manilla  

Next Thursday is the opening of my exhibition Oscure Sacrifices II at the International Schmuck week in München, Germany
This year my guest artist are Dimitar Stankov and Jonathan Hens.
I see you there!!!

Oscure Sacrifice – Jorge Manilla,
Schmuck Week
The first part of this Exhibition has happen in Gothenburg City last January 2015.
Presenting the first part of a visual conversation I confronted works and meanings.
The emotional element which gives an obsessive value to communal existence is death.”  George Bataille
In 2010, I  began to work on my series “Only Memories”and “Dust of a Broken Love”, which were inspired by the deepest feelings and fears that we usually avoid, I tried to show with this work the moral and corporeal anatomy of the human soul. Since then, I’ve developed series in which I explore the darker side of human beings. With series like “Pain”, “Melancholia”, “Contemporary Savagery” and “Morbid Moves” .
I’ve researched  and reflected on  topics such as death, life, love, feelings, emotions in both the
psychological and physical aspects of people.
With “Oscure Sacrifice” ,  I seek  to confront  elements of  my previous work with a more positive human outlook. Preserving the mystery and abstractness of the dark side, I want to create new  forms that  originate  a feeling of hope. Shapes and material serve as translators of my thoughts, in my creative process through materials I strive to penetrate in the dark side of the society we live in and then represent an idealized – less  negative image of a society that in the last years has produced mass murders, not only physical but emotional and intellectual. My latest pieces are images born out of the dream of darkness, of hope or solely my instinct.
Jorge Manilla
Sacrifices II
Oscure Sacrifices II (statement by Jorge Manilla)
During the last four years I ve been researching and reflecting on topics as death life love feelings and emotion,in both the psychological and physical aspects of human beings.
Comunicating emotions is not easy people don’t Like to discuss them ans very often my works represents just that.
With my pieces I like to relate to the hidden the secretive, the unknown, and with this to create a mysterious air. My work keep things bottled up, hidden from the world.
I want to make pieces that make people think.
I dont like or want to make easy beautiful work, I want people to feel something when they re in in front of my work. Whether they like or deslike. It doesn’t matter as long as I , leave them thinking And feeling . I would like people to never forget that we are still alive And there is always something positive behind every Black cloud.
Jorge Manilla - Sacrifices II
Jorge Manilla new work
Jorge Manilla Sacrifices II Jorge Manilla - Sacrifices II
Jorge Manilla
Jorge Manilla - ring - obscures sacrifices II
Jorge Manilla - ring – obscures sacrifices II
« Oscure Sacrifices I -
By creating  jewellery Jorge Manilla investigates his environment - religion, emotions, relationships and the meaning of life. 
Manilla has a professional background as a boxer and butcher. He observes violence and cruelty pragmatic and objective and his jewellery often express a brutal rawness – The last years the artist  re discovered his love for the black color, wich has been a constant in his life.
And since 2010 Manilla translate the rawness of life in materials…
For Jorge black relates to the hidden, the secretive and the unknown, and as a result it creates an air of mystery. It keeps things bottled up inside, hidden from the world.
With his dark forms and shapes he creates a barrier between the meanings of the objects and the outside world.
Black implies self-control and discipline, independence and a strong will, and giving an impression of authority and power.
Manilla think that black is the end, but the end always implies a new beginning. 
When the light appears, black becomes white, the color of new beginnings
The work of Jorge are beautiful punches that hit the viewer in solar plexus. » By Karin Roy Anderson
THE NEWBORN by Dimitar Stankov/ OSCURE SACRIFICES by Jorge Manilla/ X10IONS OF THE TRIBE by Jonathan HensTHE NEWBORN by Dimitar Stankov/ OSCURE SACRIFICES by Jorge Manilla/ X10IONS OF THE TRIBE by Jonathan Hens



Welsertrasse 11 UG
81373 Munich
Do.15-19 h, Fr./Sa.10-18 h, So. 10-14 h




During SCHMUCK 2015 – EXPO ‘Trophies / In the Reign of Coyote’ – Deutsches Jagd- Und Fischereimuseum, Munich (DE)- 11-16 Mars 2015

Inauguration 12 Mars 2015 18-20 h/ Deutsches Jagd- Und Fischereimuseum

Trophies // In the Reign of Coyote.
with :   Cameron Andersen — Jane DoddAliyah GoldSteven Gordon HolmanAkihiro IkeyamaLore LangendriesMärta MattssonKerianne Quick (Keri Kwik)Anna TalbotTanel VeenreMallory Weston.
The hunt is a ritual; through gathering, searching, and collecting we create amulets, myths, and trophies. The works of these jewelers are rooted in these traditions; they look to nature and translate what they see.To hunt is to gather, to search, to collect. Through hunting, making, the weaving of stories, we are able to resist modernity’s denial of belief, and to keep our ties with the natural world. There is a primal, universal longing for myth, for an understanding of the immeasurable power of nature, and an allure in conquering, transforming, becoming. The hunt is a ritual, a way to insert ourselves into an ages-old cycle. In hunting we take on the role of maker, turning one thing into another. In making we are shamans, translating worlds, perspectives, identity.These jewelers distinguish themselves through their sensitive treatment of nature. Their work utilizes the material language of the trophy through the use of animal imagery and materials. The transformations they wrought, and the stories they weave, set them apart from other makers and unify them through aesthetic and conceptual application. In the Reign of Coyote references a collection of stories about the earth’s becoming, fables of animal and human relationships. The work of these artists looks back to a time when we, as humans, turned directly to nature for guidance, sustenance, and support.
 Jane Dodd (NZ) - Jane Dodd
Jane Dodd works in metal, wood, bone, shell and makes pieces that investigate storytelling and narrative. She is particularly interested in exploring a dialogue between nature and culture.
Marta MattssonSwooping work by Märta Mattsson  for TROPHIES
  Märta Mattsson « Märta Mattsson   sees beauty in things that other people find strange or are even repulsed by. She becomes fascinated when there is something you do not want to see and by the feeling you get when you do not want to look at something, yet you still do. Her jewellery deals with the tension that lies between attraction and repulsion. »
Sleek work by Tanel Veenre Jewellery for TROPHIESSleek work by Tanel Veenre  for TROPHIES
 Tanel Veenre  Tanel Veenre ‘s jewels take one on a journey that starts from the depths of the sea, continues on through coral reefs, past dancing sea horses and then on to the cultivation of silkworms. The voyage ends in a cosmic cloud.
Dark work by Lore Langendries for TROPHIESDark work by Lore Langendries for TROPHIES
Her research interests include the interaction between craft and industry, between unique and serial with a particular focus on (re)production, digital technology, tactility, the behaviour of materials and the subjective role of the maker. In her recent series, Hunacturing, Langendries is questioning the nature of reproduction via a combination of natural materials, mechanical treatment and the human touch.
 Aliyah Gold -  Aliyah Gold 
Animal imagery and animal-based materials have been used in jewelry dating back to the first civilizations. Gold challenges herself to create jewelry that contains the essence of an animal rather than merely a representation.
 Mallory Weston (USA)  Mallory Weston 
She works with a variety of medium including metal, fiber, concrete, and spray-paint creating bold, compelling, and interactive wearable art. Currently, she is exploring snake imagery, symbolism, and serpent dichotomies within
her work.
Steven Gordon Holman  Steven Gordon Holman
 he grew up in the West Desert (USA) where he developed a close relationship to the natural world. His work is invested in material and myth, both cultural and personal. Through the building of these myth he creates artifacts and amulets of The Tribe
 Anna Talbot  Anna Talbot
Anna Talbot’s jewellery is inspired by fairy tales, nursery rhymes, songs and stories. Wolves, deer, trees, forests and Little Red Riding Hood are all central elements in her universe, and they don’t necessarily stick to their traditional roles.
Dazzle Camo by Keri Kwik for TROPHIESDazzle Camo by Keri Kwik for TROPHIES

Deutsches Jagd- Und Fischereimuseum
Neuhauser Strasse 2,
80331 Munich – Germany
Wed 9:30 – 15:30, Thu 9:30 – 21:00, Fri – Mon 9:30 – 17:00
tel +49 89 220522
info@jagd-fischerei-museum.deDeutsches Jagd- und Fischereimuseum is a museum exhibiting objects connected with the history of hunting and fishing in Germany or other territories which were or are part of it. Located in the pedestrian zone of the city center of Munich

 We are raising funds for an EXHIBITION CATALOGUE!

 We are raising funds for an EXHIBITION CATALOGUE! If you would like one, or just want to support us making one, or want to get your hands on some LIMITED EDITION RINGS, head over to our catalogue kickstarter page! It’s a great chance to get into the action if you can’t make it to Munich this year!…/trophies-in-the-reign-of-coyo…


During SCHMUCK 2015 – EXPO ‘A Touch of Steel’ – 3Stations, Munich (DE) – 12-15 Mars 2015

« A Touch of Steel »,
Students of the Royal Academy of Fine Arts Antwerp
A Touch of Steel   Students of the Royal Academy of Fine Arts Antwerp
Elitsa Macheva - A Touch of Steel - copyright_mention_obligatory_Johan Blommaert  Elitsa Macheva – A Touch of Steel - copyright_mention_obligatory_Johan Blommaert
Vincent Verstrepen - A Touch of Steel - copyright_mention_obligatory_Johan Blommaert kopie 2Vincent Verstrepen – A Touch of Steel - copyright_mention_obligatory_Johan Blommaert  
Orsolya Losnczy_ A Touch of Steel_ copyright_mention_obligatory_Johan Blommaert-
Orsolya Losnczy – A Touch of Steel - copyright_mention_obligatory_Johan Blommaert-1
Annika Wirken - A Touch of Steel - copyright_mention_obligatory_Johan Blommaert Annika Wirken - A Touch of Steel – copyright_mention_obligatory_Johan Blommaert
Josefine Mass - A Touch of Steel - 2013 copyright_mention_obligatory_Johan Blommaert  Josefine Mass - A Touch of Steel – 2013 copyright_mention_obligatory_Johan Blommaert
Shu Liang 2014 ANVERS - Shu Liang 2014
Welserstr. 11 UG,
81373 Munich
Do. 15-19, Fr./Sa. 10-18, So. 10-14 h



During SCHMUCK 2015 – EXPO ‘Salto Mortale’ – Büro Hermann, Munich (DE) – 12-14 Mar 2015

Salto Mortale    /  12 -14 Mar 2015

Opening: Thursday, 12. March 2015 from 18 h


Salto Mortale -Exhibition

Judit Pschibl, Nicola Scholz and Barbara Schrobenhauser present recent works in a pop up space in Maxvorstadt. They are based in munich and all of them studied at the Acadamy of fine arts in Munich with Otto Künzli.

Judit Pschibl Necklace: 2pp, 2013 PolypropylenJudit Pschibl Necklace: 2pp, 2013 Polypropylen

Barbara Schrobenhauser Necklace: Glowing, 2015 Cooper, string 3 x 3 x 2 cm Photo by: Mirei Takeuchi  Barbara Schrobenhauser Necklace: Glowing, 2015 Cooper, string 3 x 3 x 2 cm Photo by: Mirei Takeuchi

Salto Mortale.  - Nicola Scholz Necklace: Untitled, 2014 Gut Photo by: Mirei TakeuchiNicola Scholz Necklace: Untitled, 2014 Gut Photo by: Mirei Takeuchi 


Büro Hermann
Heßstr. 27
80798 -  Munich GERMANY
tel +49 176 23568016