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COUP de COEUR – JULIA MARIA KÜNNAP – ça coule …. de source ……… – EXPO « Overgrown » at Sienna Patti gallery – 15 Juin-9 Juill. 2018

JULIA MARIA KÜNNAP « Overgrown »  at Sienna Patti gallery -   JULIA MARIA KÜNNAP -  June 15 – July 9, 2018 « For someone inspired by imperfectionJulia Maria Künnap creates objects that perfectly capture a moment in time. With flawless skill and control Künnap transforms some of the earth’s hardest materials into melting pools of liquid, sweeping brushstrokes, and about-to-burst bubbles. Overgrown, shows Künnap striving for ever more precision and pushing her materials to greater physical and conceptual limits. These efforts have resulted in impossibly thin fragments and delicate drips that suspend disbelief. Working natural stones, Künnap’s current show is filled with striking blues and greens, inky black, chalky white and translucent crystal, a bold palette that complements the juxtaposition of hand carved facets and highly polished curves. Künnap’s work has always spoken to the magical reality of the natural world—the way water changes from liquid to solid and back to liquid again—and the human desire to understand and tame it. It is no coincidence therefore that finely cut gemstones and the tradition of lapidary work has been a main point of reference throughout Künnap’s work. In recent piece however, she playfully looks at other objects and materials altered by humans. Künnap carefully reshapes cacholong into a ball of crumpled paper. Though the stone is relatively unknown to even most gemstone connoisseurs, Künnap chose it for its matte texture and likeness to paper. With the labor of carving she highlights an unglamorous yet prized stone and makes permanent an ephemeral form that rarely exists beyond the trash bin. Similarly, her series of brushstroke brooches and earrings freeze a human act. By isolating the expressive curve and movement of a stroke, Künnap memorializes both the gesture and the resulting outcome. Künnap marries her mastery of lapidary with subtlety. It is this union that makes Künnap’s work so seductive and timeless »

 Julia Maria Künnap - Bubble Gum Ring, 2018. carved amethyst & 18k white goldJulia Maria Künnap  - Bubble Gum Ring, 2018. carved amethyst & 18k white gold

JULIA MARIA KÜNNAP - "Or Better a Fine One" , 2017. (brooch), carved lapis lazuli & 18k yellow gold

Julia Maria Künnap  - « Or Better a Fine One » , 2017. (brooch), carved lapis lazuli & 18k yellow gold

Julia Maria Künnap- Why Is It Still Overgrowing?, 2018. (earrings).  nephrite & 18k yellow gold

Julia Maria Künnap- Why Is It Still Overgrowing?, 2018. (earrings).  nephrite & 18k yellow gold

JULIA MARIA KüNNAP | Overgrown - Sienna Patti - Contemporary Art Gallery June 15 - July 9 |

Julia Maria KünnapSupervolcano ring -  carved obsidian with rhodium plated silver band

  Julia Maria Künnap graduated in 2004 from the Estonian Academy of Arts, Jewellery Art Department under Professor Kadri Mälk. A 2018 recipient of the prestigious Herbert Hofmann Prize, Künnap is known for her mysteriously and meticulously carved lapidary work. Her work has been included in group and solo exhibitions around the world. Julia Maria Künnap currently lives and works in Tallinn, Estonia. This is her second solo exhibition at Sienna Patti.     Sienna Patti Gallery 80 Main Street Lenox Massachusetts 01240 USA (001) 413 637 8386


Melting Point 2016 VALENCIA (Spain) – EXPO ‘Cathexis’ – Fabrika12, Valencia (SP) – 21-24 Avril 2016

Fabrika12 will be showcasing several exhibitions :

 Cathexis . Students from the Eesti Kunstiakadeemia / Estonian Academy of Arts

INAUGURATION 22/4 at 21h !!!!!


   Melting Point Valencia 2016

Fabrika12 - Cathexis

Students from the Eesti Kunstiakadeemia / Estonian Academy of Arts (artun) :
Federica Cogliandro — Miikael Danieljants – Viktorija Domarkaite –  Sofia Hallik — Elis Ilves — Rainer Kaasik-Aaslav –  María Kahnwailer — Moonika Kase — Annika Kedelauk — Kairin Koovit — Katrin Kosenkranius — Helen Kristi Loo — Triin Kukk — Liina Lõõbas — Eilve Manglus — Merlin Meremaa — Indrek Mesi — Erle Nemvalts –  Anneli Oppar – Darja Popolitova — Helina Risti — Hannes Tõnuri — Hanna-Maria Vanaküla — Edgar Volkov

CATHEXIS - Maria Kahnwailer Object: RARA ABYSS, 2016 Silver, Acrylic: Maria Kahnwailer Object: RARA ABYSS, 2016 Silver, Acrylic

CATHEXIS - Darja Popolitova Pendant: Fazis IV, 2015 Rubber, lace obsidian, color, gold-plated silver 22 x 3 x 3 cm Photo by: Vladimir Ljadov: Darja Popolitova Pendant: Fazis IV, 2015 Rubber, lace obsidian, color, gold-plated silver 22 x 3 x 3 cm Photo by: Vladimir Ljadov

Cathexis is:
a thread, the energy that moves along it becomes a memory, which is like a reflection of you
a thread, when braided develops your deepest desires
a thread, when cut stays to remind you of your loss
a thread, the pattern of its weave reveals your individuality
the thread of life
’Cathexis’ is a small selection of the jewellery and blacksmithing department students’ latest works.The department of metal art includes two specialities: jewellery and blacksmithing. In the curricula, the main emphasis is laid on creative projects and critical contextualisation, enabling students to orientate in a rapidly changing cultural space while maintaining a perceptual subjectivity. Inquiring mindset and good craftmanship skills are essential for students in Department of Jewellery and Blacksmithing.



Sala Vestíbulo
Calle Marqués de Caro, 12



Melting Point 2016 VALENCIA (Spain) – EXPO ‘THE NAME OF THE ROSE’ – Museo Nacional de Cerámica, Valencia (SP) – 21 Avril-21 Mai 2016

At Museo Nacional de Cerámica y Artes Suntuarias « González Martí »

Tanel Veenre will be exhibiting in one of the most beautiful buildings here in Valencia, a Rococo Palace built in the 1740s. This enchanting space is perfect to showcase his exhibition « THE NAME OF THE ROSE » where we will find carved books, silver seahorses and poetic flutes.


Inauguración: 21/4 a las 19h.

 Melting Point Valencia 2016

Museo Nacional de Cerámica y Artes Suntuarias "González Martí". Valence, Espagne ·  Tanel Veenre will be exhibiting

 As a quick reminder, He will be giving a LECTURE titled « Dealing with Unknown » on Saturday 23rd @10:00 am in EASD’s conference room

Tanel Veenre -  Brooch: Paradox II, 2016 Silver, sapphire beetle, enamel, powdered stonesTanel Veenre -  Brooch: Paradox II, 2016 Silver, sapphire beetle, enamel, powdered stones

Tanel Veenre - Necklace: Paradox I, 2015 Wood, reconstructed onyx, silverTanel Veenre - Necklace: Paradox I, 2015 Wood, reconstructed onyx, silver

Tanel Veenre: Tanel Veenre – brooch   United Hearts, 2012 – Wood, silver, cosmic dust -
Hele-Mai from the series « United Hearts »

   2013 Tanel Veenre - in-the-beginning-was-the-word -neckpiece: Tanel Veenre – in-the-beginning-was-the-word - 2013 neckpiece


Museo Nacional de Cerámica y Artes Suntuarias « González Martí »

Salas planta noble
Carrer del Poeta Querol, 2,
46002 València, Valencia, Espagne
Téléphone :+34 963 08 54 29


During SCHMUCK 2016 : EXPO ‘ESTONISHING !’ – Internationale Handwerkmesse Munich (DE) – 24 Fevr.-1er Mars 2016

Galeria Thomas Cohn

ESTONISHING ! 13* from Estonia

during Internationale Handwerkmesse Munich Munich, Germany – Galerie Thomas Cohn
Curator:  Galeria Thomas Cohn

Estonishing ! 13* from Estonia

Galeria Thomas Cohn is participating at the Handwerkmesse, SCHMUCK 2016 with an update of the production of Estonian artists after the publication of the book « Castle in the Air » by ARNOLDSCHE Art Publishers. Galeria Thomas Cohn, a Brazilian gallery and the only one to represent Latin America, represents well-known artists from 14 different countries who are both exhibiting and providing workshops for local artists and students.

 Artist list  Liv Blavarp — Marcia Cirne Lima — Sonia Gomes — Sofja Hallik – Hanna Hedman — Nils HintPiret Hirv — Karin Johansson — Beppe Kessler — Julia Maria Künnap — Udi Lagallina — Kristina Laurits — Nel Linssen — Eve Margus VillemsKadri MälkVillu Plink — Darja Popolitova — Katja Prins — Marina Sheetikoff — Carina Shoshtary — Bettina Speckner — Anna Talbot — Ketli Tiitsar — Terhi Tolvanen — Maria Valdma — Tanel Veenre

 Ketli Tiitsar Second Nature V brooch 2016 ash wood, silver, pigment: Ketli Tiitsar Second Nature V brooch 2016 ash wood, silver, pigment

 Piret Hirv One Straw brooch 2015 silver: Piret Hirv One Straw brooch 2015 silver

 Eve Margus-Villems - Hermes&Hera rings 2015 gabbro, marble, white gold, oxidized silver: Eve Margus-Villems – Hermes&Hera rings 2015 gabbro, marble, white gold, oxidized silver

 Sofia Hallik Homeosis_III necklace 2015 plastic, 18ct gold, rubber:  Sofia Hallik Homeosis_III necklace 2015 plastic, 18ct gold, rubber

 Maarja Niinemägi Nightfloats brooch 2013 engraved milky opal, buffalo horn, silver, gold: Maarja Niinemägi Nightfloats brooch 2013 engraved milky opal, buffalo horn, silver, gold

 Tanel Veenre Neckpiece: Magic Flute III, 2016 Wood, rock crystal, silver: Tanel Veenre Neckpiece: Magic Flute III, 2016 Wood, rock crystal, silver

 Julia-Maria Künnap Brooch: Mother and daughter I, 2015 Gold, obsidian:  Julia-Maria Künnap Brooch: Mother and daughter I, 2015 Gold, obsidian

 Nils Hint Necklace: Very practical necklace, 2016 forged / welded iron:  Nils Hint Necklace: Very practical necklace, 2016 forged / welded iron

  Kadri Mälk Brooch: Duende 1, 2016 Painted cibatool, silver, pleonast:  Kadri Mälk Brooch: Duende 1, 2016 Painted cibatool, silver, pleonast



Internationale Handwerkmesse Munich
Willy Brandt Allee 1, Messegelände
81829 -  Munich
Phone: 0049 89 5119 248


Selection 4 SCHMUCK 2016 : Kadri Mälk


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)


DECOUVERTE at SCHMUCK 2015 : Nils HINT – à couteaux tirés ….

Classé dans : COUP DE COEUR,DECOUVERTE,Estonie (EE),Nils HINT (EE),SCHMUCK / MJW (DE) — bijoucontemporain @ 0:09

Nils HINT, a talented blacksmith from Estonia, has been selected for SCHMUCK 2015 .

A étudié à Estonian Academy of Arts, promotion 2010

« Nils Hint transforms iron tools and everyday objects into caricatures and shadows of themselves. His combinations of these form humorous, surrealist narratives that are open to interpretation. »

Nils Hint  Crown: Extraordinary piece No.2  Forged ironNils Hint  Crown: Extraordinary piece No.2  Forged iron – « Triumphator » 2011 / Photo shoot with Annika Kedelauk and Rainer Kaasik-Aaslav


Nils Hint -- Neckpiece "Scissors II"Nils Hint – Neckpiece « Scissors II » 2011 / Forged iron, ready-made

Nils Hint - Neckpieces 2011 / forged iron, ready-madeNils Hint – Neckpieces 2011 / forged iron, ready-made

"Better than your neighbour" Nils Hint - scissors neckpieceNils Hint  « Better than your neighbour » – scissors neckpiece – 2013 / Forged iron, ready-made

Neckpieces "Jugend"Nils Hint Neckpieces « Jugend » 2013 / Forged iron, ready-made

Nils Hint -- Brooches / Pendants - 2014 / Forged iron, ready made  Nils Hint – Brooches / Pendants – 2014 / Forged iron, ready made -
Work presented in Gallery Ra, Amsterdam, solo exhibition 24.05.14 – 12.07.14

Nils Hint -  Conceptual neckpiece No.1 (forged iron, ready made) 2014Nils Hint -  Conceptual neckpiece No.1 (forged iron, ready made) 2014

Nils Hint ( Estonia) Conceptual neckpiece No.2 (forged iron, ready made)Nils Hint - Conceptual neckpiece No.2 (forged iron, ready made) 2014




Classé dans : COUP DE COEUR,Estonie (EE),Tanel VEENRE (EE) — bijoucontemporain @ 1:26


« A beautiful piece of jewellery is exciting. Excitement is a quality that comes into being upon collapse of the quantifiable and measurable into the inexplicable and personal. Fleeing from gold-edged emptiness binds the artist’s soul with the thing being created. It’s all somehow wordlessly conspiratorial. Artist and jewellery become witnesses to a crime in which they are both complicit.
Anxiety may contain embarrassment and brazenness, mockery levelled at the opinion of the court.

A talented jeweller says: The quality of the jewel is in its intellectuality. For an artist the jewel is something very personal through which he can express his concerns, feelings, ideas.
Veenre likes to combine metal with such a natural details like rope or coal (back to the Stone Age?). He makes historical collars out of shining fish-scales, which he strings together with little glass beads. As a result his work looks very fine with its dynamics, femininity and grace. It is experimental and theatrical, there is a fine sense of drama inside. »

 Tanel Veenre - Nature Arisen I 2013 Brooch Seahorse, jet, amethyst, silver 7 x 7 x 3 cmTanel Veenre - Nature Arisen I 2013 Brooch Seahorse, jet, amethyst, silver 7 x 7 x 3 cm –
Palindrome 2013-2014
a so dreamed brooch …………….

Tanel Veenre broochTanel Veenre brooch

Tanel Veenre - PALINDROME 2013/14 - (ring ?)Tanel Veenre - PALINDROME 2013/14 – (ring ?)

Tanel Veenre - My Kingdom 2011-12 - Mutual hearts serieTanel Veenre – My Kingdom brooch 2011-12 – Mutual hearts serie

Tanel Veenre "Heartbreaking" Neckpiece  Heart-felt - Garnets, tourmalines, antique wood, silver, goldTanel Veenre « Heartbreaking » Neckpiece  Heart-felt – Garnets, tourmalines, antique wood, silver, gold

 Tanel Veenre "Medal for the goner"  Tanel Veenre « Medal for the goner » – jewelry 2005-2011

Tanel Veenre - Nature Arisen II 2013 Brooch Wood, beetle, smoky quartz, silver 8 x 11 x 3 cmTanel Veenre - Nature Arisen II 2013 Brooch Wood, beetle, smoky quartz, silver 8 x 11 x 3 cm –
Palindrome 2013-2014

Tanel Veenre  Necklace: Sebastian 2009  Antique wood, bob-floats, silverTanel Veenre  Necklace: Sebastian 2009  Antique wood, bob-floats, silver

Tanel Veenre Neckpiece: Lonely Gardener Wood, rock crystal, silver, cosmic dustTanel Veenre Neckpiece: Lonely Gardener Wood, rock crystal, silver, cosmic dust – « Fruits of Paradise » 2011

 Tanel Veenre, Neckpiece, 2011Tanel Veenre, Neckpiece, 2011

Tanel Veenre earringsTanel Veenre earrings

 Tanel Veenre  Neckpiece: In the Beginning Was the Word 2011  Jet, textileTanel Veenre  Neckpiece: « In the Beginning Was the Word » 2011  Jet, textile

Tanel Veenre "I read to know that I am not alone" BroochTanel Veenre « I read to know that I am not alone » Brooch


Coup de coeur : Julia Maria Künnap – une beauté qui COULE de source …

Classé dans : COUP DE COEUR,Estonie (EE),Julia Maria KUNNAP (EE),pierre / stone — bijoucontemporain @ 0:07

MELTING beauty ………………

Julia Maria Künnap graduated in 2004 from the Estonian Academy of Arts, Jewellery Art Department under Prof Kadri Mälk. Before this she studied at Konstfack, Stockholm and in 2006 was the Artist in Residence at Alchimia School of Contemporary Jewellery in Florence. She has exhibited in various group exhibitions throughout Europe and in 2013 presented her first solo exhibition in the Emerging Artist Platform at Sienna Patti.

Julia Maria Künnap, Is This The Happiness, 2012, brooch, smokey quartz, gold, 35 x 35 x 20 mm, photo: artistJulia Maria Künnap, Is This The Happiness, 2012, brooch, smokey quartz, gold, 35 x 35 x 20 mm, photo: artist

“..I usually don’t regard the equipment used for accomplishing my works as important enough to talk about separately, but questions that have arisen in connection with those fusible stones show that an explanation is needed. A dealer from Munich was convinced that I’m approaching the issue in a post-modernist fashion: I purchase a cut stone and melt it down by the corners – “the melting point of quartz is said to be quite low!” That is, for better or worse, impossible. There are no hat tricks, bamboozling or conjuring in making my work. All of the stones are cut from one piece of raw material without any glue or resin.
Working with this material in this way was as if I was stepping across some invisible doorstep. I had been told, stone cutting is an “entire science in itself” that demands “extremely great skills and experience”, as well as “very expensive equipment”. Additionally, I had a certain awe for a rare natural material such as large gemstone crystals – I didn’t want to grind them aimlessly into dust. Luckily, my art-academy education encouraged me: I nonetheless started searching for solutions to execute my idea, not for accommodating it or pouring it into a more simply- and quickly-workable material.
I derive from classic cuts when constructing my own, but I redo them according to my own style. I’ve used a step cut in the case of many stones: it is an older type of cut, which gives the stone a calmer and more static reflection, and it doesn’t shine in such a crazy way. The “Nobody’s Perfect” ametrine is cut using Standard Round Brilliant in principle, but I made it 9-fold instead of the usual 8-fold mirror-image symmetry – while something akin to a notched 8-pointed cross makes up (below) half of a standard brilliant pavilion, this stone’s design has nine branches.
My faceting workshop is located in my kitchen sink. The machine, with which I cut these stones fits onto an A4-size sheet of paper and costs less than the average Estonian’s holiday trip to a warm, sunny destination. I’ve gradually rebuilt and improved the machine according to my needs: for a faceted cut, it has a faceting head, with which I can hold the stone at the correct angle. For the most part, I cut the facet part first, and then cover the entire polished area with sealing wax for safety and carve end polish the flowing forms.
It’s quite pointless to talk about the amount of time spent working the stones. Raw crystal can be observed for a week or two, a couple of years, or a dozen before cutting. After the work is complete, there is always the feeling that it could have been done better; but I suppose that is merely the blink of an eye in comparison with the age of the stone itself.”

 Julia Maria Künnap, Molten, brooch, 2010, Smokey Quartz, gold, 3 x 3.5 x 2.5 cm, private collection in ItalyJulia Maria Künnap, Molten, brooch, 2010, Smokey Quartz, gold, 3 x 3.5 x 2.5 cm, private collection in Italy

I am inspired by imperfection. It is a strong source of motivation. If I see a perfect thing—an artwork, a poem—I just breathe in and breathe out. It just comes and then goes. But if I see something that irritates me, I start analyzing. Why am I irritated? Why isn’t it perfect? Where is the ‘mistake’ made? Usually, once I have deconstructed the whole piece in my mind, I already have so many good ideas. In the end, these ideas don’t have much to do with the source of inspiration. (Sienna Patti)

Julia Maria Kunnap, Regret, brooch– obsidian, gold – at Art gallery Putti "Endless closeness" exhibitionJulia Maria Kunnap, « Regret » brooch– obsidian, gold at Art gallery Putti « Endless closeness » exhibition

read her INTERVIEW on AJF by Aaron Decker (dec. 2012) :
« Can you comment on the juxtaposition of the facets with the parts that appear melted or in liquid form?
Julia Maria Künnap: There is a large contrast in many ways. The stones cannot melt like this. The drop could not freeze like this. Even if you could melt quartz, it would be so wrong. Gems just don’t melt. Glass does. It is trying to capture a moment in something so eternal as stone. »

Julia Maria Künnap - A Half At Every Angle, (brooch), 2014. Rock crystal, gold, 2 1/2 x 1 3/4 x 3/4Julia Maria Künnap – « A Half At Every Angle » brooch, 2014. Rock crystal, gold, 7.6 × 3.1 × 1.3 cm

JULIA MARIA KÜNNAP-EE,  brooch "From the Middle of a Dream", 2010, obsidian, gold, 50 x 20 x 10 mmJulia Maria Künnap - brooch « From the Middle of a Dream », 2010, obsidian, gold, 50 x 20 x 10 mm

Julia Maria Künnap -  it-starts-rai-ning earringsJulia Maria Künnap -  it-starts-rai-ning earrings

Julia Maria Künnap -   "Nubis" brooch 2011Julia Maria Künnap – « Nubis » brooch 2011 – obsidian, gold, 6.5 x 5 x 1 cm, photo: Ulvi Tiit, Collection of Estonian Museum of Applied Arts and Design, Tallinn, Estonia



EXPO ‘WWWA’ – Estonian Museum of Applied Art & Design, Tallinn (EE) – 7 Nov. 2014- 18 Janv. 2015

WWWA [Words & Works from a World Away (Sõnad ja tööd sealt kaugelt)]Estonian Museum of Applied Art & Design
A collaboration of Estonian and Australian jewellery artists
WWWA - estonia
OPENING 7 november 2014 – 5pm
Kuraator: Claire McArdle

What do they say about us on the other side of the world?
And what do you know about them?
This exhibition unites the northern and southern hemispheres through the work of jewellery and object artists from Australia & Estonia. In each country statements were collected from ordinary members of the public about their knowledge and opinion of the other country. Each artist chose a statement about their country from someone on the other side of the world. The piece they made is a reaction to this statement.
Words spoken across the globe invite a personal study of our own culture and a reaction to other’s perceptions of who we are. Each piece is a navigation of an outsider’s perspective and the resulting realisations and revelations about our own identity.
The two cultures have been explored through unverified perceptions and understandings. The resulting objects are repositories of both cultural and personal narratives. They examine the global flow of information between two physically and culturally separate countries and provoke an international exploration of self.

Linda al-Assi [EST] — Robert Baines [AUS] — Nicholas Bastin [AUS] — Robin Bold [AUS] — Zoe Brand [AUS] — Melissa Cameron [AUS] — Anna Davern [AUS] — Mark Edgoose [AUS] — Rita-Livia Erikson [EST] — Ulvi Haagensen [EST] — Mary Hackett [AUS] — Kirsten Haydon [AUS] — Nils Hint [EST] — Naoko Inuzuka [AUS] — Annika Kedelauk [EST] — Inari Kiuru [AUS] — Aija Kivi [EST] — Keiu Koppel [EST] — Katarina Kotselainen [EST] — Teresa Lane [AUS] — Urmas Lüüs [EST] — Kadri Mälk [EST] — Claire McArdle [AUS] — Hans-Otto Ojaste [EST] — Kaire Rannik [EST] — Anne Reinberg [EST] –  Adolfas Šaulys & Mari Relo-Šaulys [EST] — Mark Vaarwerk [AUS] — Anita Van Doorn [AUS] — Tanel Veenre [EST]

Tanel Veenre,   Metsik eljas I/Wild Beast I, 2012 Eesti/Estonia Photographer: Marc MorelTanel Veenre,   Metsik eljas I/Wild Beast I, 2012 Eesti/Estonia – Photo: Marc Morel

Nils Hint  - Words & World from a World Away. Austraalia ja Eesti ehtekunstNils Hint


Image de prévisualisation YouTube


Estonian Museum of Applied Art & Design
Lai tn 17,
Tallinn 10133
Estonia, Tallinn

Open Wed-Sun 11.00-18.00


EXPO ‘Purus et Promiscuus’ – Dominican Monastery, Tallinn (EE) – 5-10 Sept. 2014

Classé dans : Carla CASTIAJO (PT),Estonie (EE),Exposition/Exhibition — bijoucontemporain @ 5:16
Purus et Promiscuus / Carla Castiajo
4 September – 10 September
Tallinn Dominican Monastery – requiem chapel
opening of the exhibition on Thursday, 4 September, at 6 pm

Carla Castiajo

Carla Castiajo is a PhD student at Estonian Academy of Arts where she is researching the subject « Hair: Purity or Promiscuity? Exploring Hair as a Material and its Meaning in Jewellery and Art ». During the seminar in September you can hear her speak about the diverse characteristics of jewellery

Carla Castiajo