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03/12/2016

EXPO ‘JORDI APPARICIO’ – PLATINA, Stockholm (SE) – 3-23 Dec. 2016

JORDI APPARICIO

PLATINA

OPENING SATURDAY 3D OF DECEMBER 14-17

 JORDI APPARICIO  3D - 23D OF DECEMBER, 2016 OPENING SATURDAY 3D OF DECEMBER 14-17(Jordi Aparicio earrings) 

 Jordi Apparicio is based in Barcelona, Spain. He grew up surrounded by watches and jewels with his parents creating and arranging the complicated objects. Fascinated by the small but detailed objects he firstly learned the profession of watchmaking at Cicle Formatiu de Grau Mig de Rellotjería Barcelona (2002-2005) which later ended up in jewellery making and studies at Escola d’art del Treball La industrial (2010). In the exhibition he shows jewellery that require fine discipline and great craftsmanship. The fascinating way of transforming silver through fusion techniques that he use, has in recent years led to well worth awards.

 Jordi Aparicio Necklace: Untitled, 2016 Silver 930/000 with silver powder and oxidated patina with natural laqued Photo by: Jordi Aparicio: Jordi Aparicio Necklace: Untitled, 2016 Silver 930/000 with silver powder and oxidated patina with natural laqued Photo by: Jordi Aparicio

Jordi Apparicio earringsJordi Apparicio – earrings

Jordi Apparicio - neckpieceJordi Apparicio - neckpiece

Jordi Apparicio  ring 2016: Jordi Apparicio  ring 2016

Jordi Apparicio  earrings 2016: Jordi Apparicio  earrings 2016

Jordi Apparicio  Jordi Apparicio  neckpiece

 

PLATINA
Odengatan 68,
11322 -  Stockholm
SWEDEN
+46 8 30 02 80
platina@platina.se

 

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EXPO ‘The Dinner #2’ – PLATINA, Stockholm (SE) – 3-23 Dec. 2016

« The Dinner #2″

by Mia Maljojoki & Annika Pettersson

The Dinner is a project including performance, video and jewellery. The project investigates the act of dining from an artistic viewpoint, with thoughts on food, culture, art and especially in combination with art jewellery.

PLATINA - The Dinner:

Mia Maljojoki is a jewellery artist, born in Finland and now based in Munich, Germany. She has a Bachelor of Fine Arts from Massachusetts College of Art and Design, Boston, USA (2001) and Master of Fine Arts from Akademie der Bildenden Künst München, Munich, Germany (2010). In the recent years she has worked both with art jewellery and production jewellery.

Mia Maljojoki Necklace: Exactly, 2015 Porcelain Photo by: Mia Maljojoki: Mia Maljojoki Necklace: Exactly, 2015 Porcelain Photo by: Mia Maljojoki

Mia Maljojoki - PLATINA - Mia Maljojoki Necklace

Annika Pettersson is a Swedish born jewellery artist with her base in Stockholm. She has a Master of Fine Arts from Ädellab, Konstfack in Stockholm (2008) and is currently enrolled in a one-year research program at the same University.  Pettersson is involved with various collaboration projects besides her own practice and she is one of the founders of the experimental jewellery group A5.

 Annika Pettersson. Brooch: Cutting edge, 2016. Found object, knife, wire. Photo by: Annika Pettersson.: Annika Pettersson. Brooch: Cutting edge, 2016. Found object, knife, wire. Photo by: Annika Pettersson

Annika Pettersson- PLATINA - "the dinner 2" - dec 2016 - Annika Pettersson

 

 

 

 

PLATINA
Odengatan 68,
11322 -  Stockholm
SWEDEN
+46 8 30 02 80
platina@platina.se



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19/10/2016

EXPO ’2 solos Linnéa Eriksson & Jelizaveta Suska’ – PLATINA, Stockholm (SE) – 27 Oct.-19 Nov. 2016

2 solos Linnéa Eriksson & Jelizaveta Suska

 

Linnéa Eriksson : « Connect »
Jelizaveta Suska : « Frozen Moment »

Opening of two solo exhibitions Thursday October 27, 17-20

PLATINA‎Opening of 2 solos Linnéa Eriksson & Jelizaveta Suskanecklace by Linnéa Eriksson, brooch by Jelizaveta Suska

We are happy to invite two artists from Gothenburg, Sweden. For several years we have seen many great jewellery artists graduating from HDK School of Design and Crafts in Gothenburg and both Linnéa Eriksson and Jelizaveta Suska are among them. Platina Gallery opened 1999. From the beginning we have invited artists whose work mirrors our time. 17 years later, this summer 2016, we moved next door to a new space. Bigger and better and with same ambition as when we started, to show what we think is interesting right now.

Linnéa Eriksson and Jelizaveta Suska’s work are urban and human, they are dealing with time and materiality in different ways and their working processes are updating jewellery traditions.

Jelizaveta Suska will present works from « Frozen Moment » and « Frozen Moment the Night » Collections Frozen Moment Night edition. 2016. Jelizaveta Suska.: Jelizaveta Suska  Frozen Moment. The Night. 2016PLATINA‎ Jelizaveta SuskaJelizaveta Suska – brooch Frozen Moment Night edition. 2016.

Jelizaveta Suska  Brooch: Frozen Moment 7, 2016  Polymer, crushed marble, gold-plated silver, amethyst  5 x 4 x 3 cm  Photo by: Jelizaveta Suska  From series: Frozen Moment: Jelizaveta Suska – brooch « Frozen Moment 7″, 2016  Polymer, crushed marble, gold-plated silver, amethyst  5 x 4 x 3 cm

 Linnéa Eriksson - Connect:  Linnéa Eriksson - Connect

Linnéa Eriksson - ConnectLinnéa Eriksson – Connect

  

 

PLATINA
Odengatan 68,
10232 Stockholm
+46 8 30 02 80
platina@platina.se

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27/05/2016

EXPO ‘Landscapes of the mind’ – Platina Gallery, Stockholm (SE) – 26 Mai-23 Juin 2016

exhibition by Artemis Valsamaki  Landscapes of the mind  PLATINA
Opening Thursday 26th of May 17-19h
We are happy to invite Artemis Valsamaki, a jewellery artists from Athens ,Greece, to her first solo exhibition in Sweden. The title of the exhibition Landscapes of the mind describes people’s search to understand life and crucial mysteries about the soul’s immortality. References to ancient Greek philosophy, combined with a rich variety of symbols in colorful


exhibition by Artemis Valsamaki Landscapes of the mind PLATINA  - Artemis Valsamaki Bracelet: Watch your mouth, 2015 / 2016 Copper, silver, bronze, acrylics 9 x 13 cm Photo by: Paul TomArtemis Valsamaki - Bracelet: Watch your mouth, 2015 / 2016 – Copper, silver, bronze, acrylics
9 x 13 cm – Photo by: Paul Tom

Artemis Valsamaki - Love is a strange fruit: Artemis Valsamaki - Love is a strange fruit

Artemis Valsamaki - Dirty little secrets Copper, silver, acrylic Artemis Valsamaki - Dirty little secrets Copper, silver, acrylic. A reference to the secrets people take with them when they die, accompanied by the feeling of freedom. Secrets so deeply hidden, vansih before the last gasp

06/05/2016

EXPO ‘True Lies by Federica Sala’ – Gallery Four, Göteborg (SE) – 13 Mai-11 Juin 2016

True Lies by Federica Sala

Four Gothenburg, Sweden opening Saturday, May 14th 12.00 – 16.00h

Federica Sala - True lies*

True Lies by Federica Sala 13May2016 - 11Jun2016 Four Gothenburg, Sweden: (Federica SalaRings: Junk Diamonds, 2015 – Glass, white cubic zirconia, diamonds -Photo by: Federico Cavicchioli

Federica Sala plays with the whimsical nature of glass. The amorphous and fragile material is contrasted by crystalized minerals and connects her work to today’s complex society of recognized science and changing concepts of the world.

 We all know that Art is not truth. Art is a lie that makes us realize truth at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies. / Pablo Picasso 

Opposites cannot be divided. Glass and stone grow from each other. The boundaries disappear and the different elements become a collection of oxymoron in which everything exists because of its contrary. Glass is contradictive. It has a light delicacy, at the same time it is heavy and raw, it is soft, sharp, solid and liquid.  True Lies are impossible structures that point out the fragility of the reality we know, showing just one of the possible variations of it.

Federica Sala Necklace: Negative Growth, 2016 Glass, rutilo, silk 25 x 13 x 4 cm Photo by: Federico Cavicchioli: Federica Sala Necklace: Negative Growth, 2016 Glass, rutilo, silk 25 x 13 x 4 cm Photo by: Federico Cavicchioli Federica Sala Necklace: Loud Silence, 2015 Glass, egirina, silver 20 x 20 x 7 cm Photo by: Federico Cavicchioli: Federica Sala Necklace: Loud Silence, 2015 Glass, egirina, silver 20 x 20 x 7 cm Photo by: Federico Cavicchioli

Nordhemsgatan 74,
Göteborg (Sweden)
+46 73 086 42 49

26/04/2016

EXPO ‘FLOW by Anna Norrgrann’ – OHMYBLUE!, Venezia (IT) – 29 Avril-15 Mai 2016

FLOW by Anna Norrgrann     OHMYBLUE is pleased to host the solo exhibition of the Swedish artist Anna Norrgrann

April 29th 2016 – 6.00 PM

FLOW by Anna Norrgrann   April 29th 2016 - 6.00 PM  OHMYBLUE is pleased to host the solo exhibition of the Swedish artist Anna Norrgrann.:

We are glad to present « FLOW » by Anna Norrgrann.
I’m attracted to the qualities in different kinds of metal that make them perform in various ways, depending on the treatment. I see my work as collaboration between these qualities in the material and my own technical skills. Im searching for the unexpected and aiming to set up a poetic jewellery show speaking to spectators senses rather the to the intellect.
In this exhibition Anna Norrgrann will present both works from her newest project A Flow within and a Flight from a Standard Size and also from the previous and on going project, Impulse Palette.

Anna Norrgrann - Studio ViewAnna Norrgrann – Studio View

Pile of Anna Norrgrann’s A4 aluminum sheets/necklaces in her studio, photo: artistPile of Anna Norrgrann’s A4 aluminum sheets/necklaces in her studio, photo: artist

Anna Norrgrann - From series: The Flow within and the Flight from a Standard Size   Anna Norrgrann – From series: The Flow within and the Flight from a Standard Size

« The Flow within and Flight from a Standard Format, your most recent collection of work, tackles the commonplace paper size A4 [a European sheet that measures 8.27 x 11.69 inches.—ed.]. What is it about this subject that drew you in?
Anna Norrgrann: In a way, this project is a continuation of my previous work about creating spaces, the frame, and how you choose size and shape. A4 is something we take for granted, almost like something we think is given by nature, but it is also made up. As I thought more and more about this shape, its meaning grew and I discovered new intellectual aspects to it.
I think it’s interesting how thinking and doing come together: When I started to work with A4-sized sheets of metal in my hands, new thing added to my understanding of the shape and my own relationship to it. In the same way that children play to understand the grownup world, I think making may sometimes have the same influence on the understanding of a subject, even though I wouldn’t draw a strong line between craft and play; craft is work. 
I then wanted to investigate what would happen if A4 were put on the human body as a piece of jewelry, outside its natural context, if we then would look at it differently. »

Una bella intervista di Art Jewelry Forum ad Anna Norrgrann, in occasione della sua prossima mostra « FLOW » che inaugurerà prossimamente ad Ohmyblue. // So very happy to share with you this great interview by Olivia Shih for ART JEWELRY FORUM to Anna Norrgrann about her upcoming show « FLOW » at OHMYBLUE

Anna Norrgrann - From series: The Flow within and the Flight from a Standard SizeAnna Norrgrann – From series: The Flow within and the Flight from a Standard Size

« Anna Norrgrann, an emerging Swedish jewelry artist, is already making waves as the 2015 Graduate of the Year at Klimt02 and by exhibiting her collection of deceptively simple jewelry in the Netherlands, Spain, and China. In this interview, we talk about Anna’s favored medium of anodized aluminum, and transforming a mistake into a method. »

« Olivia Shih: You recently graduated from the HDK Academy of Design and Crafts, in Gothenburg, after studying with Karin Johansson. How has this education influenced the way you work and the work itself?
Anna Norrgrann: I think the education has made me more self-reliant in my work and made me trust my guts more, and this I am very grateful for. At HDK you are given a lot of freedom to explore and experiment and in many ways choose your own way to work. This freedom hasn’t always been easy to handle, especially not in the beginning, but in the long run it has had the good result and effect of helping me become a professional jewelry artist. »

Anna Norrgrann, piece from the series imPulse Palette, 2014, brooch, aluminum, 170 x 100 mm, photo: artist: Anna Norrgrann, piece from the series imPulse Palette, 2014, brooch, aluminum, 170 x 100 mm, photo: artist

 

« Anodized aluminum appears to be your favored choice of medium. What possibilities do you see in aluminum in place of traditional precious metals?
Anna Norrgrann: I started working with aluminum just as a trial and then I realized there was something intriguing and challenging in this everyday metal, not only as a sketching material, but in itself. As I worked with the metal more and more, many possibilities appeared. For example I discovered the advantage of coloring the aluminum with the anodizing technique, or how I could transform the surface of the metal to make the color appear different. The low-density process gave me the possibility to work in a bigger scale; meanwhile, the anodizing process makes the surface very strong and this also enabled me to work with thin sheets of aluminum.
Let me put it like this: I did not expect as much from aluminum as from precious metals, and I think that was something that made me curious. »

Anna Norrgrann -  Necklace: A4.3, 2015 – Aluminum – 19 x 4 x 29 cm  Photo by: Anna Norrgrann From series: The Flow within and the Flight from a Standard SizeAnna Norrgrann Necklace: A4.3, 2015 – Aluminum – 19 x 4 x 29 cm  Photo by: Anna Norrgrann
From series: The Flow within and the Flight from a Standard Size

« At times subtle and at times striking, color plays an essential role in your work and evokes a range of emotions. How did your relationship with color evolve?
Anna Norrgrann: I’m experimenting with color and because I don’t come from a painting background, I don’t have too much respect for color. I believe this is not a disadvantage. To me it’s a representation of moods, feelings, and fascination, among other things. Using the anodizing technique the way I do requires focus and quick decisions and it’s a great way to capture reflections and impulses. Sometimes when a certain color combination appears, I travel in time, remembering something I have forgotten. This process has a lot to with presence and sometimes the presence is very colorful and sometimes it’s monochrome. « 

Anna Norrgrann, piece from the series The Flow within and Flight from a Standard Size shown in the studio, 2015, necklace, 210 x 297 mm, photo: artist Anna Norrgrann, piece from the series The Flow within and Flight from a Standard Size shown in the studio, 2015, necklace, 210 x 297 mm, photo: artist

« « The color flows in the forged surface and together with the format it evokes landscape, feelings and memories. Known and unknown.
A4, in this work, is meant to be worn on the body. I let it become a piece of jewelry with simple methods, drilling a hole, threading a string, tying a knot. When something normal to us is put in a new context or wrong context, it might be the first time we actually see it. » Anna Norrgrann

Anna Norrgrann works and studied in Gothenburg, Sweden and took her master degree in jewellery art at HDK, School of Design and Crafts 2015.

 

OHMYBLUE
campo san Toma’, sestiere di San Polo 2865
Venezia, Veneto 30125
Italy
+39 041 243 5741
http://www.ohmyblue.it/

23/01/2016

COUP de COEUR / DECOUVERTE – Caroline Bäckman

Classé dans : Caroline BACKMAN (SE),COUP DE COEUR,DECOUVERTE,HDK Goteborg (SE),Suede (SE) — bijoucontemporain @ 20:50

« November » collection by Caroline Bäckman

« With the seasons as a starting point, and autumn as a summary for them, I have examined my own process, abstractions, simplifications, and how to capture and convey a sense. I have started from the circle and the necklace as its representation. For me, it is a symbol of the eternal. The reasons that recur year after year, in an eternal cycle. The hammer captures my feeling and transfers it onto the metal. It gives shape and tells me about the autumn. « 

  caroline backman - works-November_I_Close_up   Caroline Backman -  works – « November I » – Close_up

« To capture a feeling and to reproduce the same. It is the biggest challenge for me and something I constantly return to in my work. I explore the relationship between the carrier, the observer and the object. I am striving for an activation between them. I want my jewelry to activate as many senses as possible. I try to approach my work with a playfulness and curiosity and a willingness to explore. »

Erasmus traineeship, Kim Buck Studio, Copenhagen, 2012
MFA, HDK, school of Design and Crafts, Gothenburg University, 2010-2012
Exchange Semester, Hiko Mizuno College of Jewelry, Tokyo, Japan, 2011
BFA, HDK, school of Design and Crafts, Gothenburg University, 2007-2010
Marzee Graduation Show 2012”, Gallery Marzee, Nijmegen, The Netherlands, 2012

*
Caroline BäckmanCaroline Bäckman – « November IV » – Multi-strand necklace with fold-formed leaves
Caroline BäckmanCaroline Bäckman « November III »
caroline backman - November ICaroline Backman - « November I »
Caroline BäckmanCaroline Bäckman « November V »
Caroline Backman - November IICaroline Backman – November II
Caroline BäckmanCaroline Bäckman « November V », 2012, neckpiece, silver, titanium – 210 x 160 mm

 Caroline Backman - November VICaroline Backman – November VI

29/11/2015

EXPO ‘Somewhere between order and chaos’ – Gallery Four, Göteborg (SE) – 13 Nov.-12 Dec. 2015

Classé dans : Exposition/Exhibition,Gal. Four (SE),Runa VETHAL STOLEN (NO),Suede (SE) — bijoucontemporain @ 0:17

 Opening: Friday November 13th 17.00-21.00

Runa Vethal Stølen(Runa Vethal Stølen - Neckpiece, « Bird »)

 Runa Vethal Stølen explore the border between chaos, order and perfection. Thin lines form three-dimensional drawings. Wire of steel and gold becomes milling jewellery sculptures where the exact composition creates order and soberness. Some of the pieces are covered in a layer of sand, glue and enamel. Overgrown formations with an exact and systematic inner structure.

Runa Vethal Stølen graduated from tog Oslo National Academy of the Arts 2009. Since then she has exhibited many times both in Norway and abroad. The exhibition at Four is Runa Vethal Stølens first in Sweden.

I’m interested in nature’s microcosms and chaos theory, the things we surround ourselves with all the time but have difficulty understanding.

Runa Vethal Stølen - White, necklace - steel wire, enamel, sand glue and varnish.Runa Vethal Stølen – White, necklace – steel wire, enamel, sand glue and varnish

Runa Vethal Stølen - Tajmahal, necklace made of oxidised silverRuna Vethal Stølen – « Tajmahal » necklace – oxidised silver

Runa Vethal Stølen - Neckpiece, "Bird"Runa Vethal Stølen – Neckpiece, « Bird »

 Necklace made of gilded steel and steel wire by Runa Vethal Stølen Photo by Anne Leger Runa Vethal Stølen – Necklace made of gilded steel and steel wire – Photo by Anne Leger

Nordhemsgatan 74,
Göteborg (Sweden)
+46 73 086 42 49

 

03/11/2015

EXPO ‘LISA WALKER ONE WEEK EXHIBITION’ – Platina Gallery, Stockholm (SE) – 3-11 Nov. 2015

LISA WALKER
ONE WEEK EXHIBITION
November 3-11, 2015
Welcome to the reception on Tuesday Nov 10, 17-19.

LISA WALKER ONE WEEK EXHIBITION

During Lisa Walkers visit in Sweden, she will give a lecture at Nordiska museet, Nov 11, 18.30
The lecture is organized by Iaspis, Konstnärsnämnden and Nordiska Museet.
She is one of the invited for the seminar About Time, Nov 7 at HDK, Gothenburg

LISA WALKER ONE WEEK EXHIBITIONLisa Walker neckpiece

LISA WALKER ONE WEEK EXHIBITIONLisa Walker  brooch

LISA WALKER  red broochLISA WALKER  red brooch

LISA WALKER lego neckpieceLISA WALKER lego neckpiece

LISA WALKER  neckpiecesLISA WALKER  neckpieces

 
Lisa Walker is an artist/jeweller/designer mostly working in the area of contemporary jewellery.
She exhibits and is involved in projects with museums, galleries, and other venues around the world. She is regularly invited to teach workshops and give lectures.
Her work is a study into the differences between an accepted notion of beauty or stereo-type, and something else – the search for a quality that we hardly ever see, but nevertheless perhaps recognise. Walker says « I don’t want to make pieces that are easily steered through our established channels, I want people to be forced to work on new syllogisms, analogies and positions. » She is continually pushing towards the extreme – a method which enables an expansion in thinking and ways of working.
Walker uses a large range of materials and techniques.
She makes reactionary work, consciously active with influences from all walks of culture and life. The pieces are often laced with references to contemporary jewellery of the last forty years, questioning and researching what jewellery means, what it can be.
Walker largely positions her work around the history, future, and boundaries of jewellery. She makes pieces for the future.
« Everything is food for art ».
After many years spent living in Munich, Germany, Walker is currently based in her city of birth Wellington, New Zealand.
LISA WALKER ONE WEEK EXHIBITIONLISA WALKER - canvas neckpiece
Platina
Odengatan 68,
10232 Stockholm (Sweden)
tel +46 8 30 02 80

OPEN TU-FR 11-18, SA 11-15

09/09/2015

EXPO ‘MATT LAMBERT – CHIMERA’ – Platina Gallery, Stockholm (SE) – 3-26 Sept. 2015

Classé dans : Exposition/Exhibition,Gal. Platina (SE),Matt LAMBERT (US),Suede (SE) — bijoucontemporain @ 0:01

MATT LAMBERT – CHIMERA  at  PLATINA

opening on Thursday 3d of September 2015, 17-19h
Matt Lambert is born in Detroit Michigan and was raised between Metro Detroit area and Rondeau Provincial Park, Ontario Canada. The background from urban Detroit and the wilderness in Canada has characterized his artistic practice as well as hybrids, queer and chimeraism in all its meaning.
2014 he graduated from Cranbrook Academy of Art (MFA) in Michigan.
"Matt Lambert Chimera" - sept 2015 Plarina -  http://www.platina.se/Pressrelease/Matt_press.html:
Matt Lambert: Occlusion of Gender Timothy Veske-McMahon, New York 2014
The crafting of queer identity is fundamentally different; it is a process out of sync with the ado-lescent development of the body and mind, retarded by cultural friction. It is in this way that queerness is enticing, in its conscious decision (more truthfully an act of non-decision) to perform.
Matt Lambert’s slippery shifting objects draw heavily from the regalia of contemporary male homo-social spheres. They impart a (re)codified identity precipitated from an atomized cloud of sport, hunting, and military references. Protective gear, trophies, marks of rank, are just a few of the mechanisms we extrapolate from these originating realms, which also cast a shadow-or perhaps contain a back room-where the ostracism of queer identities coalesces and rebounds in fetishized form.
Supple leather is conflated with the precision of laser-cut linkages to create necklaces, or perhaps more rightfully, representations of necklaces. The links themselves are reminiscent of sash chains, a type of chain with a specified purpose, but within the stale amateur workshops of the everyman’s garage, basement, or shed it becomes one of many unspecified panaceas for the maladies threatening the home, and by extension, the male psyche. The forms created with these leather links drink from other waters as well-as amassed strands of beads laden with cultural heft reference status, wealth, and the storage of communal social information. In this capacity they bridge material and functional gender expectations and project their ability to codify the wearer collectively, in Lambert’s objects the socially scripted-game, hunt, and war-are channelled into the grandeur of identity’s performance. Here his work rubs up against and compound notions of the body’s presentation: its decoration, posturing, and placement. It is only natural, then, that the experience of the body-performance-object because subject through photographic documentation and portraiture. New layers are encountered through the act of picturing. Robert Sokolowski1 stated the three main elements of picturing: an object must be taken as a picture, something must be valued in the picture, and there is a person who creates the picture from the object. In this way, the photographs simultaneously complicate and dissolve issues of gender relating to the use of the objects themselves as we speculate on the identity and of the picture-taker and their appreciation for the pictured objects.
We cannot overlook the intervention of the face as prevalent in Lambert’s work. Especially considering the involvement of portraiture with its focus so keenly on face of its subject. These masks convey blurred origins that ambiguously protect the wearer as well as conceal and alter identity. One grouping seems particularly suspect, part protective cage, part animal remnant, and effectively a decorative overlay. The lines creating the masks’ structure complicate our ability to recognize the face. They remain symmetrical and face-like in composition, but they accomplish the feat of clouding our ability to discern facial structure along binaries. This buffering of perception changes our means of recognition and prepares the viewer for plural understandings of the information (identity) presented and to invent for themselves the queer possibilities behind the mask.

Matt Lambert at PLATINAMatt Lambert

Matt Lambert at PLATINAMatt Lambert

Matt Lambert at PLATINAMatt Lambert necklace, medical leather,

Platina
Odengatan 68,
10232 Stockholm (Sweden)
tel +46 8 30 02 80

OPEN TU-FR 11-18, SA 11-15

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