EXPO ‘Saturation Point’ – Gallery Loupe, Montclair (NJ), (USA) – 17 Sept.- 8 Oct. 2016

SATURATION POINT / Naama Bergman

Artist Reception/ opening reception :  Saturday Sept. 17, 6-8 pm

 

 Gallery Loupe is proud to present Saturation Point, the first solo exhibition by Israeli artist Naama Bergman ; the show will feature her most recent works. Through inventive, impeccably fabricated jewelry and vessels, Bergman exploits the idea of change: emergence, growth, decay, and the tension that accrues between cultural heritage, physical matter, and fleeting time. By combining contradictory materials such as steel and rust within classic formats like urns and pods, she questions the essence of creation, potential, and transformation; she provokes a confrontation between preservation and decomposition, while at the same time positing questions about the hegemony, function, and mutability of mediums and forms. Bergman makes protean objects that tell a continuing tale about the very nature of existence.

Tradition and nostalgia play major roles in Bergman’s aesthetic. As a Sabra of east European heritage, she regards her work as tropes for the dichotomy between familial roots and present day reality. In her latest works, Bergman allows salt to grow slowly upon vessels, pendants, and brooches made from iron mesh. The openwork armatures are hard but delicately crafted, while the salt – a natural preservative – both helps to maintain the rigid support but also breaks it down. Although constantly altering, these pristine objects and jewels are simultaneously frozen in time. Other works will be presented that possess similar existential and cultural references, although they are made from very different substances, such as jewelry wet-molded into shape from animal intestines that have been treated in a salt solution – meant to be viewed as reminders of their former natural life.

Naama Bergman -  Salt Necklace 02. 2015. Salt, Iron Wire, Thread

Naama Bergman -  Salt Necklace 02. 2015. Salt, Iron Wire, Thread – details

Naama Bergman - Salt Brooch 09. 2016. Salt, Iron Wire 

Naama Bergman -   Salt Brooch 06. 2016. Salt, Iron Wire

Naama Bergman -   Salt Brooch 04. 2016. Salt, Plastic Mesh

Naama Bergman -  Salt Necklace 06. 2016. Iron, Salt, Thread 

Naama Bergman - Salt Necklace 03. 2015. Salt, Iron Wire, Hemp thread – detail

Naama Bergman was born and raised in Tel Aviv. She holds a BFA from the Department of Jewelry and Fashion, Bezalel Academy of Art and Design, Jerusalem.   Currently living in Munich, she is pursuing graduate studies in jewelry at the prestigious Academie der Bildenden Künste, with Karen Pontoppidan, having also studied there with Otto Künzli. Bergman is the recipient of several awards, including a 2015 and 2016 Study Scholarship for Foreign Graduates in the Fields of Fine Art, Film, and Design/Visual Communication and Film from DAAD, a German foundation, which supports emerging artists; a 2008 and 2009 scholarship for metal design from the Israel Cultural Foundation in America; the Eithan Ron Prize, an award for excellence in jewelry design, and Irit Strauss Prize, a scholarship for excellence in history and theory, from Bezalel Academy of Art and Design, Jerusalem. She has been included in exhibitions around Israel and in New York, the Netherlands, Germany, Tokyo, London, and Paris.

 

 Gallery Loupe
50 Church Street
NJ 07042 – Montclair/ New Jersey
United States
Telephone: [phone]
Fax: [phone]
website: www.galleryloupe.com
mail: [e-mail]

 

Enregistrer

EXPO ‘CrossPass’ – Gallery Velvet da Vinci, San Francisco (USA) – 8 Sept.-9 Oct. 2016

Demitra Thomloudis and Motoko Furuhashi: CrossPass

Velvet da Vinci

 

Artists’ Reception: Friday, September 9, 6-8pm

CrossPass is a project featuring collaborative and solo works by artists Demitra Thomloudis and Motoko Furuhashi that examines place through expanded media and the intimate lens of jewelry and small objects. The project targets a distinctive stretch of the Interstate 10 corridor connecting the unique borderplex region of El Paso, Texas to Las Cruces, New Mexico. The objective of CrossPass is to allow site-specific locations and the artists’ shared personal inquiries along this route to initiate the collection of images, video and sound which directly influences the creation of jewelry and objects. The viewer is asked to join them in their investigation of this land awash with dramatic terrain, vernacular structures and a multitude of boundaries; and, to uniquely discover these sites through the body.

 CrossPass Site #8 Mesa – Students parking their cars at the University of Texas at El Paso have a direct view of the border of different a country: Mexico. Here the divide is physically reinforced with the expansive border highway fence  // Crosspass: Demitra Ryan-Thomloudis « Over the Fence » installation of broochesDemitra Thomloudis and Motoko Furuhashi, Site 7, 2016, necklace Brass, powder coat, sand, found materials - Site #7 Mesa
El Paso is a city in constant flux. There you see the constant changing and rotating of businesses

 

Motoko Furuhashi was born in 1982 in Tokyo, Japan. While growing up in Tokyo, she received her introduction to art from her grandfather. Her recent works are inspired by her experiences traveling around the world and the road that takes her from one place to another. Motoko received her MFA from the University of Illinois at Urbana-Champaign. Currently, she is an Assistant Professor at New Mexico State University. Her work has been exhibited nationally and internationally including at the Museum of Contemporary Art Chicago, the Houston Center for Contemporary Craft, the Oakland Museum of California, and Nobana Art Works in Ginza in Tokyo. Publications include 500 Plastic Jewelry design by Lark Books, New Rings: 500+ Designs from Around the World by Nicolas Estrada, and Humor in Craft by Brigitte Martin.

Motoko Furuhashi, Anthony, 2016, Tape, road segments, brass, silver, powder coat, paint

 

Furuhashi Artist Statement:
“I am deeply fascinated with imperfection and the complexity of the natural cycle of growth, decay, and death as the processes that govern life. The overall intent with my work has been to slow the viewer down and make what goes unnoticed important. By highlighting what is viewed as imperfect my work can bring relevance to the object. My belief is that objects only gain importance when the artist draws attention to them. My work is a shift in the meaning of perfection, transforming our perception of reality to new perspectives.”

 Motoko Furuhashi, NMSU Parking Lot (New Mexico State University), brooch – 2016, Tape, road segments, brass, silver, powder coat, paintDemitra Thomloudis and Motoko Furuhashi, Site 9, 2016, Nickel silver, fabric, steel

 

Thomloudis Artist Statement:
“My jewelry is influenced by the ve­­rnacular architecture and landscapes of site-specific locations. This interest has led me to identify particular aesthetic characteristics and construction techniques that I employ to create works to be worn on the body. As an artist using jewelry and objects as an artistic format for self-expression, my work intends to challenge the construct of the medium as a means to examine value, material sign systems, and extensions of personal and place identity. By relating to the aesthetics of architecture, landscape, and place in this way, I see jewelry having the potential to connect us closer to the world we are surrounded by.”

Demitra Thomloudis and Motoko Furuhashi, Site 5, 2016, Steel, sand, dry grass, acrylic, paint, land segment, silver – Site #5 Anthony
The border town of Texas and New Mexico is Anthony. There Anthony, NM and Anthony, TX sit next to each other.

Demitra Thomloudis and Motoko Furuhashi, Site 2, 2016, Nickel silver, brass, silver, land segment, ink
jet print, gesso – - Site #2 Las Cruces (Near NMSU)  From land of Native Americans, the Spanish territory of New Mexico has been established over the time. These streets created here continue to develop and allows us access to the land.

Demitra Thomloudis and Motoko Furuhashi, Site 8, 2016, Steel, brass, cement, resin, pigment, fibers

Demitra Thomloudis and Motoko Furuhashi: Site #4, 2016 Steel, sand, dry grass, acrylic, paint, land segment, s

ilver Site #4 Vado
New Mexico’s relaxing life style is highlighted by the vivid colors of the orange and beige sand, dry green grass, tumbleweeds, and its rectangular shaped farm lands.  

 

Velvet da Vinci
2015 Polk Street,
San Francisco, CA 94109
Phone: [phone]
Email:  [e-mail]
Hours: Tuesday through Saturday, 11am – 6pm, Sunday, 11am – 4pm

 

EXPO ‘Nikki Couppee: Hologems’ – Gallery Velvet da Vinci, San Francisco (USA) – 11 Mai-19 Juin 2016

Nikki Couppee: Hologems
Velvet da Vinci

Artist’s Reception: Friday, May 13, 2016, 6-8pm

 Nikki Couppee’s recent work talks about the different functions jewelry performs in society. Objects of personal adornment have the ability to define a person’s social statues, serve as a redeemable investment and perform on a psychological level. Working with everyday materials like Plexiglass, brass, and found objects in place of precious gems and metals she intuitively creates her own versions of gemstones, hand cast and faceted in luminescent plastics. In the series Hologems, Couppee combines holographic and synthetic materials with resins, creating fantastical frozen corsage brooches, lustrous, glow-in-the-dark gems, and collaged ornaments that are at once over-the-top and elegant. The work is further inspired by growing up on the beach in Florida, the 90’s, Crown Jewels, and costume jewelry

Nikki Couppee Large Corsage Brooch, Plexiglass, brass, found object, steel, (glow in the dark)

 Nikki Couppee Beach Kid Brooch, Plexiglass, brass, found object, steel

Nikki Couppee, Neogem Crystal Drops, Plexiglass, brass, sterling silver, fine silver, film

Nikki Couppee, Glow Brooch, 2016, Plexiglass, brass, sterling silver, fine silver, film (and  as seen in the dark)

Nikki Couppee Hologem Necklace with Red Leather

 

Nikki received an MFA in Jewelry/Metals from Kent State University, Kent, Ohio (2011) and a BFA from the University of Georgia, Athens, Georgia in Jewlery/Metals (2007). Her work has been featured in publications such as American Craft, Metalsmith Magazine, Modern Magazine, Vogue Brazil, Dailycandy, and Lark Book’s 500 Enameled Objects. Couppee has taught enameling and jewelry/metals techniques at Kent State University, The Cleveland Institute of Art, and The Crucible in West Oakland, CA. Originally from Pensacola Beach, FL, Nikki currently lives and works in the San Francisco Bay Area

 

Velvet da Vinci
2015 Polk Street,
San Francisco, CA 94109
Phone: [phone]
Email:  [e-mail]
Hours: Tuesday through Saturday, 11am – 6pm, Sunday, 11am – 4pm

 

COUP de COEUR ….. Anne Dinan’s world

Depuis le Melting Point 2016, mon vocabulaire en « coups de coeurs » s’est enrichi !
« Flechazo » en espagnol, « love-at-first-sight » en anglais (ou …. « having a crush » ?) ….

Quant au monde d’Anne Dinan, j’ai d’abord craqué pour ses blancs …. pour finalement découvrir un monde de bleus, de verts, de formes organiques, de sculptures miniatures, de matières …..

« (My) inspiration is nature and industry combined. What have we done? »

Anne Dinan  – pendants – steel and enamel – 2016 – 1st discover ….. & « love at 1st sight » !

Anne Dinan -  Vitreous enamel on steel –   from the « Birch serie » 2015

Anne Dinan – Vitreous enamel on steel – jan 2016

Anne Dinan – Vitreous enamel on steel  new works jan 2016

Anne Dinan – 2015 – Birch forest 

Anne Dinan, No title, 2016. Pendant. Steel, vitreous enamel. Twelve unique pieces. « (My) inspiration is nature and industry combined. What have we done? »  (MYTHS 2016 – TEST DRIVE)

Anne Dinan Vitreous enamel on steel – jan 2016

Anne Dinan – vitreous enamel – 2016

Anne Dinan - Handmade (laser decals ) on vitreous enamel -mars  2016 

Anne Dinan - vitreous enamel – 2014 – « Unknown Relatives » serie
«  “Unknown Relatives”  was based on a series of old portrait photographs found at a family farm in Michigan. Dinan created the 20-piece assemblage using kiln-fired vitreous enamel on copper from digital waterslide transfers« 

Anne Dinan is a nationally recognized jewelry and visual artist who attended the School of Museum School of Fine Arts in Boston.

A resident of Exeter, N.H., Dinan has presented her unique and diverse pieces at a number of shows including Alchemy 3, the 2015 Enamelist Society touring exhibition at five New England galleries ; seasonal shows at the Button Factory in Portsmouth, N. H. and Pettengill Farm in Salisbury, Mass; and at

“Myths – Test Drive” in Germany at the 2016 Munich Jewellery Week show (SCHMUCK) .

Anne Dinan – Brooch a day 18 – 2013 – driftwood, powdered enamel, nylon weedwacker cord (found on the beach), glue

« Dinan earned second place in the wall piece category of the 15th Biennial International Juried Enamel Exhibition for “Unknown Relatives,” which was based on a series of old portrait photographs found at a family farm in Michigan. Dinan created the 20-piece assemblage using kiln-fired vitreous enamel on copper from digital waterslide transfers. The pieces were mounted on wood from an old wheelbarrow.
“Unknown Relatives” also was featured in “The Book of Alternative Photographic Processes (third edition) by Dublin artist and photographer Christopher James. Dinan’s work will also be featured at galleries in Munich, Germany and Paris. She attended the Museum School of Art in Boston. » (The Enamelist Society’s 15th Biennial International Juried Exhibition and the 11th International Juried Student Enamel Exhibition at the League of NH Craftsmen, 49 S. Main St., Concord., jan 2016)

Anne Dinan -Sans titre -  jewelry – 2012

 

 

EXPO ‘Read and Worn: Jewelry from Books’ – RR Gallery, NY (USA) – 10 Mars-30 Avril 2016

RR Gallery -  Very excited for our next exhibit — Read and Worn: Jewelry from Books –

March 10 – April 24!! (extended to April 30)

 

Work from Jeremy May, Flora Vagi, Shiri Avda, Kiwon Wang, and Katherine Richmond
Shown: « Four Fantastic Tales » by Jeremy May

The Gallery at Reinstein|Ross is proud to present “Read and Worn” an exhibition featuring the work of five international artists who transform the pages of books and newspapers into unique works of wearable art jewelry. These artists are storytellers, who utilize the printed word as their form of expression. Whether using publications in their entirety, or simply using a few sheets of print, these artists give new life to the printed page. In the spirit of “intellectual recycling”, discarded newspapers and old books – literature, history and news – are given a second chance as bracelets, necklaces, earrings, and rings. Paper has long been a popular material for the creation of art, with artists often hand-making their own paper. Using the pages of books, newspapers, encyclopedias, however, is a recent trend, ironically spurred by the popularity of e-readers and online publications, and thus the abandonment of the printed and bound book.

 

Flora Vagi paper Rosegold Seanemone brooch

Flora Vagi paper brooch

Flora Vagi brooches

Hungarian artist Flora Vagi loves the smell of old books. Collecting old books, she removes the pages to create brooches inspired by marine life and floral forms. Vagi’s multilayered brooches are organic and curvilinear, just the opposite of the original structured and bound books. Vagi refers to her work as “intellectual recycling”, she enjoys knowing that these books, once found on someone’s shelf, have gone from inhabiting a private space to a public one when worn on the body. Vagi, is a celebrated art jeweler who often works with wood. In “Read and Worn” she will show her paper jewelry in the United States for the first time. 

Kiwon Wang neckpiece

Since childhood, Korean artist Kiwon Wang, has been inspired by paper. Not only is paper used freely in Korean domestic architecture, but growing up, her family always had an extensive library of books. Encouraged to “find out who she is”, while in graduate school at the Rhode Island School of design, it was obvious to Wang that paper, pearls, and metals were going to be her materials. Even now, printed paper is Wang’s material of choice. Wang chooses articles from old newspapers to create necklaces, brooches, and bracelets. Most of her pieces are adorned with pearls, the lustrous gems prized for their beauty in both Western and Eastern cultures. Wang is attracted to spherical forms, not just because this shape represents the earth but also because process of recycling is circular. 

work from Jeremy May

Jeremy May  paper ring

London-based artist Jeremy May purchases books from his local thrift store. After reading each one, he chooses a story that inspires him the most and turns it into a wearable sculpture.  May selects the pages that he carefully removes from the book, laminating as many as a hundred sheets together, then applies a high gloss finish before reinserting the jewelry into the excavated space within the book. Through his jewelry May hopes to give books a “new lease on life” and inspire people to fall in love with them all over again.

Shiri Avda, “Rock Paper Scissors” Rings

Israeli native Shiri Avda in her work “The Mechanism of Reading” aspires to provoke the viewer with an experience equivalent to reading and leafing through the pages of an old book. Her objects, meant to be both worn and displayed on the wall, are carved from discarded books and embellished with an old lace pattern. Her second series, “Rock Paper Scissors” is inspired by the “world of texture and color” in the printed word. Avda does not conceal the typeface here, instead choosing to reveal the beauty of the printed pages that she takes from antique books and atlases. A fan-like shape – a flourish of paper -  is often used in her pendants, rings, and brooches.  

Katherine Richmond  Brooch

British artist Katherine Richmond trained as a jeweler and silversmith but her Graduate thesis at the School of Jewellery, Birmingham City University, UK prompted her to explore working with alternative materials, including books. Richmond utilizes pages from multi-volume Victorian journals and books, focusing on illustrations which she believes are rarely ever seen by the public, to create multi-layered and highly detailed brooches, necklaces, and pendants. Unlike the rest of the artists in the exhibition, Richmond’s jewelry is full of strong images by which she creates her own narrative. She “uses books as a symbol of permanence and longevity to create wearable objects with a fragility that questions traditional notions of wear-ability.” Paper, she says, is a lot more durable then people think it is.

 

REINSTEIN/ROSS gallery (RR Gallery)
30 Gansevoort Street, New York,
NY 10014   (USA)
tel [phone]
[e-mail]

EXPO ‘Earrings3’ – Gallery Velvet da Vinci, San Francisco (USA) – 15 Avril-8 Mai 2016

Velvet da Vinci ·   Coming April 15 :

« Earrings3″ Velvet da Vinci’s 3rd exploration of art for the ear. 

Artists’ Reception: Friday April 15, 6-8pm

 

 Featured Artists:   Carolina Andersson, Jill Baker Gower, Lynn Batchelder, Kristin Beeler, Jesse Bert, Elisa Bongfeldt, Ashley Buchanan, Raissa Bump, Liz Clark, Kat Cole, Nikki Couppee, Cara Croninger, Lisa Crowder, Lisa Scott Cylinder, Donna D’Aquino, Anna Davern, Jeffrey Lloyd Dever, Sandra Enterline, Nicolas Estrada, Joanna Gollberg Stirling, Caroline Gore , Liisa Hashimoto, Brandon Holschuh, Daphne Krinos, Maia Leppo, Tara Locklear, Kristin Lora, Judy McCaig, Owen Mclnerney, Jillian Moore, Robert Thomas Mullen, Seth Papac, Meghan Patrice Riley, Cynthia Rohrer, Vina Rust, Yuka Saito, Biba Schutz, Caitie Sellers, Karin Seufert, Leslie Shershow, Rachel Shimpock, Eric Silva, Jan Smith, Boline Strand, Amy Tavern, Julia Turner, Lauren Tickle, Myung Urso, Aric Verrastro, Sam Woehrmann, April Wood, Mizuko Yamada, Sayumi Yokouchi

Raissa Bump, 4 Hemisphere Earrings, Oxidized sterling silver, red glass beads

 Jillian Moore, Red Stretched Droops w/ Chrome Lips, Polymer clay, paint, resin

Karin Seufert, Earrings n.T. no 415, PVC, silver

Maia Leppo, Silicone Flower Posts -  steel, silver, silicone rubber

Donna D’Aquino, Large Steel Structure Earrings. Steel, 18ky gold

Jill Baker Gower, 3D Doily Dangle, Oxidized steel, bronze Infused, argentium sterling silver 

Amy Tavern, Tension Earrings,   brass, sterling

Aric Verrastro, Garden Earrings 2016  steel, sterling silver, 14k gold, thread, acrylic paint

 

Velvet da Vinci
2015 Polk Street,
San Francisco, CA 94109
Phone: [phone]
Email:  [e-mail]
Hours: Tuesday through Saturday, 11am – 6pm, Sunday, 11am – 4pm

 

 

During SCHMUCK 2016 : EXPO ‘Untitled. Thomas Gentille’ – Die Neue Sammlung, Munich (DE) – 27 Fevr.-5 Juin 2016

Untitled. Thomas Gentille. American Jeweler

Friday, 26. February 2016 opening 7pm

The exhibition is being produced in close collaboration with Gentille himself and will be located on the second floor of the Rotunda in Pinakothek der Moderne.
Pieces by Thomas Gentille can be found, among others, in New York’s Metropolitan Museum of Art, the Cleveland Museum of Art, the Philadelphia Museum of Art, the Museum of Fine Arts in Houston, in Melbourne’s National Gallery of Victoria, in the Victoria & Albert Museum in London – and in Neue Sammlung in Munich.

Exhibition | Munich | February 27, 2016 – June 5, 2016

 Thomas Gentille Armlet: Untitled Acrylic, bone, nylon, bronze bolts 19.8 x 14.2 x 1.3 cm Photo by: Eva Jünger

Thomas Gentille Brooch: Untitled Eggshell inlay (Emu) Back: Industrial pins 14.9 x 5.2 x 0.8 cm Photo by: Eva Jünger

Thomas Gentille Brooch: Untitled Colorcone (plastic), steel Back: Industrial pins 6.5 – 8 x 4 – 7.5 x 1 – 2.5 cm Photo by: A Laurenzo Die Neue Sammlung

Thomas Gentille Armlet: Untitled Acrylic, anodized aluminum, bronze bolts ø 15.5 x 0.7 cm Photo by: Eva Jünger

Born 1936 in Mansfield, Ohio, and a resident of New York since 1960, American Thomas Gentille is a leading studio jewelry artist not just in the United States but in the world as a whole. To mark his 80th birthday in 2016, Die Neue Sammlung decided to invite the co-founder of studio jewelry in America to stage the first comprehensive exhibition on his oeuvre. On display will be 180 items of jewelry, drawings and a film conceived and realized by the artist about the two most important cities in his life, namely New York and Munich.
He favors innovative plastics, solid aluminum and a wide variety of woods, not to mention papier-mâché, sawdust, silk threads, old glass spheres hand blown in Bohemia and air – over gold, silver and precious stones.
 Gentille is one of the first American studio jewelry artists to employ such non-precious materials so consistently – and he did so from 1960 onwards, calling into question the value of precious metals in how jewelry is designed and estimated. He only uses high-quality gold for the rear of the brooch. For Thomas Gentille the emphasis is always irrevocably on the piece itself, its artistic statement and its quality. Every item is a one-off, be it a brooch, necklace or bracelet, and a masterpiece of craftsmanship, unique in its affiliation with sculpture and architecture. For this reason, Gentille refuses to date his works, as this might make his older items possibly appear more valuable than younger ones.
His works with an eggshell overlay are famous. Using this mysterious method and even without employing the old Asian lacquer technique he produces a krakelée surface on his works. Gentille explains that it takes years of experimentation and practice with the technique until you finally grasp the “soul of the material”.

 

 

 

Die Neue Sammlung – The Design Museum,
Pinakothek der Moderne,
Barerstraße 40,
80333 Munich

Arnoldsche Verlagsanstalt will be publishing a 210-page catalog on the life and work of the artist with a preface by Angelika Nollert, an essay by Andrea DiNoto and an interview with Thomas Gentille conducted by Bettina Dittelmann and Petra Hölscher.

During SCHMUCK 2016 : EXPO ‘NEW WORK from a NEW WORLD’ – Galerie Jordanow, Munich (DE) – 25-28 Fevr. 2016

NEW WORK from a NEW WORLD

Galerie Biró in cooperation with Jewelers’Werk USA
At  Galerie Jordanow, Zieblandstr. 19, 80799 München
Öffnungszeiten: 25.-28.02. 2016. Täglich von 11 bis 19 Uhr

Sélection d’artistes américains :

Thea Clark — Rebekah Frank + Iris Eichenberg — Missy Graff — Lisa Gralnick — Mielle Harvey — Timothy Veske-McMahon — Darcy Miro — Edgar Mosa — Seth Papac — Carolanne Patterson — Sharon Portelance — Lauren Tickle-Tietje — Aric Verrastro — Jonathan Wahl –  Sayumi Yokouchi

Thea Clark 2016 - Ice - brooch, 2016, pigmented plaster, resin, anthracite, wood, metals.

 Rebekah Frank – Max height 3 composite – rectangle series

Missy Graff  Lengthen 2013 – Fascia series

Lisa Gralnick :   Gold Zoloft necklace – The Gold Standard : Gold Standard Part I: Commodification & Sensible Economy - works related to value of object

Mielle Harvey – golden bird finger ring 2011

Timothy Veske-McMahon – Glyph/Borne

Darcy Miro – Oxidised silver cuff bracelet, six black diamonds 

Earropes by Edgar Mosa | photo by @josephmcs | modeled by @sarah_mccall

Seth Papac  Brooch, 2015 -Brass, powder coated brass frame, velour

Sharon Portelance- Memory Breathes – « Wreath for Liam and Maeve » bracelet - sterling silver, 22ktgold

Lauren Tickle  « Is it Legal? »   brooch 2015

Aric Verrastro  - Timekeepers serie -  Here to There  Steel, driftwood, sterling silver, acrylic paint, thread  105x9x2cm  Necklace  2015:

 Jonathan Wahl - « Faceted » / charcoal

Sayumi Yokouchi, Untitled, 2015, brooch, thermoplastic, silver, white gold, 45 x 55 x 10 mm, photo: artist

 

 

Galerie Jordanow, Zieblandstr. 19, 80799 München

Galerie Biró
Zieblandstrasse 19
80799 München
Tel: + 49 (0) 89 27 30 686
[e-mail]
Opening ours: Thursday to Friday 11am to 16pm, Saturday 11am to 2pm
www.galerie-biro.de

Selected 4 SCHMUCK 2016 : Lauren Kalman

Lauren Kalman

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

While our western countries discuss a lot, in a « social » point of view, about veil, tchador & so on,  fashion (Gaultier, Margiela, Hussein Chalayan, etc etc … ) & jewelry designers show their own interpretation about it …  finally, « only » an adornment ?

Gaultier  2007  //  Hussein Chalayan // Martin Margiela

quand ce n’est pas ce défilé choc de Chalayan :

Hussein Chalayan Spring 1998 - The 50 Most Scandalous Dresses in History

*

 “I create wearable jewelry that investigates contexts relating to sex, gender, power, pleasure, pain, taste and beauty. This project originated in response to the architect Adolf Loos’s 1910 lecture Ornament and Crime, criticizing the use of decoration in utilitarian objects. My jewelry, when on the body, enacts Loos’s ‘crimes’ of individualism, eroticism, and ornamentation.” Lauren Kalman

Lauren Kalman, Hood 5, 2014, photograph, giclée, 71.12 x 50.8 cm

LAUREN KALMAN – Masters Fine Arts, Art & Technology, Ohio State University, Columbus, Ohio, USA, 2006

Lauren Kalman – Composition with Ornament and Object

«  Lauren Kalman  focuses on the creation, documentation, and display of wearable sculpture, electronic adornments, photographs, video, and performance. Diseases like elephantiasis, acne, cancer, and herpes are presented as jeweled infections, fabric growths, or wearable instruments. They are hybrids of the grotesque or undesirable aspects of the body and objects we associate with beauty, status, health or wealth. »

Selected 4 SCHMUCK 2016 : Marjorie Schick

 Marjorie Schick

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

**

« In the jewellery world Marjorie Schick is a complete original. Over forty years she has built up an impressive oeuvre. Her colourful wood or papier-maché constructions make a powerful visual statement when worn as wearable objects. «   (Book: « Sculpture to Wear. The Jewelry of Marjorie Schick »)

« I often construct forms of a scale which puts the work into the category of body sculpture rather than jewelry. »

« My work has been about exploring the boundaries of jewelry and sculpture since my first year in graduate school, though I did not quite understand it as that. Then, as I left school to begin my professional career, I found my direction in the work of sculptor David Smith: what would it be like to put your head or an arm through one of his works? That was 1966. I have been trying to achieve that fusion, to be both jeweler and sculptor (and something of a painter as well) ever since. I am as excited about this adventure today as I was more than forty years ago. » (CharonKransenArts)

« My work is a sculptural statement which is complete when off the figure yet is constructed and exists because of the human body. I am intrigued by the idea that the human body is capable of carrying large objects, both physically and visually; therefore, I
often construct forms of a scale which puts the work into the category of body sculpture rather than jewelry.
There are five major aspects to my work: the constructed three-dimensional form, the color relationships, the definition of space, the combination of patterns, and the scale of the objects in relationship to the human figure. My goal is to create a sense of visual tension among the formal elements of each object, such as from line to plane, from color to value, from one directional
force to another, or from the rhythms in the structure to the rhythms in the colors. Each object is studied and worked in totality, no part being any less important than any other.
I refer to the linear constructions I did in the 1980′s as three -dimensional drawings to wear and to the newer more organic works as sculptural paintings to wear. I hope that as objects they seem to be « alive » with aesthetic presence. The motivation for the work is never to fit into any trend but rather the work is done out of a passion for creating, for trying to do something significant » (Pittsburg State Univ.)

Marjorie Schick

Marjorie Schick Blue collar

 Marjorie Schick  painted papier mache « Spring Green » Necklace 1993.

  Marjorie Schick