EXPO ‘Amber Chamber’ – Gallery Velvet da Vinci, San Francisco (USA) – 1-31 Oct. 2015

Amber Chamber

New jewelry from an ancient material…

Artists’ Reception: Friday, October 2, 6-8pm

(Helfried Kodre, Brooch, 2015, Amber, sterling silver)

Featured Artists:   Elisabeth Defner — Christiane Förster — Heidemarie Herb — Herman Hermsen — Beate Klockmann — Helfried Kodré — Philip Sajet — Peter Skubic — Gisbert Stach — Petra Zimmermann

This exhibition shows a number of different approaches to amber, running the gamut from artists working with amber for the first time, to those who have been working with it for an extended period.  The contrasts in these works should help to update the traditional and still rather one-sided view of amber jewelry, showing new possibilities about this interesting material.  Amber, fossilized tree resin, has been appreciated for its color and inherent beauty since Neolithic times.
Curated by Heidemarie Herb.

Herman Hermsen, AllaDali (Brooch), 2015, shark yaw, amber, gold 15 x 8 cm

Gisbert Stach, Golden Toast 3 Brooch, 2013, Baltic amber, transparent silicon, stainless steel.  Photo: Gisbert Stach

 Peter Skubic, Untitled Brooch, 2015, Amber, coral, stainless steel, 9 x 8.5 x 2.7 cm. Photo: Petra Zimmermann

  Petra Zimmermann, Untitled (Rings), 2014/2015, Amber, polymethylmethacrylate, gold

Heidemarie Herb, Neckpieces: Time, 2014, Sterling silver, brass, iron, natural rope, baltic amber, 13 cm. Photo by: Silvana Tili:  

Beate Klockmann, Earrings, Untitled, 2015, Gold, amber, Plastic, 40 x 40 x 20cm

 

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 ‘BHLO: a duet’ – Brooklin Metal Works, N.Y. (USA) – 19 Sept.-1er Nov. 2015

BHLO: a duet – Jorge Manilla  & Ruta Reifen – two botanical explorations …

Opening reception sept. 19th 7-9 pm

Artist talk September 20, 3pm

An art jewelry exhibition featuring Ruta Reifen’s Floralforever (pardesim) and Jorge Manillla’s Impossible to imagine collections. Two unique botanical explorations, abstract and figurative. Both stories of a human’s relationship to their environment, one philosophical and the other a particular narrative. Presented together, as a duet, a dance, these bodies of work employ floral forms as cultural symbols, personal and universal.

 ***

Jorge Manilla, the son of a family of Mexican goldsmiths and engravers, studied visual arts at the Academy of San Carlos, in Mexico. He received a highly technical jewellery training at the Academy of Craft and Design from the Mexican Institute of Fine Arts. But it was until he moved to Belgium, years later, where he enrolled at the Karel de Grote Academy in Antwerp, that he was forced to forget about the traditional notion he had to jewellery, to let his technical skills aside and to research about the cultural meaning of jewellery, its conceptual possibilities and to experiment with materials and techniques .
Manilla’s vast production, is both utterly beautiful and profoundly upsetting. Attraction, repulsion, uneasiness: his work confronts him with his religious upbringing and the viewer with a powerful and intimate perception of the syncretic religion of the modern Mexico. Allusions to religious images and iconography that show the often tortuous and painful relations that Mexicans have with their faith. Wood, bones, textile, branded leather and silver are amalgamated and transformed into almost recognizable shapes: a probable anatomical part, a series of tiny bundles that could be small babies, an unknown religious utensil. Manilla is not shy to experiment with all kinds of materials and processes, never leaving aside his extraordinary metalsmithing skills. Each one of his pieces is carefully crafted in a variety of processes that are able to convey his rotund ideas.

Ruta Reifen

 

Ruta Reifen, born in Jerusalem, Israel, 1984. Received an honors B.Design in Jewelry Design from Shenkar College of Engineering and Design (Israel) 2009. In 2011 she received and honors MFA from the Jewelry + Metals department at the Rhode Island School of Design (United States).
Ruta keeps her own studio practice in the Brooklyn Navy Yard. Her fine jewelry sells in selected boutique stores across the US and Europe. Ruta’s practice is based on an expertise of artisanal goldsmith techniques, design skills, and an academic background in jewelry, art history, and contemporary art.
Each piece is individually handmade by the artist in Brooklyn, using responsibly sourced metals and stones, ensuring a commitment to the highest quality craftsmanship as well as minimal environmental impact.
“As a maker, jewelry presents endless opportunities to form intimacy through a wearable piece of art. These jewels are symbols of the splendor and romance I find in flowers, also the most immediate material for self-adornment since ancient times. Floral forms relate directly to the wearer, the exchange between us is personal with every piece I create. ”

 

 

Brooklyn Metal Works
640 Dean Street
Brooklyn, NY 11238
Phone: [phone]
Email: [e-mail]

 

EXPO ‘SeulGi Kwon – Tender Moments’ – R|R Gallery, New York (USA) – 10 Sept.-4 Oct. 2015

SeulGi Kwon – My first US solo show  Sep.10 – Oct. 4. 2015 -  R|R Gallery  New York

Please join us in welcoming Korean artist SeulGi Kwon to the gallery for her first U.S. solo exhibit. « Tender Moments » opens next Thursday, September 10th from 6-8pm

**************************

Seul Gi Kwon – Tender moments 

 

 

R|R Gallery
30 Gansevoort Street
New York, NY 10014
tel [phone]

EXPO ‘Jo Pond: Intimate’ – Gallery Velvet da Vinci, San Francisco (USA) – 19 Aout-20 Sept. 2015

Jo Pond: Intimate

An exhibition of new works by the UK based artist

Artist’s Reception:  Friday August 21, 6-8pm

 

Jo Pond’s most recent jewelry works can be seen as reincarnated objects, relics of everyday urban life that have been transformed by the artist’s process. Material elements such as buttons, coins, cans, and keys are modified and reinterpreted, simultaneously creating new narratives for each piece while drawing from each object’s industrial heritage and unique past. Precious metals and stones such as diamonds or pearls are often included in combination with these found objects, playing with visual and conceptual notions around beauty and the mundane, social status, and hierarchical value or worth.

Born in Chiswick, London, Pond currently lives and works in rural Staffordshire. Her work has exhibited on an international level; highlights include exhibits at Schmuck (Munich), the V&A Museum, (London), the Price Tower Arts Centre (Oklahoma), and Contemporary Applied Arts (London). Pond’s Narrative Jewelry Collection received the 2005 BDI Industry & Genius Awards in the category of Products and Genius. The artist earned her Masters at The School of Jewellery, Birmingham and is a member of Contemporary Applied Arts, London.  She presently serves as a full-time lecturer at the School of Jewelery in addition to maintaining her studio practice.

 Jo Pond, Fine Quality (Brooch), Repurposed steel tin, steel, iron, diary pencil

Jo Pond, Intimate tin locket, Repurposed steel tin, repurposed bone page turner, silver, gold plate, ribbon

 Jo Pond, Baking Tin and Grater Series, Repurposed baking tin, citrine, 18ct Gold, Steel.

Jo Pond, Phillumeny neckpiece, Suspended in Pink Series, 1940’s baking tin, match sticks 

Jo Pond, Planted Frame Brooch, Repurposed steel tin, steel, silver, gold plate

Statement from the Artist:
“Using found objects is like starting the process of creating with part of the story already written. I am able to choreograph, make introductions and interventions. I may add and remove lines within the story and then watch to see if they read true to me, sometimes living with them in one form or another, still, watching and listening for them to tell me when they are comfortable and appropriate. I have a bond with each stage, a personal connection, one of belonging, a reluctance to let go or and an uncomfortable enjoyment of that which I have choreographed. Saving these intimate moments by capturing them safely in photographs, I am able to intervene once again, in the knowledge that I can recall that grouping and the essence of relationship it brings. My compositions work more happily in groups, sometimes the harmony of material, color or repetition compels the creation of a family, a void being left once one conclusion is made and moved to one side to free space for further meanderings. The conclusions are the quietest moments, following a multitude of compositional conversations it is necessary to listen to the outcomes to know if they are complete. There is a sense of separation at this point, the umbilical cord becomes severed and some of the tension seeps away, leaving me comforted in my decision making process.
There are phases, maybe somewhat fickle, where I have a changing passion for that which I find. Sometimes time, location or circumstance can influence these phases, but they mark a point of change and must be consciously considered. It is all part of being true to the visual conversation being orchestrated, alongside the voluntary and involuntary narratives, which serve to conduct my metaphor.”  – Jo Pond, 2015

 Jo Pond, Small Necessities, Silver, repurposed bone toothbrush, 18ct gold, gold plate  – DETAIL 

 

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 ‘coOperation – GARNISH’ – Gallery Velvet da Vinci, San Francisco (USA) – 19 Aout-20 Sept. 2015

co-operation – garnish

A collaborative exhibition organized by Brigitte Martin and Rachel Timmins

Artists’ Reception:  Friday August 21, 6-8pm

 A garnish can be anything from an adornment that adds or enhances the body (human or animal) to a functional or nonfunctional object that decorates and spices up a room. This exhibition will ask viewers and participants to examine the idea of a garnish made by 2 different subsets of makers who have come together to create an embellishment that satisfies both.

Participating Artists:    Suzanne Amendolara / Dan DiCaprio — Christiana Byrne / David Lee — Catherine Chandler / Sonya Scott — Brian Ferrell / Jillian Moore –  Heidi Gerstacker / Masumi Kataoka — Emily Gill / Jaime Sawka — Charity Hall / Francesca Vitali – Peter Hoogeboom / Maia Houtman — Nicole Jacquard / Annie Fensterstock — Lauren Kalman / Kipp Bradford –  Satomi Kawai / Nikki Couppee — Thomas Mann / Wayne Werner –  Bruce Metcalf / Evin Dubois — Tom Muir / Caitlin Skelcey — Vincent Pontillo Verrastro / Sharon Massey –  Mette Saabye / Pernille Mouritzen — Marissa Saneholtz /Michael Dale Bernard — Linda Savineau / Steve Shelby — Olga Starostina / Corey Ackelmire — Billie Theide / Brooke Marks-Swanson — Rachel Timmins / Brigitte Martin — Aric Verrastro /Randy Long

 Satomi Kawai & Nikki Couppee, Neogems (Necklace), Plastic, etched copper, resin, pigment, sterling silver, brass, plexiglass, found shells, faux and real pearls, faux silver foil, hologram laminate

Brian Ferrell & Jillian Moore, Clompe Cluster (Brooch), basswood, polymer clay, resin, paint, wax

Peter Hoogeboom & Maja Houtman, Artichoke (Brooch), Ceramics (slipcasting), metalwork (basketry), silversmithing silver, porcelain

Tom Muir & Caitlin Skelcey, Expel, ABS Plastic, Sterling Silver, Automotive Paint and  Clearcoat

Aric & Randy Verrastro & Long, Daydreaming (Neckpiece), Canvas, PLA, sterling silver, copper, enamel, china paint, steel, thread, acrylic paint, poly-fil

Linda Savineau & Steve Shelby, Sluggish Meanderings, Hammer printed brass, 3D printed nylon (SLS), driftwood

Marissa Saneholtz & Michael Dale Bernard, « She was lost to her dreams as flowers cascaded upon her. » (Neckpiece), Copper, steel, aluminum, silver, maple, vitreous enamel, powder coat, lacquer

Vincent Pontillo-Verrastro and Sharon Massey, Plume, Copper, PLA, graphite, enamel, rare-earth magnets

 

Statement from the organizers:
“A modern metalsmith/metal artist can be found working in traditional metals as well as in nontraditional materials. The designs can range from the classic to the extravagant, and the techniques can either be centuries old or decidedly current. The wide range of expression preferences, design options, materials, and processes has lead within our field to unfavorable misconceptions, misunderstandings and in some cases even outright disdain between artists. Each side considers itself superior to the other, seemingly not appreciating the clear advantages, benefits, and experiences each faction brings to the table. Quoting from Damian Skinner’s 2013 SNAG keynote lecture in Toronto:
“We are all family. Sometimes, family members don’t speak with each other, but we still are one big family. Let’s recognize this fact.”
Can our field overcome family division and send a much-needed signal to the metals + jewelry community? We appreciate and respect our historical past and acknowledge that current materials have a rightful place in jewelry/object making. Arriving at this message is the goal of this exhibition.”  – Brigitte Martin and Rachel Timmins

 

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 ‘Agnes Larsson Remains’ – Ornamentum Gallery, New York (USA) – 8 Aout-7 Sept. 2015

Agnes Larsson  Remains

Agnes Larsson, hair jewelry

« Remains – Agnes Larsson 2015 -
Skin, – the container of our body, a carrier of life, holder of light, a surface with a depth. It is faded, solid and transparent. It is hardened,  petrified and reshaped. As a construction it is strong but at the same time fragile. It has been transformed and time has left its mark.
Hair, - A remnant, a trace of life. Bleached, almost white. On its own very brittle, together it is strong with movement and vitality. 
Aluminum, –  often seen as light, polished and cold, yet it has been shaped with a surface soft like skin- tactile and warm, changing…ageing. Grey like stone.
Remains marks Agnes Larsson’s second solo exhibition with Ornamentum.  Larsson was born 1980 in Stockholm, Sweden.  Awarded the AJF Emerging Artist Award for her previous body of work created of carbon in 2010, she earned her MFA in silversmithing and jewellery at Konstfack, Stockholm, under professors Ruudt Peters, Helena Lehtinen and Karen Pontoppidan. « 

 Agnes Larsson, necklace, hair jewelry – Remains 7, 2015, necklace, calf skin, aluminum, horse hair, iron, 15.5 x 8.5 x 1.5 inches

 Agnes Larsson, necklace, hair jewelry (back)

Agnes Larsson, necklace, hair jewelry – Remains 9, 2015, necklace, calf skin, aluminum, horse hair, 16 x 9 x 1.25 inches

 Agnes Larsson, necklace, hair jewelry – Remains 3, 2015, necklace, calf skin, aluminum, horse hair, iron, 24 x 13.5 x .75 inches

 Agnes Larsson

 
506 1/2 Warren St.
Hudson – New York
United States
Telephone: [phone]
Fax: [phone]
website: www.ornamentumgallery.com/gallery/
mail: [e-mail]

EXPO ‘SIX: new work by six young makers’ – Gallery Velvet da Vinci, San Francisco (USA) – 1-15 Aout 2015

Six: Nikki Couppee, Hunter Creel, Zachery Lechtenberg, Andrew Kuebeck, Aric Verrastro, Vincent Pontillo-Verrastro

 Artists’ Reception: Saturday, August 1, 6-8 pm

Velvet da Vinci is proud to present 6, an exhibition of jewelry and sculptural objects by six young voices in the field. Featured artists include Nikki Couppee, Hunter Creel, Zachery Lechtenberg, Andrew Kuebeck, Aric Verrastro, and Vincent Pontillo-Verrastro. Working with a range of processes and techniques, each artist brings a fresh perspective to their craft and material lineage. The show will run from August 1-15, 2015. An opening reception with the artists will take place on August 1st, from 6-8 pm.

 

Participating Artists:
Nikki Couppee – Hunter Creel — Zachery Lechtenberg — Andrew Kuebeck — Aric Verrastro —   Vincent Pontillo-Verrastro

 Vincent Pontillo-Verrastro « Pfoufe 6″, 2015 PLA plastic, recycled fox fur, steel
Vincent Pontillo-Verrastro’s current presents a dialogue emphasizing the primacy of touch in experiencing jewelry, focusing on the tactile and functional properties of the brush.

Aric Verrastro,   Drifting – brooch
Aric Verrastro creates souvenirs in the form of jewelry, intended to capture the essence of noteworthy places and events from the past and present of the artist’s personal history. Verrastro earned undergraduate degrees in Metals/Jewelry and Studio Art from SUNY Buffalo State College. He recently earned an MFA in Metalsmithing/Jewelry at Indiana University (Bloomington, IN), where he currently serves as Associate Instructor in Metalsmithing and Jewelry Design

Nikki Couppee Necklace: Neogem, 2015 Plexiglass, brass, fine silver, sterling silver, found objects
Nikki Couppee’s recent work investigates the performative social functions of jewelry, utilizing Plexiglass, brass, and found objects in place of precious gems and metals. Working with everyday materials she intuitively creates her own versions of gemstones, hand cast and faceted in luminescent plastics. Couppee received an M.F.A. in Jewelry/ Metals from Kent State University, Kent, Ohio (2011) and a B.F.A. from the University of Georgia, Athens Georgia in Jewlery/Metals (2007).

Andrew Kuebeck – « second place » brooch – Sterling Silver, Fine Silver, Enamel, Toner Decal, Steel; Fabricated, Cast, Enameled, Fused
 Andrew Kuebeck , recipient of the 2012 SNAG Emerging Artist award, works in a variety of formats ranging from functional jewelry to sculptural objects and vessels. Inspired by Beefcake photography of the 1960’s and 70’s, his recent felt pieces explore the incorporation of photographic images into textiles, jewelry, and objects.

Hunter Creel « Officer Mama » 2015 copper, brass, acrylic & enamel paint
Hunter Creel creates bold sculptural objects, utilizing a language of simple forms drawn from the realms of the utilitarian and the abstract. Powder-coated in vibrant hues of enamel 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

 

 

 

 

EXPO ‘Lisa & Scott Cylinder: Blinding the Cyclops’ – Gallery Velvet da Vinci, San Francisco (USA) – 8 Juill.-9 Aout 2015

 Lisa & Scott Cylinder: Blinding the Cyclops

Artist’s Reception: Friday, July 10, 6-8 pm

San Francisco’s Velvet da Vinci is proud to present Lisa & Scott Cylinder: Blinding the Cyclops. The show will run from July 8 through August 7, 2015. An opening reception with the artists will take place on Friday, July 10, from 6-8 pm.
Husband and wife artist team Lisa & Scott Cylinder began collaborating in 1988, shortly after studying Jewelry/Metalsmithing at the Tyler School of Art in Philadelphia. Their long-term partnership has produced an ongoing series of one-of-a-kind sculptural jewelry, which often incorporates found objects and epoxy resins into their metalwork. Lisa & Scott Cylinder: Blinding the Cyclops will debut a new body of work by the duo, made by repurposing and altering parts from musical instruments, games, antiquated tools, and more. During a 2014 interview with Smithsonian.com, Lisa Cylinder described the inspiration for their process as follows:

Lisa & Scott Cylinder Cyclops Necklace, 2015, Bronze, sterling silver, nickle silver, vintage clarinet parts, epoxy resin, felt, stainless steel, 23ky gold leaf, paint, 3.5 x 2.5 x 1″ pendant- 20″ necklace

“It’s a soul thing… the things we use were touched by somebody. Once you see those pieces, you identify a moment in your life with that particular object. The tool that someone used in making something—there’s sweat on it, there’s toil on it. A musical instrument—someone played it. The human contact is part of what we do, and the reason we select the objects.”

Lisa & Scott Cylinder - Quartet Necklace, 2015, Bronze, sterling silver, vintage violin parts, paint, 3.5 x 2.25 x 0.5″ pendant- 18″necklace

Lisa & Scott Cylinder – Transistor Brooch / Pendant, 2015, Sterling silver, bronze, nickle silver, vintage violin parts, epoxy resin, paint, 3.5 x 1.75 x .75″

Lisa & Scott Cylinder – Siren Necklace, 2015, Sterling silver, brass, stainless steel, nickle silver, vintage clarinet parts, celluloid, lapis lazuli, 23ky gold leaf, paint, 4.5 x 3.75 x 1″ pendant – 20 » chocker

Lisa & Scott Cylinder – Vibe Brooch, 2015, Brass, sterling silver,nickle silver, vintage guitar and clarinet parts, bone, vinyl, lapis lazuli, paint, 5.75 x 2.75 x 1″

Lisa & Scott Cylinder – Receiver Brooch, 2015, Sterling silver, bronze, stainless steel, vintage violin parts, celluloid, paint, 3 x 3.5 x .75″

 

Blinding The Cyclops has been a new chapter in our artistic Odyssey. After 27 years of making representational work, we have charted a new course away from our comfort zone.   Representation had become our Cyclops, and in order to free ourselves we needed to escape from our captor.   This action has enabled us to grow, change, and challenge ourselves as artists and problem solvers in a tangential manner.
Although our fascination with found objects (especially musical instruments) continues, their use as materials has become further abstracted.   Their deconstruction has been pushed farther and the outcome is purposefully less representational.   We have reinvented our working methodology as well as our subject matter. This giant step has enabled us to develop a new vocabulary referencing Design and Technologies of the 20^th Century, the time in which our aesthetics as makers were formed.
Blinding The Cyclops represents an epic creative adventure. Wielding the same techniques and materials from our past works, we have challenged ourselves to create a fresh group of wearable objects that subvert what had become familiar.   We continue to change and challenge ourselves in our quest to create intriguing, well-crafted hand made objects in the 21st Century.

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

 

IL FAUT SAUVER LE ….. LA …. “uncommon jewelry for independent women”

Non non non, vous n’y êtes pas ! on n’est pas « au cinéma ce soir » avec « Il faut sauver le soldat Ryan »,  MAIS plutôt il faut « sauver » la créatrice de bijoux Roxy Lentz !

Effectivement elle vient de m’écrire « Where I live none of the jewelry we both love would sell, none. So, when I try to go for that, I never know if I am going on the right path. …… I am ready to stop making jewelry to please the midwest taste …. »
NOOOOOOOOOOOOOOO !!!!!

J’avais déjà remarqué, et donc aimé, certains de ses bijoux sur mon « board » Pinterest « ROUGH, RUDE & SAUVAGE … jewelry » mais en voici plus … rien qu’en son honneur !

She calls her jewelry  “uncommon jewelry for independent women” …..

 Roxy Lentz – necklace – Copper, pexi glass, steel.

« Re purposed metal with a new mission. My jewelry is fabricated from recycled metals I find at thrift shops; I occasionally will use purchased metal, but prefer the patina of metal that has a history. Silver plate trays once given as wedding gifts, stored and then abandoned are crafted into one of a kind pieces that will bring attention to the wearer every time they are worn.  In 2010 I received a grant from the Italian Cultural Institute of Louisville, KY to go to Florence, Italy and take a two week course of intensive study in the fabrication of studio art jewelry, at the world known Alchimia Contemporary Jewellry School. Jewelry resulting from this study is in the “Firenze Collection”.  I show my one-of-a-kind jewelry at selected art shows, and in several galleries across the US. (for example, « Ferrous », held at Velvet da Vinci in San Francisco CA. 2013)  » Roxy Lentz

Roxy Lentz - 3 brooches made from repurposed metals, largest 6”

Roxy Lentz – Bangle from re purposed silver plated trays, copper wire, fire patina

Roxy Lentz – Necklace – Steel wire, brass

Roxy Lentz   – Brooch (front & back) – Silver plate tray, fire patina, steel. Photo by artist

Roxy Lentz -  Necklace of recycled metal, PVC pipe

Roxy Lentz -  « I found it on the ground » – Brooch, plexi-glass, nickel silver, brass, steel.
The pexi-glass is from a fabric store sign that was blown down during a hurricane. Hurricane Ike took a side trip to the mid-west. NFS – More brooches may be made in this material and style.   about 3″ long.

« I found it on the ground«  The materials used for this jewelry have a past, and memories that go back to the beginning of time. Elements fused together and became metal, the metal was refined and fabricated into beautiful silver plated trays given as gifts for a new marriage, to someone who earned a bit of recognition, or just because. 
Then the memories change and are passed on to someone else, and the old memories are refashioned into new ones. 
A walk along a beach or river, will often find bits and pieces of burnt wood, things once recognizable and useful, now cast aside. Memories of a campfire, love, friendship, and good food. 
This collection is about the memories that fill our lives, we share, put away, then burn into our consciousness for safekeeping.
 Roxy Lentz -  « I found it on the ground » – Cuff/bangle of repurposed silver plate tray with fire patina. Riveted to found pexi-glass with frosted finish. About 5 inches across

Roxy Lentz - « The wild child » cuff, it can be just about anything. Will it catch on peoples clothes? yes, if they wear a loose weave. But, some people love it, and wouldn’t have it any other way -
I LOVE it !!

EXPO ‘ SIMON COTTRELL – timbre’ – Sienna Patti, Lenox (USA) – 27 Juin-19 Juill. 2015

 SIMON COTTRELL -  timbre 

June 27 – July 19, 2015
reception June 27 4-6pm

 (Simon Cottrell Paired Uneven Double Pendant, 2015 Monel, woven nylon cord )

The specific combination of qualities within a sound that distinguishes it from other sounds of the same pitch and volume is its ‘timbre’. While Simon Cottrell‘s works are tangible and far less transient than any sound can ever be, this term which defines the inherent small differences within similarities seems more than apt to apply. The ongoing and slowly shifting use of certain preset parameters with only a singular material, monel, and an achromatic palette, has become his formal language. Working within this sameness has lead him to focus more closely on the possible variances within those systems of working, and heightens the sensitivity to relationships between tiny details within one piece or acrosspast works.

Simon Cottrell Down Bud II Brooch, 2015 Monel, Stainless steel, powdercoating, bio-phosphorescence 3 x 3 x 2 in.

“I have no need to hurry or progress in leaps and bounds. Each piece is conceived primarily for an existence in collaborating with a wearer towards their communication of self. From a wearer’s perspective, prior relationships between other earlier works of mine are insignificant. As ever my work retains a decisive avoidance of direct allusions or clearly resolved representation. This is not so much by thorough pre-­‐planning, rather by only allowing coy suggestions of subjects to repeatedly rise in a responsive and intuitive process of making, and then continuing countering those subjects. The result usually evokes something between anything and nothing.”

Simon Cottrell Double Circles, Fingers Brooch, 2013 Monel, Stainless steel 2 3/4 x 1 1/4 x 1 3/4 in.

Simon Cottrell brooch

 Simon Cottrell Three drops, Hard Blunt Brooch, 2013 Monel, Stainless steel 2 1/2 x 2 x 1 1/8 in.

 

Simon Cottrell is an Australian artist based in Canberra. In 1997 he completed a Bachelor of Fine Arts, with Honours in Gold and Silversmithing at the Royal Melbourne Institute of Technology (RMIT). In 2005 he was awarded an RMIT University Scholarship for a Master of Arts by Research. He has been teaching since 2001 and is currently a Lecturer and Researcher at the Australian National University, and has also been invited to teaching workshops, giving seminars and lectures at institutions around the world. Since 1996 he has exhibited extensively in over 120 exhibitions, in Australia, New Zealand, Germany, USA, Japan, The Netherlands, UK, Malaysia, France, Thailand, Canada, Italy, India, Spain and China. Selected Public Collections Auteur Bijou Collection City of Cagnes-­‐sur-­‐Mer, France. Art Gallery of South Australia, Adelaide, Australia. National Gallery of Victoria (NGV) Melbourne, Australia. National Gallery Of Australia, Canberra, Australia.

 

 

 

 

Sienna Patti

80 Main Street
Lenox, MA 01240 USA
[phone] 8386

[e-mail]