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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/

25/01/2016

Selection 4 SCHMUCK 2016 : Kadri Mälk

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

Kadri Mälk,  BLACK BEAUTY

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). coop.artun.ee/nope5/: Kadri Mälk, Medusa IV – ehisnõel (oksüdeeritud hõbe, kumm)

19/12/2014

Seulgi Kwon Wins 2014 AJF Artist Award

The Art Jewelry Forum (AJF), the nonprofit organization that supports appreciation of art jewelry worldwide, has awarded Seulgi Kwon the 2014 AJF Artist Award.

The award is given to an emerging jeweler who exhibits “poise, innovation, and individuality.”

Since 2000, AJF has been offering an artist award to recognize promise, innovation, and individuality in the work of an emerging jeweler. The AJF Artist Award is awarded to makers of contemporary art jewelry who have completed their academic/professional training and are making new work as part of their post-training career. The winner of the AJF Artist Award receives a $7500 cash prize, will have their work shown at a major international art fair with an AJF gallery supporter, and will give a short lecture. Their work will also be featured in an AJF advertisement.

The 2014 Art Jewelry Forum Artist Award (AJFAA) was awarded to Seulgi Kwon

PROUD & HAPPY for her !

Seul-Gi Kwon 2014

« raindrop » of awards from everywhere, last years, on her work  :

2013  BKV Prize 2013 « Third Prize », Munich, Germany
2012 Cominelli Foundation 2012 Award  « First Prize »,  Fondazione Cominelli, Italy
2011 BKV Prize 2011, Munich, Germany
2011 Preziosa Young 2011, Florence, Italy
2010 Cominelli Foundation 2010 Award, Fondazione Cominelli, Italy

http://www.kwonseulgi.comSeul-Gi Kwon 2014 work – « a soft rain » (detail)

 

Seulgi Kwon, Deep in the Night 1, 2014, brooch, silicone, pigment, thread, glass, 180 x 170 x 60 cm, photo: artistSeulgi Kwon, Deep in the Night 1, 2014, brooch, silicone, pigment, thread, glass, 180 x 170 x 60 cm, photo: artist

Seulgi Kwon, Still Life 1 (alternate view), 2014, ring, silicone, pigment, thread, 90 x 100 x 60 mm, photo: artistSeulgi Kwon, Still Life 1 (alternate view), 2014, ring, silicone, pigment, thread, 90 x 100 x 60 mm, photo: artist
Seulgi Kwon, The Evolution of Defense 1, 2014, silicone, pigment, thread, paper, plastic, 180 x 105 x 70 mm, photo: artistSeulgi Kwon, The Evolution of Defense 1, 2014, silicone, pigment, thread, paper, plastic, 180 x 105 x 70 mm, photo: artist

« We are pleased to announce that Seulgi Kwon has been selected to receive the 2014 Art Jewelry Forum Artist Award for an emerging jeweler. Kwon was chosen from 123 entries representing 27 countries. She will receive a $7500 cash award, and her work, along with that of the other 4 finalists, will be featured by Platina Gallery at Handwerksmesse, which takes place in Munich in March 2015. Kwon will also receive a one-year professional membership to AJF and will serve as a juror for the 2015 Artist Award competition.

The goal of the AJF Artist Award is to acknowledge promise, innovation, and individuality in developing jewelers. This year’s competition was open to art jewelry makers 35 years of age or younger who were not enrolled in a professional training program; submitted work had to have been completed between 2012 and 2014. The jurors were Sooyeon Kim, jewelry artist and winner of the 2013 award; Carin Reinders, director of the Coda Museum, Apeldoorn, Netherlands; and Karen Rotenberg, founder and director of Alianza Contemporary Craft and a collector of contemporary jewelry. Criteria used in judging were originality, depth of concept, and quality of craftsmanship.

Kwon uses the theme of plant images to express meanings and symbols of memories of her daily life. Plants change their form at each stage of growth: seeds sprout, spread roots, and bloom. This course of change gives rise to unpredictable organisms and organic forms. Kwon’s work actively expresses the organic movements of plants, with their mysterious colors and constantly changing forms, creating texture with the materiality and transparency of silicone. Kwon tries to express the living in her work, so most of her pieces have rich colors and unique shapes.

Carin Reinders stated, “Seulgi uses silicone, glass, and pigments with great beauty and poetic transparency. The brooch A Soft Rain has the softness and the vulnerability of the first soft and refreshing drops. Deep in the Night gives the awareness of a night in the jungle with the great emerald green stone, glowing in the dark. Seulgi’s work has great poetic power and classical elements, but is constructed in a very contemporary way.” Sooyeon Kim commented, “Because of Seulgi’s deep understanding of silicone as a material, it seems like she has power over the material. This would not be possible without ceaseless study. Her exotic forms and bright colors have a special fascination.” Ms. Rotenberg added, “Seulgi demonstrates an innovative and beautiful use of material; her work is visually compelling.”

Kwon earned a bachelor’s (2007) and a master’s (2010) of fine arts metalwork and jewelry at Kookmin University, Seoul, Korea. » (AJF)

Seulgi Kwon, All Things Shining, 2013, brooch, silicone, pigment, thread, glass bead, 130 x 140 x 55 mm, photo: artist Seulgi Kwon, All Things Shining, 2013, brooch, silicone, pigment, thread, glass bead, 130 x 140 x 55 mm, photo: artist

Seulgi Kwon, A Soft Rain 1, 2014, brooch, silicone, pigment, thread, paper, plastic, 180 x 170 x 65 mm, photo: artistSeulgi Kwon, A Soft Rain 1, 2014, brooch, silicone, pigment, thread, paper, plastic, 180 x 170 x 65 mm, photo: artist

“In my work, I actively express the organic movements of plants with their mysterious colors and constantly changing forms, creating texture with the materiality and transparency of silicone. I always try to express the living in my work so most of my pieces have rich colours and unique shapes.

 

 

PS : just received my « It rained yesterday » ring ! HAPPY !

Seulgi Kwon - "It rained yesterday" ring 2014 Ring∣ silicone, pigment, thread 90 x 90 x 70mmSeulgi Kwon - « It rained yesterday » ring 2014 Ring∣ silicone, pigment, thread 90 x 90 x 70mm

12/08/2014

AJF Artist Award 2014 – DEADLINE : 30 SEPT. 2014

Classé dans : blog ArtJewelryForum,Prix/Awards — bijoucontemporain @ 0:10

AJF Artist Award 2014 The purpose of Art Jewelry Forum’s Artist Award is to acknowledge promise, innovation, and individuality in the work of emerging artists and to advance the career of a promising artist at an early stage in his/her career.

DEADLINE SEPTEMBER 30, 2014

 

AJF Artist Award 2014

An unrestricted cash award of $7500 will be given each year. The winning recipient will be given a one-year membership to AJF. The winning artist is expected to travel to an art fair, to be determined, for the award presentation where s/he will deliver a 10-minute presentation about their work.

 

ENTRY CRITERIA

Applicants must meet the following criteria:

  • Maker of wearable art jewelry
  • Age 35 or younger at the time of application deadline (September 30, 2014)
  • Not currently enrolled in an academic or other professional training program
  • Work submitted must have been unsupervised.
  • Submitted work must have been completed within the previous two years, i.e., for the 2014 award, work must be completed between 2012 and 2014.
  • Applicants who applied previously for the award must submit new work in the current application; that is, work previously submitted in an AJF award application may not be resubmitted in the new application.

Note: Applicants may have had or be scheduled to have a solo exhibition of their work.

 

Applications must be received by midnight September 30, 2014

must be submitted via the Café website (www.callforentry.org)

 

JURORS
Jurors for this year’s competition are Sooyeon Kim, jewelry artist and winner of the 2013 award, Carin Reinders, Director of the CODA Museum, Apeldoorn, Netherlands, and Karen Rotenberg, founder and director of Alianza Contemporary Crafts and a collector of contemporary jewelry.

25/03/2014

EXPO ‘Frühling’ – Galerie Rosemarie Jäger, Hochheim (DE) – 23 Mars- 13 Avril 2014

Beate Klockmann and Philip Sajet: Couples in Jewelry—Frühling

Galerie Rosemarie Jäger, Hochheim, Germany

Coming Sunday morning, welcome.
Beate Klockmann & Philip Sajet
Rosemarie Jäger had been noticing how many couples there are in the jewelry world, and suddenly one day, she realized that it was a great idea for a series of shows. This one, with Beate Klockmann and Philip Sajet, is the first, and appropriately it is called Frühling or “Spring” and is the beginning of the series. It is fascinating that there are so many couples working together or at least living together. It will be fun to interview some of them and understand better how that works. I am very curious.
 
Philip Sajet, Ring, 2013 A la recherche du joyau perdu 12, 2013, ring, rock crystal, gold, silver, enamel,Philip Sajet, A la recherche du joyau perdu 12, 2013, ring, rock crystal, gold, silver, enamel, 50 x 23 x 12 mm, photo: Beate Klockmann
 
Susan Cummins: Please tell the story of where you were born and raised and how you became interested in making jewelry
 Beate Klockmann: I was born in the GDR (German Democratic Republic) and raised up in a little town in Thuringia in Ilmenau. Johann Sebastian Bach lived in this area, and I like that because I feel connected to his music, but I have no musical talent at all. My father and my mother both worked in the porcelain industry, and I got my drawing talent from my grandmother. She was a workaholic, making cloth the whole day long with a lot of creative ambitions, but she did not have a lot of possibilities during the war. I decided to make jewelry spontaneously after seeing a slideshow that was shown to introduce different departments of the Burg Gibichenstein, Hochschule für Kunst and Design, Halle, Germany. I remember I was touched by a photo of a classically made little precious box with blue enamel and golden animal inlays. I hadn’t looked at jewelry before.
 
Philip Sajet: I was born in Amsterdam and raised by a French mother of Russian descent and a Polish-American (step) father. We travelled to Djakarta, Indonesia, where I saw a lot of Chinese antiques—so beautiful, so magnificent. I love tradition. I think that 96-percent of what I do is based on accumulated knowledge. Well actually, I am being very presumptuous here. I should have written 98.7 percent.
I was very fascinated by these small objects with colors and colored stones and enamels. Their (heavy) weight felt so powerful. I think I fell love with these objects several times—When I saw the jewels in the palace of the shah when I was 13 (1966), and then when I saw Egyptian jewelry. But the time that made me decide to also do it was when I saw the jewelry of Giampaolo Babetto and Francesco Pavan. That was in 1977 in Gallery Nouvelles Images. I remember the first question I asked my teacher Karel (Niehorster): “How do they get that intense yellow color?” “Well, by using gold” he answered. But it was so expensive—8 Dutch guilders a gram (2.5 US dollars)!Beate Klockmann, Brooch, 2013
 Beate Klockmann, Butterfly, 2013, brooch, 110 x 80 x 20 mm, photo: artist
How did you meet?
 Beate Klockmann: In 2001, I was a student in Halle Burg Gibichenstein and busy with my last pieces for my final exam. Philip was supposed to teach, but because of certain circumstances, his students had to finish another project and didn’t appear the first days of the workshop. So Philip focused on the only person available, and that was me. He was sitting next to me and was solving problems for me that I didn’t have days before. And I liked to solve these new problems with him
Philip Sajet: Now, here the accounts may differ. I was in Halle in 2001 in March. I was doing a workshop in Burg Gibiegenstein. The class I was guiding was the year before last. There was a girl (young woman, of course) who was preparing her final year’s work. She threw the red-hot metal in the pickle. That made a sizzling sound. I explained that the silver or gold doesn’t like getting a shock like that, and coincidentally, neither did I. My request to refrain was met with a somewhat diminished fire/fluid encounter. It wasn’t red hot anymore but still warm enough to make a sound. Funny enough, a week ago Beate did the same thing again, 12 years later. I discovered that Beate’s horoscope was a fire in water and a water-in-fire dominated constellation. I don’t know what that means, but I thought that it was remarkable. Beate also made a piece called Fire on the water, and I made a ring for her with rubies and aquamarines. 
 In the beginning, I had the impression that wherever I was standing Beate stood in front of me. I made an appointment with Rudolf (Kocea) in a bar, and all over sudden, Beate was sitting between us. I actually suspected that Beate threw that hot metal in the pickle to attract my attention. But she has never given me a definite confirmation of this suspicion.
 I know that her account of our meeting was that wherever she was sitting, I happened to stand behind or next to her. So, what this proves is that history should always be taken with a certain measure of suspicion.

Philip Sajet, AmberGluering, 2014, ring, amber, glue, 39 x 26.5 x 10 mm, photo: Beate KlockmannPhilip Sajet, AmberGluering, 2014, ring, amber, glue, 39 x 26.5 x 10 mm, photo: Beate Klockmann

 
Where do you live? Are your studios near each other? Do they look the same?

 Beate Klockmann: Since 2012, we have lived in a little village next to Hanau in Frankfurt. We are both strangers here. We work in the same studio. Our studio is always changing. There is a continuing discussion about how it should be organized.
 Philip Sajet: In Bruchköbel, near Hanau, where Beate teaches in the Hanau Zeichen Akademie. But, a few months a year I live in a house we own in Latour de France, a winemakers village where we lived for many months in the past. Funnily enough, the wine of that region can actually be bought cheaper in supermarkets near Munich. We have made the living room of our house in Germany into a studio.
 Beate KlockmannBeate Klockmann, The green house ring, 2013, ring, 35 x 20 x 20 mm, photo: artist
Do you use the same equipment?
 Beate Klockmann:  In general, we use the same equipment. There are only a couple of instruments that are personal.
 Philip Sajet: We share the big tools, and we use our own smaller pliers and files.
Philip SajetPhilip Sajet, JadeGluering, 2014, ring, jade, glue, 40 x 27 x 12.5 mm, photo: Beate Klockmann
 
Do you interact during your studio time?

 Beate Klockmann: Our days are not really divided into studio time and relaxing time. The studio is the center of our house. So, everybody is doing things there, such as listening to music or reading books. We discuss things there as we paint, often with our daughter. Philip also has apprentices, and he makes music there, too. The studio is also the place where the birds are living. So, there is a lot of interaction. If all goes well, it creates a good atmosphere for making jewelry along with other things.
Philip Sajet: Our hours differ. I am a daytime worker, and Beate likes the nights. In a way, we work shifts. We do interact, of course, but usually it is small talk. We do ask each other for advice, but more often than not, it is not followed. But, a major thing we give each other is courage. When one of us wants to make a piece, we spend a lot of materials and time in making it very particular, which turns out to be very expensive as well. So, there is an inclination not to do it, but we say to each other, “you really must make that piece.” That is very nice.
 
Give us a description of how your workday goes.
 Beate Klockmann: Because I am a teacher at the Zeichen Akademie in Hanau, I have only one to two days a week to work in the studio on my own work. I like to work together with Philip, and sometimes with an apprentice, but the daytime can be very chaotic because of our daughter Jura. That’s why I like to work during the nighttime so much. I have the illusion that I have endless time to work, and I can be alone with my work for a while. 
 Philip Sajet: I have the luxury of getting a late start. I wake up at 8:30am, have coffee in bed, then shower and do administrative chores. At around 12:00, I might finally start working. Then, two hours later, I make lunch. Right now, the daily meal is brown rice in the Japanese rice cooker, peeled aubergine, tomatoes, sesame paste, seaweed, eggs, sesame seeds, sunflower seeds, pepper, thyme, garlic in the peel (en chemise, as it is called in French), and at the end, I add oil olive and sea salt. It’s so easy. Just throw these ingredients in, close the lid, and half-an-hour later, it’s done. I try to get a full six hours of work. My best hours are my last one-and-one-half. If I get that a minimum of five days a week, I can reach my aim of an average of one piece a week.
Philip SajetPhilip Sajet, Portuguese_split, 2013, ring, replica of the diamond “Portuguese,” rock crystal, gold, silver, enamel, 37 x 33.5 x 12 mm, photo: Beate Klockmann
 
What questions do you ask yourself when preparing to make a piece?
Beate Klockmann: I look at my messy table and ask, or better, I try to feel which piece motivates me to work on it, and then I simply start to work on it. In general, I am just happy if I am working, so I try not to think about it too much before I start.
 Philip Sajet: Is it technically feasible? Is it pretty or ugly? (Not that one or the other might decide an outcome.) How high are the investment costs? Will it fall well on the body? Does it have a meaning? Is there a necessity?
 
You both seem interested in unusual materials and stones. How do you decide, for example, to use the sole of a shoe in a necklace? 
Beate Klockmann: Once in a while, I like to take bigger risks in my experiments, also in choosing materials—such as glass, textile, enamel, paper—but after a while, I always go back to working with gold.
 Philip Sajet: In my case, in my mind’s eye, I put everything I see in a circle. So, the inside curves of the soles placed that way make an almost perfect, big new circle. Then, the next thought is, “Oh this is really too awkward, and nobody will ever wear that!” There is also a reference to the Paul Simon song (I recently discovered that we have the same initials) Diamonds on the Soles of Her Shoes. Well, diamonds would have been a lot of investment, so I went with rubies, and it was a more affordable one. Also, the color went well, the red with brown.
Do you think you influence each other, and if so, how?
 Beate Klockmann: Sure, we influence each other. The good thing is that I always have a highly critical public in the house. So, I feel well trained in handling the different reactions when I exhibit my work. On the other hand, Philip gives me special compliments if I have a bad day. In general, we both try to support the other in whatever strange thing we are doing. If we didn’t, then everything would become boring.
 Philip Sajet: Yes, definitely. We maintain a high level of quality, and we judge how major a piece is and whether it is boring or not. We aren’t shy about saying what we think to one another.
 
What have you seen, read, or heard lately that has excited you?
 Beate Klockmann: I read a little book called Montauk by Max Frisch. I liked it because it was full of wisdom and very nicely written. But really, to be honest, the highlights I get at the moment are the intelligent expressions of our daughter. At six-years-old, her drawings, conversations, and so many essential things are on the table, and with such a surprising clearness, that I enjoy it a lot. 
 Philip Sajet: Lion Feuchtwanger’s The Oppermann’s is deeply disturbing and dramatically describes the destruction of a family in an intolerant totalitarian regime. But there are so many magnificent books. American Psycho by Bret Easton Ellis is also a magnanimously written novel about a very ugly person.
The music I listen to a lot lately is from Nils Frahm, and always Bach, of course.
I know it’s very fashionable, but I love (almost) all the movies from the Coen brothers.
My absolute favorite is No Country for Old Men, and my absolute favorite scene is where Anton Chigurh (Xavier Bardem) confronts the gas station man by flipping “his” traveling quarter.
 

Beate KlockmannBeate Klockmann, Squashed 1, 2013, necklace, 400 x 150 x 2 mm, photo: artist

 

Galerie Rosemarie Jäger

Wintergasse 13
65239 Hochheim
Germany
T +49 (0) 6146 2203
F +49 (0) 6146 601068
galerie@rosemarie–jaeger.de

25/05/2013

EXPO ‘Réka Fekete : Balance’ – Galerie Ra, Amsterdam (NL) – 25 Mai-10 Juill. 2013

Réka Fekete : Balance      

Réka Fekete: Balance    Artists: Réka Fekete  Management: Paul Derrez  Place: Galerie Ra  (Amsterdam, Netherlands)  25-May-2013 - 10-Jul-2013    website: www.galerie-ra.nl(Réka Fekete, Satellite#1151, brooch, 2012, steel, silver)

‘In the Balance collection I draw with the material and explore connections: I look at how each individual component can be coupled to the next link. This creates different spontaneous compositions and creations mainly in steel and coloured wood which are linked together by silver rivets. The components can be juxtaposed with each other in different ways, thereby finding a new sense of balance. This dynamic adds character to the pieces, just like the bright colours and the irregular organic forms do. To touch and explore the various possibilities of movement is to engage in contact, a form of introduction between the onlooker and the jewellery, in order to be fellow companions ultimately.’  Réka Fekete

Réka Fekete - Sun in the sky - 2013 brooch - steel, laminate, silver, aluminium, paintRéka Fekete – Sun in the sky – 2013 brooch – steel, laminate, silver, aluminium, paint

Réka Fekete - Sun in the sky - 2013 brooch - steel, laminate, silver, aluminium, paintRéka Fekete – Sun in the sky – 2013 brooch – steel, laminate, silver, aluminium, paint

interview by AJF Blog :
« Why is your show called Balance?
Réka Fekete: « As well as in my previous series, I am experimenting with movement within these pieces. Movement stands for personality, for the ever-changing quality of life, and for the freedom in it. The way I connect the elements gets special attention this time. The connection itself becomes so prominent that it appears to be the main element. Other times, the elements fit into each other and are hammered together so an extra connecting element is no longer needed. Within the construction of each piece there is a lot of mobility and different ways of wearing it. This mobility also expresses how I am in my life. At any moment I might change my mind and take a new path in order to maintain my balance, which I think is one of the most fundamental aspects of life. No matter how much you reduce and consolidate as long as the components of each side remain in balance you will be fine. I see the act of preserving this balance as an exchange. It is simply the way we live and just like the different kinds of relationships that exist between people. »
How does this new work differ from the work you were doing last year?
Réka Fekete:  » I am drawing a lot, and I felt the need to integrate it into my three-dimensional work. While putting the pieces together, I felt like I was drawing. There are black lines of steel connecting colored surfaces of wood or laminate. White wooden parts get blackened little by little as the steel rubs up against it. It ends up looking like charcoal on paper.
For my installation at Galerie Ra, I added some drawings on the wall as well. I wanted the wall to be more than an object upon which the pieces are presented. Acting like a huge piece of paper, the wall becomes part of the work, connecting the pieces and bridging the surfaces and the jewelry. In this series of work, I began to paint on the wood with my fingers instead of spraying each piece with one color. This process allowed me to discover a very liberating way of interacting with my materials. I think I was able to bring similar effects to the wall of the gallery. Overall, this new body of work has evolved graphically, especially within the shadows where the linearity of the steel is constantly reflected. »

 

Reka Fekete BroochRéka Fekete Brooch

Reka Fekete BroochRéka Fekete « Satellite #11″ Brooch

Reka Fekete Juggling BroochRéka Fekete Juggling Brooch

Reka Fekete BroochRéka Fekete Brooch

Galerie Ra
Nes 120
1012 KE – Amsterdam
Netherlands
Telephone: 020 6265100
Fax: 020 6204595
website: www.galerie-ra.nl

02/04/2013

EXPO ‘Sally Marsland ‘ – Jewelers’ Werk Galerie, Washington DC (USA) – 16 Mars-6 Avril 2013

Sally Marsland

Sally Marsland - Jewelers' Werk Galerie  (Washington DC, United States)  16-Mar-2013 - 06-Apr-2013    website: www.jewelerswerk.com  mail: ellen@jewelerswerk.comTweaking a minimalist mode with great insight, Sally Marsland’s collection of objects are made to physically adorn and imaginatively enhance. Never seeking large gestures, her work is like a poem by e.e.cummings: everything is in lower case. This is evident in the sometimes abject nature of the materials she employs, plus the canny use of found objects. A pair of hollow bones , or a discarded wooden object, sit alongside the more familiar materials of the contemporary jeweller. « If one has enough milk in the house, one doesn’t go to the grocery store », observed the composer Stefan Wolpe about his own working habits. Likewise what is immediately at hand can be transformed by Marsland’s exacting vision to arrive at an object with the right contour, density of colour, surface texture…
- Michael Graf

 Sally Marsland, Untitled, 2011–12, pendant, wood, 70 x 50 x 30 mm, photo: Jeremy DillonSally Marsland, Untitled, 2011–12, pendant, wood, 70 x 50 x 30 mm, photo: Jeremy Dillon

Sally Marsland, Untitled, 2012, necklace (detail), polyurethane resin, 450 mm long, photo: Jeremy DillonSally Marsland, Untitled, 2012, necklace (detail), polyurethane resin, 450 mm long, photo: Jeremy Dillon

Sally Marsland, Untitled, 2011–12, brooch, wood, 45 x 45 x 12 mm, photo: Jeremy DillonSally Marsland, Untitled, 2011–12, brooch, wood, 45 x 45 x 12 mm, photo: Jeremy Dillon

 

Jewelers’ Werk Galerie
3319 Cady’s Alley
NW 20007 – Washington DC
United States
Telephone: 202 337-3319
website: www.jewelerswerk.com
mail: ellen@jewelerswerk.com

29/04/2012

COUP de COEUR : Farrah Al-Dujaili – three-dimensional sketches

Farrah Al-Dujaili has been choosed by AJF as 2011 year’s EAA (‘Emerging Artist Award’ ) winner. Farrah Al-Dujaili (UK) has been chosen from among 150 entries from 36 countries.

Criteria used in the judging were originality, depth of concept and quality of craftsmanship. Al-Dujaili works within an intuitive mix of drawing and making that crosses over and intertwines.  She applies drawing materials such as pencil, crayons and watercolors to a surface of enamel paint. This gives an interesting material link to the design methodology, enforcing the dialogue between drawing and making.

The goal of the EAA is to acknowledge promise, innovation and individuality in the work of emerging jewelers. The competition is open to makers of art jewelry who have recently completed their professional training. Al-Dujaili will receive a $5000 cash award. In addition, her work will be featured by an AJF member gallery at SOFA NY and in AJF advertisements and she will serve as a juror for next year’s competition.

Jurors for the 2011 competition were Perry A Price, Assistant Curator of Exhibitions and Collections at the Fuller Craft Museum, Brockton, Massachusetts; Marion Fulk, long-standing member of AJF and collector of contemporary jewelry; and Agnes Larsson, jewelry artist and recipient of the AJF’s 2010 Emerging Artist Award.

Perry Price commented, ‘I find this an interesting use of materials: watercolors, pencils and paint; the combination of materials and forms create three-dimensional sketches.’ Agnes Larson added, ‘She is taking techniques from drawings and transforming them well into her pieces.’ Marion Fulk remarked, ‘This was a very interesting and consistent body of work.’

Al-Dujaili received a BA in 2009 and an MFA in 2011 in Silversmithing and Related Products from the School of Jewellery, Birmingham City University, United Kingdom.

Formal announcement of this award, with images of the work, will be made at SOFA New York, April 20–23, 2012.
Her work will also be shown at COLLECT in London, England, May 11–14, 2012.

 

No need of this celebration to confirm that I REALLY love her work !!

COUP de COEUR : Farrah Al-Dujaili - three-dimensional sketches dans blog ArtJewelryForum Farrah-Al-Dujaili-4-320x293Farrah Al-Dujaili – Brooch 2011 – Copper, enamel paint, watercolour, watercolour pencil, pastel. (Dim.: 5.5cm x 4cm x 2cm)

Farrah Al-DujailiFarrah Al-Dujaili - Necklace 2011Copper, enamel paint, watercolour, watercolour pencil, pastel, pencil, faux pearls (Dim.: 9cm x 40cm x 6cm)

 Farrah Al-DujailiFarrah Al-Dujaili -Brooch 2011 – Copper, enamel paint, watercolour pencil, pastel

 Farrah Al-Dujaili  Copper, enamel paint, watercolour, watercolour pencil, pencil, pastel.  Dimensions: 13cm x 14cm x 5cmFarrah Al-Dujaili - brooch 2011- Copper, enamel paint, watercolour, watercolour pencil, pencil, pastel.  Dim.: 13cm x 14cm x 5cm

From http://nykyinen.com/farrah-al-dujaili-drawings-3/ Farrah Al-Dujaili | DrawingsFarrah Al-Dujaili -  Brooch 2011 – Copper, enamel paint, watercolour, watercolour pencil.
7_72 dans COLLECT
Farrah Al-Dujaili -Brooch 2011Copper, enamel paint, watercolour pencil, pastel (Dime.: 11.5cm x 9cm x 4cm)


06/12/2011

DECOUVERTE : Yoon Ah PAIK

Classé dans : blog ArtJewelryForum,COUP DE COEUR,Korea (KR),Yoon Ah PAIK (KR) — bijoucontemporain @ 0:04

Born and raised in Seoul, Yoon Ah PAIK graduated from Pratt Institute N.Y. with a Bachelor of Fine Arts degree in spring 2011. Paik’s work was created as part of her jewelry senior thesis, which is inspired by the repeating and three-dimensional patterns of the cactus. Her collection references two different elements of the plant—its prickly exterior and fleshy core—and employs multiple materials such as silver, fabric, plastics, and natural pearls to represent the cactus’s unique forms and textures.

Pratt Institute is uniquely positioned as the only school in New York City to offer a comprehensive course of study in jewelry and metalsmithing resulting in a BFA

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-snc6/197785_184669191576953_100001016216401_436337_6642146_n.jpg

 http://www.artjewelryforum.org/blog/wp-content/uploads/2011/10/Yoon-Ah-Paik-Barrel-Cactus-brace-2011-e1319558397232.jpg

Yoon Ah PAIKBarrel Cactus Bracelet -  sterling silver – - (Senior Jewelry Thesis Show)

http://28.media.tumblr.com/tumblr_lpf8xzo0qz1qlx2zmo1_r1_500.jpg

http://www.artjewelryforum.org/blog/wp-content/uploads/2011/10/Yoon-Ah-Paik-Prickly-Pear-Cactus-neck-2011-e1319558465280.jpg

Yoon Ah PAIK –  Prickly Pear Cactus Necklace -  sterling silver, fresh water pearls

http://www.artjewelryforum.org/blog/wp-content/uploads/2011/10/Yoon-Ah-Paik-Spine-necklace-2011-e1319558497566.jpg

Yoon Ah PAIK –  Spine Necklace – sterling silver, fresh water pearls

30/11/2011

ENVIRONNEMENT MODERNE

…. environnement urbain : travaux, béton, ferrailles, échafaudages, palissades, barrières, outillages, machineries, matériaux de construction, lignes, cartes, plans, routes, échangeurs, sens interdits …….. démolition, reconstruction ….  tout cet environnement, même hostile ou menaçant, fascine ….. un moment, le mouvement est arrêté, « photographié », pensé, intériorisé puis réinterprété selon chacun, retraduit, « miniaturisé » pour devenir bijou … une construction nouvelle, en quelque sorte ….

(voir également l’article « Architectures …………… en broches »)

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-snc6/216831_1799095064824_1463190155_31833234_6745673_n.jpg

Andrea Zeuner  – Superhighway Brooch 2011  Brass, asphalt crack repair, steel

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Andrea Zeuner – Superhighway Neckpiece – Brass, asphalt crack repair, nickel – 2010
http://www.artjewelryforum.org/blog/wp-content/uploads/2011/10/Andrea-Zeuner-Neighborhood-brooch-2011.jpg
Andrea Zeuner Neighborhood Brooch – sterling, copper, raw garnets, wood, steel
http://www.caitiesellers.com/uploads/9/4/1/7/9417841/7436989_orig.jpg
Caitie Sellers Transistor Brooch – sterling & steel
http://farm3.static.flickr.com/2283/1498590815_091f5a4585.jpg
Caitie Sellers topographic brooch – Sterling Silver.
The inside of this brooch is composed of 5 pierced disks to make that image. The top of the brooch screws off so the wearer can take out the slices and do something else with them
http://studio2017.files.wordpress.com/2011/05/phoebe-porter_transit-necklace.jpg?w=420

Phoebe Porter - transit necklace
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Andrea PIneros – Broche CIRCUITOS, 2011. The city, the friends, the family and you – Brass, Cristal, car paint

http://4.bp.blogspot.com/-AtynMaiw3iQ/TfaLgRx0ccI/AAAAAAAAIvM/QrVaLLCw80A/s1600/Ste%25CC%2581phanie+Barbie%25CC%2581+1.jpg
Stephanie Barbié -Lo natural, lo artificial – broche – alpaca, plata, resina, metacrilato
« El mapa de una ciudad, como primera aproximación de un espacio, reune lo artificial y lo natural, lo simbólico y lo real. Confronta imaginación y deseos con vivencia y realidad. Esas piezas surgen de esta confrontación. «

 

http://api.ning.com/files/THyKXncit5ofF7e0dVbdqrTCRyNikOnTJjnOqx4nLOeUsVMHswuZfgzQ8c9OJapSa3K1iFyiZxBhQZqyP8sDCmXgoVM7AFaS/4.Excavator.JPG?width=450&height=600
Michael Dale Bernard Excavator necklace, stainless steel, silver, vinyl tubing, powder coat,  2009
http://api.ning.com/files/sT58LjADvRrVCuYk9yPLpcekJWO3HGNgbEToM5H1ZlP7eGTZaNNF-jk*7aJ*dvf*6IXARaS0b3ZP7uPA6Ia6FeC24Z93B9aj/6.Dozer.jpg?width=737&height=552
Michael Dale Bernard Dozer brooch, one of a pair designed for the Neo-Rococo show. Stainless steel, aluminum, silver, brass, iron pyrite, powder coat, 2010

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-ash4/196813_108432992569597_100002086897408_86140_6704666_n.jpg

Maru Lopez – Derrumbe paredes – 200 – Silver,Iron and cement

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-ash4/215001_268289776521927_215355561815349_1301253_3203221_n.jpg

Vanessa Arthur - ‘Demolition necklace’ – Reclaimed wood, laminate, copper, wooden beads, gold elastic, 925 silver.
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Diego Bisso – Environmental Jewelry – Marmo (marble)

http://www.artjewelryforum.org/blog/wp-content/uploads/2011/09/03_DiPlacido-e1316529741480.jpg

Dana DiPlacido (2011 graduate from MassArt, Massachusetts College of Art and Design ) – House bracelet, 2011 – stainless steel

http://www.polyvore.com/cgi/img-thing?.out=jpg&size=l&tid=9495000

Robean Visschers  «under-construction» structure ring -Gold, silver (oxidized)- 2006

Robean VISSCHERS ring
Robean Visschers  construction/structure ring

http://27.media.tumblr.com/tumblr_lqsf2b7bn11qaez4go1_400.jpg

Robean Visschers Untitled 2009 Brooch

https://fbcdn-sphotos-a.akamaihd.net/photos-ak-snc1/v2365/204/104/1614757131/n1614757131_141357_2014.jpg

Bin Dixon-Ward – brooch – 2009

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-snc6/184643_106689356077294_100002086897408_65403_3128564_n.jpg

Ara Kuo – ‘MAZE’ brooch

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Alice Bo-Wen Chang Bodyspace/bodyscape serie – red brooch

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Linda Hughes Square Neckpiece and bracelet

« Colour plays a very important part in your jewellery and it is often bold and bright. Would you consider this a signature style or do see yourself moving towards a different palette in the future?
The palette relates directly to street signage but I do feel free to incorporate other colours and don’t feel inhibited by it.
What ignited your interest in signs? Was it marked by a particular experience or moment?
Some of the urban landscape in Australia seems particularly contrived, like a theatre set. A mixture of international influences all mixed up, often without connecting to the environment. My attention is drawn to signs as ‘street furniture’ if you like, ‘props’. « 

http://1.bp.blogspot.com/_Ow3LKVINnNQ/SjHL_PgNIOI/AAAAAAAACwM/1lgy-xIQyhc/s400/Linda_Hughes-Necklace.jpg

Linda Hughes – Necklace

« In her new body of work, contemporary jeweller Linda Hughes explores the ‘stripe’, historically favoured as a metonym for danger, exclusion and as a device to attract attention. Hazard signage, ubiquitous in the urban landscape, changes when placed on the body as jewellery. In this exhibition, Hughes applies the visual language of the stripe to the sculptural form of the wearable. Displayed against as a series of graphic backdrops, the work explores the tension between body and environment, critiquing the complex theatre of public space. »

http://schoolofartgalleries.dsc.rmit.edu.au/SOAG/exhibitions/2006/its_got_legs/ItsGotLegs3.jpg

Linda Hughesnecklace  – « It’s got legs » exhibition

« Shared Zone, is both the culmination of Linda Hughes master’s research and her first solo exhibition.
Hughes utilises the familiar urban language of invisible everyday objects such as road signs, posts and hazard markings. Juxtaposing these symbols on the body she uses them to define space and create landscape. Her work invites the wearer to become a part of the “theater of the wearable” that arises when the brooches, neckpieces and bangles are placed so as to interact and create their roles – transforming the body into a stage. »

http://monument.squarespace.com/storage/projects-and-practices/Linda01.jpg?__SQUARESPACE_CACHEVERSION=1265586588830

Linda Hughes, Wing Brooch, Red & White Series, 2009, laminate and acrylic. Photography Argonaut Design

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-snc6/44924_103262809739695_100001679291868_21042_7611764_n.jpg

Galatée Pestre   sautoir ‘Sens Interdit’ – argent noirci, émail.

http://www.artjewelryforum.org/blog/wp-content/uploads/2011/09/01_Stinson-e1316532915105.jpg

Analiese Stinson (2011 graduate from MassArt, Massachusetts College of Art and Design )- Map Bracelet #2–The Trip to School and the Long Way Home, 2011 silver, fabricated

http://www.artjewelryforum.org/blog/wp-content/uploads/2010/06/Fabrizio-Tridenti-e1276413787397.jpg

Fabrizio Tridenti’s complex structures

http://www.stopstealingmylook.com/wp-content/uploads/2011/08/Bergner-Schmidt-SSML-2.png

Bergner Schmidt – Concrete jewellery

http://www.dmh.org.il/download/pictures/Dekel_Benita.jpg

Benita Dekel, Massconstruction – silver & concrete (ciment)

« Benita Dekel, a graduate of the Department of Jewelry Design at Shenkar College of Engineering and Design (Israël), developed a series of jewelry pieces that combine silver with concrete. The results of the combination of concrete, which we usually associate with heavy, industrial construction, and delicate constructions in silver is that despite being made of concrete the pieces do not appear heavy. The shapes of the pieces, which are very familiar, almost as though they have been taken from various construction sites, manage to surprise both in their shape and new function« 

http://cache.wists.com/thumbnails/6/a9/6a951a84df350578c9bc3d91940b14c2-orig

Todd Pownell – architectural nest

http://api.ning.com/files/Mwvoiobx6JSwRcnfF8i2Y4R65goQ*hdw2-EkmKanaQdR7a5zL*3OtSocLMHHYbo6/spiral_bracelet_new_jas.jpg?width=737&height=567

Donna Veverka – Spiral Staircase bracelet

http://www.apparat.be/blog/wp-content/uploads/2009/05/silviawalz5.jpg

Silvia Walz – série « Casitecturas » Victors Haus – brooch – silver, copper, enamel

http://media-cdn.pinterest.com/upload/38632509273114975_3X5kgMxI_c.jpg

Sabine Conrad – necklace Burnt Future 2011, copper, silver, wood, paint

http://2.bp.blogspot.com/_gBB7-D-dzN8/RyA4jcPSOnI/AAAAAAAAAqk/ZwoBxyYePh4/s1600/071_Knobel.jpg

http://2.bp.blogspot.com/_gBB7-D-dzN8/RyA4jcPSOmI/AAAAAAAAAqc/pfmWW8NzhUw/s400/069_Knobel.jpg

Esther Knobel – 4 brooches From “The Mind in the Hand” series

http://media-cdn.pinterest.com/upload/38632509273181031_LK5Tbew4_c.jpg

Renzo PASQUALE – OLIMPICA – spilla (brooch) – omaggio a Palladio (2008)

http://api.ning.com/files/2fuBN27fUeB4qLCdBFAjg1GiON4vkaaoov6fgOudNetDfgSqq*BG1KEhaEIsXXaDBJbMjRt1I47XG-XTwLBUj9WQLh4upNyh/pic5.jpg?width=600&height=600

Christina Elleni Cox « Changeable Cities » bracelet (on Kit&caboodle)

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