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COUP de …. BLACK : Daniel Di Caprio, with a mysterious inner space

Daniel DiCaprio : « The pieces I make in wood and precious metals, explore methods of cultural communication through personal adaptation. One example of this is how people in different cultures around the world and throughout history, have identified themselves using hairstyles. I find this form of expression particularly interesting. By expressing themselves this way, individuals define themselves in groups, ranks in society or in gender roles.
The forms I work with are vaguely biological, referencing plant or animal anatomy and invoking a connection with the primitive. Hair is a prehistoric trait that humans have, connecting us with the past. I use metal wire as a surface embellishment to reference hair.
In addition to this physical adaptation, I am also interested in personal adaptation. I want the pieces to be considered from the inside out, externally expressing an identity, with a mysterious inner space. Referencing what we are and where we came from, the pieces are created in recognition of the past, while alluding to the future. The process of making this work is as seductive to me as an artist, as I hope the work is for the viewer or wearer.

All images from WOOD at Velvet da Vinci Contemporary Art Jewelry and Sculpture Gallery, Daniel Di Caprio « Stubble » Necklace  2011 – Dyed Rosewood, Silver - (images from « WOOD » exhibition at Velvet da Vinci  Gallery)

All images from WOOD at Velvet da Vinci Contemporary Art Jewelry and Sculpture Gallery, Daniel Di Caprio « Stubble » Necklace (detail)

All images from WOOD at Velvet da Vinci Contemporary Art Jewelry and Sculpture Gallery, Daniel Di Caprio « Mutation » Brooch

All images from WOOD at Velvet da Vinci Contemporary Art Jewelry and Sculpture Gallery, Daniel Di Caprio « Vessel » Brooch daniel dicaprio -  Inheritance -   blackwood and silver brooch 3"x4"x3"Daniel Di Caprio -  Inheritance -   blackwood and silver brooch 3″x4″x3″

Daniel DiCaprio - broochDaniel Di Caprio -  brooch

Daniel DiCaprioDaniel Di Caprio-  brooch ‘Talkie’ 2008 – Blackwood, 22K Gold, 18K Gold, 14K Gold -3″x3″x1.25″

Daniel DiCaprio - Fruition brooch - Blackwood, Silver - 2008Daniel DiCaprio – Fruition brooch – Blackwood, Silver – 2008

Daniel DiCaprio -  Orifice ring 3 - 2008 - blackwood, 22k goldDaniel DiCaprio -  Orifice ring 3 – 2008 – blackwood, 22k gold

Daniel DiCaprio -  Orifice ring 5 - 2009Daniel DiCaprio -  Orifice ring 5 – 2009


EXPO ‘Sparkle Plenty 7 – Organ/ism’ – Quirk Gallery, Richmond (USA) – 3 Nov.-24 Dec. 2011

Sparkle Plenty 7 : Organ/ism

(Daniel DiCapriobrooch )

The world is full of life and organisms that thrive in a multitude of ways. From the seemingly mundane to the flat-out bizarre, « things » have found a way to survive. People are both part of the living world, and manipulators of it. An ever-changing world and life’s ability to adapt is the theme for this exhibition. The work presented shows a reverence for these creatures, the inner spark that ignites life, and the ability to survive.


Daniel DiCaprio (courtesy of Charon Kransen Arts) –  Emily Watson –  Hilary Pfeifer –  Jillian MooreMärta Mattsson (courtesy of Sienna Gallery) –  Masako Ondera –  Masumi Kataoka (courtesy of Charon Kransen Arts) — Satomi Kawaiärta Mattsson  Beetle Brooch Onodera : Cluster of Sloughs pendant Ondera Moore

EXPO 'Sparkle Plenty 7 - Organ/ism' - Quirk Gallery, Richmond (USA) - 3 Nov.-24 Dec. 2011 dans Daniel DiCAPRIO (US) satomi_biorhythm1Satomi Kawai : Biorhythm I brooch

Curator Daniel DiCaprio talks about this year’s exhibition at Quirk Gallery (on Art Jewelry Forum) :

« Sparkle Plenty is the annual jewelry exhibition put on by Quirk Gallery in Richmond Virginia.  And this year I was given the opportunity to curate it.  As a jeweler I thought of the exhibitions that have inspired me in the past.  I wanted to create a show that displayed my particular interests in jewelry and other new work that I find exciting.  I also wanted to take this chance to exhibit the work of other young jewelers, most of whom are making these exceptional pieces within the first decade of their professional careers.  These are the ones who inspire me and challenge me to keep working in the studio.  These are some of the artists that I feel add interesting new ideas to the larger art jewelry dialog.  I chose the theme of biologically influenced jewelry, the lifeblood of my own work and the narrative that attracts me to certain pieces. The official prospectus of the show went something like this: “The world is full of life and organisms that thrive in a multitude of ways.  From the seemingly mundane to the flat-out bizarre, “things” have found a way to survive.  People are both part of the living world, and manipulators of it.  An ever-changing world and life’s ability to adapt is the theme for this exhibition.  The work presented shows a reverence for these creatures, the inner spark that ignites life, and the ability to survive.”

From this theme came Organ/ism, a collection of eight jewelers exploring the biological world around us.  Jillian Moore was one of the first artists that came to mind.  Jillian’s work has always appeared to me like animals that have evolved through an alternate reality.  Their existence is imagined into being, and inspired by the creatures that you think couldn’t possibly exist.   They are often presented like taxonomical displays or snapshots of them in mid-autopsy.  This format doesn’t try to provide more answers; rather it adds another layer to the mythology of the creature. Hilary Pfeifer’s work offers a similar interpretation of the biological world, presented “somewhere between humor and curiosity”. Her diminutive and charismatic pieces swarm on gallery walls, displaying the multitude of living adaptations.  Her installations of brooches or necklaces can be like looking through a microscope into a thriving Petri dish, one colonized by single cell cartoons.  These masses of form offer a greater understanding of the individuals, and like Jillian’s work, add an additional layer to a complicated story.

Masumi Kataoka’s work comfortably walks a line between beautiful and disturbing.  Her organ forms, made from actual organs (hog gut and leather), are like a miniature trip to the displays of medical curiosities at the Mutter Museum.  They provoke a curiosity in me that always wants to see what is coming up next.  She has said that her inspiration came from Japanese idioms that express where emotions reside.  This is also expressed in English, when an emotion is felt in your gut or in your heart.

Our shared interest in attraction versus repulsion is an underlying theme of this show.  As you can imagine it would be when jewelers work with dismembered body parts.  Märta Mattsson’s jewelry exemplifies this dichotomy.  She presents wearable objects made from what some people fear the most, insects.  Their electroformed and lacquered bodies are encrusted with cubic zirconias, presenting a glamorous version of what is essentially a dissected insect.  This allows you to confront what it is you find attractive or disturbing about the creature. Masako Onodera also thrives on this theme.  Jewelry emerges from the body like additional appendages from the chest or neck.  Materials like leather, felt and skin-toned found objects make this connection all the more realistic.  Masako’s jewelry addresses the human connection to the living world and our part in its story.

Organ/ism is addressed in a more personal matter with Satomi Kawai’s jewelry.  Her interest lies in the biological rhythm of the female body, the way this connects to culture and more specifically, her own childhood. Materials like wool, cotton and silk relate to Satomi’s own family history, while cellular imagery and bodily forms relate to a larger family.  One shaped by evolution.  Emily Watson approaches this theme from yet another direction.  Her work associates the anatomy and geography of the human race.  The work shows how we are both part of the biological world and manipulators of the environment we live in.

I was nervous as a first time curator about the way everything would come together.  Not just if everyone would agree to participate or if we would be able to meet all the deadlines.  I was concerned with viewers making the same connections that I have made, or alternatively, have I simplified an idea so much that I am beating a dead horse?  Although even that might work well with this theme. »



Quirk Gallery
311 West Broad Street, Richmond, VA 23220 (USA)
tel 804.644.5450


COUP de COEUR : Carola BAUER – enamel & color

Classé dans : Carola BAUER (DE),COUP DE COEUR,email / enamel,www Charon Kransen Arts — bijoucontemporain @ 0:04

Carola Bauer :
« While studying on the Rietveld Academy, I was occupied with redefining the term “jewelry”. I tried to get to the roots of what makes something a “jewel” as such. Through this process, my jewels became more of an object. In fact, they were statements about terms such as: preciousness, wearability, and decoration.
Nowadays, the quest for the meaning of “jewelry” still occupies me, though I embrace consciously the basic forms of jewelry.
The organic, tree-like forms in my work and the connection between the elements, express my fascination for the basic, and sometimes so banal facts, that everything is in continuous movement, continuous change. What seems defined continues in something else and lives on and on. «  (Carola Bauer, Amsterdam September 6 2004)(Charon Kransen Arts)

Training / Education:
Israel, Technical School, Jewelry Dept. 1988-1989
Holland, Rietveld Academy Amsterdam, Jewelry Dept.


Carola Bauer  makes use of traditional materials and techniques, such as enamelling. Her neckpieces are constructed with an architectural approach. The forms are simple but intricate at the same time and pay attention to detail. It is clear that wearability is of the utmost importance to the artist, as even the larger pieces seem to maintain a close relationship to the body.

Carola Bauer was born in Germany in 1953. She undertook sinological and theatre studies at the University of Munich and later followed a three year apprenticeship course at the school of crafts in Basel. She also obtained a craft certificate in Pforzheim. She has taken part in numerous exhibitions on an international level, including SOFA New York, Chicago and Palm Beach and in private galleries in Japan, USA, Germany, Switzerland, The Netherlands and Scotland.  (Alternatives Gallery)
Carola Bauer  Silver, enamel, gold- 2009



Decouverte : Choonsun MOON

Choonsun Moon

Born in 1980 at Busan, South Korea
Training / Education:
2006–present Masters of Fine Arts, Kookmin University, Seoul, Korea
2003 Bachelors of Fine Arts, Kookmin University, Seoul, Korea

    « Working in cardbord, I am continually trying to discover logical constructions, inspired by colors and textures in the material itself. and it could be worn on body to be a jewellry by itself, I’m researching other Materials for efficient repetition of the impression of color and the texture of a material. »

    Decouverte : Choonsun MOON dans Choonsun MOON (S.KR) choonsun01

    choonsun03 dans COUP DE COEUR

    choonsun02 dans KOOKMIN University (KR)



    choonsun04 dans Korea (KR)


    EXPO ‘Tracce del passato nel presente’ – Marijke Studio, Padova (Italy) – 15 Avril-15 Juin 2011

    Tracce del passato nel presente
    Artists: Christine Matthias, Rudolf Kocéa, Andrea Wippermann


    EXPO 'Tracce del passato nel presente' - Marijke Studio, Padova (Italy) - 15 Avril-15 Juin 2011 dans Andrea WIPPERMANN (DE) matthias05
    Christine Matthias – brooch – silver 2009

    Wipperman2011 dans Christine MATTHIAS (DE)Kocea dans Exposition/Exhibition
    Andrea Wippermann - brooch ‘Paesaggio Bianco’  Silver  2007
    Rudolf Kocéa – brooch ‘wind’ Metal  2010


    3 orafi formatisi alla Scuola Superiore di Arte e Design di Halle (Germania) con Dorothea Prühl, famosa artista, docente, direttrice a Burg Giebichenstein (1964-2002). Nei lavori degli allievi: Christine Matthias, Rudolf Kocéa, Andrea Wippermann si possono ritrovare, interpretate, la sua filosofia, la sua ‘maniera’ : una certa ‘severità’, asprezza di linguaggio che prevale sui preziosismi, la predilezione del racconto realistico a quello sentimentale, la tendenza alla semplificazione della forma fino all’astrazione. Le loro opere si ispirano alla quotidianità, alla memoria, alla tradizione, eseguite in forme non rifinite, con preferenza per materiali poveri, alla ricerca di una nuova bellezza, più intima, più mentale, che decorativa.

    Christine Matthias ad esempio, traduce le antiche grandi fibbie festive del costume regionale in leggere lastre opache poligonali appena bombate, forme dalla forte connotazione astratta contemporanea;

    matthias02 dans Gal. Marijke Studio (IT)
    Christine Matthias – necklace – silver (Charon Kransen Arts)

    in Rudolf Kocéa prevale il desiderio del racconto, egli riduce le immagini della cronaca a segni essenziali aspri, incisi o sbalzati sui metalli, considerando il suo gioiello un supporto materico su cui la labilità della cronaca diventa memoria.
    Rudolf Kocéa 

    Andrea Wippermann, (allieva e assistente di Dorothea Prühl), lavora prevalentemente con la tecnica della cera persa (hand-oscillating method).
    Strani gioielli spigolosi, in materiali preziosi che non appaiono tali, trattati con perizia e leggerezza, colpiscono per la inaspettata libertà e novità compositiva.
    Le nervose strutturine e le frammentate forme organiche cave che compongono la popolazione di questi ‘puzzles’ meccanici, suggeriscono ’malinconici’ relitti abbandonati, buffi insetti, alieni animali, o… futuribili robot.
    Audace e sorprendente sintesi di natura e artificio.


    ExperimantSchmuck_Nov2010_1289998818 dans Italie (IT)
    Andrea Wippermann Brosche ‘Rosa Garten’


    Marijke Studio
    Via A.Gabelli , 7
    35121 – Padova
    Telephone: + 39 049 663615
    Telephone: + 39 3483136216


    COUP de COEUR ! Efharis Alepedis

    From Rhode Island School of Design (RISD), Providence (USA). Born in 1969 in the Massachusetts . Bio sur le site de Charon Kransen Arts, où je l’ai découverte ….

    structures rappelant des amalgames de microcosmes marins, coquillages, coraux…. intrigants, attirants…. en quelles matières ? mystère !

    « My name is Efharis Alepedis, not the easiest name to remember or pronounce. So just call me “Effie the Greek.” I am one of two children of Greek immigrants. ….. I did not come from an art background, so art school opened up my eyes to fields that I had never heard ofbefore. Since my degree was in Art Education I was required to take a diversity of classes so that I would bewell rounded. However, after finishing my undergraduate degree, I felt the need to concentrate in the one fieldthat had caught my interest – metals/jewelry. So I went to graduate school at the Rhode Island School of Design from 1993-1995, receiving a Master in Fine Arts. This enabled me to be more competent in my field. After graduation I decided to move to Greece for a while and work at a very prominent jewelry company there known as Ilias Lalaounis, basically the « Tiffany’s of Greece ». Though I was interested in making one-of-a-kind work, I thought it would be interesting to get a taste of high-end production in the retail world. Living and working in Greece was a great experience. I moved back to the U.S. in 1996. »

     Efharis_AlepedisEfharis Alepedis - Necklace, 2010 – red patent leather, silk cocoons, epoxy resin, silver  – Charon Kransen Arts

    Efharis Alepedis Coral  Brooches, 2010

    Efharis Alepedis Coral  Brooches, 2010« Coral »  Brooches, 2010

    Efharis Alepedis Coral  Brooches, 2010

    COUP de COEUR !  Efharis Alepedis dans COUP DE COEUR Alepedis02

    Efharis Alepedis Coral  Brooches, 2010

    Efharis Alepedis Coral  Brooches, 2010

    Efharis Alepedis Coral  Brooches, 2010

    Efharis Alepedis Coral  Brooches, 2010


    COUP de … ROUGE avec Lucia MASSEI – Filo ROSSO ………

    Une architecture à l’allure délicate mais à la présence puissante et qui me touche profondément ….

    « Lucia Massei‘s works reveal evocative forms and release a strong energy. The artist likes to use hard metals such as shibuichi and iron, due to their inherent internal tension and surprising lightness. She also enjoys availing herself of gold due to its ability to bring to life different hues of red. Jewellery making to Massei is a very special moment, a time when she can shut off from the rest of her surroundings and enter into a world of her own. It is a private space, a time for reflection and a time to elaborate her thoughts, that will then be translated into sculptural pieces for the body. Her jewellery pieces are the result of her experiences, a time for her to be able to make up stories that she will later share with all of us. They create a bridge between her and the rest of the world, a bridge that allows her to reach out to people and speak to them in a language of her own. At times they are the end of one journey and the beginning of another. They come to us in the form of delicate, feminine, poetic works for the body, able to tell us a different story every time we look at them. A journey into the artist’s intimate sphere, but at the same time, a journey each one of us can make into our own private realm. » (Alternatives Gallery)

    Lucia Massei  Brooch: Mon Coeur 2010  Silver, iron, pigments, fine gold, black spinelsLucia Massei - ‘Mon coeur 1′ brooch – silver, 18kt yellow gold, iron, fine gold, pigment, black spinels – 2010

    Lucia Massei - Touching your skin | necklace year 2007 yellow gold, silver, iron,pigmentsLucia Massei - « la tua pelle » / « Touching your skin » necklace – 18kt yellow gold, silver, iron, pigment 2007

    Ensamble | necklace year 2006 shibuichi, pigments, yellow goldLucia Massei « Ensamble » necklace 2006 shibuichi, pigments, yellow gold

    COUP de ... ROUGE  avec Lucia MASSEI - Filo ROSSO ......... dans COUP DE COEUR gal1_13_big
    Lucia Massei - « homeless » pendant – silver, iron, pigment 2006
    Lucia Massei necklace

    Pigmented shibuichi (silver & copper) by Italy's Lucia Massei.Lucia Massei - shibuichi rings  (shibuichi : silver & copper)

    Lucia Massei. aritmia | bracelet  2007 iron, yellow gold, pigmentsLucia Massei - « aritmia » bracelet  2007 iron, yellow gold, pigments

    lucia massei Necklace: All around you / tutto intorno a te 2006  Shibuichi, yellow gold 18kt, pigment Lucia Massei -  Necklace: « All around you » / « tutto intorno a te » 2006  Shibuichi, yellow gold 18kt, pigment

    Lucia Massei Due come noi / two like us | necklace year 2005 shibuichi, fine gold, resin, yellow goldLucia Massei -  « Due come noi » / « two like us » necklace (detail) 2005 shibuichi, fine gold, resin, yellow gold

    Lucia Massei - Suit of armour Bracciale 2007 shibuichi oro giallo pigmentiLucia Massei - « Suit of armour » Bracciale 2007 shibuichi oro giallo pigmenti
    Lucia Massei - « IL MURO » Pendente

    Shibuichi (四分一?) is a billon which can be patinated into a range of subtle muted shades of blue or green. Its name means « one-fourth » in Japanese and indicates the standard formulation of one part silver to three parts copper, though this may be varied according to the desired effect. A 5% silver / 95% copper alloy is also marketed as « shibuichi » [1]. An wide range of colours can be achieved using the whole range of alloy compositions, even above 50% silver. It is a common misconception that both copper and silver oxides form but in fact a detailed study has shown that only copper oxides are formed on the copper rich regions of the materials microstructure while the silver rich regions are left largely untouched.
    For most of its history, shibuichi was mostly used to ornament various fittings for katana until the Meiji reforms, when most swordmakers began to make purely decorative objects instead. Similar alloys have been used elsewhere but the use of shibuichi to achieve different colored patinas has remained nearly unknown outside Japan, despite recent interest from artisans in the West.  (wikipedia)


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