COUP de …. BLUES ! Claire LAVENDHOMME – recreations

Claire Lavendhomme :
La série « récréations » est une recherche « couleur-forme-matière »

Claire Lavendhomme- Titane, or

Claire Lavendhomme- Bronze- titane – émail

Claire Lavendhomme- Argent, pigments, titane

Claire Lavendhomme- Argent, titane

Claire Lavendhomme- Argent, Titane

 

COUP de COEUR ! Gloria CARLOS – hand forged jewelry

« I have been making work for over 30 years as a sculptor, this has directly influened and translated into my jewellery. Working primarily with iron and gold, I am interested in the disparity between their values; one has a connection with opulence, the other with industry. Each piece of my work is hand forged and incorporates traditional and experimental metal smith techniques. I work intuitively exploring sculptural forms to create wearable ornaments. » Gloria Carlos (at the Scottish Gallery)

Gloria Carlos- Forged Necklace -2010 – forged iron, 22ct and 18ct gold (Photograph: Joel Degen)

 Gloria Carlos- Forged Ring – forged iron and 22ct gold – 2010 (Photograph: Joel Degen)

Gloria Carlos- Forged Ring – forged iron and 22ct gold  – 2010 (Photograph: Joel Degen)

 
Gloria Carlos- Forged Ring – forged iron, 22ct gold with a rough Sapphire – 2010 (Photograph: Joel Degen)

 

la ROUILLE en majesté …..

Alexandra Chaney - ‘tetanophobia ‘

voir article   « Ode à la ROUILLE …. Marianne Anselin« 

« La matière qu’elle affectionne aujourd’hui, vielles cartouches, ressorts rouillés, la sécurise, même s’ils sont des déchets. Elle y voit de la beauté, voire de la préciosité, quand d’ordinaire il y a rejet. Sa timidité est dans l’air, c’est pourtant l’ambiguïté qu’elle cultive.
Éloignée des valeurs mercantiles de la joaillerie traditionnelle, Marianne place la préciosité et la rareté là où on ne les attend pas : « je les cherche dans la fragilité de la nature, dans l’action du temps en arrêtant la dégradation du fer rouillé, en utilisant des objets rebuts de notre société qui ne sont pas vides de sens mais porteurs de mémoire ». Là où certains voient imperfections, aspérités, couleurs fanées, elle perçoit comment le souffle du vent, le cliquetis de la pluie viennent à bout de l’airain, comment de l’artificiel la nature se réapproprie et fait son oeuvre. La matière est déjà en migration car « tous les éléments sont fluides. C’est une question de temps. C’est la courte durée de notre existence qui fait que nous appelons «dur» ou «mou» tel ou tel matériau. Le temps met à mal ces critères ». En intervenant, elle arrête un processus qui menait le métal à sa fin, fige l’action du temps sous la violence de sa forge et offre à porter une impalpable et pourtant bien réelle effigie du devenir, un souvenir magnifié.  “ » (Marianne ANSELIN)

Marianne ANSELIN (FR) – sautoir ‘mécanique’ – fer rouillé, graines guatemaltèque

Christoph Zellweger- Chain (1994) (detail)

Adrean Bloomard – ‘Amphora’ project/jewels (Alternatives Gallery) – corrosion due à la mer & au temps, comme d’anciennes trouvailles archeologiques …..

Adrean Bloomard – amphora brooch – oxidized copper, silver, 22kt.gold

Adrean Bloomard – amphora necklace – oxidized copper, silver, enamel

Adrean Bloomard – amphora necklace – oxidized copper, 18kt.gold, enamel

Adrean Bloomard – amphora Bracelet, oxidized copper, enamel

Adrean Bloomard – amphora brooch – oxidised copper

bijoux faits par la Galerie SYMBIOSE, Perpignan (Eliane Amalric et Thierry Arabia)* :

Eliane Amalric et Thierry Arabia – collier rouille, perle tahiti, diamants, or, collier fils argent et or (janv 2010)

Thierry Arabia- broche/pendentif  et  bague -  rouille, argent, diamants

Thierry VENDOME- Collier – or jaune, acier rouillé provenant d’un hublot, diamants, péridots
broche ‘ikebana’ Or jaune. Acier rouillé. Perle de Tahiti

Philip Sajet  Ring: Rust  Iron, gold, niello on sîlver

Barbara Uderzo – collier & bracelet ‘ruggine’ (rouille) … en chocolat !

Fabrizio Tridenti - bagues / rings
on pense (je pense !) souvent que ses bijoux sont en rouille, mais en fait il s’agit de peinture acrylique …

Stefano Pedonesi – Ring: sterling silver, oxidized copper (alors, rouille ou pas rouille ?)

Edgar Mosa – ‘Di Indigetes’ – rusted steel

« Relationships with time, space and objects were the focus of my attention during my time in Detroit, Michigan, USA. In an attempt to belong – as a bird makes its nest – I gathered materials that surrounded me; and searched for forms that could convey the struggle within.
Saw blades and rusty steel populated my studio, as vanitas on a still life. From them I created brooches that hung on the body like uncomfortable companions, burdens of a neglected past, that engaged a bittersweet relationship with the wearer. The pieces found their visual strength in the contrast between the delicate organic surfaces versus the sharp industrial edges » (Edgar Mosa)

Isabelle Di Martino (FR) – « études » sur « l’usure »  (Projet de bijou sur le thème de » l’usure », jeu lancé par le forum « La Manufacture »)….. voilà du cuivre oxydé sans calcul (laissons agir la chimie), quelques gouttes de patine pour expérimenter…

vu à JOYA Barcelona 2010 : Ingrid VENTURA – Escola d´Art del Treball

Montse Basora – (Taller Perill, grupo « Joyas Sensacionales ») ‘lo perdido – lo encontrado‘ – pendant : silver, iron -2010

* galerie SYMBIOSE (Eliane Amalric et Thierry Arabia)
7 pl Gambetta
66000 PERPIGNAN
tél [phone]
fax [phone]
[e-mail]

COUP de COEUR ! Catherine Clark GILBERTSON – NATURE

« I use ancient metalsmithing techniques of chasing and repoussé to create jewelry and sculptural forms in precious metals that examines the origin of ornament. Starting with the decoration of architecture, sculpture and painting, this series of wearable sculptures is inspired by botanical specimens significant in the history of ornamentation such as acanthus leaves and sunflowers. Expanding on ideas of the wearable, my work examines interactions between the body and ornamentation of the body. However, instead of using these symbolically rich botanicals in miniature, as the basis of ornamenting a traditional form of jewelry, I have developed a life size form for my pieces firstly, from the plant itself–the original source of the centuries-old ornamentation—and secondly, from the shape it necessarily must take as a piece worn on the human body. .. » (Catherine Clark Gilbertson)

(she exhibited at « Chased + Repoussé », Velvet da Vinci gallery, March-April 2010)

Catherine Clark Gilbertson - ‘Akanthos’ neckpiece

 
Catherine Clark Gilbertson - Fine Silver Sunflower Cuff

18k earpieces  (j’ADORE ! ENFIN des b.o. qui sortent de l’ordinaire !! RARE dans le bijou contemporain, curieusement)

 

Simon COTTRELL – are we looking at small machines, or … animals ?

‘I create objects that address their nature or utility only by achieving an honesty towards it. I often use shapes that present various allusions while never overtly depicting any single subject. These pieces are drawn from an attempt to embody two subtle paradoxes… the possibilities of a tenuous calm or of complex simplicities. The edges of simple forms are broken so that the defining outline is unclear; simple allusions to nature are broken by an obvious man-made production.’ (Simon Cottrell at Gallery Funaki)

Simon Cottrell - brooch ‘Five dimples two whites and a tail’ 2007 – Monel, stainless steel, plastic coating

« In recent work I am aiming to trigger various quiet yet resonant contradictions that blur our abilty to make clear sense of the things we see. There is both simplicity and complexity, static and growth, volume and lightness, randomness and order, monotone and dynamic, tension and calm, in the forms and structural details. Initially appearing quite austere, the more time we engage with each piece the less definitive they become. If there is a possibility of a clear line between my work being perceived as one way or another, I will often try to sit on that line. Exactly where that line lies however all depends on the attentiveness of the viewer. When we are presented with forms that are evocative of something familiar yet ambiguous, our curiosity is triggered and our visual engagement is lengthened…  it is never clear, are we looking at small machines or floral bouquets?… monsters or clouds?… plants or animals ? » (Simon Cottrell on NoovoEditions)

Simon Cottrell (Australia) – ‘Six tall dimples radiating through/behind’ brooch – 2008

Simon Cottrell - ‘Back and forth in tempers’ brooch -  2010  (from his page on kit&caboodle)

Simon Cottrell - ‘Bang in/at plant’ – Brooch- monel with powder-coating-  2008

Simon Cottrell -  object ‘Awkward’ 2005 – Monel (15 x 15 x 13 cm )

Simon Cottrell -  brooch ‘Tall dimple, blobs’ 2007 – Monel stainless steel
Simon Cottrell -  brooch ’100mm deep concave circle’ 2008 – Monel enamel paint

Simon Cottrell -  brooch ‘Variable focus black’ 2007 Monel (chemical blackened), stainless steel

 

« What we might see as being ‘simple’ always has an underlying ‘complexity’. What we sense as being ‘calm’ is in actual fact, only a balance of ‘tensions’ at a level beneath our immediate perception. Our perception of things as being one way or another depends on the level of our sensory attentiveness.
The visual ‘simplicity’ of a single leaf contains a complexity within its moisture laden cellular structure. It could also be said that each singular cell is ‘simple’ in relation to the complex structure it lies within. And of course further again that singular cell has a deeper atomic complexity in relation to the singularity of the cell in itself.
Complex or simple…Calm or tense…Serious or playful…Ordered or random… Blurred or clear… Singular or multiple… Static or growing…Flat or with volume…Man-made or natural…
If there is a clear line between my work being one way or another, I will often try to sit on that line.
Exactly where that line lies however, all depends on the attentiveness of the viewer.
The degree of our sensory attentiveness of course plays a fundamental role in the human creative process.
It is sensory attentiveness that enables us to understand the nature of cause and effect within the production of material artifact. It allows us to absorb the delicacies of the methods used and the intricate details of their specific outcomes.
Every new physical manipulation of material, or thought about compositional elements is informed by a bank of previous insights which allows a kind of prediction as to what will happen, and sets up further questions as to the potentials for future possibilities.
By simply gaining more insight into the nature and manner of our pre-thought perception it gives greater clarity into how and what has been done and also to what may be done next within the creative process.
While my work is of course a direct embodiment of my own mental/physical processes, it is also devised as a metaphor for the inherent nature of the processes themselves.
Neither my work nor I will ever scream a definitive manifesto of our aims and intentions. I am not really attempting to tell you anything. I am simply materialising my view of the ‘nature of things’, which in turn is just giving you something to look at, and hopefully bringing you in closer.
Getting used to looking closely at small things, will always leads us to look even closer at larger things. « 

COUP de COEUR ! Emanuela DUCA – superbes SCORIES

De superbes textures, granuleuses et rugueuses, « brutes de décoffrage » : elle évoque elle-même le magma, les cendres volcaniques, les antiquités romaines -et leur rouille, leur oxydation-, le granulé du sable ….. et moi ce qui m’impressionne le plus c’est le contraste entre ces bijoux « sauvages », je dirais presque « masculins », des « bijoux de ferronnier », et les photos d’Emanuela Duca, à l’air on ne peut plus « blonde et douce » ! SUPERBE travail !
« In my most recent work, “Sand” and “Terra,” I revisit ancient Italian forms and reinterpret them with a modern sensibility. Sculpted in wax, then forged and constructed in sterling silver and 18K gold, the individual forms are highly textured, their surfaces evocative of volcanic ash and the ancient ruins of my native Rome. Yet their shape and combination is clean, simple, and minimal. Just the kind of contrast I aim to achieve in all my work. » (Emanuela DUCA)

Emanuela Duca- Sand black necklace – Oxidized sterling silver and 18k yellow gold

Emanuela Duca- White Sand bracelet – Sterling silver and 18k yellow gold

Emanuela Duca- Sand bracelet- Oxidized sterling silver and 18k yellow gold

Emanuela Duca- ‘petals’ necklace – oxidised silver, diamonds
exposé à http://www.jewelleryscape.com

Emanuela Duca- Magma bracelet – Oxidized sterling silver with diamonds

Emanuela Duca- « magma » ring  – Blackened sterling silver and yellow gold

Emanuela Duca- Roman cuff – Oxidized sterling silver with diamonds

Emanuela Duca- Magma rings – Oxidized sterling silver and 18k yellow gold

Emanuela Duca- Magma earrings – Oxidized sterling silver and 18k yellow gold with diamonds

Emanuela Duca- Fiamma rings – Sterling silver with gold leaf

Emanuela Duca- Roman necklace – Oxidized sterling silver with agata

 

Hanna HEDMAN (SE) – Grief and fragility made visible

Hanna Hedman  (Suède) : sombre univers ! d’ailleurs une de ses expositions s’intitulait « Escape the day » (Galerie Platina, Stockholm, mars 2010) …. mais pas un univers triste, ou macabre, non, sombre parce qu’onirique, sorti du tréfonds des limbes du cerveau, des profondeurs d’un rêve, d’un univers parallèle, d’une résurgence d’un autre monde, d’une autre vie, d’un passé qui ressurgit parfois … les matériaux utilisés participent de cette « noirceur » :  métaux oxydés, noircis, grisés ……… et pourtant les photos se veulent « fraiches », « saines » : enfants blonds, personnes habillées de blanc, de face, « simples », juste « là »…… étrange monde !

 

« Hanna Hedman uses beauty to seize the viewers attention, but behind the attractive facade her jewellery deals with difficult subjects such as human vulnerability and underlying defence mechanisms. Her sculptural pieces, composed by thin layered silver sheets, are both delicate and strong. Equally beautiful as solemn.
In the exhibition we show jewellery from three series. Finding dark matter- is about fear of the dark, deriving from the idea that the universe consist of 95% dark matter. What you tell is not always what you experienced- inspired by the boundaries between truth and fiction. An exploration of imagination, with escapism as a comfort and survival strategy. Enough tears to cry for two- refers to historical mourning jewellery. Grief and fragility made visible, and a comment to a personal tragedy. » (Hnoss Gallery)

(Photographs by Sanna Lindberg)

(Photograph: Sanna Lindberg)

rings
materials : silver, oxidized silver, powder coated copper, syntetic fibers, paint.

Enough tears to cry for two, 2008

 

presse

« the grey brigade » – Pictures from the bands ‘Myspace’. New Album « Owl Archives » released on the 14th of April, 2010

COUP de COEUR ! Fatima TOCORNAL

Fatima Tocornal (Barcelona, ES)

elle participe aux ateliers du Taller Perill

‘lo peligroso’ – ‘protector’  -Pin – plata papel perlas e hilo

‘lo cotidiano’ – colgante: plata oxidada y coral

‘lo peligroso’ – colgante: plata oxidada y perlas

‘Riscos’ – colgante – plata, coral y perla

 

‘lo raro’ – collar libro e hilo - FABULEUX !!

COUP de COEUR ! Pawel KACZYNSKI where textile meets metal

« pawel kaczynski : metal pleats, crinkles and wrinkles »

« Textile meets jewelry in an explosion of color and texture in this body of work.  The closures on Kaczynski’s cuffs and collars are a striking example of how an artist’s work can sing when the functional elements of a piece are incorporated into the design. I want to touch them and memorize the way they feel under my fingers.  Wrinkles have never been so sexy.«  (http://dailyartmuse.com/)

quand Susan Lomuto, la rédactrice de « dailyArtMuse », dit que son site -et ses bijoux !- sont WOW!, ce n’est rien de le dire !! à voir absolument !!!

COUP de COEUR ! Andrea Janosik, silver & leather jewelry

Andrea Janosik, Slovaquian, is a graduate from Parsons School of Design & Eugene Lange College, New York, with a BA/BFA in product design/metals and creative writing. After graduating, she continued her education at the New York Studio School of Painting and Sculpture and the Lern Ort Studio, and later at the School of Fine Arts in Düsseldorf, Germany. Ms. Janosik has exhibited at “SOFA” in both New York and Chicago, and many other galleries And museums in the US and Germany. In 2008 she exhibited in a juried craft show at the Smithsonian in Washington, DC.

 » Andrea Janosik has become a specialist in working with leather. Using a variety of leathers, including cords and flat pieces, she created very sculptural pieces. Many pieces are made rolling the leather into shapes, such as the cones in the necklace above, or other techniques of folding or bunching the leather. Her work is very laborious as she spends hours precisely cutting and shaping the leather pieces. »

Andrea Janosik, Orange bracelet, 2007, oxidized sterling silver, rolled suede leather

Andrea Janosik, Red spike bracelet, 2008, stacked leather and oxidized sterling silver, tied with leather cord

 

blue necklace

bracelet 

Blue Brooch - sIlver and suede - 2007

« The Brooklyn based artist was born in Slovakia and as a child lived in both Africa and Germany before coming to New York to continue her education. Janosik, the AJF’s 2007 Emerging Artist Award winner, is clearly influenced by her rich cultural experience, offering a variety of combinations ….« 

Andrea Janosik, Yellow cone necklace, 2009, rolled leather, leather cord, and oxidized sterling silver

cord bracelet – 2006

 

Find an interesting interview of Andrea Janosik on the blog « For the love of jewels »