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03/03/2017

EXPO ‘A Tribute to Nel Linssen′ – Marzee Gallery, Nijmegen (NL) – 15 Janv.-22 Mars 2017

A Tribute to Nel Linssen jewellery

 opening 15 January 2017 at 4pm

exhibitions – Galerie Marzee - exhibitions –  15 January until 22 March 2017 -  opening 15 January 2017 at 4pm          A Tribute to Nel Linssen – jewellery: (necklace, untitled, 2000)

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Nel Linssen – Galerie Marzee - Nel Linssen, necklace, untitled, 2000: Nel Linssen, necklace, untitled, 2000

Gal Marzee - Nel Linssen, necklace, untitled, 2000: Nel Linssen, necklace, untitled, 2000

Nel Linssen – Galerie Marzee - Nel Linssen, necklace, untitled, 1995: Nel Linssen, necklace, untitled, 1995

Nel Linssen –  Galerie Marzee - Nel Linssen, bracelet, untitled, 1997: Nel Linssen, bracelet, untitled, 1997

Nel Linssen – Galerie Marzee - Nel Linssen, necklace, untitled, 2000: Nel Linssen, necklace, untitled, 2000

Nel Linssen – Galerie Marzee - Nel Linssen, necklace, untitled, 2014: Nel Linssen, necklace, untitled, 2014

Nel Linssen –   Galerie Marzee - Nel Linssen, pendant, untitled, 2010: Nel Linssen, pendant, untitled, 2010

Nel Linssen – Galerie Marzee - Nel Linssen, bracelet, untitled, 1989: Nel Linssen, bracelet, untitled, 1989

 

Lage Markt 3 / Waalkade 4
6511 VK Nijmegen, Netherlands
tel +31 24 322 9670
mail@marzee.nl

 

13/11/2016

EXCHANGE-BIJOU 1 – Isabel TRISTAN – Et suivre la ligne ……

Isabel Tristan, comme un fil qui tourne et tourne et tourne, bois tourné ?

Mais coup de coeur immédiat lorsque j’ai découvert ses bijoux au dernier Melting Point, à Valencia, en Mai 2016, à l’exposition « Pagina en blanco » au Centro del Carmen !
Tout est dans la ligne, EST ligne, ligne d’écriture, trait de dessin, et tout ramène au mode de l’écriture, du livre, y  compris le matériau utilisé, papier, sinon le bois -duquel on tire le papier- ….. comme un « gribouillage », un « repentir », un retour en arrière, un recommencement, et puis finalement c’est là, c’est ça, ça s’impose en force et en gracilité ……

Isabel Tristan - broche 2016Isabel Tristan - broche 2016 – exhibited at  »Pagina en blanco » Valencia Melting Point 2016

« Mirar, observar, desmontar mentalmente, entender y descubrir el proceso de creación de los objetos, los materiales que los componen y la pasión por aprender me han permitido crecer y evolucionar en mis procesos creativos. Lápices, papeles, pinceles, colas, telas, hilos, agujas… han sido las herramientas que me han acompañado siempre, recientemente se han añadido los metales, las limas,el soldador, los plásticos, las resinas… todo aquello que me permite expresarme dentro del mundo de la joyería contemporánea. En mis piezas busco el mensaje, la originalidad, siempre con el lenguaje y la técnica adecuada a cada caso, a menudo me arriesgo, disfruto de la libertad que me da trabajar en un proyecto propio. » (Galeria Context)

 Isabel Tristan - detail of Necklace "Pensaments centrifugats" - wood, sheets book, alpaca, acrylic, cotton ribonIsabel Tristan – detail of Necklace « Pensaments centrifugats » – wood, sheets book, alpaca, acrylic, cotton ribonIsabel Tristan - collar 2016 - exhibited at "Pagina en blanco" Valencia Melting Point 2016Isabel Tristan - collar 2016 – exhibited at « Pagina en blanco » Valencia Melting Point 2016

 Isabel Tristan - broche 2016Isabel Tristan – broche 2016 exhibited during JOYA Barcelona 2016 at « 3″ in Ingallerybcn

Isabel Tristan - broche 2016Isabel Tristan - broche 2016 exhibited during JOYA Barcelona 2016 at « 3″ en Ingallerybcn

(« Looking, observing, mentally deconstruct, understand and discover the process of object creation, the material which they are formed with and the passion for learning has made me being able to grow and evolve in my creative process. Pencils, papers, brushes, glues, cloths, threads, needles…they’ve been the tools that have always accompanied me. I have recently added metals, foils, solders, plastics, resins… anything that allows me to express myself in the contemporary jewellery world. I look at my pieces the meaning, the originality with the language and the best technique in every single case. I often take risks, I enjoy the freedom that working on an own project gives me » (Galeria Context))

She lives and works in Barcelona. Degree in Graphic Design in Escola Massana of Barcelona. Speciality courses in Painting in Escola Massana too. Since 1985 she works as a graphic designer for both direct clients, and as a freelance for studios and advertising agencies. She directed and coordinated the magazines Sport Dyr and Belleza y Moda (Unidroco). She taught Projects and Technical Representative for Special Projects at CFC (final year), specializing in Graphic Design at the School LAI in Barcelona. In 2009 she began his career in contemporary jewelry with the jeweler Silvia Walz in Massana Permanent, also in several workshops in Taller Perill in Barcelona with the jewelers Judy McCaig and Tanja Fontane. Currently she combines graphic design with jewelry, without leaving the painting and artist books as specific creations. Since february 2014, she is a member of ZZ Inzunza, creative workshop. (Galeria Context

& …. Desde  febrero de 2014 forma parte del staff de InGalleryBcn : « La experiencia es buena con mil aspectos a tener en cuenta, y donde es necesaria la autoexigencia en recordar siempre que a pesar de tener espíritu de artista, las cuentas han de salir a fin de mes.
El contacto directo con el cliente también te hace reflexionar cuando estás en la mesa de trabajo, sobre aspectos como la relación entre las joyas y su uso, durabilidad o mantenimiento, aspectos que como artista a veces olvidamos pero que el usuario es lo primero que tiene en cuenta. »

 Isabel Tristan - 2 brooches -   2016 - at 'Pagina en blanco' exhibition  Valencia Melting Point 2016: Isabel Tristan – 2 brooches -   2016 – at ‘Pagina en blanco’ exhibition  Valencia Melting Point 2016

 Isabel Tristan -broche  "Plats" - wood curved hand stained with dyes, alpaca and acrylic enamel Measure: 52x120 mm CONTEXT Galeria Isabel Tristan -broche  « Plats » – wood curved hand stained with dyes, alpaca and acrylic enamel Measure: 52×120 mm

Interview with Isabel Tristan in Itineràncies Context :« Eres diplomada en Diseño Gráfico por la Escuela Massana de Barcelona, y has realizado cursos de pintura en la misma escuela. ¿Qué te llevó a interesarte por la joyería?
 Siempre había dicho que volvería a la Escuela Massana para cursar la especialidad de escultura. Mi llegada al mundo de la joyería fue un tanto práctica, quería trabajar volúmenes, materiales muy diversos y esta especialidad me permitía conocer muchas técnicas escultóricas a pequeña escala, que además puedo realizar sin grandes cambios en mi pequeño taller en casa.
 En la actualidad combinas el diseño gráfico con la joyería de forma habitual. ¿Qué crees que tienen en común estas dos disciplinas artísticas? ¿Cuál de las dos piensas que te permite expresarte mejor?
 Todos los procesos creativos comparten muchos aspectos desde que aparece la idea, esbozarla y llevarla a término, cambia la manera de expresarlos o el soporte sobre los cuales se ejecutan y evidentemente el proceso de comunicación que se establece.
Con las  dos especialidades me siento cómoda, en el diseño gráfico suk,rge mi lado más racional, yo pongo las herramientas y los recursos para que un tercero obtenga un beneficio llegando a sus objetivos. En la joyería surge mi lado más personal, tengo plena libertad para empezar un proyecto, para ir transformándolo, evolucionando a mi gusto,soy yo en estado puro, sin terceras personas.
Conocer las dos especialidades hace que las pueda interrelacionar y que una retroalimente a la otra, a menudo algunos joyeros me dicen “se nota que eres diseñadora gráfica”, pero también sucede al contrario. »

Isabel Tristan - dibujo(s) para Pendant "PLATS IV", 2014,Isabel Tristan – dibujo(s) para Pendant « PLATS IV », 2014,

 

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13/07/2016

COUP de COEUR : Yiota Vogli, layers of paper, layers of MEMORY ….

Classé dans : COUP DE COEUR,Grece (GR),papier / paper,Yiota VOGLI (GR) — bijoucontemporain @ 21:32

Yiota Vogli, layers of paper
“Layers of Memory”

« As a visual artist, I transfer onto my work pictures, stimuli and sentiments, through numerous sketches, colors and forms. This material comprises the basis of “Layers of Memory”, my latest jewelry series, which is stemming from my personal memories and deals with the density of substance.

Paper stripes, in dense or attenuated layers, create forms of multiple colours. Then, bonded and attached onto silver become symbols. Symbols of past imprints and memories that have lost their actuality, since time and personal renderings – feelings, subjective readings, even mind distortions – transform them into something open to interpretation.

Using a personal language of inner thoughts and selected memories, my work tends to arise hidden or forgotten images, thoughts and memories to the viewers. »

Vogli-Jewelry

Yiota Vogli WHITES 2016 - paper - layers of MEMORY collection: Yiota Vogli WHITES 2016 – paper – layers of MEMORY collection Yiota VOGLI Jewelry  ·'b in b' necklace, silver, oxidized bronze, paper -   À JOYA BARCELONA  2015: Yiota VOGLI    ·’b in b’ necklace, silver, oxidized bronze, paper -   À JOYA BARCELONA ART  2015:

Yiota VOGLI Jewelry   Grèce ·   . Deep in the Sea, Necklace, paper, oxidized silver 925: Yiota VOGLI - « Deep in the Sea » Necklace, paper, oxidized silver 925

Yiota Vogli - PAPER JEWELRY! Layers of Memory 2015  2015 Jewelry Collection. silver, oxidized, paper  - Deep in the Sea II, silver, paper www.yiotavogli.com: Yiota Vogli – « Deep in the Sea II » neckpiece Layers of Memory 2015  2015 Jewelry Collection. silver, oxidized, paper  

Yiota Vogli - JOYA   2015 ringYiota Vogli – JOYA   2015 – « Free » ring, oxidized silver, paper

Yiota Vogli - PAPER JEWELRY! Layers of Memory 2015  2015 Jewelry Collection. silver, oxidized, paper -  "Aegean Sea" necklace , silver, oxidation on brass, paper www.yiotavogli.com: Yiota Vogli -   Layers of Memory 2015 « Aegean Sea » necklace – 2015 Jewelry Collection. silver, oxidized, paper ,oxidation on brass, paper

Yiota VOGLI Jewelry   novembre 2015 ·   À JOYA BARCELONA  Yiota VOGLI   « Feminine Memories » necklace ·   À JOYA BARCELONA 2015

Yiota Vogli - PAPER JEWELRY! Layers of Memory 2015  2015 Jewelry Collection. silver, oxidized, paper  - Feminine Memories, ruthenium plated, paper www.yiotavogli.com: Yiota Vogli -  « Feminine Memories » – Layers of Memory 2015 – 2015 Jewelry Collection. silver, oxidized, paper , ruthenium plated, paper

Yiota Vogli - PAPER JEWELRY! Layers of Memory 2015 - 2015 Jewelry Collection. silver, oxidized, paper  - Bracelet, paper, oxidized silver, brass, argentum www.yiotavogli.com: Yiota Vogli – PAPER JEWELRY! Layers of Memory 2015 – 2015 Jewelry Collection. silver, oxidized, paper  – Bracelet, paper, oxidized silver, brass, argentum

Yiota Vogli landscape necklace  - layers of MEMORY collection: Yiota Vogli landscape necklace  – layers of MEMORY collection

Yiota Vogli 'Pieces of Land', earrings, paper, oxidized brass, chain www.yiotavogli.com: Yiota Vogli - ‘Pieces of Land’, earrings, paper, oxidized brass, chain 2015

Yiota Vogli - summer whites 2016 - Necklace, paper, sterling silver, alpaca@yiotavogli: Yiota Vogli - summer whites collection 2016 for AJW – Necklace, paper, sterling silver, alpaca

Yiota Vogli - Summer White Collection, 2016 for AJW, paper, sterling silver, steel@yiotavogli: Yiota Vogli - Summer White Collection, 2016 for AJW, paper, sterling silver, steel

 

 

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08/06/2016

COUP de COEUR / DECOUVERTE : Lucia Mishquila Brichta

Coup de COEUR ? je dirais presque un coup de SANG …. « ce qui nous unit c’est le sang »

Sangre – Collares en papel vegetal y Tinta de Lucia Mishquila Brichta

¿Qué nos une?
Nos une la SANGRE
Doscientos años de historia que fueron pasando de generación en generación. Desde entonces han cambiado nuestras viviendas, forma de vestirnos y expresarnos, forma de alimentarnos y ritmos de vida.
Todo pareciera ser distinto… pero como dice mi abuela ¨la sangre no es agua¨.
Nuestra herencia es totalmente inmaterial, no está en una foto, ni en un objeto, ni siquiera en el recuerdo…
En homenaje a mis antepasados creo esta serie de piezas tituladas ¨SANGRE QUE GUARDA HISTORIAS DE OTRA SANGRE¨. mars 2013

Lucía Mishquila Brichta -  Sangre - Collares en papel vegetal y Tinta ¿Qué nos une? Nos une la SANGRE -Lucía Mishquila Brichta -  Sangre – Collares en papel vegetal y Tinta ¿Qué nos une? Nos une la SANGRE (collar AMASANGRE003)

pagina en Joyeros Argentinos
« La naturaleza y lo femenino como un diálogo constante entre la mirada exterior y la visión interior.
El poder de la acción curativa. la acción como un ritual cotidiano en la búsqueda de belleza y equilibrio. Un trabajo concretado entre el ojo y la mano, entre mi mente y mi corazón juntos.
Silencio profundo, misterioso, placentero. Quiero tocarlo, sentirlo, comprenderlo. Pero otra vez vuelve a moverse. »

AMASANGRE001 -  Sangre - Collares en papel vegetal y Tinta ¿Qué nos une? Nos une la SANGRE -  Lucía Mishquila Brichta: Lucía Mishquila Brichta – AMASANGRE001 -  Sangre – Collares en papel vegetal y Tinta ¿Qué nos une? Nos une la SANGRE

 Lucía Mishquila Brichta - AMASANGRE002   Lucía Mishquila Brichta – AMASANGRE002

Lucía Mishquila Brichta - AMASANGREDETALLE002 - : Sangre - Collar - detalle Lucía Mishquila Brichta – AMASANGREDETALLE002 – : Sangre – Collar – detalle

Lucía Mishquila Brichta - AMASANGRE003  Lucía Mishquila Brichta – AMASANGRE003 

Lucía Mishquila Brichta - AMASANGREDETALLE001 - : Sangre - Collar detalle: Lucía Mishquila Brichta – AMASANGREDETALLE001 – : Sangre – Collar detalle

 

Lucía Mishquila Brichta nace en noviembre de 1985 en la Ciudad de Buenos Aires.
Luego de su paso por la carrera de Diseño Industrial en la UBA comienza a profundizar en el estudio de la joyería contemporánea participando de talleres como los de Jorge Castañón y Fabiana Gadano . En estos últimos años, y para nutrir su trabajo como artista desde una perspectiva más amplia participa de espacios de taller y clínica de arte contemporáneo con artistas y joyeros nacionales e internacionales como Francisca Kweitel, Viviana Blanco, Fabiana Barreda, Nelli Tanner y Gemma Drapper.
Ha expuesto trabajos de joyería de forma colectiva en galerías nacionales como Arte y Parte, Museo de la Mujer, Museo José Hernández, Luna Park, Centro de Exposiciones Municipales, FNA, Panal 361. Como también en galerías de México dentro del Simposio Área Gris junto al grupo “Joyeros Argentinos”, en Santiago de Chile en el Centro Cultural Alto las Condes con el grupo Conjunción y Laca Japonesa, y en Barcelona en la exposición colectiva “Sur o no Sur” dentro del circuito de JOYA BARCELONA 2014.
Actualmente tiene su propio taller en Panal 361 en donde dicta clases de joyería y trabaja en sus proyectos personales.

Manifiesto
« Trabajar con mis manos me conecta con mis emociones más profundas. El contacto es la vía más directa a mi corazón.
Algo de la naturaleza humana brota de ese encuentro, en el que me remonto a mi origen. Un origen de montaña, de semilla, de piedra, de ritual que me sana. 
Intuitivamente exploro el material; me acerco a una forma que entre el tiempo, la mirada de los otros y la propia va adquiriendo significado. 
Silencio profundo, misterioso, placentero. Quiero tocarlo, sentirlo, comprenderlo. Pero otra vez vuelve a moverse. »

 

09/05/2016

COUP(s) de COEUR ……. Flora VAGI

Classé dans : COUP DE COEUR,Flora VAGI (HU),Gal. RR Gallery (US),Hongrie (HU),papier / paper — bijoucontemporain @ 0:11

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

Flora Vagi - “Red Seanemone II”, Brooch, 2016. Book pages, cold enamel, silver, steel.Flora Vagi - “Red Seanemone II”, Brooch, 2016. Book pages, cold enamel, silver, steel.

Flora Vagi - “BigWhite Seanemone”, Brooch, 2016. Book pages, cold Acrylic Paint, silver, steel.Flora Vagi - “BigWhite Seanemone”, Brooch, 2016. Book pages, cold Acrylic Paint, silver, steel.

Flora Vagi - “Bigblack Seanemone”, Brooch, 2013. Book pages, cold enamel, silver, steel.Flora Vagi – “Bigblack Seanemone”, Brooch, 2013. Book pages, cold enamel, silver, steel.

 Flora Vagi broochFlora Vagi brooch 2016

28/04/2016

EXPO ‘April, maybe May’ – V&V Gallery, Vienna (AT) – 28 Avril–27 Mai 2016

« April, maybe May » – Janna Syvänoja

Galerie V&V

Janna Syvänoja will present her art works and some jewellery pieces.

Opening: 28 April 2016, 19:00 – 21:00

Janna SyvänojaJanna Syvänoja

« When winter veil gives way to spring awakening, it is time for continuous metamorphoses. Vanishing snow reveals sleeping nature, in the middle of melting, freezing and growing. White turns to grey, brown is suddenly green. Patient seeds in soil, waiting behind the ice. Bright light paints the colours. Delicate buds ready for bubbling blossom. Countless shapes without names. Still I won’t call them shapeless. »

 Janna SyvänojaJanna Syvänoja

Bauernmarkt 19
1010 Wien (Vienna, Austria)
Tel 0043/1/535 63 34
Fax 0043/1/8102121/40

23/04/2016

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

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

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

 RR Gallery - 2016

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

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

 

Flora Vagi  Rosegold Seanemone brooch: Flora Vagi paper Rosegold Seanemone brooch

Flora Vagi paper brooch - 2016: Flora Vagi paper brooch

Flora Vagi brooches at RR Gallery: Flora Vagi brooches

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

Kiwon Wang neckpieceKiwon Wang neckpiece

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

work from Jeremy Maywork from Jeremy May

Jeremy May  paper ring: Jeremy May  paper ring

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

 Shiri Avda, “Rock Paper Scissors” Rings: Shiri Avda, “Rock Paper Scissors” Rings

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

Katherine Richmond  Brooch: Katherine Richmond  Brooch

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

 

REINSTEIN/ROSS gallery (RR Gallery)
30 Gansevoort Street, New York,
NY 10014   (USA)
tel 212.226.4513
Gallery@ReinsteinRoss.com

27/06/2015

DECOUVERTE/COUP de COEUR ….. Rachel BLAIR from Glasgow School of Art

Rachel BLAIR

Rachel Blair – A Sense of Place
Rachel is a recent graduate from the Glasgow School of Art, 2015 (Degree Show 2015). She is a Jeweller, designer, maker from the Northern Isles of Orkney.  She is interested in creating pieces with contain balance in material and tension. Her work is an expression of her constant longing for a sense of belonging. She is interested in the phycology of attachment to place and the memories and thoughts alluded from the feeling of belonging. Her work this past year has been focussed on the idea of a ‘sense of place’, through this she has been investigating her own honesty. Her pieces are true to the original materials; she does not try to conceal construction. The sensitivity of the fragile papers held in by pressure and tension create uneasiness, however aesthetically beautiful.

Rachel Blair  - "overwhelmed" folded brooch -  white metal & ink stained paperRachel Blair  – « overwhelmed » folded brooch -  white metal & ink stained paper

Rachel Blair  - detail of "overwhelmed" folded brooch -  white metal & ink stained paperRachel Blair  – detail of « overwhelmed » folded brooch -  white metal & ink stained paper

« My pieces are mainly constructed from silver and gold wire frames with tension set wound papers. These papers are all hand dyed and wound individually to create intricate patterns incorporating the flaws and ripples. I uses papers to create pieces that have a sense of preciousness, papers that are usually worthless, but when manipulated and set in a precious setting have a much greater meaning. By using paper, my pieces have a limited lifetime. It is the wearing away of the precious papers within a materially precious band that is the interest. The piece is always under tension and stress, but aesthetically complete. » Rachel Blair

Rachel BlairRachel Blair Neckpiece: Held’ Goldsmiths Precious Metal Bursary, 2015 – Yellow metal, white metal & ink stained papers – 18 x 45 x3 cm – Photo by: Rachel Blair

She has been working closely with drawing materials in her pieces. Drawing is an integral part of her design process. It is the love of the tangibility and immediacy of a sketchbook, and how private and controlled a sketchbook can be; that is the catalyst to transfer those qualities into her work conceptually and aesthetically. Her pieces are constructed from silver and gold wire frames with tension set papers. These are hand dyed and wound individually to create intricate patterns within the layers. She uses papers to create pieces that have a duality of preciousness, papers that are usually worthless, but when manipulated and set in a precious setting have a much greater meaning. By using paper, her pieces have a limited lifetime. It is the wearing away of the precious papers within a materially precious band that is the interest. The piece is always under tension and stress, but aesthetically complete.

« I have been teaching Rachel Blair at Glasgow for the past four years and have watched how her work has grown in confidence and skill.
Her degree body of work focuses on her love of her home, Orkney. The work explores ways of capturing a sense of place and communicating visually her connections to the island. From this exploration of emotions and memories colour and material exploration has become a key component of her work. Through a thorough research investigation into paper and the use of colour Rachel has created complex yet simple pieces using ink and paper. Gradients of colour, washes of blues and browns create warmth and detail in tightly bound paper structures. This is an unconventional choice of materials within a jewellery degree and showcases Rachel’s efforts to challenge convention. Jonathan Mathew Boyd, Lecturer Glasgow School of Art, 2015«   (Glasgow School of Art 2015 Degree show)

Rachel Blair - 1st visual "shock" when entering on her website/gallery !Rachel Blair - 1st visual « shock » when entering on her website/gallery !

 Rachel Blair -  "overwhelmed" ripple brooch -   - white metal & ink stained paperRachel Blair -  « overwhelmed » ripple brooch -   white metal & ink stained paper

Rachel Blair- reverse of "overwhelmed" ripple brooch -   white metal & ink stained paperRachel Blair- reverse of « overwhelmed » ripple brooch -   white metal & ink stained paper

Rachel Blair jewellery - Bound neckpiece  - white metal & ink stained tapeRachel Blair jewellery – Bound neckpiece  – white metal & ink stained tape

Rachel Blair - Bound neckpiece detailRachel Blair – Bound neckpiece detail

Rachel BlairRachel Blair - Glasgow degree show 2015

Rachel Blair. Glasgow School of Art. New Graduates 2015.  - Neckpiece: Honesty, 2015 White metal, ink stained papers 5 x 7 x 7 cm Photo by: Rachel BlairRachel Blair. Glasgow School of Art. New Graduates 2015.  – Neckpiece: Honesty, 2015 White metal, ink stained papers 5 x 7 x 7 cm Photo by: Rachel Blair

 Rachel Blair Brooch: Restricted' Deep Yellow, 2015 White metal, ink stained papers 8 x 8 x 4 cm Photo by: Rachel Blair Rachel Blair Brooch: Restricted’ Deep Yellow, 2015 White metal, ink stained papers 8 x 8 x 4 cm Photo by: Rachel Blair

01/06/2015

EXPO ‘Ma [espai en blanc]‘ – Ocaña, Barcelona (ES) – 4-14 Juin 2015

Classé dans : Agnes WO (ES),BARCELONA,Espagne (ES),Exposition/Exhibition,papier / paper — bijoucontemporain @ 19:54

Agnès WO  –  Ma [espai en blanc]

4-14 junio 2015 :  Agnès WO at Ocaña – Plaça Real, Barcelona -

Inauguracion jueves 4 de junio a partir de las 20h

 4-14 junio 2015 - agnèsWO at Ocaña - Plaça Real 13 14 15 - 08002 Barcelona - inauguracion jueves 4 de junio a las 20hEl Café Ocaña acull la presentació de MA, la col·lecció de joies dissenyades per Agnès Wo. Estarà exposada durant tota la setmana de la Barcelona Design Week 2015.

Agnès WO

Agnes WO

Ma Término japonés traducido como vacío, intervalo o pausa en el espacio y el tiempo. El tiempo y el espacio son indivisibles; el espacio vacío es tan importante como el espacio que se llena; el vacío interactúa con la sustancia y le da forma. El concepto de ma puede referirse a los vacíos en una escultura, a los intervalos espaciales en arquitectura, al silencio entre las notas de una canción o a las pausas en la pronunciación de una frase.

(Francis D.K. Ching, Diccionario visual de arquitectura)

 Agnes WO - ma(espai en blanc) - SENDAÏ necklace - Fibra de vidrio, alpaca, pigmento. Fiberglass, nickel silver, pigmentAgnes WO - ma(espai en blanc) – SENDAÏ necklace – Fibra de vidrio, alpaca, pigmento. Fiberglass, nickel silver, pigment

Agnes WO - ma(espai en blanc) - SENDAÏ necklace -  DETAILAgnes WO -- ma(espai en blanc) – SENDAÏ necklace(DETAIL)

 
Ma, el origen:
Agnès WO piensa en el blanco como una materia prima. O, yendo más atrás, como la materia primigenia de sus creaciones. El blanco como vocabulario básico y etéreo, aliado de la luz, articulable como se articula una frase, una melodía, una estructura. El color no-color es presencia y es ausencia sobre el material físico: es la tensión que sostiene la textura y la forma de una joya, pero también la envolvente efímera que atrapa el vacío y lo hace partícipe de la pieza final.
Ma, el proceso:
Agnès WO es arquitecta y se nota: del blanco extrae el espacio que necesita y lo conduce por donde ella quiere. Manipulando la escala, adapta la tectónica a la anatomía humana. Descontextualizando el material, lo transporta a una esfera imprevisible. El mimbre salvaje se convierte porcelana delicada; los residuos de cerámica se convierten en un ingrediente naturalizado, como un esqueleto de coral. La planeidad del papel se repliega en sí misma y toma cuerpo, o se deshilacha para enjaular el aire con complejas celosías orgánicas. La artista también experimenta con materiales no convencionales, todos ellos llenos de blanco: resina, silicona, parafina, algodón…, que manipula y libera de sus límites para ofrecerles una vida inesperada.

Agnes WO

 


 

Agnès WO es arquitecta por la ETSAB-UPC (2002) y Técnica Superior en Artes Plásticas y Diseño en joyería artística por la Escola Massana (2005). Actualmente es profesora de proyectos de joyería contemporánea en la Escola d’Art i Superior de Disseny «Llotja», donde también coordina el departamento de joyería.
Ha expuesto y vendido sus colecciones en la TATE Modern de Londres, el Museo Guggenheim de Bilbao, el Centro de Arte CaixaForum y La Pedrera de Barcelona, entre otros.

 

Ocaña (restaurante)
Plaça Real 13 14 15
08002 Barcelona

04/02/2015

Myung Urso : black & white delight

Classé dans : COUP DE COEUR,Korea (KR),Myung URSO (S.KR),papier / paper — bijoucontemporain @ 18:30

Myung Urso

New series of work from 2014, where Myung Urso explores a working process open to momentary happenings and cultivates objects from the moment creation.

« It is always intriguing to see how my personal imagination and inspiration embody to become an actual object. The working process is more open towards momentary happenings rather than manipulated by preset intention, which brings unexpected value. I rather explore, experience and cultivate the moment.
I often observe how different elements play out in their own way, helping to define the destiny of each work. Pursuing the textures of abundant materials is my primal interest in making jewelry. Adopting different fibers with other solid material reveals unique surfaces, characteristics, shapes, colors and textures. This is the most fascinating part of my work. »

Myung Urso  - brooches RED 2014Myung Urso  -  Brooches: Red, 2014 – Cotton cord, acrylic paint, sterling silver, lacquer

NEXT EVENTS :
26-Feb-2015 – 01-Mar-2015 ‘Bijoux 2015’, Norton Museum, FL
04-Feb-2015 – 24-Feb-2015 ‘The Outer Limits’, Facere Gallery, Seattle, WA
23-Apr-2015 – 26-Apr-2015 Smithsonian Craft Show, Washington, DC
07-Jun-2015 – 25-Oct-2015 ‘CODA Paper Art 2015’, CODA Museum, Apeldoorn, Netherlands
Myung Urso Necklace: Arpegio, 2014 Jangpanji (Korean floor paper), gesso, steel wire 19 x 11 x 5.5 cmMyung Urso Necklace: Arpegio, 2014 Jangpanji (Korean floor paper), gesso, steel wire 19 x 11 x 5.5 cm

Myung Urso Brooch: Arpegio, 2014 Jangpanji (Korean floor paper), gesso, steel wire 10 x 11 x 6 cmMyung Urso Brooch: Arpegio, 2014 Jangpanji (Korean floor paper), gesso, steel wire 10

Myung Urso Brooch: White Water, 2013 Used ramie, wood, thread, gesso, sterling silver 11.5 x 10 x 0.5 cmMyung Urso -  Brooch: White Water, 2013 -  Used ramie, wood, thread, gesso, sterling silver – 11.5x10x 0.5cm

Myung Urso Brooch: In the Cloud, 2013 Silk, thread, found object, sterling silver 19 x 24 x 11.5 cm -Myung Urso Brooch: In the Cloud, 2013 Silk, thread, found object, sterling silver 19 x 24 x 11.5 cm

Myung Urso Neckpiece: Winter Breath, 2013 Cotton, gesso, sterling silver 15 x 61 x 7 cm On modelMyung Urso Necklace: Winter Breath, 2013 Cotton, gesso, sterling silver 15 x 61 x 7 cm On model

Myung Urso Neckpiece: Voice of Another, 2013 Hanji, Asian ink, freshwater pearl, thread, sterling silver, lacquer, linen 13.5 x 40 x 5 cmMyung Urso Neckpiece: Voice of Another, 2013 Hanji, Asian ink, freshwater pearl, thread, sterling silver, lacquer, linen 13.5x40x5 cm

 Myung Urso Neckpiece: Winter Dawn, 2013 Cotton, gesso, sterling silver 8 x 29 x 5 cmMyung Urso Neckpiece: Winter Dawn, 2013 Cotton, gesso, sterling silver 8 x 29 x 5 cm

 

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