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04/09/2016

EXPO ‘BASALT- Volcanic bijoux’ – Geological Museum, Ramat Hasharon (IL) – 26 Sept. 2016-31 Janv. 2017

BASALT- Volcanic bijoux -

Soon in the  Geological Museum  -

Opening on Monday September 26th, 20h30

An international exhibition that reunites 25 artists from Europe and Israel who have created jewelry especially for this show, utilizing basalt as the central motif.
Taking into consideration the unique properties of this igneous rock – its natural structure, color and texture – the artists have created pieces that provoke questions about preciousness, esthetics, mythology and beliefs.
The exhibition was originally shown in Agde, France (a city built from basalt) in 2015 and was re-curated for the Geological Museum in Ramat HaSharon. / Jean-Yves Le Mignot, Curator, Rachel Sasporta, Curator in charge

BASALT- Volcanic bijoux -  Soon in the Geological Museum. :

« Taking into consideration the unique properties of this igneous rock – its natural structure, color and texture – the artists have created pieces that provoke questions about preciousness, esthetics, mythology and beliefs. « 

Artist list :    Vered Babai — Christian Balmer — Yakov Bloch — Brune BoyerEsther BrinkmannSeliena Coyle –  Johanna DahmClara DenidetGeorg Dobler Marine DominiczakPia FarrugiaSophie HanagarthNaama HanemanNoga Harel — Lia Kirel — Florence Lehmann — Taïr Delia Littman — Stefano Marchetti –  Eliane MichelRenzo PasqualeRamon Puig CuyàsPhilip SajetIlona SchwippelAnnamaria Zanella


Marine Dominiczak - "Noyade au Cap d'Agde".  EXPO noir comme basalteMarine Dominiczak – «Noyade au Cap d’Agde» Copper, basalt, patinated bronze, hemp rope  20 x 9 x 8 cm and …. VERY HEAVY !

 Annamaria Zanella Ring: Monolite, 2016 Basalt 3.8 x 1.8 x 3.6 cm Photo by: Marco Furio Magliani: Annamaria Zanella Ring: Monolite, 2016 Basalt 3.8 x 1.8 x 3.6 cm Photo by: Marco Furio Magliani

 Ramon Puig Cuyàs Brooch: Metamorphic, 2016 Nickel silver, basalt, ColorCore, acrylic painting, reconstructed pink choral 8 x 6.1 x 1 cm Photo by: Ramon Puig Cuyàs:  Ramon Puig Cuyàs Brooch: Metamorphic, 2016 Nickel silver, basalt, ColorCore, acrylic painting, reconstructed pink choral 8 x 6.1 x 1 cm Photo by: Ramon Puig Cuyàs

 Stefano Marchetti Ring: Untitled, 2016 Gold, basalt-resin 4 x 2.5 x 3 cm Photo by: Stefano Marchetti: Stefano Marchetti Ring: Untitled, 2016 Gold, basalt-resin 4 x 2.5 x 3 cm Photo by: Stefano Marchetti

  Georg Dobler Brooch: Untitled, 2016 Silver, basalt, red paint  11 x 3.5 x 1 cm Photo by: Georg Dobler: Georg Dobler Brooch: Untitled, 2016 Silver, basalt, red paint  11 x 3.5 x 1 cm Photo by: Georg Dobler

Vered Babai Pendant: Black orchids, 2015 Basalt, resin, polymer 7 x 6 x 2 cm Photo by: Vered BabaiVered Babai  Pendants: Black orchids, 2015 – Basalt, resin, polymer  7 x 6 x 2 cm Photo by: Vered Babai

Sophie Hanagarth - "Dyke" 2015 -basalt; resin  13/7/3 cm -expo BASALT - Sophie Hanagarth   »Dyke » 2015 – basalt, resin  13/7/3 cm

Lia Kirel - NOIR comme BASALTE: Lia Kirel

expo BASALT - Christian Balmer-'Spitzberg' 2016-forged iron, white gold, silver, basalt, diamond: Christian Balmer - ‘Spitzberg’ 2016- forged iron, white gold, silver, basalt, diamond

expo BASALT - Yakov Bloch- 2015- basalt, silver, polymer: Yakov Bloch - 2015 – basalt, silver, polymer 11x5x1,6cmexpo BASALT - Seliena Coyle-Carraig Dubh #1-2015 silver, image on Di-bond, basalt, steel: Seliena Coyle  brooch « Carraig Dubh #1″-2015 silver, image on Di-bond, basalt, steel 10x10x6cm
Taïr Delia Littman. Ring: The trail, 2016. Basalt, silver, gold plated, 24k gold leafs, resin, polymer. 3 x 3.5 x 2.5 cm. Photo by: Vered Babai.Taïr Delia Littman. Ring: The trail, 2016. Basalt, silver, gold plated, 24k gold leafs, resin, polymer. 3 x 3.5 x 2.5 cm. Photo by: Vered Babai

Renzo Pasquale. Brooch: BAS-ALT, 2016. Basalt, gold, steel. 8.7 x 6.1 x 1.5 cm. Photo by: Marco Furio Magliani.Renzo Pasquale. Brooch: BAS-ALT, 2016. Basalt, gold, steel. 8.7 x 6.1 x 1.5 cm. Photo by: Marco Furio Magliani.

 Philip Sajet ring at "BASALT" Philip Sajet ring for « BASALT »

 

Programme

A conference on contemporary jewelry will be held before the opening at Yad Lebanim, 3 HaMahteret st, Ramat HaSharon.

19:00   Welcome and greetingsRachel Sasporta, curator in charge.
19:10   Behind the scenes: nursing, staging, curating contemporary jewelery - Nicole Brémond, marketing and communication, luxury goods (Paris)
19:40   Eyes sink into stone: my work and other stories - Johanna Dahm, contemporary jeweler (Zürich)
20:30   Exhibition opening in the Geological Museum.

Admission is free.

 

The Geological Museum
12 Hapalmach st
Ramat HaSharon -  Ramat Hasharon
ISRAEL
geo.museum@ramat-hasharon.muni.il
Phone: 972 03 5497185


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30/08/2016

Un petit CAILLOU, deux petits CAILLOUX, moult moult CAILLOUX ……

….. bref, HISTOIRE de CAILLOUX !

Et NON, ce n’est pas du Petit Poucet dont je veux vous parler !

Mais de Katharina Dettar (MA 2016 at RCA, London, UK) qui vient de recevoir, avec quelques autres, le MARZEE GRADUATE PRIZE  2016

Et de son Installation « 2,1 grams »« Awakening Awareness« 

Katharina Dettar explains : « 2,1 grams- Gold has been man’s most sought-after quest for hundreds of years & the price of gold continues to rise. But gold deposits are ever thinner, & this precious metal is being extracted from the earth at enormous environmental & human cost, often in some of the poorest corners of the world. This gold ring weighs 2,1 grams.
Based on the data & information provided by the Dolaucothi Gold Mines in Wales the average quantity of ore to get 2,1 grams of 24ct gold is of a is of about 140 kg of quartzite. This quartzite has an high amount of iron in it where the gold dust finds itself located. In order to get the ore you need to extract 1400 kg of shale rock, therefore being the final numbers 1540 kg of spoil for a 2,1 grams ring of gold.
To obtain a small amount of gold tons of rock are dug up & sprinkled with diluted cyanide, which separates the gold from the rock. Some of the largest mines move up to half million tons of earth a day, leaching the poison into rivers & lakes.
2,1 grams is a visual metaphor that illustrates the huge disparity between a gold ring & the amount of material needed to create it.

Merci à elle d’avoir pris le temps d’éclairer ma lanterne !

Katharina Dettar à Royal College of Art. -avril 2016-  #sketch of my next #installation part of #awakeningawareness for the show of @rcajewelleryandmetal  Made of 1380kg of #shale, 138kg of #quartzite and a 5gr #ring of #24ctgold  #rca #weonlyhaveoneearth #consciousness for the #waste behind #materials: Katharina Dettar – Royal College of Art. -avril 2016-  #sketch of my next #installation part of #awakeningawareness for the show of @rcajewelleryandmetal  – Made of 1380kg of #shale, 138kg of #quartzite and a 5gr #ring of #24ctgold  #rca #weonlyhaveoneearth #consciousness for the #waste behind #materials

Katharina Dettar 17 mai 2016- Right now in a #quartzitequarry picking up the #stones for my #installation #piece! Part of my graduation project #awakeningawareness at @rcajewelleryandmetal  In collaboration with @guillemtrius Katharina Dettar 17 mai 2016- Right now in a #quartzitequarry picking up the #stones for my #installation #piece! Part of my graduation project #awakeningawareness at @rcajewelleryandmetal  In collaboration with @guillemtrius

at Gal. Marzee - installation - Katharina Dettar: 24 aout 2016 : A couple of days ago building up at @galeriemarzee  for Marzee graduation show 2016 – installation – Katharina Dettar

Katharina Dettar    (BA 2013Idar-Oberstein, fresh MA graduate of the Royal College of Art) • Installation "2,1 grams" • 24ct Gold (2,1 g) and shale (1.400 kg) & quartzit (140 kg) • 2016 • ©photo by Guillem Trius "Awakening Awareness To magnify a problem, to create dialogues and awake awareness about what lays behind some of the objects that surround us. 3D diagrams that communicate about the material waste of our nowadays goods. Jewellery, tableware, furniture and silk clothes are present in our Katharina Dettar    (BA 2013Idar-Oberstein, fresh MA graduate of the Royal College of Art) • Installation « 2,1 grams » • 24ct Gold (2,1 g) and shale (1.400 kg) & quartzit (140 kg) • 2016 • ©photo by Guillem Trius
« Awakening Awareness - To magnify a problem, to create dialogues and awake awareness about what lays behind some of the objects that surround us. 3D diagrams that communicate about the material waste of our nowadays goods.
Jewellery, tableware, furniture and silk clothes are present in our daily life, contrary to the unseen raw material we need in order to produce them. »

Katharina Dettar -june 2016 -   #rcashow16 is open until the 3rd of July  1400kg of #shale & 140kg of #quartzite for 0,0021kg of #24carat #gold  Photo by @guillemtrius – à Royal College of Art Battersea.: Katharina Dettar -june 2016 -   #rcashow16 is open until the 3rd of July  1400kg of #shale & 140kg of #quartzite for 0,0021kg of #24carat #gold  Photo by @guillemtrius – à Royal College of Art Battersea

Katharina Dettar - Awakening Awareness  To magnify a problem, to create dialogues and awake awareness about what lays behind some of the objects that surround us.: Katharina Dettar – Awakening Awareness 
To magnify a problem, to create dialogues and awake awareness about what lays behind some of the objects that surround us

Katharina Dettar - Awakening awareness - 1.540=0,0021kg, - 2016 Shale, Quartzite and 24ct Gold 1.540,0021kg | Photographer: Guillem Trius: Katharina Dettar – Awakening awareness – 1.540 = 0,0021kg, – 2016 Shale, Quartzite and 24ct Gold 1.540,0021kg | Photographer: Guillem Trius 

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31/12/2015

COUP DE COEUR pour les Spivach brothers & leur travail des opales

Classé dans : COUP DE COEUR,Italie (IT),pierre / stone,rings,Sergio & Stefano SPIVACH (IT) — bijoucontemporain @ 21:45

Founded in 1981, Spivach & Spivach Opals are brothers Sergio and Stefano, top quality opal cutters. Based in Udine-Italy, this family-run artisan opal cutting studio has been handed down by their devoted, loving and talented father Luciano.
The diffusion of the opal in Italy in the last 30 years has its roots in the history of Spivach &Spivach. Constantly improving and enriching their skill and expertise to the highest possible standards, they have also with time developed a solid network with Australian opal miners. These respected and tight relationships have been built on trust.
It is with experience, passion and skill that the opal is taken from the mine through to the cutting process, whereby Sergio & Stefano transfer not only their expertise but also their themselves.
Spivach & Spivach opals can be found in the jewellery and art pieces of the best Italian and European goldsmiths and jewellery designers.

Sergio Stefano Spivach    acido - scultura per la mano Sergio Stefano Spivach    acido – scultura per la mano

Sergio and Stefano begin their work with a very clear philosophy in mind – nature creates, man brings those creations into light and puts value on them – without abusing nature, with respect.
Spivach & Spivach opals are mostly Australian. In most cases the type of work which is used on each stone has already been decided based on the quality of the opal itself. However, there are times when the cutter’s instinct takes over and he subverts the « written rules ».

sergio & stefano Spivach‬ - blue. boulder opal, resin ‪- ring: Sergio & Stefano Spivach‬ – blue. boulder opal, resin ‪- ring

Spivach - Omaggio a Frank Gehry 2003: Sergio & Stefano Spivach - Omaggio a Frank Gehry 2003

Sergio & Stefano Spivach - the big kauna  - 2006 Sergio & Stefano Spivach – the big kauna  – 2006

Sergio & Stefano Spivach - AQA contemporary opals - 2013 ·  Sergio & Stefano Spivach - AQA contemporary opals – 2013

Sergio & Stefano Spivach - 2003 ringSergio & Stefano Spivach – 2003 ring

sergio stefano spivach - carved air. boulder opal, silver ‪-‎sculturaperlamano‬ - ‎ carved air. boulder opal, silver ‪#‎sculturaperlamano‬ ‪#‎handsculpture‬ ‪#‎sergiostefanospivach:

Sergio Stefano Spivach - carved air – boulder opal, silver ‪- ‎scultura per la mano

 

 POUR FINIR l’ANNEE EN BEAUTE et vous SOUHAITER à TOUS une MERVEILLEUSE ANNEE 2016 ! to WISH YOU ALL A FABULOUS & JEWELLED YEAR 2016 !

27/04/2015

EXPO ‘Stonecutting’ – Gallery Velvet da Vinci, San Francisco (USA) – 1er-31 Mai 2015

 San Francisco’s VELVET DA VINCI is proud to present Stonecutting, an exhibition of work by New Zealand artists Craig McIntosh + Joe Sheehan
Opening reception with the artists will take place on Friday, May 1, from 6-8 pm.

 StoneCutting - Velvet da Vinci

 

Craig McIntosh’s most recent series of brooches are hand carved and fabricated from Pakohe (argillite), a material rich with metaphor for New Zealand’s cultural and natural landscape. A highly indurated sedimentary rock, hardened through intense compression and heat, Pakohe is often described as “basement rock,” as it literally represents the material New Zealand is built from and upon. Calling to mind visions of topographical maps and aerial nature photographs, McIntosh’s process channels the aesthetic and symbolic implications of his material, resulting in fractured, layered, and laminated compositions. According to the artist:
“The brooches… are abstract forms arrived at through the making process, and the associations with landscape and boundary are the result of thinking through making. When I’m working with stone I take the perspective that I am in some way are some way working with land, or can be seen as working with place, or even working possibly with here…. Landscape is a human construct, it is the way we see and interpret the physical environment. The division and breaking up of land into the idea of a system of human made spaces has shaped our environment. So for me it is therefore critical, when using stone in a contemporary jewelry context to have an understanding of both identity and boundary, jewelry can not be made concerning anything else until this is considered.”
McIntosh earned a Bachelors of Visual Arts and Masters Degree from the Dunedin School for Art. His works have exhibited in Japan, New Zealand, and Germany. Highlighted shows include WUNDERRUMA, a touring exhibition that debuted at the 2014 Schmuck conference. The artist presently lives and works in Dunedin.

Craig McIntosh, Pakohe Brooch 004, 2015, Carved Pakohe (Argillite), 1.85 x .25 x 2.15″Craig McIntosh, Pakohe Brooch 004, 2015, Carved Pakohe (Argillite), 1.85 x .25 x 2.15″

Craig McIntosh, Pakohe Brooch 006, 2015, Carved Pakohe (Argillite), 2.15 x .25 x 2.15″Craig McIntosh, Pakohe Brooch 006, 2015, Carved Pakohe (Argillite), 2.15 x .25 x 2.15″

Craig McIntosh, Pakohe Brooch 0011, 2015, Carved Pakohe (Argillite), 1.65 x .35 x 2.80″Craig McIntosh, Pakohe Brooch 0011, 2015, Carved Pakohe (Argillite), 1.65 x .35 x 2.80″

Craig McIntosh, Pakohe Brooch 003, 2015, Carved Pakohe (Argillite), 3.65 x .25 x 2″Craig McIntosh, Pakohe Brooch 003, 2015, Carved Pakohe (Argillite), 3.65 x .25 x 2″

Joe Sheehan’s series The Quick and the Dead is a collection of remote controls meticulously carved from stone.   Presented as artifacts in the style of classic typological museum display, the work takes the form of whole units and broken pieces, calling to mind futuristic archaeological documentations of contemporary culture. Arranged by similarity and type, the series poses questions about contemporary methods in museum studies, addressing notions of preservation and historiography from a global perspective. Working with New Zealand native stones such as greywacke, basalt, and argillite, Sheehan shines a light on the heavy historic symbolism of each material from a South Pacific cultural context, referencing prominent museum collections of Toki: stone adzes made by Maori and other Polynesian cultures.

Joe Sheehan, The Quick and the Dead (Group 5), Greywacke, basalt, argillite, Sizes vary. Photo Credit: Kallan MacLeod.Joe Sheehan, The Quick and the Dead (Group 5), Greywacke, basalt, argillite, Sizes vary. Photo Credit: Kallan MacLeod.

Joe Sheehan, The Quick and the Dead (Group 4), Carved basalt, Sizes vary. Photo Credit: Kallan MacLeod.Joe Sheehan, The Quick and the Dead (Group 4), Carved basalt, Sizes vary. Photo Credit: Kallan MacLeod. 
Velvet da Vinci
2015 Polk Street,
San Francisco, CA 94109
Phone: 415-441-0109
Email:  info@velvetdavincigallery.com
Hours: Tuesday through Saturday, 11am – 6pm, Sunday, 11am – 4pm.

 

17/04/2015

EXPO ‘Forgotten Stones / Vergessene Steine’ – Eva Maisch’s Gallery, Würzburg (DE) – 18 Avril-23 Mai 2015

Forgotten Stones – Art Jewelry Exhibition at Eva Maisch’s Gallery

neue Ausstellung « Vergessene Steine » wird am Samstag, den 18. April eröffnet.

 Eva Maisch gallery

Wir präsentieren Arbeiten von  Adam & Stoffel, Michael Becker, Rudolf Bott, Petr Dvorak, Annette Ehinger, Dominique Labordery, Deborah Rudolph, Nils Schmalenbach und Pia Sommerlad.

Lustrous and colorful, hard and imperishable: stones have piqued people’s interest since the early days of human history, when hunters and gatherers, our early ancestors, interpreted them as gifts from the gods and attributed healing and protective powers to them – and used them as jewelry. Over the course of cultural history, people have changed their notions and interpretations of them. Precious stones appeared in legends and fairy tales, and were incorporated in the crowns of aristocrats and the jewelry of wealthy citizens. They became status symbols, an economic factor and the subject of scientific research. In our day and age, precious stones continue to play an important role as jewelry elements or investments. In contrast to conventional gem-studded jewelry, which features gemstones in classical cuts and arranged in repetitive patterns, contemporary jewelry artists are using their own individual techniques to restore the magic of gemstones.

Deborah Rudolph, Halsschmuck, JaspisDeborah Rudolph, Halsschmuck, Jaspis

Claudia Adam & Jörg Stoffel, necklace. AgateClaudia Adam & Jörg Stoffel, necklace. Agate

Michael Becker, bangle, 2010. 750 gold, dolomite, 18 × 2,8 cmMichael Becker, bangle, 2010. 750 gold, dolomite, 18 × 2,8 cm

Some of the Forgotten Stones showcased at Eva Maisch’s gallery radiate an almost weightless aura, others display a heavy, solid quality, and others again surprise the beholder with unusually imaginative cuts or their natural crystal structure. They stimulate our senses with finely engraved textures or imposing cuboidal shapes. Combined with matte gold, blackened silver or stainless steel, or spotlighted without any setting at all, they provide impressive reifications of creative freedom and individuality. With her current exhibition, the Würzburg-based gallerist and goldsmith provides insights into the work of eminent designers. They developed their individual styles while studying at art academies and universities, and have been honored with many international awards. At 7:30 p.m. on April 28 and 29, 2015, there will also be a concert with the singer and songwriter Hubert Treml (ArtAurea)

Petr Dvorak, earrings. AgatePetr Dvorak, earrings. Agate

Nils Schmalenbach seems unable to conceive jewelry without photography  Nils Schmalenbach seems unable to conceive jewelry without photography- Brosche, Achat

 

Annette Ehinger – boucles d’oreilles 2012 or 585, tourmaline rose, quartz enfuméAnnette Ehinger – earrings 2012 or 585, tourmaline rose, quartz enfumé 

 

Eva Maisch Schmuck
Sterngasse 5
97070 Würzburg
Germany
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27/02/2015

EXPO ‘Tarja Tuupanen: Marbles’ – Gallery Four, Göteborg (SE) – 27 Fevr.- 4 Avril 2015

Tarja Tuupanen : marbles

Opening: Friday Febuary 27th 17.00-21.00 

Lecture: Thursday February 26th, 16.00, HDK Kristinelundsgatan 6-8
The exhibition runs until April 4th

Tarja Tuupanen Necklace: Untitled, 2014 Ready-made marble tableware, velour sticker, steelwire stonepart 10 x 6 x 4-5 cm; length of the necklace: Photo: Lassi RinnoTarja Tuupanen Necklace: Untitled, 2014 Ready-made marble tableware, velour sticker, steelwire stonepart 10 x 6 x 4-5 cm; length of the necklace- Photo: Lassi Rinno

Tarja Tuupanen is a master of stone. Out of agate, granite, marble and quartz she brings out shapes that reveals the raw soul of the stone and tells its history. The work is a sensitive investigation and her love for the material is unmistakable.
The material has always been a raw block of stone, but recently Tuupanen has started to use ready-made marble tableware; a tacky candleholder or saltshaker from the 80s. Industrially made object triggers the creative process. The most interesting things in these stones are man made instead being natural; green stickers, tool marks, stains, wax. The tableware has been used and it has a history of its own with cultural references.
Tuupanen lives and works in Lappeenranta Finland. She has graduated as MFA in 2013 from Konstfack, University College of Arts, Crafts and Design, Stockholm, Sweden. Tuupanen has exhibited internationally since 1998, the last solo exhibition was in 2012 in Gallery Ida, Tallinn, Estonia. She has been the chairwoman of Finnish Art Jewellery Association between 2005-2012.

Tarja Tuupanen Necklace from 2014 - marble  Tarja Tuupanen Necklaces from 2014 – marble

Tarja Tuupanen  - Brooch - ready made marble tableware, brassTarja Tuupanen  – Brooch – ready made marble tableware, brass

Broche en marbre de Tarja TuupanenBroche en marbre de Tarja Tuupanen

Tarja Tuupanen Necklace from 2014 - marble  Tarja Tuupanen  Necklace: Untitled, 2014 – Ready-made marble tableware, velour sticker, steelwire
stonepart 11 x 6,5 x 6,5-3,5 cm; length of the nec – Photo: Lassi Rinno

Tarja Tuupanen Necklace: Notions of skill, 2013 Ready-made marble tableware, velour sticker, steelwire stonepart: 9 x 8,5 x 6,5 cm; length of the necklac Photo: Lassi Rinno.Tarja Tuupanen Necklace: Notions of skill, 2013 Ready-made marble tableware, velour sticker, steelwire stonepart - length of the necklace 9 x 8,5 x 6,5 cm;  Photo: Lassi Rinno.

Tarja Tuupanen Brooch: Notions of skill, 2013 Ready made marble tableware, brass 16 x 6 x 1 cm Photo: Lassi RinnoTarja Tuupanen Brooch: Notions of skill, 2013 Ready made marble tableware, brass 16 x 6 x 1 cm Photo: Lassi Rinno

Tarja Tuupanen Brooch: Notions of skill, 2013 Ready made marble tableware, brass 16 x 6 x 1 cm Photo: Lassi RinnoTarja Tuupanen Brooch: Notions of skill, 2013

Nordhemsgatan 74,
Göteborg (Sweden)
+46 73 086 42 49

 

22/02/2015

COUP de COEUR at SCHMUCK 2015 : Katharina DETTAR – ROCK on …..

Katharina DETTAR, selected for SCHMUCK 2015.

2013 : University of Applied Sciences Trier, Jewellery and Stonework Design in Idar-Oberstein (DE)
2014 : BKV-prize / Finalist

Forcément, avec sa formation à Fachhochschule Trier, Idar-Oberstein,  elle nous taille dans la pierre des bijoux à couper le souffle ….

 

"papallona" - Katharina Dettar - brooch - labradorite - papallona exhibition ( BUTTERFLIES at AmarantoJoies, Barcelona, exhibition )Katharina Dettar  « papallona » brooch – labradorite – papallona exhibition ( BUTTERFLIES at AmarantoJoies, Barcelona, exhibition )

KATHARINA DETTAR-DE Inhorgenta/Graduates BA 2013KATHARINA DETTAR- « Leave the scene behind » – agate, silver and steel wire – 250|400|30 mm – photo by Manuel Ocaña – Inhorgenta – Graduates BA 2013

KATHARINA DETTARKATHARINA DETTAR- « Leave the scene behind » -  agate, silver and steel wire 250|400|30 mm  - photo by Manuel Ocaña

KATHARINA DETTAR Agate, wood, gold, silver, steelKATHARINA DETTAR « Summer is gone » neckpiece – Agate, wood, gold, silver, steel (back of the neckpiece)

Katharina Dettar, Summer is gone, 2013, Necklace, Agate, wood, gold, silver, steelKatharina Dettar, Summer is gone, 2013, Necklace, Agate, wood, gold, silver, steel (front of the neckpiece)

Katharina Dettar, Germany-SpainKatharina Dettar « leave the scene behind » neckpiece 2010

 

 

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07/12/2014

Coup de coeur : Julia Maria Künnap – une beauté qui COULE de source …

Classé dans : COUP DE COEUR,Estonie (EE),Julia Maria KUNNAP (EE),pierre / stone — bijoucontemporain @ 0:07

MELTING beauty ………………

Julia Maria Künnap graduated in 2004 from the Estonian Academy of Arts, Jewellery Art Department under Prof Kadri Mälk. Before this she studied at Konstfack, Stockholm and in 2006 was the Artist in Residence at Alchimia School of Contemporary Jewellery in Florence. She has exhibited in various group exhibitions throughout Europe and in 2013 presented her first solo exhibition in the Emerging Artist Platform at Sienna Patti.

Julia Maria Künnap, Is This The Happiness, 2012, brooch, smokey quartz, gold, 35 x 35 x 20 mm, photo: artistJulia Maria Künnap, Is This The Happiness, 2012, brooch, smokey quartz, gold, 35 x 35 x 20 mm, photo: artist

“..I usually don’t regard the equipment used for accomplishing my works as important enough to talk about separately, but questions that have arisen in connection with those fusible stones show that an explanation is needed. A dealer from Munich was convinced that I’m approaching the issue in a post-modernist fashion: I purchase a cut stone and melt it down by the corners – “the melting point of quartz is said to be quite low!” That is, for better or worse, impossible. There are no hat tricks, bamboozling or conjuring in making my work. All of the stones are cut from one piece of raw material without any glue or resin.
Working with this material in this way was as if I was stepping across some invisible doorstep. I had been told, stone cutting is an “entire science in itself” that demands “extremely great skills and experience”, as well as “very expensive equipment”. Additionally, I had a certain awe for a rare natural material such as large gemstone crystals – I didn’t want to grind them aimlessly into dust. Luckily, my art-academy education encouraged me: I nonetheless started searching for solutions to execute my idea, not for accommodating it or pouring it into a more simply- and quickly-workable material.
I derive from classic cuts when constructing my own, but I redo them according to my own style. I’ve used a step cut in the case of many stones: it is an older type of cut, which gives the stone a calmer and more static reflection, and it doesn’t shine in such a crazy way. The “Nobody’s Perfect” ametrine is cut using Standard Round Brilliant in principle, but I made it 9-fold instead of the usual 8-fold mirror-image symmetry – while something akin to a notched 8-pointed cross makes up (below) half of a standard brilliant pavilion, this stone’s design has nine branches.
My faceting workshop is located in my kitchen sink. The machine, with which I cut these stones fits onto an A4-size sheet of paper and costs less than the average Estonian’s holiday trip to a warm, sunny destination. I’ve gradually rebuilt and improved the machine according to my needs: for a faceted cut, it has a faceting head, with which I can hold the stone at the correct angle. For the most part, I cut the facet part first, and then cover the entire polished area with sealing wax for safety and carve end polish the flowing forms.
It’s quite pointless to talk about the amount of time spent working the stones. Raw crystal can be observed for a week or two, a couple of years, or a dozen before cutting. After the work is complete, there is always the feeling that it could have been done better; but I suppose that is merely the blink of an eye in comparison with the age of the stone itself.”

 Julia Maria Künnap, Molten, brooch, 2010, Smokey Quartz, gold, 3 x 3.5 x 2.5 cm, private collection in ItalyJulia Maria Künnap, Molten, brooch, 2010, Smokey Quartz, gold, 3 x 3.5 x 2.5 cm, private collection in Italy

I am inspired by imperfection. It is a strong source of motivation. If I see a perfect thing—an artwork, a poem—I just breathe in and breathe out. It just comes and then goes. But if I see something that irritates me, I start analyzing. Why am I irritated? Why isn’t it perfect? Where is the ‘mistake’ made? Usually, once I have deconstructed the whole piece in my mind, I already have so many good ideas. In the end, these ideas don’t have much to do with the source of inspiration. (Sienna Patti)

Julia Maria Kunnap, Regret, brooch– obsidian, gold – at Art gallery Putti "Endless closeness" exhibitionJulia Maria Kunnap, « Regret » brooch– obsidian, gold at Art gallery Putti « Endless closeness » exhibition

read her INTERVIEW on AJF by Aaron Decker (dec. 2012) :
« Can you comment on the juxtaposition of the facets with the parts that appear melted or in liquid form?
Julia Maria Künnap: There is a large contrast in many ways. The stones cannot melt like this. The drop could not freeze like this. Even if you could melt quartz, it would be so wrong. Gems just don’t melt. Glass does. It is trying to capture a moment in something so eternal as stone. »

Julia Maria Künnap - A Half At Every Angle, (brooch), 2014. Rock crystal, gold, 2 1/2 x 1 3/4 x 3/4Julia Maria Künnap – « A Half At Every Angle » brooch, 2014. Rock crystal, gold, 7.6 × 3.1 × 1.3 cm

JULIA MARIA KÜNNAP-EE,  brooch "From the Middle of a Dream", 2010, obsidian, gold, 50 x 20 x 10 mmJulia Maria Künnap - brooch « From the Middle of a Dream », 2010, obsidian, gold, 50 x 20 x 10 mm

Julia Maria Künnap -  it-starts-rai-ning earringsJulia Maria Künnap -  it-starts-rai-ning earrings

Julia Maria Künnap -   "Nubis" brooch 2011Julia Maria Künnap – « Nubis » brooch 2011 – obsidian, gold, 6.5 x 5 x 1 cm, photo: Ulvi Tiit, Collection of Estonian Museum of Applied Arts and Design, Tallinn, Estonia

 

08/11/2014

Decouverte : Elvira Golombosi & her « GUARDIANS »

Elvira Golombosi (MFA student at Idar Oberstein) – exhibited at « nsaio 5 – Neuer Schmuck aus Idar-Oberstein » 05 – 09 November 2014 -

Her recent work, « GUARDIANS », series of rings-objects carved in stone

….. and she is selected for TALENTE 2015 !

[Talente-Award presentation 2015 : 14 March 2015  16:30, Halle B1 Main stage of IHM (Internationalen Handwerksmesse Munich)]

Elvira Golombosi  - rose quartz, obsidian, falcon’s eye 7x7cm - rings 2014 - "GUARDIANS"  *My recent work -- Series of rings-objects carved in stoneElvira Golombosi  - rose quartz, obsidian, falcon’s eye 7x7cm – rings 2014 – « GUARDIANS »

Elvira Golombosi • Ring "Guardian" • Rose quartz, falcon's eye and obsidian • 2014 • ©p Nahe-ZeitungElvira Golombosi • Ring « Guardian » • Rose quartz, falcon’s eye and obsidian • 2014 • ©p Nahe-Zeitung

Elvira Golombosi -   obsidian, smoky quartz, falcon’s eye, onyx 11 x 4cmElvira Golombosi -   obsidian, smoky quartz, falcon’s eye, onyx 11 x 4cm

Elvira Golombosi -  carneol 6 x 7 cmElvira Golombosi -  carneol 6 x 7 cm

Elvira Golombosi - Ring Lapis Lazuli, 12x6cmElvira Golombosi – Ring Lapis Lazuli, 12x6cm

 

 

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05/11/2014

EXPO ‘nsaio 5 – Neuer Schmuck aus Idar-Oberstein’ – Mobile Galerie Aurum, Frankfurt (DE) – 5-9 Nov. 2014

nsaio 5 – Neuer Schmuck aus Idar-Oberstein presented by mobile galerie aurum
05 – 09 November 2014
Opening: 4 November 2014, 7 pm
 

nsaio5 - The new jewellery from Idar-Oberstein

(Stephie Morawetz necklace)

The exhibition includes a selection of semester projects and final projects of the bachelor and master programs. It will be exhibited jewelery and gemstone work. Students at the University of Trier on campus Idar-Oberstein embark on the search for their place and their role as jewelry makers in today’s society. Because of the location Idar-Oberstein, a world trade center for gems, the use of the material gem is of particular importance.In addition, the experimental approach with other materials is explicitly promoted, since the development of a personal artistic expression is a priority objective of the studies.
For the exhibition a publication is published that now offers the opportunity to read statements from students, in particular relating to Gemstone. This topic gives the department of gemstone and jewelry design a unique position. We see this position represented by more than 20 nationalities, that are united by the group of students in Idar-Oberstein. For the team of the departement, it is a extreme pleasure to be working with such cultural diversity and to determine on a daily basis, how young people, for example from Korea and China, Israel and Iran, Pakistan and Russia are mutually supportive and work collaboratively on the issue of gemstone and jewelry design.

Typhaine Le Monnier NSAIO5Typhaine Le Monnier Gummi rubber necklace

Eduardo Tarin NSAIO 5Eduardo Tarin – brooch « Antipoda 9″ copper

Alejandra Solar (MFA 2014) • Brooch "Aire Negro" • Onyx, silver and photo transfer • 2014 • p© catalogue "New jewellery from Idar-Oberstein 5“Alejandra Solar (MFA 2014) • Brooch « Aire Negro » • Onyx, silver and photo transfer • 2014 • p© catalogue « New jewellery from Idar-Oberstein 5“

 NSAIO 5 Elvira Golombosi – (MFA stud.) • Ring « Guards » • Onyx, smoky quartz, obsidian and falcon´s eye • 2014 • p© catalogue « New jewellery from Idar-Oberstein 5“

Cristina Martí Mató (MFA 2014) • Necklace "The Nest" • Copper and garnet • 2014 • p© catalogue "New jewellery from Idar-Oberstein 5“Cristina Martí Mató (MFA 2014) • Necklace « The Nest » • Copper and garnet • 2014 • p© catalogue « New jewellery from Idar-Oberstein 5“

Anna Jacobs (MFA stud.) • Necklace "Versteck" • Stone and cotton • 2014 • p© catalogue "New jewellery from Idar-Oberstein 5“Anna Jacobs (MFA stud.) • Necklace « Versteck » • Stone and cotton • 2014 • p© catalogue « New jewellery from Idar-Oberstein 5“

Petr Dvorak (MFA stud.) • Necklace "Achat Collier" • Agate, steel and titanium • 2014  www.dvorakart.comPetr Dvorak (MFA stud.) • Necklace « Achat Collier » • Agate, steel and titanium • 2014

Petr Dvorak (MFA stud.) • Necklace "Achat Collier" • Agate, steel and titanium • 2014  Petr Dvorak (MFA stud.) • Necklace « Achat Collier » • Agate, steel and titanium • 2014

Working with stones
Pornrudee Boonyapan (Thailand), M.F.A. 3rd sem. Stone lives for itself and people try to use it according to their needs. But stone is stone.
Katja Köditz (Germany), M.F.A. 2nd sem. In Idar-Oberstein stones are bound fast together with the history of the town and its inhabitants. For me, dealing with the social questions and phenomena of our time and visualising these with jewellery and using stones also means me devoting myself to Idar-Oberstein’s identity.
Petr Dvorak (Czech Republic), M.F.A. 4th sem. Stone is a part of jewellery. Jewellery without stone is almost unthinkable. Stone is jewellery. Stone is something beautiful, the only colour we have from the earth. A stone is beautiful in itself, but you give it a shape, which wasn’t there before. The question is, whether this is beautiful. That depends on the beholder and is usually only recognised a century later.
Stephie Morawetz (Austria), M.F.A. 1st sem. I find stones really beautiful, but I can’t find a way in. Perhaps because they exist in the present and my pieces in the future. It is difficult to create a connection between the material I work with and the stone. They live in two different universes, in two different times. Maybe that will change when I colour my stones myself, through a procedure that is no longer natural.

NSAIO 5 - collier Stephanie Morawetzcollier Stephanie Morawetz

On the significance of gemstones and jewellery in art
The debate, well known within our field, about whether the creation of gemstones and jewellery should be classed as craft, design or art has significantly contributed, in the context of the Bologna Process, to raising the profile of our department. Answering this central question of professional identity is the focus of current research within our field and department. Reconsidering the assignment of gemstones and jewellery as it is interpreted and understood today steers us to an ever-clearer position, which defines itself, amongst other means, by examining its relationships with neighbouring fields;
– The creation of gemstones and jewellery is not a craft. Although there is an intersection with the crafts’ central tenet of specialst craftsmanship, the contemporary focus differs.
–  The creation of gemstones and jewellery is not design. Although there is an intersection with design’s central tenet of fashionable aestheticization and the successful marketing of this, the contemporary focus differs.
–  The creation of gemstones and jewellery is not liberal art. Although there is a certain intersection with the liberal arts’ central tenet of “existing outside of oneself”, the contemporary focus differs.
Establishing this position is not intended to draw or sharpen demarcation lines, but to rethink the identity of jewellery creators within a wider context than the pre-existing criteria of other specialties, which are insufficient for our field.

 

mobile galerie aurum
Ausstellungshalle 1A
Schulstraße 1a
Frankfurt am Main
www.galerie-aurum.de
www.ausstellungshalle.info

galerie aurum
Kristina Balzer
Tel 0177 491 42 53
email: info@galerie-aurum.de
www.galerie-aurum.de

 catalogue :

NSAIO 5 catalogue

 

 

 

 

 

 

 

 

 

 

nsaio 5: The new catalogue « New jewellery from Idar-Oberstein 5“ shows works in stone, jewellery and photography together with written statements on the subject of working with gemstones, from students of the Trier University of Applied Sciences Department of Gemstones and Jewellery in Idar-Oberstein.

 

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