COUP de COEUR – JULIA MARIA KÜNNAP – ça coule …. de source ……… – EXPO « Overgrown » at Sienna Patti gallery – 15 Juin-9 Juill. 2018

JULIA MARIA KÜNNAP « Overgrown »  at Sienna Patti gallery -   JULIA MARIA KÜNNAP -  June 15 – July 9, 2018 « For someone inspired by imperfection, Julia Maria Künnap creates objects that perfectly capture a moment in time. With flawless skill and control Künnap transforms some of the earth’s hardest materials into melting pools of liquid, sweeping brushstrokes, and about-to-burst bubbles. Overgrown, shows Künnap striving for ever more precision and pushing her materials to greater physical and conceptual limits. These efforts have resulted in impossibly thin fragments and delicate drips that suspend disbelief. Working natural stones, Künnap’s current show is filled with striking blues and greens, inky black, chalky white and translucent crystal, a bold palette that complements the juxtaposition of hand carved facets and highly polished curves. Künnap’s work has always spoken to the magical reality of the natural world—the way water changes from liquid to solid and back to liquid again—and the human desire to understand and tame it. It is no coincidence therefore that finely cut gemstones and the tradition of lapidary work has been a main point of reference throughout Künnap’s work. In recent piece however, she playfully looks at other objects and materials altered by humans. Künnap carefully reshapes cacholong into a ball of crumpled paper. Though the stone is relatively unknown to even most gemstone connoisseurs, Künnap chose it for its matte texture and likeness to paper. With the labor of carving she highlights an unglamorous yet prized stone and makes permanent an ephemeral form that rarely exists beyond the trash bin. Similarly, her series of brushstroke brooches and earrings freeze a human act. By isolating the expressive curve and movement of a stroke, Künnap memorializes both the gesture and the resulting outcome. Künnap marries her mastery of lapidary with subtlety. It is this union that makes Künnap’s work so seductive and timeless »

 Julia Maria Künnap  - Bubble Gum Ring, 2018. carved amethyst & 18k white gold

Julia Maria Künnap  - « Or Better a Fine One » , 2017. (brooch), carved lapis lazuli & 18k yellow gold

Julia Maria Künnap- Why Is It Still Overgrowing?, 2018. (earrings).  nephrite & 18k yellow gold

Julia Maria Künnap - Supervolcano ring -  carved obsidian with rhodium plated silver band

  Julia Maria Künnap graduated in 2004 from the Estonian Academy of Arts, Jewellery Art Department under Professor Kadri Mälk. A 2018 recipient of the prestigious Herbert Hofmann Prize, Künnap is known for her mysteriously and meticulously carved lapidary work. Her work has been included in group and solo exhibitions around the world. Julia Maria Künnap currently lives and works in Tallinn, Estonia. This is her second solo exhibition at Sienna Patti.     Sienna Patti Gallery 80 Main Street Lenox Massachusetts 01240 USA [phone] 8386

EXCHANGE-BIJOU 1 – Julia Obermaier – coup de coeur « lapidaire »

Julia Obermaier

C’est drôle comme « le hasard fait bien les choses » …. Ou, il n’y a pas de hasard ….Un de mes problèmes majeurs dans ma vie actuelle est ma « distance aux gens » … trop près, trop loin, je ne sais jamais où, comment me situer …. trop au bord, spectateur, voyeur, ou trop « dedans », trop impliqué … J’avais coutume de dire à mes enfants « la liberté de chacun, c’est comme une bulle : tu as ta bulle, qui te protège et t’entoure, mais elle est fragile et se « brise » facilement. Et chacun a la sienne. Il faut réussir à t’approcher des gens de manière à ce que ni ta bulle ni la leur n’éclate. C’est ça la liberté de chacun, c’est ça « ta liberté commence là où fini la mienne ». C’est un délicat jeu d’équilibre » …. Je me rappelle, ils m’écoutaient bouche bée ….. Eh bien c’est exactement de ça que parlent les bijoux de Julia Obermaier ! « The distance between people« , the « Private space » ….. Cette découverte m’apporte une immense émotion, et ce d’autant plus que …. comment dire ? ses bijoux me touchaient, je ne savais pas pourquoi, parce qu’à priori ce n’était pas « mon genre » de bijoux mais plus un « genre », un style de bijoux, très prisé actuellement parmi ce qui vient d’Idar-Oberstein ……

Julia Obermaier – (Sur)face the space.
« Private space. Working area. The distance between people. The distance between the world and me. Space is a really important subject for me. If someone is crossing the borders of my spaces without permission, it causes a bad feeling within me. That is why I try to protect them as much as possible. But in daily life, one cannot always keep direct surroundings and personal space in their preferred way. This is because our outside world is always in relation with other people and circumstances.
To build my own spaces I cut slices out of agate or rock crystal.  They represent rooms, spaces, containers, boxes or little caves. Some of my works have empty spaces with corners or nooks, while others have an inner life through engravings I cut within the pieces. I am generating space which can be filled with ones own personal feelings, perceptions and sensations. I see my work as containers protecting the innermost emotions of the viewer or wearer.
In contrast to the large space around us filled with other people, I see these pieces as a part of ourselves. They are little copies of the viewer or the wearer. The space inside is reserved for what people find within themselves. The outside surrounding, which is not always controllable for us, becomes the protector of what lies within the piece.  The wearer can then decide if and who is allowed to approach the work, take a look or even touch it. The pieces embody ideas of a second skin and soul protector from the outside world.  They are meant to induce a comforting feeling of inner silence for the wearer, that they can use to confront a busy world. »

  Julia Obermaier Brooch: Untouchable, 2016 Agate, resin, pigment, stainless steel 10 x 5.5 x 5.5 cm Photo by: Julia Obermaier

at Marzee Graduate Show 2016: Julia Obermaier (BFA 2016 Idar-Oberstein)  -  Brooch « Round the Corner » • Agate, resin, pigment and stainless steel • ©photo by artist  

« With her bachelor thesis Julia Obermaier delivers a statement of monumental grandeur. To do so, working mainly in agate and rock crystal, is a matter of concentration and patience as well as of spatial transition. Acquiring an extended awareness of space and volume, in the sense of an architectonic perspective,  paired with an empathical sensibility for the wearers and observers body and mind, and at the same time bordering the restrictions of jewellery is a remarkable feature of Obermaiers process of work. The result is a collection of wearables in gemstone with a high quality of sensitivity. As an object, Obermaiers pieces are intriguing and inviting, as soon as they are worn and in unity with the body, they show an until than almost hidden sensuality. » / Theo Smeets

Julia Obermaier – Necklace: Come Around, 2016 – Agate, resin, pigment – 27 x 20 x 3.5 cm – Photo by: Julia Obermaier (selected for Marzee Graduate Show 2016)

« Agate is one of my most favorite materials. The huge secrecy and variety of agate as a stone and its use over centuries is attracting me in my work. Studying the layers and druses of agate amazes me and makes me curious. What is happening? What is in there? I want to arise these feelings as well in the wearers and viewers of my pieces. You can find sensitivity, strength and multifaceted sides not just in agates, as well in every other living creature. »

She is member of  « Astonish », a group of young jewellery artists which are current students or recent alumni’s form University of Applied Sciences Trier, Campus Idar-Oberstein.
They were present at SCHMUCK 2016, at  Inhorgenta Munich, 12–15 February 2016, at Internationale Handwerksmesse München,  24 February – 1 March 2016 -

Julia Obermaier (BFA stud. Idar-OberSTEIN 2016) • Necklace  Untitled (No.3) • Agate, steel, 18k gold • 2014 • 450 x 120 x 70 mm ©photo by Julia Obermaier – #MJW16/ « Astonish »

Julia Obermaier Necklace: Breathe, 2016 Rockcrystal, silver, iron, paint, resin 33 x 18 x 2 cm Photo by: Qi Wang

 Julia Obermaier Necklace: Have a look outside, 2016 Agate, iron, fabric, resin, pigment 26 x 11 x 3.5 cm Photo by: Julia Obermaier

 

 

 

Etudes
Staatliche Berufsfachschule für Glas und Schmuck Kaufbeuren-Neugablonz
Hochschule Trier, Idar-Oberstein, Germany. BFA stud.   2016
Selected Graduate 2016 at Klimt02
Born in Landau a.d. Isar, Germany. 2009 to 2012 apprenticeship to a goldsmith at staatliche Berufsfachschule für Glas und Schmuck in Kaufbeuren-Neugablonz, Germany. Since 2012 studies Bachelor of Fine Arts in Gemstone and Jewellery at University of Applied Sciences Trier, Department Idar-Oberstein. Made during her studies an exchange semester at the Royal Melbourne Institute of Technology in Melbourne, Australia. Lives and works in Idar-Oberstein, Germany.

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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

« 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 Boyer — Esther Brinkmann — Seliena Coyle –  Johanna Dahm — Clara Denidet — Georg Dobler – Marine Dominiczak — Pia Farrugia — Sophie Hanagarth — Naama Haneman — Noga Harel — Lia Kirel — Florence Lehmann — Taïr Delia Littman — Stefano Marchetti –  Eliane Michel — Renzo Pasquale — Ramon Puig Cuyàs — Philip Sajet — Ilona Schwippel — Annamaria Zanella

Marine 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

 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

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

Vered 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

Lia Kirel

Christian Balmer - ‘Spitzberg’ 2016- forged iron, white gold, silver, basalt, diamond

Yakov Bloch - 2015 – basalt, silver, polymer 11x5x1,6cmSeliena 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

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 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 greetings – Rachel 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
[e-mail]
Phone: [phone]

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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 – 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

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 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 – 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 

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

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 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 - Omaggio a Frank Gehry 2003

Sergio & Stefano Spivach – the big kauna  – 2006

Sergio & Stefano Spivach - AQA contemporary opals – 2013

Sergio & Stefano Spivach – 2003 ring

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 !

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.

 

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 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 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 4), Carved basalt, Sizes vary. Photo Credit: Kallan MacLeod. 

 

Velvet da Vinci
2015 Polk Street,
San Francisco, CA 94109
Phone: [phone]
Email:  [e-mail]
Hours: Tuesday through Saturday, 11am – 6pm, Sunday, 11am – 4pm.

 

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.

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, Jaspis

Claudia Adam & Jörg Stoffel, necklace. Agate

Michael 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. Agate

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

 

Annette Ehinger – earrings 2012 or 585, tourmaline rose, quartz enfumé 

 

Eva Maisch Schmuck
Sterngasse 5
97070 Würzburg
Germany
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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 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 Necklaces from 2014 – marble

Tarja Tuupanen  – Brooch – ready made marble tableware, brass

Broche en marbre de Tarja Tuupanen

  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 - 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 Rinno

Tarja Tuupanen Brooch: Notions of skill, 2013

 

Four

Nordhemsgatan 74,

Göteborg (Sweden)

[phone]

 

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 ….

 

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

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

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

KATHARINA 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, steel (front of the neckpiece)

Katharina Dettar « leave the scene behind » neckpiece 2010

 

 

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

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: 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 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 » 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, 7.6 × 3.1 × 1.3 cm

Julia 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 earrings

Julia 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