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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)

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 !

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 -  jasper 3x6 cmElvira Golombosi -  jasper 3×6 cm

 

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.

 

15/03/2014

mineralART 2014 “between layers – worlds within agate” – and the WINNERS are ….

EXPO ‘MineralART 2014 – Between Layers’ – Staatlichen Antikensammlungen, Munich (DE) – 13 Mars- 11 Mai 2014

during  SCHMUCK 2014 – Munich – 12-18 Mars 2014

“Between layers – worlds within agate”

The prize-giving will take place on Thursday, 13 March 2014, as part of a celebratory event inside the Munich State Collection of Antiques. The competition-winning pieces and other outstanding works will be on display here during SCHMUCK 2014 and until 11 May 2014 during museum opening hours.

Flyer mineralART

Award ceremony & opening: Thursday, 13th March 2014, 7:00 pm
State Collection of Antiques, Königsplatz, Munich.

 mineralART 2014 is proud to present the work of following artists in Munich :

Claudia Adam — Penka Arabova-Pasheva — Paula Bahadian — Frans Beelen — Tereza Borlova –
Carolin Denter — Katharina DettarPatrícia DominguesMatthias DyerTanja Emmert – Elvira Golombosi — Lina Goltsios — Elena Gorbunova — Taehee In — Levani Jishkariani — Christina Karababa – Yeonkyung Kim — Beate Klockmann — Karina Lazauskaitė — Typhaine Le Monnier — Tianqi Li –  Cristina Martí Mató –  Judy McCaigViktoria Münzker – Tom Munsteiner — Julia Obermaier — Ruudt Peters — Hester Popma-van de Kolk — Sari Räthel — Philip Sajet — Nils Schmalenbach — Kvetoslava Flora Sekanova –  Giovanni Sicuro — Supavee Sirinkraporn — Jörg Stoffel — Karen Vanmol — Karol Weisslechner — Zindzi Wijminga — Getter Ziugand   ………..

An overwhelming number of 275 pieces by 161 participants ………………

mineralART 2014 | "between layers – worlds within agate"| Some impressions of the judges' meetingThe final discussion - will it be four or five honorable mentions...?;)Jury Members: Jiro Kamata, Helena Lehtinen, Estela Saez Vilanova, Gerhard Schmidt and Dr. Marjan Unger The jury final discussion – will it be four or five honorable mentions… ?  
Jury Members: Jiro Kamata, Helena Lehtinen, Estela Saez Vilanova, Gerhard Schmidt and Dr. Marjan Unger

and the WINNERS are :

 

Giovanni Sicuro, Italy1st Prize Series of rings:  „Bianchi Untitled 1-3“, Agate, gold"Giovanni Sicuro, Italy 1st Prize Series of rings:  „Bianchi Untitled 1-3“, Agate, gold
« The effect of the rings fascinated the Jury; at first glance they are classic pieces of jewellery but the material used irritates the observer, awaking curiosity. The simple, white agate does not look like stone but rather like ivory or plastic. Only when touched is the cool, hardness of stone revealed and on closer inspection the concept of the pieces is exposed. A traditional ring is reversed here; the entire body of the ring is cut from a layer of white agate concealing the gold band. The stone is not reduced to being a decorative accessory but forms the defining element, which through exceptional craftsmanship replicates ‘traditional’ ring stones. This subtle play with the expectations of traditional ring design and with the notion of agate as a stone which is valued for its pattern or colour, won over the Jury unanimously. »
Levani Jishkariani, Georgia 2nd Prize Object: Wood, agate  Levani Jishkariani, Georgia 2nd Prize Object: Wood, agate 
« This object, made from wood and agate sticks, impressed the jury with its archaic expression. Its effect is earthy, as if it came from the distant past but at the same time it is very contemporary. The piece works on completely different levels, awakens associations and memories, from a piece of agricultural equipment to an instrument of torture, depending on the viewer’s experiences. This multidimensionality earned it second place from the jury.« 
Typhaine Le  Monnier, France3rd PrizeNecklace: Agate, elastic band Typhaine Le  Monnier, France 3rd Prize Necklace: Agate, elastic band
« The unusual combination of materials in this necklace delighted the jury. The elastic band is reminiscent of a brassiere strap; a very feminine element, which however remains mostly unseen, hidden. Through its use in a classic neck adornment, the hidden is placed centre-stage, drawing the observer’s gaze upon itself. The soft material enters into a fascinating combination with the hard, cold stone exacerbated by the positioning of the supple band, designed for proximity to the body, on the outside and the distal stone next to the body. Through the choice of materials, the colour and the form of the agate the piece relates strongly to the body. The jury particularly highlighted the haptic quality of the jewellery; when worn the cool weight of the agate is felt on the neck but the stone nevertheless fits itself to the body and is very wearable. Beyond its function as a necklace, the jury explicitly commended the effect of the piece as an object »

31/10/2013

EXPO ‘GeMANOgy: Gem as Storyteller’ – MANO Contemporary Jewellery & Object, Taipei City 106 (Taiwan, R.O.C.) – 28 Sept.-3 Nov. 2013

Classé dans : Exposition/Exhibition,GALERIES,pierre / stone,Taiwan (RC),www Klimt02 — bijoucontemporain @ 0:17

GeMANOgy: Gem as Storyteller -

MANO Contemporary Jewellery & Object (Taipei City 106, Taiwan)

“GeMANOgy” aims at showing how the contemporary jewellers express the word/ material « Stone » in various and contemporary way. Set aside the traditional value for gemstones defined in Gemology, MANO would like to offer the viewer a different angle to read the stories behind these jewellery.

« How the most precious thing about stones in a jewellery box is not always their rarity, their size or their perfection. It is their stories. » by Victoria Finlay, author of ‘Jewels: A Secret History’.

Since the word “Jewellery” for most Taiwanese public still relates a lot to precious material, faceted gemstones, jade jewelleries, beaded bracelet, etc., we would like to present the jewelleries with diverse and contemporary interpretation of the theme “stone” in search of that real preciousness. Each artist gives their unique point of view: to bring out the social-psychological side of the material, to discuss about the collective thoughts on material, technique, and artistry, or to question the real meaning of value.

DM-web1合

Artists:   Gieh-Wen Lin –  Karl Fritsch –  Katja Prins –  Nelli Tanner –  Philip Sajet –  Shu-Lin Wu –  Tarja Tuupanen

Gien-Wen Lin, Necklace, 2012Gien-Wen Lin, Necklace, Diamond is not the point 2012 – Silver, crystal

Philip Sajet, Ring, Philip Sajet – Ring: Straal verticaal – Yellow gold, white gold

Philip Sajet_1-webPhilip Sajet – Ring

Karl Fritsch, Ring, 2012Karl Fritsch, Ring, 2012  Silver, steel, cubic zirconia

Shu-Lin Wu, Ring, 2013Shu-Lin Wu – Ring: Hiver#1 2013 – Silver, porcelain, white chalcedony, rubber

Tarja Tuupanen, Brooch, 2013Tarja Tuupanen – Brooch : Untitled 2013 – Ready-made marble tableware, brass

 
 
MANO Contemporary Jewellery & Object
No.4, Ln. 16, Taishun St
Da’an Dist. – Taipei City 106
Taiwan, R.O.C.
Telephone: +886 2 2365 2519
website: www.manomanman.com
mail: info@manomanman.com

11/07/2013

EXPO ‘Romancing the Stone’ – Pieces of Eight Gallery , Melbourne (AU) – 9 juill.-17 Aout 2013

« Tessa Blazey: Romancing the Stone » - Pieces of Eight Gallery (Melbourne, Australia)

"Tessa Blazey: Romancing the Stone" - Pieces of Eight Gallery (Melbourne, Australia) 09-Jul-2013 - 17-Aug-2013 website: www.piecesofeight.com.au

‘Romancing the Stone’ is an exhibition exploring Melbourne jeweller Tessa Blazey’s ongoing love affair with minerals and gemstones. As she explains, “I am continually captivated by the exquisite geometry of mineral specimens. When I look at these crystalline forms I experience a shift in scale. Like Alice, I am transported down the rabbit hole into their miniature world. I imagine myself immersed in a diamondiferous landscape glinting beauty”.

In this exhibition Blazey explores the geometric structures and landscapes of crystal and mineral specimens through mimicry and transformation. Utilizing raw curiously cut and mounted stones she frames each piece to mimic the stone that inspired it. To individualise each piece within the context of its miniature wonderland, Blazey has personified each piece by naming them after an iconic heroine.

 Tessa Blazey Ring: Luna 18ct white gold, 0.57ct Ceylon blue sapphireTessa Blazey Ring: Luna 18ct white gold, 0.57ct Ceylon blue sapphire

Tessa Blazey Earrings: Uhura 9ct yellow gold, oxidised sterling silver, cast fluorite
 Tessa Blazey Earrings: Uhura 9ct yellow gold, oxidised sterling silver, cast fluorite
Tessa Blazey
Tessa Blazey ‘Nyx’ Ring: 18ct yellow gold, trilliant cut parti coloured sapphire

Tessa Blazey Ring: Lady Godiva 18ct yellow gold, 1.58ct rough octahedral diamond (right)

Tessa Blazey Ring: Lady Godiva 18ct yellow gold, 1.58ct rough octahedral diamond (right)

 

Pieces of Eight Gallery
28 Russell Place
VIC 3000 – Melbourne
Australia
Telephone: +613 9497 8121

website: www.piecesofeight.com.au

04/04/2013

EXPO ‘Salt Project’ – Escola d’Art del Treball, Barcelona (ES) – 4-30 Avril 2013

‘Salt Project’ at Escola d’Art del Treball (Barcelona) – 4-30 April 2013

'Salt Project' at Escola d'Art del Treball (Barcelona) - 4-30 April 2013 -

La Escola d’Art del Treball expone Proyecto SAL, joyas y objetos de pequeño formato con el leitmotiv de la SAL gema de Cardona.
Las piezas han sido diseñadas teniendo en cuenta los aspectos conceptuales de la sal y también sus características físicas.
Este proyecto comenzó en el 2012 conjuntamente con la CAA, China Academy of Art, de Hangzhou. Con él se pueden ver como las dos escuelas con metodologías y culturas diferentes han trabajado bajo los mismos condicionantes para obtener resultados tan originales.
La muestra estará durante todo el mes de Abril, coincidiendo con las jornadas de puertas abiertas del centro, que oferta dos líneas de Bachillerato artístico, CFGM de Decoración Cerámica, CFGS de Joyería Artística, CFGS de Ilustración y formación permanente.

What is the SALT Project? 

The SALT Project was born out of two schools’ desire to reach beyond their borders, to see and understand how other people work whilst applying different ways of working, whilst valuing the whole experience as a learning process and cultural and artistic exchange.
The starting point was in February of 2010 when Aiyu Zhu, a student at the China Academy of Art – the CAA – in Hangzhou, visited the Escola d’Art del Treball in Barcelona, taking advantage of her trip to Europe. From that moment, the EAT and the CAA formed a link with the objective of finding out how jewellers work in a different part of the world, to assess new methods and processes. This experience helps to better spread what is done in the classroom as well as enabling students to gain first-hand experience of a more open vision of what is happening in the jewellery trade in different areas of the planet.

How well has the SALT Project worked at the EAT? 

At the EAT we see the SALT Project as a whole school project, which is why we are trying to involve as many members of our institution as possible. Because of this, all students and ex-students of jewellery-making were invited to participate, as well as all of the teachers at the school, regardless of what department they belong to – be it ceramics, illustration, sculpture and so on. We believe that inviting people from different departments enriches the project because we can see small-sized pieces that have characteristics that are far removed from the way things are done in the jewellery trade.
In the case of ex-students and teachers, the subject matter, technique and materials has been open to all. The requirement was that it had to be a small piece of jewellery or small object and that SAL was the focus, either physically or conceptually.
In the case of seasonal students, we introduced the project into the yearly schedule of various modules. Furthermore, in the subject of gemmology they have studied the characteristics and properties of the salt gem and the jewels were fashioned in the jewellery workshop.
The first-year students have worked on the SALT Project in their Modelling module (a subject where the technical and procedural processes of different waxes for microfusion are taught). In these classes they were asked to produce a sculptural ring by manipulating modelling wax (a soft wax used mainly by sculptors), in which they would incorporate the salt as an important part of the jewel. This ring would be finished in metal, after the process of melting the wax.
Some of these pieces have references to Chinese culture: dragons, water lilies, bonsais, and there are also references to nature and the sea.
Despite the fact that the conceptual aspects were not in the initial briefing, many students incorporated symbolic connotations in their pieces, such as alluding to the salt as a currency or seeing the salt as an ephemeral part of the piece.
As part of their Jewellery projects module, the second-year students were given the task of working with the idea of friendship rings, under the heading of “salt friendship rings”. The most traditional or popular type of friendship ring is the wedding ring, but we wanted the largest scope possible. Therefore, the first thing that the students had to define was who the two people that they were going to design the ring for were, what it was that united them and how the salt symbolised that union.
There are projects where the people chosen are members of a family, or in other projects they are fictional characters. The link between them is indicated by a single connection. The salt theme has been worked as a key part of the design, paying attention to its physical properties. The fact that the salt is ephemeral was taken into account when it came to work the material. In some cases this property was emphasized; in others measures were taken to protect it from erosion and wear.

Sandra Yelo — Maria Josep Forcadell — Xavier Aguado — Sònia Serrano — Júlia Castro — Meritxell Cuevas – Isabel Alejo — Bárbara Rodríguez — Laura Martín –  Isabel Suárez — Nora Castaño — Clara Devesa — Patricia Portocarrero — Aina Gómez — Ariadna Valls — Ariana Gaitan — Adriana Díaz — Juliana Mónaco — Nerea Pitarque — Marisa Tomás — Pilar Ramón — Laura Paglieri — Gloria Gómez — Gina Contel — Jennifer Lozano — Lourdes Freixa — Elisabet Moreno — Maria Ninot — Liliana Ruíz — Edwin Páez — Carmen Esteba — Patrick Alvarez — Violant Cebria — Alaitz Martínez-Marañón — Jordi AparicioMarta MiguelDani Fàbregues — Anna Vila — Ana Parra — Laura Sabatés — Ortrum Meinhard — Anna González — Ana García — Josep Raventós — Selma Leal — Alexandra Steinforth — Montserrat Saperas — Margarita Alonso.


Sandra Yelo - jewelry with SALT - broochSandra Yelo – « No es un doctor » Broche (front)  – Colección: Sal para las heridas – “el tiempo no cura nada – el tiempo no es un doctor – el tiempo sólo cura lo que no importa ya”

jewelry with SALT - Sandra Yelo - brooch -  Materiales:  plata oxidada  sal gema  hilo quirúrgicoSandra Yelo – « No es un doctor » Broche (back) -  Materiales:  plata oxidada  sal gema  hilo quirúrgico

Projecte Sal - Joana Jarque - ring with SALTProjecte Sal – Joana Jarque – ring with SALT

jewelry with SALT - Projecte SAL - Dani Fàbregues "Ou de sal"Dani Fàbregues « Ou de sal »

jewelry with SALT -   Projecte Sal - Sònia Serrano -   "Mar y montaña"  Collar. Sal de Cardona y plata  18x22cm      Montaña salada, restos de un antiguo mar, una vuelta al origen, un pez de sal.Sònia Serrano -   « Mar y montaña »  Collar. Sal de Cardona y plata  18x22cm      Montaña salada, restos de un antiguo mar, una vuelta al origen, un pez de sal.

Sònia Serrano  Necklace: MAR Y MONTAÑA  Silver, gem saltSònia Serrano  Necklace: MAR Y MONTAÑA  Silver, gem salt

JEWELRY with SALT -   Projecte Sal - Laura Sabatés - "STRAND" Anillo doble - Latón, sal gema y resina epoxy    El anillo quiere representar la típica pintura china de paisajes. La sal representa las montañas, la resina el agua, el gallonado la flora y la textura la tierra.Laura Sabatés – « STRAND » Anillo doble – Latón, sal gema y resina epoxy    El anillo quiere representar la típica pintura china de paisajes. La sal representa las montañas, la resina el agua, el gallonado la flora y la textura la tierra.

JEWELRY with SALT - Projecte Sal  - Marta Miguel Martínez-Soria.Projecte Sal - Marta Miguel Martínez-Soria.

Projecte Sal  – Marta Miguel Martínez-Soria   -La sal de Gema – Materiales: Cobre, acero, tela, algodón y pintura de esmalte -
Y llegó el día en que sus lágrimas dejaron de acariciar su rostro.
Projecte Sal - Margarita Alonso -   “Sabores de dos tierras”  Materiales: Plata oxidada, sal de las minas de Zipaquirá-Colombia, sal de las minas de Cardona-España, cadena textil y seda de organza.Margarita Alonso -   “Sabores de dos tierras”  Materiales: Plata oxidada, sal de las minas de Zipaquirá-Colombia, sal de las minas de Cardona-España, cadena textil y seda de organza.

Bàrbara Rodríguez -  "LES LLAGRIMES DE SAL"  Ferro rovellat i sal - projecte sal (a Valencia Melting point) - jewelry with SALTBàrbara Rodríguez -  « LES LLAGRIMES DE SAL »  Ferro rovellat i sal – projecte sal (exhibited a Valencia Melting point)

Bárbara Rodríguez  Bracelet: LES LLAGRIMES DE SAL  Iron, gem saltBárbara Rodríguez  Bracelet: LES LLAGRIMES DE SAL  Iron, gem salt

jewelry with SALT - María Liliana Ruiz  - Todos los caminos llevan a Tombuctú  Materiales: Barro negro, pigmento de oro, hilo de acero, oro y sal gema de Cardona.    Un antiguo proverbio de Malí decía:  «El oro viene del sur, la sal del norte y el dinero del país del hombre blanco; pero los cuentos maravillosos y la palabra de Dios sólo se encuentran en Tombuctú»Liliana Ruiz  – Todos los caminos llevan a Tombuctú  Materiales: Barro negro, pigmento de oro, hilo de acero, oro y sal gema de Cardona.    Un antiguo proverbio de Malí decía:  «El oro viene del sur, la sal del norte y el dinero del país del hombre blanco; pero los cuentos maravillosos y la palabra de Dios sólo se encuentran en Tombuctú»

María Liliana Ruiz  Todos los caminos llevan a Tombuctú  Materiales: Barro negro, pigmento de oro, hilo de acero, oro y sal gema de Cardona.    Un antiguo proverbio de Malí decía:  «El oro viene del sur, la sal del norte y el dinero del país del hombre blanco; pero los cuentos maravillosos y la palabra de Dios sólo se encuentran en Tombuctú» Liliana Ruiz  Todos los caminos llevan a Tombuctú

Clara Devesa  Rings: SALIATGES  Sugar, gem salt, cork, glass, silverClara Devesa  Rings: SALIATGES  Sugar, gem salt, cork, glass, silver

Isabel Alejo  Brooches: LLIGAMS  Silver, gem salt, zirconite, magnetIsabel Alejo  Brooches: LLIGAMS  Silver, gem salt, zirconite, magnet

Jordi Aparicio  Título pieza: T'ESTIMO COM LA SAL  Broche  -Copper, gel coat, gem salt - Cobre, gel coat y sal picada    Pieza inspirada en el cuento "La Margarideta, la princesa de sal "Jordi Aparicio  - » T’ESTIMO COM LA SAL »  Broche  – Copper, gel coat, gem salt – Cobre, gel coat y sal picada    Pieza inspirada en el cuento « La Margarideta, la princesa de sal « 

 

Escola d’ART del Treball
Comte d’Urgell, 187.
08036 Barcelona –
Tel. 93 321 90 66 -
Fax 93 410 54 34

www.artdeltreball.cat

14/03/2013

Deborah Rudolph ON THE ROCKS !

Classé dans : COUP DE COEUR,Deborah RUDOLPH (DE),IDAR-OBERSTEIN (DE),pierre / stone — bijoucontemporain @ 12:58

Deborah Rudolph or the « spirit of stone »

c’est …. SOMPTUEUX !

« Stones fascinate me; they are thousands of years old, yet at the same time limited. They exist in all kinds of colours and shapes.
No two stones are the same. In my work I concentrate on preserving the primary character of each stone. I focus on the shape and the structure - the aspects unique to each stone. It is these elements that make it possible for every piece of jewellery to have its own individual character and depth, regardless of similarity in form. Under this credo I develop single pieces and small series. »

On her exhibition at Galerie Marzee 4 March until 16 May 2012
« I like the sensitive connection between humans and stones. I find it interesting that we can hang out in front of a stone for hours, just to look at it. I like the way we carry them around like treasures. I find it interesting that we trust in stones so much that we build our houses and walls with them. I like stone collages that occur unintentionally. I like the way we set stones in streets. I like how stones help us to remember, as memorials or gravestones. I like the freedom in stones and the danger, such as when someone tries to reach the top of a mountain. I like their roughness and their fragility.«   Deborah Rudolph

Deborah Rudolph (Diploma 2010 at Idar Oberstein )

Deborah Rudolph (Idar)Deborah Rudolph  – Kunstschnee, necklace, 2012, rock crystal, epoxy, silver, kevlar 

Deborah Rudolph  Halskette  Bergkristall, Silber (DETAIL) (exhibition "the spirit of stone"  http://www.jakob-bengel.de/2012/01/the-spirit-of-stone/)Deborah Rudolph  Halskette  Bergkristall, Silber (DETAIL) (exhibition « the spirit of stone« )

Bergsteigerkette - Deborah Rudolph Deborah Rudolph – Bergsteigerkette – rock crystals (Bergkristall) Silver and kevlar string

Deborah Rudolph brooch 'lichtung' back & front - Black jade, silver, steelDeborah Rudolph broche 2010 -  ‘lichtung’ back & front – Black jade, silver, steel

Idar - Deborah Rudolph - 'see see' broochDeborah Rudolph « see see » brooch – back & front

Deborah Rudolph - brooch, Stein auf Stein 2, 2010, stone, rock crystal, epoxy, steel - 100 x 70 mmDeborah Rudolph – brooch, « Stein auf Stein 2″, 2010, stone, rock crystal, epoxy, steel – 100 x 70 mm

Deborah Rudolph - Schichtaug Blue, brooch, 2011, slate, sodaliteDeborah Rudolph – Schichtaug Blue, brooch, 2011, slate, sodalite

Eins drei - Deborah Rudolph - Necklace, 2010 Onyx, aquamarine, silver, kevlarDeborah Rudolph – Eins drei – Necklace, 2010 Onyx, aquamarine, silver, kevlar

Deborah Rudolph (Diploma 2010) • "Beloved and Unloved Stones” brooches - Agate, Quartz, Boulder • Photo: Deborah Rudolph (6th Tallinn Applied Art Triennial 2012 • Nominee)  (Hochschule Esd Idar-Oberstein)Deborah Rudolph « Beloved and Unloved Stones” brooches – Agate, Quartz, Boulder • Photo: Deborah Rudolph (6th Tallinn Applied Art Triennial 2012 • Nominee)

deborah rudolph back (?) of a broochDeborah Rudolph -  Brooch: Ueberwachsen 2011 – Black jade, silver, steel

Kunstader brooch - Deborah Rudolph - brooch - Plastikader, brooch, 2012, carneol, epoxy, steel -106 x 60 x 6 mmDeborah Rudolph  – Plastikader, brooch, 2012 – carneol, epoxy, steel -106 x 60 x 6 mm

Deborah Rudolph (Idar)Deborah Rudolph  –  « Achatmuff 2″ , necklace, 2012, agate, silver, kevlar http://deborahrudolph.de/    necklace

Deborah Rudolph  –   necklace

Seenplatte - Deborah Rudolph
Deborah Rudolph  – Seenplatte  necklace
http://deborahrudolph.de - Bergsteiger ohrringe  (earrings)Deborah Rudolph  – Bergsteiger ohrringe  (earrings)
Ohne Farbe necklace - Deborah RudolphDeborah Rudolph- Ohne Farbe necklace 

10/01/2013

EXPO ‘Entre bois et pierres’ – Pôle Bijou Baccarat (France) – 16 Janv-9 juin 2013

Du 16 janvier au 9 Juin 2013 : « Entre bois et pierres »

15 créateurs de bijou et plus de 150 pièces exposées (en bois, papier, galets, roches…) venant de toute la France mais aussi d’Italie, de Suisse, des USA et de Turquie nous confient leurs pièces pour illustrer la thématique.
Le bois et la pierre sont à l’origine de l’économie du territoire (le bois des Vosges pour alimenter les fours des usines à feu –verre et céramique, mais aussi pour la production de mobilier et pour la production de papier et puis la pierre avec la carrière de trapp de Raon l’étape ou encore les exploitations de grès rose …). Il s’agit donc de leur rendre hommage, et de témoigner de toutes les richesses qu’ils savent offrir.

"Entre bois et pierres"  - pôle Bijou Baccarat (France) - 16 janv-9 juin 2013

Les artistes invités : Ela Cindoruk (Turquie) – Teresa Faris (USA) – Angelo Lomuscio (Italia) – Philippe Narbel (Suisse) – Claude Vernet – Nathalie Rolland Huckel – Angela Baduel CrispinBlandine LuceJuan Riusech – Claire Mahey – Frederic Lardier – Pierre Barieraud – Jacky Schwartz – Sandrine Mansoutre – Vincent Troguet

  EXPO - entre bois et pierre - Angelo LomuscioAngelo Lomuscio

EXPO - entre bois et pierre - Teresa Faris série intitulée 'Collaboration avec un Oiseau'Teresa Faris série intitulée ‘Collaboration avec un Oiseau’

 EXPO - entre bois et pierre - Blandine LuceBlandine Luce EXPO - entre bois et pierre - Juan RiusechJuan Riusech

 

 

 

 

Pôle Bijou Baccarat
Pôle Bijou – 13 rue du Port
54120 Baccarat (FR)
tel 03 83 76 06 99
pole.bijou.1@facebook.com
http://www.polebijou.com

Jours et horaires d’ouverture :
Basse Saison : Du 1er octobre au 14 mai – Ouvert les mercredis, samedis, dimanches et jours fériés de 10h à 12h30 et de 13h30 à 18h – Ouvert les jeudis et vendredis de 13h30 à 18 h – Fermés les lundis et mardis et le 25, 30 et 31 décembre et le 1er mai
Haute saison : Du 15 mai au 30 septembre – Ouvert tous les jours de 10h à 12h30 et de 13h30 à 18h

18/09/2011

EXPO ‘Pebble – Gem – Soulstones’ – Ariane Hartmann Werkstattgalerie, Hagen (DE) – 18 Sept.-29 Oct. 2011

Stones. Pressure, heat, time and a certain composition are the components of their formation. Their value is different but every stone is unique. Lined with gold leaf, wrapped in plastic, mounted or described – Tanja Emmert, Vitalis Kubach, Simone Rahn and Tiffany Rowe show their different ways using stones.

http://www.ariane-hartmann.de/kesskarte.jpg

 

 

Simone Rahn:
« I like the little surprises in life. Once in 2000 I stumbled into a vineyard snail cemetary. Their houses so beautifull lying in the mud – what  a waste! Touched by the simultaneous delicacy and robustness and the unique contours of their structure I searched for a way to give them a second life – since then I write on them. But not only on shell but on River stones in all sizes, shapes and colors, but also tree bark, wood, Christmas balls – in short, everything that can be written on…  »

 

Tiffany Rowe:
Liquorice galuchat
Inspired by the famous Liquorice Allsorts sweeties and their hundred and thousand sugar bead coating, Tiffany Rowe decided to create a colourful collection of globular pendants as intriguing to the eye as they are to the touch. Fascinated by the granular surface of shagreen (sharksin or galuchat, in vogue in the 1930′s), Tiffany wanted to recreate a modern version of this delightful substance. The pendants are thus covered with a myriad of tiny beads which compliment the twinkle of the precious stones.

 

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-ash4/249434_10150192874715566_646415565_7501938_7616736_n.jpg
Tiffany Rowe- pebble collection

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-snc4/37189_439142030565_646415565_5806947_4711886_n.jpg
Tiffany Rowe- necklace: Liquorice Galuchat – resin Beads

 

Vitalis Kubach:
The goldsmith Vitalis Kubach, a graduate of the Fachhochschule Idar-Oberstein, uses both metals and stones. Vitalis Kubach regards her works as more than pure objects: through them she would like to mediate between the visible and the invisible worlds and grant things a soul.

EXPO 'Pebble - Gem - Soulstones' - Ariane Hartmann Werkstattgalerie, Hagen (DE) - 18 Sept.-29 Oct. 2011 dans Allemagne (DE) vitalisthumbhttp://www.bundesverband-kunsthandwerk.de/cms/upload/Gewerke/MV_SchmuckSilbergeraet/kubach.jpg
Vitalis Kubach

mj_Arielle dans Exposition/Exhibition
Tanja Emmert Ring: Mounted Jewel ‘Arielle’ – gemstone, turquoise, agate, rock crystal, finegold

 

 

Ariane Hartmann – Werkstattgalerie. zeitgenössischer Schmuck & Design
Eppenhauserstrasse 14
58093 – Hagen
Germany
Telephone: +49 (0) 173 – 77 13 988
Telephone: +49 (0) 2331 – 30 66 543
Fax: +49 (0) 2331 – 30 66 543
website: www.ariane-hartmann.de
mail: ariane-hartmann@web.de

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