BIJOU_CONTEMPORAIN

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16/11/2016

VIRUS de la COMPARAISON ………. Federica Sala / Evert Nijland

 De temps en temps je reprends ma série «virus de la comparaison» …. la plupart du temps «pur hasard» ou ce que j’appelle «air du temps», parfois, souvent je crois, pure « ignorance culturelle » (de l’histoire du bijou) de la part de jeunes qui démarrent, et parfois … finalement assez rarement, on préférera ne pas parler de la vilaine «copie» …….. juste d’un «rapprochement visuel» ! :-)
 Federica Sala Necklace: Sweet Pain, 2015 Glass, rutilo, shibuichi 21 x 21 x 4 cm Photo by: Federico Cavicchioli From series: True Lies. A Collection of Oxymorons:: Federica Sala Necklace: Sweet Pain, 2015 Glass, rutilo, shibuichi 21 x 21 x 4 cm Photo by: Federico Cavicchioli From series: True Lies. A Collection of Oxymorons
Evert Nijland - Naturae serie - 'Pompei 2' necklace - glass, handwoven linen, silver  Evert Nijland - Naturae serie – ‘Pompei 2′ necklace – glass, handwoven linen, silver -

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30/10/2016

EXCHANGE-BIJOU 1 – Marion Fillancq « brut et chic »

Marion Fillancq 
    Marion Fillancq - collier "Fragments & marionites" - Ligne "Archéo", 2015 métal doré à l'or fin fontes cire perdue, techniques de bijouterie Marion Fillancq – collier « Fragments & marionites » – Ligne « Archéo », 2015 métal doré à l’or fin fontes cire perdue, techniques de bijouterie

   » Verrier de formation, j’ai commencé mes recherches autour des techniques de taille préhistorique en 2009 au Centre Européen de Recherche et de Formation aux Arts Verriers (CERFAV) en Lorraine. Cette étude personnelle m’a permis de réaliser une première série d’objets utilitaires (coupes papier) mélangeant taille archéologique et taille moderne. Cette approche fut novatrice car les techniques de percussion et de pression habituellement utilisées en archéologie expérimentale sur les roches dures (silex, jaspe, obsidienne…) ne sont pas explorées dans le milieu du verre. Entre technicité et volonté artistique, j’ai développé ma démarche sur le concept de leur réutilisation contemporaine, partant d’un constat : Si les hommes préhistoriques taillaient la pierre pour leurs besoins fondamentaux, nous la taillons toujours, pour des besoins nouveaux, ceux du luxe.
     La taille n’est pas une technique anecdotique. Je la veux porteuse de sens : enlever, arracher des éclats, par pression de surcroit, sur des matières modernes, parfois nobles…
     Au fil de mon parcours, mes expériences professionnelles en passementerie, joaillerie, ou bijoux de mode nourrissent ma démarche, aiguisant ma pensée, et enveniment les questions qui me hantent. La faille, l’éclat, deviennent alors le fil conducteur de mes travaux, déjà amorcés avec Le Verre Voyageur en 2008, colis en verre postés sans protection.
     Ma rencontre avec Jean-Baptiste Sibertin Blanc, Designer, en 2009 me permet de créer Crognongnon, sculpture en bronze et obsidienne d’Arménie, éditée par Cub-ar (Michel der Agobian) dans le cadre de l’exposition collective «Un regard d’obsidienne» à la galerie Pierre Alain Challier, à Paris. J’ai ainsi rencontré Vincent Lascour, archéologue et spécialiste de la taille des roches dures (Crearchéo), qui prit en charge la taille de la pierre de grande dimension. Il deviendra un allié précieux pour la suite de mon travail.
    Désireuse de «psychanalyser» mon attirance vers les métiers du luxe alors que je combats le superflu et prône l’authenticité, je dessine mes «névroses de l’éclat», me découvrant d’autres obsessions… dans les Intrigues et Divagations Graphiques. Fascinée par la mise en oeuvre et l’implication physique que la taille archéologique demande, je contrebalance le geste en prenant le temps de dessiner mes outils de taille, ou en reproduisant des schémas techniques empreints d’ouvrages spécialisés.
     En parallèle, j’axe ma recherche sur l’objet autour de la problématique de la préciosité. Si la préhistoire apparaît souvent comme une période archaïque, il me semble que ces techniques cachent une préciosité humaine qui mérite qu’on lui rende hommage : celle de la naissance de l’intelligence de l’Homme.
     Enrichie d’une formation en bijouterie joaillerie à l’école Boulle de Paris, je poursuis mes recherches en miniaturisant le geste de taille de manière à réaliser des simulacres de diamants avec des matériaux pauvres comme le miroir. Inexplorées en bijouterie fantaisie comme en joaillerie, je suis convaincue du potentiel esthétique de ces techniques. Autant d’éléments en miroir que j’utilise aussi dans la sculpture et que je baptise «marionites». Le collier «Rivière de marionites» en comporte 52, travail de taille de longue haleine, ironisant sur le luxe de la parure traditionnelle. » (Démarche // Pensée « Taille », entre métiers d’art et design contemporain)

 "Crognongnon" de Marion Fillancq: « Crognongnon » de Marion Fillancq

Marion Fillancq - Ligne Diamant Brut & Géode 2015 - Nucléus & marionites, collier Marion Fillancq - Ligne « Diamant Brut & Géode » 2015 – Nucléus & marionites, collier 

Marion FILLANCQ Broches "Sexy Silex", 2015  Silex pailleté: Marion Fillancq Broches « Sexy Silex », 2015  Silex pailleté

Marion FILLANCQ - Barbara's Liquescens - Nucléus & Liquescens, 2015  bronze, cristal, fil argenté, lin poissé  bronze, cristal, fil argenté, lin poissé, feuille d'argent, maillechort  techniques de bijouterie, taille archéologique expérimentale, tressage: Marion FILLANCQ - « Nucléus & Liquescens », 2015  bronze, cristal, fil argenté, lin poissé  bronze, cristal, fil argenté, lin poissé, feuille d’argent, maillechort  techniques de bijouterie, taille archéologique expérimentale, tressage

Marion FILLANCQ - "Nucléus & Liquescens", détailMarion FILLANCQ – « Nucléus & Liquescens », détail

Marion Fillancq,  "Age of Obsidian #1", 2016 - collier - obsidienne, métal plaqué or taille archéologique en débitage laminaire, techniques de bijouterie: Marion Fillancq,  « Age of Obsidian #1″, 2016 – collier – obsidienne, métal plaqué or taille archéologique en débitage laminaire, techniques de bijouterie

 

Presse : Création de bijoux contemporains inspirés de l’archéologie

 nouveautés 2016-2017

Marion Fillancq -    I NOUVEAUTÉS I La nouvelle collection MARIONITE sera *aussi* présentée au salon Bijorhca du 2 au 5 septembre à Paris! stand D 137 - Espace Design Contemporain: La nouvelle collection MARIONITE sera *aussi* présentée au salon Bijorhca du 2 au 5 septembre à Paris

 

Formation
2007 : CAP verrier à la main, Sarrebourg
2009 : Compagnon verrier européen « verre et lumière, CAP Décorateur sur verre, CERFAV, Vanne le Chatel
2013 : CAP bijouterie joaillerie, Ecole Boulle, Paris

http://www.marionfillancq.com/

 

 

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17/07/2016

EXPO ‘Un trombone dans un verre d’eau’ – La Maison du Bijou, Le Cheylard (France) – 7 juill.2016- 7 janv. 2017

Voici la nouvelle exposition de l’équipe Précieux Passages à la Maison du Bijou au Cheylard (07) : Un trombone dans un verre d’eau, le bijou contemporain et le verre.
Here is the new exhibition curated by the Précieux Passage team at la Maison du Bijou in the South of France : A trombone in a glass of water, contemporary jewelry and glass.

A trombone in a glass of water, this surrealist proverb by Paul Eluard recalls the importance of the unexpected.
Expect to be surprised !

Les commissaires // the curators :
Galatée Pestre, Céline Sylvestre et Laurence Verdier

https://scontent-cdg2-1.xx.fbcdn.net/v/t1.0-9/13645128_624980717651560_1012694754565256147_n.jpg?oh=d37f5b1fcabb1d31af050fe75b47e344&oe=5831F1D0

Le bijou contemporain et le verre // Contemporary Jewelry and glass
Que vient faire un trombone dans un verre d’eau ?
Et du verre brisé dans un bijou ?
Douze artistes bijoutiers s’approprient le verre et le délogent de son quotidien.
Certains se dirigent en cuisine pour tailler dans les verres à boire ou les culs-de-bouteille et revisitent avec audace la nature morte et le camée.
D’autres vont dans la rue récupérer les bris de glace après un accident de voiture. Car le verre est fragile et nous rappelle la vulnérabilité et les dangers de la vie. Le verre se sable pour troubler nos sens, brouiller notre perception : il nous fait douter.
Chez ces bijoutiers, le verre ne manque pas d’humour ! Il se fait exubérant en imitant les pierres précieuses et se moque de notre envie d’apparat. Il sait aussi se masquer derrière d’autres matériaux pour jouer les trompe-l’œil ou les illusionnistes.
Un trombone dans un verre d’eau, par ce proverbe surréaliste Paul Eluard nous rappelle l’importance de l’inattendu.
Attendez-vous à être surpris !

Les artistes bijoutiers // The artistsTarja Ahola LehtinenChristophe BurgerSébastien CarréMarion DelarueKarl FritschGésine HackenbergAude MedoriJulia MorogeKatja PrinsFederica SalaTerhi TolvanenMaud Traon

 

 Christophe BurgerChristophe Burger

Karl FritschKarl Fritsch

 Katja PRINS   Katja PRINS

Maud Traon - bagueMaud Traon – bague

Gesine HACKENBERGGesine HACKENBERG

Marion DELARUE braceletsMarion DELARUE bracelets

Terhi TOLVANEN  brocheTerhi TOLVANEN  broche

Federica SALA collierFederica SALA collier

Aude Medori - ChevillèreAude Medori – Chevillère

Collier de Julia MorogeCollier de Julia Moroge

Collier de Julia MorogeCollier de Julia Moroge (détail)

Bijou d'épaule de Sébastien CarréBijou d’épaule de Sébastien Carré

Tarja LEHTINEN collierTarja LEHTINEN collier

photos : © Aurélien Lambert

 

La Maison du Bijou,
4 b rue Saint-Joseph
07160 – Le Cheylard
tel 06 81 49 42 76
Tél. +33 (0)4 75 29 18 71

 

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06/05/2016

EXPO ‘True Lies by Federica Sala’ – Gallery Four, Göteborg (SE) – 13 Mai-11 Juin 2016

True Lies by Federica Sala

Four Gothenburg, Sweden opening Saturday, May 14th 12.00 – 16.00h

Federica Sala - True lies*

True Lies by Federica Sala 13May2016 - 11Jun2016 Four Gothenburg, Sweden: (Federica SalaRings: Junk Diamonds, 2015 – Glass, white cubic zirconia, diamonds -Photo by: Federico Cavicchioli

Federica Sala plays with the whimsical nature of glass. The amorphous and fragile material is contrasted by crystalized minerals and connects her work to today’s complex society of recognized science and changing concepts of the world.

 We all know that Art is not truth. Art is a lie that makes us realize truth at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies. / Pablo Picasso 

Opposites cannot be divided. Glass and stone grow from each other. The boundaries disappear and the different elements become a collection of oxymoron in which everything exists because of its contrary. Glass is contradictive. It has a light delicacy, at the same time it is heavy and raw, it is soft, sharp, solid and liquid.  True Lies are impossible structures that point out the fragility of the reality we know, showing just one of the possible variations of it.

Federica Sala Necklace: Negative Growth, 2016 Glass, rutilo, silk 25 x 13 x 4 cm Photo by: Federico Cavicchioli: Federica Sala Necklace: Negative Growth, 2016 Glass, rutilo, silk 25 x 13 x 4 cm Photo by: Federico Cavicchioli Federica Sala Necklace: Loud Silence, 2015 Glass, egirina, silver 20 x 20 x 7 cm Photo by: Federico Cavicchioli: Federica Sala Necklace: Loud Silence, 2015 Glass, egirina, silver 20 x 20 x 7 cm Photo by: Federico Cavicchioli

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

02/11/2015

EXPO ‘TRUE LIES. A COLLECTION OF OXYMORONS’ – Září Gallery, Prague (CZ) – 16-20 Nov. 2015

TRUE LIES. A COLLECTION OF OXYMORONS.

A solo show by Federica SALA

Září Gallery, Prague – From November 16 to 20, 2015

OPENING ON NOVEMBER 16, 2015 FROM 7 TO 10PM

TRUE LIES. A COLLECTION OF OXYMORONS. A SOLO SHOW BY FEDERICA SALA

Alchimia is pleased to present True Lies. A Collection of Oxymorons, a solo-show by Italian jewellery artist Federica Sala. This marks the second in a series of solo exhibitions realized by the graduating students of Alchimia’s MFA program 2014/2015, each taking place in a different European city.

Federica Sala, Sweet Pain, 2015, Neckpiece, Glass, Rutilo, Shibuichi, photo by Federico CavicchioliFederica Sala, Sweet Pain, 2015, Neckpiece, Glass, Rutilo, Shibuichi, photo by Federico Cavicchioli

True Lies. A Collection of Oxymorons wants to question our perception of reality, inspired by Plato’s thoughts on how “reality is just a defective projection of our limited way of perceiving”*. Strong in look but extremely fragile in essence, the jewellery pieces encourage us to reflect about the inextricable co-dependency of opposites, and of how our existence might be determined by the limits we set for ourselves. Glass and stone become one entity growing from each other via a new and experimental technique developed by the artist in years of research on the island of Murano, world-famous for its artisanal glass production.
True Lies are impossible structures that point us towards the fragility of the reality we know, by sharing with us just one of the possible variations of it.
Federica Sala is one of the significant figures of a rising generation of Italian jewellery artists. Her practice is based on a continuous experimentation on the properties and qualities of materials, with a particular interest in glass and organic forms, grounded in a strong theoretical research. With this new collection Federica Sala introduced a unique approach in combining different materials such as metal, glass and gemstones. One of its pieces was nominated for the prestigious Stanislav Libenský Award.
On the occasion of the exhibition the artist will present an artist book, featuring drawings, images and a conversation with artist Luca Pozzi.

Federica Sala, Negative Growth, 2015, Neckpiece, Glass, Rutile, Silk, photo by Federico CavicchioliFederica Sala, Negative Growth, 2015, Neckpiece, Glass, Rutile, Silk, photo by Federico Cavicchioli

Federica Sala, Visible Absence, 2015, Neckpiece, Glass, White Gold, photo by Federico CavicchioliFederica Sala, Visible Absence, 2015, Neckpiece, Glass, White Gold, photo by Federico Cavicchioli

 Federica Sala, Unbearable Lightness, Neckpiece, 2015, Glass, Cianite, SilverFederica Sala, Unbearable Lightness, Neckpiece, 2015, Glass, Cianite, Silver

 

 

Federica Sala (b. 1986 Italy, lives and works in Milan) holds an MFA in Contemporary Jewellery and Body Ornament from Alchimia in Florence (2015) tutored by the Mexican jewellery maker Jorge Manilla, and a BFA in Fashion Design from the Politecnico in Milan (2011) tutored by the Italian anthropologist Eleonora Fiorani and the Italian artist Giorgio Vigna. From 2010 to 2012 she has been the assistant of Giorgio Vigna and her work has been exhibited at the Mad Museum in New York, at the American Glass Weekend, at the Society of Arts and Crafts in Boston and SOFA in Chicago, among the others.

 Federica Sala, Clear Releckness, 2015, Neckpiece, Glass, Rutilo, Silver, Leather, photo by Federico Cavicchioli: Federica Sala, Clear Releckness, 2015, Neckpiece, Glass, Rutilo, Silver, Leather, photo by Federico Cavicchioli

 

 

Září Gallery
Heřmanova 33, Prague 7
http://www.zarigallery.com
zari.galerie@email.cz
+420605121419
Opening times and days: Tue-Fri from 1 to 7pm

 

 

 

05/06/2015

EXPO ‘EXPOSICIÓ JOIERIA. COL.LECCIÓ Nº3′ – Galería La Place, Barcelona (ES) – 11-21 Juin 2015

By Marta Torrent / Santa Rita

inauguration  jeudi 11 juin à 19:30

Mt Santa Rita‎EXPOSICIÓ JOIERIA. COL.LECCIÓ Nº3.

La Colección Nº 3 rinde homenaje al mítico arquetipo del Tarot con piezas que mezclan referencias de la joyería clasica con la magia, una característica que según la artista todas las joyas deben poseer.

El trabajo és el resultado de un proceso de experimentación con técnicas antiguas en vidrio soplado, en el que Marta Torrent/Santa Rita ha contado con la colaboración del artista del vidrio Ferran Collado.

Coloreadas con fuming en plata y oro, las piezas incorporan cadenas de plata bañada en oro y piedras preciosas como ónix, perlas y rubíes, materializando esa doble referencia. Por un lado recuerdan a los huevos de Fabergé que el Zar ruso encargaba expresamente para la emperatriz María Fyodorevna, y por otro, al estallido creativo, al huevo que se abre a la vida o a una semilla que brota, ideas que Jodorowski asoció a la carta de L’Imperatrice, la número III del Tarot de Marsella.

La Colección Nº3 será expuesta en junio en la Galeria La place de Barcelona y en noviembre estará en la Galería Lalabeyou de Madrid (19 de noviembre al 17 de diciembre 2015). Algunas de las piezas han sido seleccionadas para un libro comisariado por Nicolás Estrada que será publicado en 2016 por la editorial Promopress.

.N°3  - Marta Torrent/Mt Santa Rita Jewllery -

Nº3 -Marta Torrent/ Mt Santa Rita Jewllery La carta numero III del Tarot de Marsella es « L’IMPÉRATRICE « , la emperatriz .
 » Estallido creativo, expresión ». Creatividad como transformación, como vida. « Es el huevo que se abre a la vida… una semilla que brota ».Vidrio soplado, cadena de plata bañada en oro, piedras preciosas y semi-preciosas y aplicación de técnicas antiguas de ahumado en oro y plata.

Nº3 - Marta Torrent/Mt Santa Rita Jewllery - La carta numero III del Tarot de Marsella es "L'IMPÉRATRICE ", la emperatriz .Marta Torrent/Mt Santa Rita Jewllery – Nº3 – Vidrio soplado, cadena de plata bañada en oro, piedras preciosas y semi-preciosas y aplicación de técnicas antiguas de ahumado en oro y plata.

Nº3 - Marta Torrent/ Mt Santa Rita JewlleryMarta Torrent/ Mt Santa Rita Jewllery – Nº3 -

Nº3 - Marta Torrent/Mt Santa Rita Jewllery - Vidrio soplado, cadena de plata bañada en oro, piedras preciosas y semi-preciosas y aplicación de técnicas antiguas de ahumado en oro y plata. Marta Torrent/Mt Santa Rita Jewllery – Nº3 - Vidrio soplado, cadena de plata bañada en oro, piedras preciosas y semi-preciosas y aplicación de técnicas antiguas de ahumado en oro y plata.

 Marta Torrent/Santa Rita vive y trabaja en Barcelona. Combina la fotografia y la joyeria tanto en los encargos profesionales como en su obra personal.
Sus joyas han sido reconocidas con el tercer premio Enjoya’t 2003 y han estado presentes en las últimas ediciones de JOYA Barcelona Art Jewellery Fair y Off Joya de la mano de galerias como D-terra i Galeria Context. Ha expuesto en España, Beijing (China) y Berlín (Alemania).
Licenciada en Història por la Universitat de Barcelona, cursó estudios de fotografia, técnicas audiovisuales y joyeria, esto último en l’Escola d’Art del Treball de Barcelona, dónde fué alumna de Josep Florensa, que le enseñó a valorar el trabajo artesanal, bien hecho, con paciencia.

Nº3 - Marta Torrent/ Mt Santa Rita JewlleryMarta Torrent/ Mt Santa Rita Jewllery – Nº3 -

 

Galería La Place
Basses de Sant Pere 10B,
08003 Barcelona, Espagne
Téléphone :+34 935 07 37 00

info@laplace.es

29/03/2015

EXPO ‘Illume’ – Shibumi Gallery, Berkeley (CA) (USA) – 28 Mars-10 Mai 2015

Shibumi Gallery :   Illume

Jane D’Arensbourg – Glass Jewelry / Lighting
+  Amy Ruppel – Monoprints / Paintings

Opening / Artist Reception:  Saturday March 28,  5-8pm

 Illume - Jane D'Arensbourg - Glass Jewelry

 

Shibumi Gallery is pleased to announce, Illume, a joint show with jeweler / sculptor Jane D’Arensbourg and printmaker Amy Ruppel.
Illume is an investigation into cast light, shadows and the creations of patterns and forms.

Jane D’Arensbourg uses glass as a vehicle to capture light, energy and a sense of fragility with her work.  She views her jewelry and lighting as functional art.
« There is a time in the day in my studio when the sun pours in and everything comes to life as sunlight slowly travels around my studio, casting beams of light through all of the glass sculptures, jewelry, lighting, and experiments. Light vibrates through the skeletal facets, corners and open planes. The shadows cast on surfaces is this energy broken up into patterns which can be used as a vehicle for meditation by the viewer. »
D’Arensbourg studied glass art at California College of Arts and Crafts as well as the Pilchuck School of Glass.  After working more sculpturally, she began making jewelry in 2001.
She currently lives and works in New York City.

 Jane D'Arensbourg - glass prism necklaceJane D’Arensbourg - glass prism necklace

Jane D'Arensbourg - Glass Rectangle Chain Necklace. Fall/Winter 2015Jane D’Arensbourg – Glass Rectangle Chain Necklace. Fall/Winter 2015

Borosilicate glass necklaces by Jane D'Arensbourg, sterling silver clasp.Borosilicate glass necklaces by Jane D’Arensbourg

 

Shibumi Gallery 
1402 Fifth Street
Berkeley
CA . 94710 – USA
t. 510.528.7736
HOURS: Saturday 12-6pm & Sunday 12-5pm + by appointment during the week

 

25/02/2015

DECOUVERTE pour SCHMUCK 2015 : Stanislava Grebenickova

Stanislava Grebenickova from Czeck Republic,  has been selected for SCHMUCK 2015

Stanislava Grebenickova  -Light & Shadow Brooches - Cut & Polished flat Glass  with Marble and GraniteStanislava Grebenickova  -  Light & Shadow Brooches – Cut & Polished flat Glass  with Marble and Granite

« She is one of those women, who managed to balance their job and family, who are admired for their beauty and pleasant behaviour, she is a wonderful and an attentive hostess, a lady in the best sense of the word. But first and foremost she is an excellent glass-making artist.
Stanislava Grebeníčková graduated from The high school of applied arts for glassmaking in Železný Brod and then passed the atelier of Stanislav Libenský on Academy of Arts, Architecture and Desing in Prague. The very important life experience was a scholarship at Amsterdam Academy at the famous professor`s Sybren Valkema. During her studies and immediately after graduation she highly devoted herself to a formed glass. Already at that time her objects were characterised by a humour and pop art playfulness. The first big success and at the same time very characteristic illustration of her creation of the 80s was a series of objects for the exhibition in Roztoky u Prahy (1984). As a fresh graduate at that time, she created Fishing tackle, enlarged severalfold and supplemented with metal components. It was a perfect illusion of existing realias. A precise workmanship, a bright variety of colors and a perfect reproduction of the logo of the famous firm producing fishing tackle helped her to attain an unusually strong effect. The installation overwhelmed professionals and lay public as well. Real objects in unreal size were deployed on plinths in gallery and with fishing-lines a visitor was under the impression he became Gulliver in the empire of giants.
After the creative pause, devoted above all to upbringing of children and building of family background, she started to give a thought to comeback as an active artist. She knew how much time had passed since her pop art objects and realized that she couldn`t return to this era anymore…she has already been in a different stage of life and started to look for new ways of her creative expression. She has found a clear conception of her new style very soon. She created a series of objects made from combination of stone and glass. Symptomatically called plastics The bearable weight of being or On my own two feet put visually and physically massive cube of polished granite on fragile crystal spirals from formed and shaped glass. A courage and humour these plastics are presented with, take rank with her early objects.
In the second half of 90s this glass artist became more a sculptor. This is related to a desire to make a one-piece work. Whereas her husband (M. Handl) became a pioneer of the gluing technology in glass freestyle, Stanislava was not comfortable with this. Although this technology has dominated in her jewellery creation, it doesn`t seem suitable for her big objects. More likely than a distrust of mechanical qualities of glues, it is an idea, that the sculpture in itself, both sculptural and plastic, works with an integral mass and capacity. Stanislava perceives glass as a sculptural material and desires her plastics would have an influence as a sculptural masterpieces. As a graduate from Libensky school she handles „through glass painting tools“ optics and valair as well. In this time came up for example Asylum, Secret place and Mysterious Asuka.
At the same time with freestyle creation Stanislava has been profiling as a jewellery maker since 90s. At the beginning there was as she says „women`s vanity“. A desire to decorate herself, however, turned into more deeper interest, which became an integral and interesting part of her artwork. Her brooches soon became popular, well-known and sought-after in the world of modern jewellery. Her first jewellery, created in 1993, was surprisingly made of stone – local slate. A supple and accessible material facilitated working on a lapidary machine. Later Stanislava started to splice different types of glass, carefully detrited, she spliced it and glued it. Soon, however, an available color scale stopped being satisfying and she started to combine glass with interesting stones and also to experiment with melting of her own glass plates. The color in itself was not the matter, it was rather a structure and colorful combination. Looking at these brooches we often don`t know, if it is a polished natural stone or skillfully and unrepeatably melted glass. Some glass plates, used in these unique jewellery, are so much remarkable that deny the rules of glass cohesion. They are feasible only in such tiny size and are absolutely inimitable. Jewellery of this creative artist, in spite of their size, appear very monumentally. They remind of pictures. Partly by unprecedented colorful surfaces, which themselves look like a brush texture, but also by their unconditional two-dimensionality. They are based on space illusion. Almost each of them is a small expample of optical illusion: reversible cubes, vanes, prisms, portikas and columned halls are just sofisticated colorfully-geometrical segmentation of area. And therein is a jewellery work of this author so exceptional. A smooth, glazy, accurate, very precise and compact jewellery appears optically as a fragile, plastic, vulnerable and membered. Thus, it implicilty connects the most important characteristics of modern jewellery. Potential of wearing, originality and perfect manufacturing.
At present Stanislava Grebeníčková has been teaching on Higher, Secondary and Apprentice Glass School in Nový Bor. She lives and works with her family in nearby Polevsko. » (Eliška Vavříčková – 8. 12. 20:07)

Stanislava Grebenickova   - glass brooch 2000 Stanislava Grebenickova   – glass brooch 2000

Stanislava Grebenickova  - glass jewelry - brooch 2000Stanislava Grebenickova  – glass jewelry – brooch 2000

 Stanislava Grebenickova  -  brooch glass, granite 2002Stanislava Grebenickova  -  brooch glass, granite 2002

Stanislava Grebenickova  - glass jewelry - brooch 1999Stanislava Grebenickova  - glass jewelry – brooch 1999

  CENTRUM BAVARIA BOHEMIA - Stanislava Grebenickova (CZcech) - glass jewelry Stanislava Grebenickova   – glass brooch - CENTRUM BAVARIA BOHEMIA

 

20/02/2014

EXPO ‘Jiro Kamata : Bi’ – Galerie Rob Koudijs, Amsterdam (NL) – 1er Mars-12 Avril 2014

JIRO KAMATA   Bi

BI at Galerie Rob Koudijs in Amsterdam.Opening reception is on 1st March at 17.00.http://www.galerierobkoudijs.nl/index.php
Opening reception is on 1st March at 17.00h
Jiro Kamata - BI
pendants BI – 2013 – silver, dichroic mirror
« For many years Jiro Kamata made the most beautiful pieces of jewellery relying on authentic camera lenses. He now abandoned the anecdotical side of these objects, but his love for glass, reflections and photography remained all-important for his inspiration. In his design he kept to a minimalistic approach, and based on these preferences he manages to turn an idea into a jewellery piece.
If an artist is looking for the essence in his work, the starting point becomes ever more crucial. Kamata’s primary concern is deciding on his working material. He must be intrigued in such a way that his imagiation starts to spark; after that, the material will lead the way. This happened this time when he discovered dichroic mirror, which is glass with a special technical finish that reflects only two colours, eliminating all others. It produces remarkably clear, yet surprising reflections. Caught in just a simple, forged silver setting the artist managed to capture the alluring effect of free floating soapbubbles.
The brooches in the exhibition are more complex. They are made up from several layers of glass and foil which are visually interacting. Kamata based his designs on something called the bokeh-effect, derived from the Japanese word ‘boke’, which means ‘blur’ or ‘haze’. We know it as the almost downy, often colourful circles visible in photographs when the lens renders out-of-focus points of light. These pieces of jewellery emphasize the importance of looking at the actual object: only then can the refined play of light be experienced. The title of the exhibition ‘Bi’ refers not only to the two colours reflected or the two layers of glass encased in the brooches, but also to reality as we know it and the fairytale world summoned in the jewellery. » Ward Schrijver  (© Galerie Rob Koudijs)

Jiro Kamata - BI - necklaceJiro Kamata – necklace 2013  Bi  – silver, dichroic mirror

 Jiro Kamata - brooch 2014 Bi b05 silver, dichroic mirror, foil Jiro Kamata - brooch 2014 -  Bi b05  - silver, dichroic mirror, foil
Jiro Kamata  brooch 2014 Bi b03 silver, dichroic mirror,  foil
Jiro Kamata - brooch 2014  - Bi b03 – silver, dichroic mirror, foil

 

GALERIE ROB KOUDIJS
Elandsgracht 12
1016 TV Amsterdam
Netherlands
www.galerierobkoudijs.nl

21/01/2014

EXPO ‘Parures de Perles’ – Pôle bijou Baccarat (FR) – 15 janv-8 juin 2014

Parures de PerlesPôle bjou Baccarat – 15 janv-8 juin 2014

Le Facteur de Perles ou Perlier d’Art créé des perles en verre. Pour ce faire, le verre sous forme de baguettes est chauffé à la flamme d’un chalumeau. L’extrémité de la baguette fond, et la matière ainsi obtenue est déposée sur un support métallique (mandrin). Le premier dépôt va former le noyau, sur lequel un décor est ensuite déposé à l’aide de fines tiges de verre préparées au préalable. L’utilisation de baguettes de verre de différentes couleurs, opaques ou transparents, permet la création de motifs ou d’entrelacs. Ce processus peut durer de quelques minutes à plus d’une heure, en fonction de la complexité de la perle. Une fois la perle refroidie, le mandrin est retiré et ainsi se forme le trou qui servira à enfiler la perle. La perle achevée peut également être retravaillée « à froid » pour être dépolie, polie ou encore taillée … Mais d’autres techniques comme le soufflage ou encore le coulage peuvent également être utilisées.

Parures de Perles - Pôle bjou Baccarat - 15 janv-8 juin 2014 -  http://www.polebijou.com/ - http://www.polebijou.com/sites/default/files/DP%20perles%20de%20verre.pdf

DAPHNE BINCKLI (France) – PEI CHEN CHANG (France) – NIRIT DEKEL (Israël) – ANNE GRAVALON (France) – CHANTAL HOENIG (France)- FLORIANE LATAILLE (France) – MICHELE LUDOVICY-HANSEL (Luxembourg) – SUZANNE NEZOT FAILLES (France) – MICHI SUZUKI (France)

cf dossier sur les créateurs

Nirit Dekel glass beads
Nirit Dekel, necklace with disk, container and pomegranate beads, glass
 
13 rue du Port
54120 Baccarat
France
1234
 

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