BIJOU_CONTEMPORAIN

Bienvenue sur mon blog

23/03/2010

FLAMMES & FUSIONS – AFEDAP, Paris (FR) – 9 mai 2010

Le dimanche 9 mai , de 10h à 18h30

Les Bijoutiers de l’Afedap invitent les Perliers d’Art de France

pour une exposition vente de perles d’Art à l’AFedap.

Flammes : les perliers présenteront à la vente des créations de perles d’art et parures.
Les bijoutiers et les perliers participants feront chacun des démonstrations au public : travail du métal et travail du verre à la flamme.
Le symbole de ce rapprochement sera un sautoir d’anneaux en verre et métal monté au cours de cette journée.
Fusion : c’est la rencontre entre un bijoutier et un perlier.
Les bijoutiers vont découvrir des perles d’exception spécialement créées pour cette occasion. De la rencontre, naîtra peut-être, nous l’espérons, la fusion verre et métal.

AFEDAP - flammes & fusion

AFEDAP   -  10h à 18h30
15 rue Henri Murger
75019 – Paris (FR)
Tél. : 01 42 02 04 14
contact pour information : Caroline Poincignon
contact@afedap-formation.com

Association des Perliers d’Art de France : Anne BOURCIER
Tel 01 45 47 20 01
http://www.perliers-art.com/
abourcier@aliceadsl.fr

07/03/2010

EXPO ‘Glass in Czech Jewelry – Contemporary Jewelry’ – Munich 3-31 mars 2010

Glass in Czech Jewelry – traveled exhibition

« … the notion of “Czech jewelry” is spontaneously evocative of glass pearls from the town of Jablonec and Bohemian garnets. These two jewelry materials owe their fame to long tradition and wide distribution. Although contemporary glass production in the Czech Republic is far from what it used to be in the late 19th and the early 20th centuries, this notion has been still fixed in our consciousness. All over the world people look for the old “original Jablonec glass pearls” and try to imitate their quality. There is a boom of shiny cut glass in jewelry and fashion not only as an accessory, but also directly in combination with textile-woven, glittering glass on the body. »

EXPO 'Glass in Czech Jewelry - Contemporary Jewelry' - Munich 3-31 mars 2010 dans Allemagne (DE) Glas_Tschechisches_Scmuck_karte_1%281%29

Artists:
Václav Cigler, Petr Dvořák, Stanislava Grebeníčková, Kateřina Handlová, Jan Hásek, Svatopluk Kasalý, Jaroslav Kodejš, Zdenka Laštovičková, Martina Mináriková, Martin Papcún, Jiří Šibor, Markéta Šílená, Blanka Šperková

Blanka Sperkova (Czech) Silver, blue glass chips, Necklace 2008 -knitted wire
Blanka Sperkova - Necklace 2008 – silvered finger knitted wire, clear & blue glass chips

Jan Hasek (CS)-Blown sand-blasted glass, steel - hair jewelry 1991Jan Hasek-Blown sand-blasted glass, steel - hair jewelry 1991- 2
Jan Hasek - Blown sand-blasted glass, steel – hair jewelry 1991- 1 & 2

Katerina Handlova-Glass-rocailles, lamp-worked beads - 'coral' necklace 2007
Katerina Handlova – ‘coral’ necklace 2007 – Glass-rocailles, lamp-worked beads

Martina Minarikova (CS)'Crystals' necklace w removable brooches 2008
Martina Minarikova – ‘Crystals’ necklace w/ removable brooches 2008-Glass, silver, stainless steel, hematite, calcite

Petr Dvorak-Lamp-worked glass, Bohemian garnets, titanium - necklace 2009
Petr Dvorak - Lamp-worked glass, Bohemian garnets, titanium – necklace 2009 

Zdenka Lastovickova (CS) Lamp-worked glass-wound beads,Bohemian garnets, gold foil
Zdenka Lastovickova – ‘Dream’ necklace 2008 – Lamp-worked glass -wound beads w/ Bohemian garnets, gold foil, cast gilded silver

Svatopluk Kasaly-cut-polished glass, gilded brass Necklace
Svatopluk Kasaly - Untitled, Necklace 2000 – cut-polished glass, gilded brass

Václav Cigler - wearable object- optical glass, chromium plated silver
Václav Cigler – wearable object- optical glass, chromium plated silver

 

Glass in Czech Jewelry – Curator’s Comment
« The works of Czech jewelry artists using glass in contemporary jewelry are presented to the general public very rarely. Therefore the invitation of the Viennese Gallery V&V, which initiated this inspiring project, attracted attention of most of the addressed artists.
The exhibition features in total 13 artists differing in age, professional experience as well as development of their opinions over the course of their career. It can be said that the exhibited works constitute a comprehensive overview of the most interesting items created in this specific sphere.
The theme of the exhibition is glass as an original integral part of jewelry. Glass in its variations refers not only to its physical qualities such as fragility or hardness, but primarily its changeable optical and visual beauty, which provides it with a spiritual quality.
The exhibiting artists present outcomes of their work based on individual approach, representing their personal experience during glass processing. Using unique techniques they record changes of physical qualities and often reach surprising results.
The characteristic features of glass are its optical qualities, its exceptional color scheme and the possibility of achieving lustrous shine. Casting of glass achieves a matted surface,sometimes wrinkled by the artist’s intervention, thereby maintaining the latent mystery of the glass matter.
Our admiration for transparent hand-made glass beads in connection with Bohemian garnets may result in an intuitive experience—like our encounter with other works of modern art.
The presented jewelry pieces certainly stand out in their original approach and visual language, physically uniting both content and form.
The ultimate purpose of the jewelry piece is its specific presentation when it is eventually worn by a person. The body becomes a moving “carrier” of the work and animates not only the piece of jewelry itself, but also supports and develops the kinesthetic perception of viewers and the person wearing it.A great advantage for all exhibiting artists was the accessibility of using all available technologies of this industry, drawing experience from the rich arts and crafts tradition and the history of glass manufacturing in the Czech regions. Some of the exhibiting artists were influenced not only by artistic processing of glass as we know it from the tradition of preceding generations, but also by the production of Czech artists who attained international esteem with their glass sculptures. They improve established procedures by experimentation, extending the way glass is used regardless of the context of contemporary art jewelry.
This exhibition represents a beneficial step in the field of art which successfully develops the continuity of processing glass, a field often neglected both by curators and the public.
The exhibition providess insight into the phenomenon of Czech glass jewelry, extending awareness of an object which is worn and seen.  » (Jiří Šibor)

 

Tschechisches Zentrum (Czech Centre)
Prinzregentenstrasse 7
80538 München/Munich – Germany
tél : 089 21024932
info sur Klimt02 :
http://www.klimt02.net/blogs/blog.php?Id=3&Id_post=4&Directe=Si

20/02/2010

‘POOR’ JEWELRY – designBOOM

poor gallery

The struggle of precious with non-precious materials is typical of recent years and has prepared a new way for ‘young contemporary jewelry’. Neither preciousness nor eternal preservation seems to be important to this new breed of arty accessories – with its value lying in its communicative potential. Within the young international jewelry scene, the new arrangement of everyday materials is a sovereign one and provides pieces with a lively expression. in the middle of the 20th century, a large part of society consisted of middle class people, conservative. In their taste and whose ideals were very strong and deeply-rooted, a society little inclined to change its lifestyle or its symbols. Jewelry was often viewed as an emblematic gesture, a sound investment that could be passed down through generations. There was, however, another part of society ready for renovation. Industry and fashion have changed the approach to jewelry by removing its symbolic and ancestral value. In a society, where great importance is given to superficiality, jewelry has been deprived of any cultural value thus limiting its understanding and consequently its distribution. In this context, the pioneers of the contemporary scene, albeit with some difficulty, had a fertile ground to work on.

does it represent what it did in the recent past?
When economy is stagnant, it is obvious that contemporary jewelry is faced with a very difficult challenge. It seems to be a restricted matter, among a rather small group of people and moves in a limited market, for many reasons including the fact that it does not shift a large sums of money. However, it seems the role of jewelry nowadays is not determined by whether the field is restricted, but whether the designers will be able to maintain and develop this specific sector. Often people do not understand why something so minimal and simple, made from materials such as used material, silicone, plastic, glass, and paper, should be so ‘expensive’. For most people, ‘contemporary’ and ‘the use of poor materials’ is equivalent to economic.

so what makes some things valuable and others not?
These contemporary accessories are made of innovation and artistic research. A piece of jewelry is not merely a decorative ornament; it usually has a meaning, which might be a celebration of something, or a loss, it might be very personal, but these meanings can also be universal, recognizable in today’s society. The rigorous monumentality of ‘poor jewelry’ comes alive when it is worn, when the tactile pleasure of the alternative materials comes into play. In the research of innovative materials, the here featured artists’ work is characterized by an empirical approach – solutions are found by direct experimentation.

page 1 : glass, ceramics & stones :

glass- kaste helmi - glass bracelet and rings by  (lives and works in helsinki, finland).jpg porcelain rings by gabriela feldentrager (lives and works in frankfurt, germany)

Kaste HELMI - glass rings (Finland) — Gabriela FELDENTRAGER porcelain rings (Germany)

page 2 : paper, wood & plants :

paper rings by kiwon wang (born in south korea, lives and works in new york, usa)wooden bracelet by terhi tolvanen (born in finland, lives and works in amsterdam, netherlands)

Kiwon WANG paper rings (South Korea/USA)Terhi TOLVANEN wooden bracelet (Finland)

barbara Uderzo - green jewelry
Barbara UDERZO – « green » jewelry

page 3 : metal, plastic & soap :

poor- soda can ring by mason douglas (lives and works in washington, usa)katja korsawe  elastic bands bracelets  (lives and works in dortmund, germany)

Mason DOUGLAS soda can ring (USA)Katja KORSAWE  elastic bands bracelets  (Germany)

page 4 : textiles, rubber & fur :

poor- burnt silk ring and necklace by rita marcangelo (lives and works in rome, italy)rings by burcu buyukunal (lives and works in istanbul, turkey)

Rita MARCANGELO burnt silk ring (Italy)Burcu BUYUKUNAL rings (Turkey)

Il ne nous reste plus qu’à fêter cette créativité !

CHAMPAGNE !! ;-)

poor- cork ring  by margarida matos (born in portugal, lives and works in london, uk)

Margarida MATOS cork ring (Portugal/UK)

 

 

12/02/2010

dans un MONDE SUB-AQUATIQUE naissent des BIJOUX ……

Ce n’est pas du matériau utilisé d’où je veux partir (genre je vais vous montrer des bijoux en nacre, en corail, etc ….) non, c’est de « l’impression marine » donnée …. comme une vague, de tous les côtés, qui doucement envahi les créateurs ….

Ce n’est pas tant le matériau qui compte, quoique …. corail, nacre, coquillage(s), oursins, galets…. ils ont leur mot à dire. Est-ce qu’ils viennent donner la « touche marine », en … « touche finale »,  ou sont-ils à l’origine de l’idée ? N’est-ce pas plutôt leur texture, leur aspect, leur granulé, je dirais presque leur « grain de peau », qui inspire ? qui donne l’idée de « faire comme si » ? Beaucoup de ces bijoux »aquatiques » sont en papier, silicone, argent, porcelaine, verre, feutre …. rien à voir avec ce que l’on est censé trouver en fond de mer (oui, enfin, rien de ce que l’on ETAIT censé trouver ….. maintenant ….. pfff ! ma brav’dame ! ……… ), mais ce qui merveilleux c’est que ces matériaux « terriens », voire industriels, nous parlent du fond des mers avec maestria, presque mieux que les « vrais », car ils ont un pouvoir d’évocation très fort, le rêve, l’imagination, l’interprétation sont libres de s’envoler : ce n’est pas « vraiment » du corail, mais ça fait penser au corail, ou à plus, à ce que l’on veut, à ce que l’on ressent  …. enfin, la maestria des matériaux qui nous parlent, je m’entends, plutôt la maestria des doigts de ces créateurs que j’envie tant (les doigts ET les créateurs ! ;-) )

Bon, assez parlé, des images ! :-)

(à chaque nom de créateur, cliquez et vous aurez accès à son site ou sa page web)
Ashley Vick (us) - sea urching rings PArcangelo BUNGARO -bague - 2002
Ashley VICK (US) -  Sea Urchin Rings  –
Arcangelo BUNGARO - (IT) bague coquillage, perles, argent

TZURI GUETA -collier 'corail' siliconeAna Hagopian -P
Tzuri GUETA -(FR) collier ‘corail’ silicone  –  Ana HAGOPIAN -(ES) ‘coral’ necklace – papier
Aline Kokinopoulos - bague oursinAline KOKINOPOULOS- La ronde des Etoiles de mer-P
Aline KOKINOPOULOS (FR) bague oursin, argent & corail –bague ‘La ronde des Etoiles de mer’

Cath_jacquet- Corail vivant- PCath-Jacquet_Collier 'CASCADE'- P
Catherine JACQUET (FR) – colliers ‘Corail vivant’ et ‘cascade’ – plastiques
Barbara Paganin - broche 'fiore di luce'GIIA - blue wave
Barbara PAGANIN (IT) broche ‘fiore di luce’ – verre  (Galerie SLAVIK) –  GIIA (IT) « blue wave » felt neckpiece
Esty GROSSMAN bo_meduses-polypesLaurence OPPERMANN - bague oursin 'constellation' argent
Esty GROSSMAN  (FR) b.o. meduses-polypes – argent & cuivre 
Laurence OPPERMANN – (FR) bague oursin ‘constellation’ argent
Gilles_Jonemann collier-galet-Evert NIJLAND - necklace white porcelain
Gilles JONEMANN (FR) collier-galet- LE fameux collier galet ! 
Evert NIJLAND (NL) necklace white porcelain… comme des squelettes marins …. Gulnur Ozdaglar - book pagevbaski-79Jean-François PEREÑA- Galuchat de raie - Galuchat de roussette - Galuchat de requin -
Gulnur OZDAGLAR – (Turquie) PET plastic necklace  -
Jean-François PEREÑA (FR) Galuchat de raie – Galuchat de roussette – Galuchat de requin – Plexiglas – Erable teint  Laiton – Maillechort – Cuir – Aventurine – Ebène ….. (cette liste me réjouit ! )
Patricia LEMAIRE- bague 'péché d'orgueil'Patricia LEMAIRE-'Eclat de Mediterranée'
Patricia LEMAIRE (FR) Bague Péché d’Orgueil (photo Laurent Thion)–’ Eclat de Mediterranée’ – tour de cou suspension maillechort, argent, os, corail

Tosca Teran - 2009- an Un-Natural History - 'Epigeous Conidiophorus' - silver, enamel, silicone, borosilicateVictoria TAKAHASHI-- 'experimental'-   wishing rock box
Tosca TERAN (USA)  2009- an Un-Natural History – ‘Epigeous Conidiophorus’ – silver, enamel, silicone, borosilicate 
Victoria TAKAHASHI (USA)  wishing rock box
Willemijn de GREEF - necklace 'Weavings' -  wool, imitation coral, thread, plastic - 2Willemijn de GREEF - necklace 'Weavings' -  wool, imitation coral, thread, plastic
Willemijn de GREEF (NL) -  « weavings » necklace -wool, imitation coral, thread, plastic
Willemijn de GREEF - broche (2006)Willemijn de GREEF -  necklace (2005) zinc, teakwood, cotton
Willemijn de GREEF (NL) -  broche  –  necklace (2005) zinc, teakwood, cotton-

Et pour finir, parce que la mer a besoin des rivières, et les rivières de la pluie, finissons sur/par un petit nuage ! :-)

kyoko hashimoto- collier petit nuage

Kyoko HASHIMOTO - (Japon) collier petit nuage (proposé par la galerie CARACTERE à Neuchatel (Suisse)

11/02/2010

Tosca TERAN – pataphysical journal

Classé dans : COUP DE COEUR,CREATEURS,ETSY.com,metal,Tosca TERAN (CA),USA,verre / glass — bijoucontemporain @ 21:08

découverte sur METALCYBERSPACE (une source INEPUISABLE de richesses !!!) – bijoux en argent et verre soufflé

COUP de COEUR, encore et toujours !! :-)
 » An Un-Natural History – 2009 -  The inspiration for this body of work is my fascination with the artistic representation of natural history, the creation of fictitious places in literature and my recent interest in Cordyceps fungus – in particular, Cordyceps Unilateralis, a species of entomopathogenic fungus that infects and alters the behaviour of ants in order to ensure the widespread distribution of its spores. It is from the Cordyceps that I most strongly draw the physical inspiration for my work at present. If we can say that the world of science is synonymous with truth and the world of art with that of fiction, I want to tread a middle ground that is unusual and seemingly beyond belief, yet also familiar. Borrowing from the work of German biologist and naturalist Ernst Haeckel, I want to create a body of work that is a documentation of something newly discovered; but, whereas it is claimed that some of Haeckel’s embryo drawings of 1874 were fabricated, for example, I am starting in the opposite direction, from a conjecture of the imagination grounded with elements that – although bizarre – are quite real, to try to give it verisimilitude. Haeckel’s embryo drawings, in spite of the fact that they overemphasized similarities between embryos of related species, nonetheless found their way into many biology textbooks, and into popular knowledge. I have adapted and created my own peculiar genus of entomopathogenic fungus with the hope that it inspires us to wonder not what imagination or motivation created them but simply, where such things can be found. The specimens in this collection are represented as maquettes; as a reader of Jules Verne’s Journey to the Center of the Earth, C.S. Lewis’ Perelandra and John Uri Lloyd’s Etidorpha, I would want to believe that the imagined place from which these specimens originate would also allow them to thrive and grow to fantastic size. If the illusion is complete, please think of them as the younger of the species, provided not merely to delight the curious but to educate and inform in the manner of an exhibit in a natural history museum. On a final note, all of these specimens share the common feature of being based on a “ring” form, something to be worn on the hand, which is drawn from the idea of hand gestures. Although hand gestures are often regarded as mimed versions of spoken communication, they can imitate, amplify, substitute, and even contradict speech. Implied hand gesture here reveals the space and time dimension of a narrative within the pieces and their imagined origin. » (Tosca TERAN)

Tosca Teran - un-natural history

the « Un-natural History » album – 2009 – sterling silver & flame-worked blown glass, & other materials

Tosca Teran - Interplanetary Hearing deviceTosca Teran -double spore ring

« Interplanetary Hearing device » earring -                 « double spore » ring

Tosca Teran perelandrian ring 'Cnidarian'Tosca Teran -heart of glass

perelandrian ring ‘Cnidarian’           -          heart of glass

Tosca Teran - ringPerelandrian ring, 'Ecdysozoa'

silver, copper, wood branch ring                                       
- Perelandrian ring, ‘Ecdysozoa’ – sterling silver, flame-worked blown glassJ’adore le travail, l’imagination … j’ADORE les noms donnés à ces bijoux, monde fantasmagorique, marin ? sous-marin ? flottant entre limbes de l’inconscient, volutes de fumées ,-) , liquides amniotiques ou sub-aquatiques …. monde de la pré-naissance ou de la pré-connaissance ….

Tosca Teran - 2009- an Un-Natural History - 'Epigeous Conidiophorus' - silver, enamel, silicone, borosilicateTosca Teran - 2009- an Un-Natural History - 'Unclassified' - sterling silver, borosilicate, gold,oils, lichen

  »an Un-Natural History » -2009
Epigeous Conidiophorus‘ – silver, enamel, silicone, borosilicate       –
Unclassified‘ – sterling silver, borosilicate, gold,oils, lichen

Nager jusqu’à son monde sur http://www.nanopod.tv/

shop / acheter ses bijoux sur http://www.etsy.com/shop/nanopod
Atelier/studio :
322 Harbord Street
Toronto, ON M6G 1H1
Canada
647. 219. 0585
email: (preferred -checked daily) nanotopia@me.com

 

1234
 

MODELSCULPT |
Valérie Salvo |
dochinoiu |
Unblog.fr | Créer un blog | Annuaire | Signaler un abus | Françoise Fourteau-Labarthe
| Aidez les jeunes artistes
| Tableaux de Christian Maillot