Violaine ULMER – bijoux en argent et porcelaine
L’édition automnale de « just two days » in Paris aura lieu la semaine
prochaine :
au 42 quai des Célestins – Paris 4° (M° Pont Marie) j’installerai une
boutique (très) éphémère pour présenter ma collection de bijoux en argent
et porcelaine
le 25 novembre de 12h à 20h
le 26 novembre de 10h à 19h
www.violaine-ulmer
06-89-91-45-71
The Museum of Arts and Design will present
LOOT 2011: Mad about Jewelry,
its juried selling exhibition of artist-made jewelry for four days this October.
Now in its 11th year, LOOT: MAD about Jewelry has become known as the ultimate pop-up shop for contemporary art and studio jewelry by both artists and collectors alike; it affords the public the rare opportunity to acquire pieces directly from some of the most innovative jewelry artists in the world. This year, the creations of 50 emerging and acclaimed jewelry artists will be on sale. Prices will range from $200 to $12,000, with $1000 the average. Proceeds from the selling show will benefit the Museum’s exhibition and education programs.
MAD – Museum of Arts & Design
2 Columbus Circle
New York, NY 10019
212-299-7777
le DIY (DO-IT-YOURSELF) qui n’y a pas succombé au moins une fois, moi la première ?
Dans l’idée que « ça coutera moins cher », que « y’a qu’à… », que « c’est moi qui l’a fait ! » …..
Alors oui, on vole l’idée du créateur, on l’empêche de gagner sa vie …. et puis, point positif, on réalise que … eh bien, ce n’est pas si facile que ça …. et c’est là où l’on peut réaliser que le bijou « pas en or », « de fantaisie », eh bien il prend du temps à faire (ce qui peut expliquer son prix parfois), il y a des techniques, « quand même », un coup de main à prendre/apprendre, un « twist », que les finitions, ça compte (et comment donc !), etc etc ….. C’est peut-être une des meilleures façons de le découvrir et de découvrir que oui, un bijou en papier, par exemple, peut être CHER ! …..
Certains créateurs « succombent » à ce flux massif de copie : je pense, entre autres, aux bijoux en boutons que faisait Zoé Cotlenko …… qu’est-ce que cela a été copié !!!! avec plus ou moins de bonheur, de qualité, mais elle, elle a « disparu » !
Zoé Cotlenko - pièce unique 2002 – plastron parure tintinnabulant et réjouissant !
Aux bijoux en épingle à nourrice de Marie-Lise GOËLO : les siens avaient de la « force », particulièrement quand les épingles étaient nues. Quand elle a commencé à les habiller de perles de cristal, je pense que ça a été le début de la fin : à mon goût moins « forts », plus… « jolis », plus « mignons », et tout de suite copiés à l’infini ….
Marie-Lise GOËLO - mon bracelet « hérisson »
Marie-lise Goëlo – mon bracelet « moebius »
Marie-lise Goëlo – mon bracelet « moebius » porté
et l’ajout de « petites perles » annonce toute la « copie » à venir, comme ce bracelet :
gentil, joli, pas laid, mais sans aucune « force » (en tout cas pour moi) ……
pas comme mon bracelet « nu » de Marie-Lise Goelo !!!
En ce moment, copies à tout va des bijoux en fermeture éclair de Kate Cusack.
Voir « Etsy », lieu de vente, mais aussi haut-lieu de la copie, enfin, du DIY …… pour les bijoux en « zip », c’est un déchainement ! voir cette page !
Kate Cusack - Zipper Jewelry
(voir article zipper jewelry by Kate CUSACK …. zip zip hourra ! …. & Zoé COTLENKO)
le top du DIY est ce mode d’emploi (tutorial) pour faire, il faut l’avouer, un SPLENDIDE plastron tout en zips !!
le collier-plastron de OUTSAPOP
vous suivez le mouvement ???????? 
– dos du collier
devant du collier - quand à ce stade elle dit « il faut le détacher pour l’essayer avant de le coudre … » euh …. oui !!!!
là, le « y’a qu’a » en prend un sale coup …..
Et puis, certains créateurs devancent le « DIY » versus copie ….. et proposent leurs créations …. à faire vous-même ! malin ! vous payez ET vous faites ! 
Anni ALBERS DIY washers-ribbon jewelry kit Anni Albers. 1940. Anti-luxury jewelry. Necklace made of washers and grosgrain ribbon (it was sold in a « DIY satchel »)
UrbanOutfitters propone questi kit di DIY (do it yourself) per realizzare gioielli ispirati a quelli della celebre designer Anni Albers. In questo caso con dei semplici anellini di metallo ed un nastro il risultato è sorprendente
(moi je l’ai acheté au 107-Rivoli …. l’ont-ils encore ??)
Anni Albers kit
« The Anni Albers Jewelry Studio Kits from the Josef and Anni Albers Foundation are based on original pieces from the 1940s. Made in the United States, the do-it-yourself packages—available at Urban Outfitters and the MoMA Store—contain all the components necessary to make your own Albers reproduction for less than $15″
Il va sans dire que le monde du DIY est vaste, et peut atteindre des niveaux de « cul-cuterie » intenses !!!!!!
Enregistrer
Enregistrer
Le 1er juillet, c’est décidé, je me mets la corde au cou !!!
C’est très « tendance » en ce moment paraît-il ……… d’ailleurs le site « meltyFashion » titre :
« Accessoires Corde : La tendance de l’été 2011«
Les colliers ITO d’IRM Design (Marion Lalanne et Pierre Alexis Hermet) m’ont tapé dans l’oeil ! à commander en ligne sur leur site
IRM Design – colliers ITO
moi c’est celui-là que je veux, le bleu !! quoique le mauve ……..
Dans la « série » « corde au cou », j’ai remarqué aussi:
de Gabriel & Schwan : Necklace KNOT, pink
Knotted necklace from nylon rope with a silver connecting piece, in which the letters “G&S” are engraved. Made in Germany by Gabriel & Schwan. – en vente en ligne sur le site Artrebels
colliers corde de Mlle Pierre, Paul & Jacques (bon, vu que les colliers s’appellent AUSSI « ITO », j’ai l’impression qu’IRM Design & Mlle …. c’est la même chose !)
et, le TOP
les colliers d’ Eleanor Bolton remarqués il y a un moment
Mel MILLER, contemporary jeweller based in Melbourne
« I completed a Master of Arts in Gold and Silversmithing at RMIT University, Melbourne, Australia in 2009, and a Bachelor of Fine Arts (Metalsmithing) at Arizona State University, USA in 2004. My work has been exhibited nationally and internationally including at the renowned international exhibition of emerging artists ‘Talente’ in Munich, 2011, and in ‘Jewellery Topos’ touring to Galerie Marzee, the Netherlands and Gallery Loupe, USA during 2009-11.
I’m interested in the luminosity, colour and texture of materials usually regarded as mundane, and the transformation of materials and the stories they tell. My work explores transformations of landscapes into jewellery with an Impressionist concern for colour and light, as well as the transformative effects of memory and the tradition of storytelling. Background becomes foreground; the recollected story becomes history; the mundane becomes magical!
You can also find my work at Arbor Jewels in Melbourne and Studio 20/17 in Sydney. »
’Fleming Park (autumn, evening)’ – Brooch featured in Talente 2011, Munich - sterling silver, bouncy balls, Mexican opal, felted wool – COUP DE COEUR !!
‘The View from St Philip (summer, sunset)’ – Brooch featured in Talente 2011, Munich - sterling silver, bouncy balls, felted wool, enamel paint
‘Foggy Day in Parkville (winter, clearing)’ – Brooch featured in ‘Australian Jewellery TOPOS’ (Gallery Loupe, USA, 2011) – sterling silver, enamel, copper, bouncy balls, labradorite, felted wool
Bounce ! – new pendants from the Bounce! series, available at Studio 20/17 in Sydney and Arbor Jewels in Melbourne – sterling silver, bouncy balls
(from ‘Metamorphosis’ exhibition)
soon, to SHOP on Etsy !
« When Ludwig Mies van der Rohe proclaimed: „please do not confuse the simple with the simple minded’, he characterized the formal principle of the label ’b.s. bergner schmidt’.
The label takes sensory overload, the fast pace of life and affluence in today’s society as a starting point for a new approach to fashion. Their clothes are reduced to form to focus on their essence and thus create a reaction to the fashion industry.
Working with concrete is an additional element to the label, a material which generates experimental accessories to complement the collection
The debut collection „baustoff (building material)“ takes its inspiration from Bauhaus and has been conceived on the basis of its maxim less is more’. Bauhaus stands for clean and cool aesthetics, and, together with the term Neue Sachlichkeit (new objectivity), it becomes the guideline for form and colouring of the collection.
’baustoff’ describes a collection which combines purist and constructive expression with subtle femininity. »
to SHOP online here at « artrebels » !!
« Bettina Dittlmann (Born in Passau (DE) in 1964) is inspired by historical jewellery, ranging from mourning Victorian jewellery to American Indian pieces. Dittlmann studies the historic forms and content, which later influence her own work. Drawing is an important part of Bettina Dittlmann’s life, often a starting point for a piece of jewellery. » (« Fused » exhibition at Flow Gallery, show curated by Melissa Rigby, the Chairman of the British Society of Enamellers – 2011)
« ‘Sometimes the setting is full without a stone. Sometimes I free the ironwire from the enamel to set the stone. Sometimes I set the stone into the enameled bezel. Sometimes I fill the bezels with enamel, so the enamel becomes the ‘stone’. Garnet resists the heat in the kiln . The enamel strengthens the prongs. The enamel sticks to the garnets and covers them. It hides the cut gem.Enamel chips sparkle like cut stones. Pyrit rocks sparkle like diamonds. I try to work with the enamel, try to understand its laws and try to break them, but the enamel always wins! ’ (Bettina Dittlmann – Published in Metalsmith, Exhibition In Print 2003, volume 23 number 4″)
Bettina Dittlmann – rings with garnets
« Pristine precision and elegant design characterise the work of Bettina Dittlmann, a jeweller who employs enamel in much of her work. Her international reputation has taken the medium of enamelling into contemporary jewellery practice, with its emphasis on innovation in both technique and design. Bettina’s pieces, constructions of soldered binding wire and enamel, often incorporate precious and non-precious stones: the essence of her work is the combination of delicacy and strength.
Although they are completed with the appropriate findings, Bettina Dittlmann does not intend all of her brooches to be worn, but she is delighted when they are. Her large complicated binding wire structures are comprised of thousands of soldered joints. Instead of material value, Bettina is making something precious by using time.
Jewellery enamels fire successfully on to the steel wire at around 760º, and Bettina builds the joints of her constructions with IT solder, which is workable at this temperature. The firings varying according to the enamel used. Bettina judges the correct time and temperature by instinct. Because the thin wires transport heat immediately, the firings are 30–40 seconds long. She is currently experimenting with liquid enamel.
To get the enamel to adhere to the wire, Bettina finds that spit works best as an adhesive, behaving as an incredibly good glue and firing out without stains or bubbles. She mixes the spit with water and squeegee oil, paints the mixture on to the wire, and then applies the enamel by sifting. The first few firings take the enamel to a gloss finish, making a hard surface which ensures a good bond to the wire, but the last layers are underfired to achieve the granular effect. Complicated structures can require 60–70 firings: the inner wires are enamelled first and often the whole work is turned during firing. The way the pieces are constructed determines the colours, with the precious and non-precious stones pin-pointing the nodes in the design. Bettina Dittlman has always wanted to make complex pieces – shapes that take a long time time to describe, but she is also interested in the simple. Historical jewellery is a source of inspiration, ranging from mourning jewellery and Renaissance jewellery to Victorian jewellery and American Indian pieces. She studies the historic forms and content, which later influence her own work. Drawing is an important part of Bettina Dittlmann’s life. She draws what she thinks about, and often this is a starting point for a piece of jewellery. During the process of making, the drawing continues. For her abstract pieces, Bettina begins by adding circles to each other, working spontaneously with no final concept in mind. The accompanying drawings might be concerned with the construction of the developing piece or with ‘what the piece is about’, and the two influence each other back and forth as she continues assembling. She adds that if she really knew what her work was about, she probably wouldn’t make it any more. Bettina’s training included studying the techniques of silversmithing at a technical school in Germany and subsequently working two years with a jeweller. This was followed by two years at the Academy of Fine Arts in Munich, where she had to begin to develop her own path and to ‘find out how and why to go on, and what was valid’. Interestingly, she realised that she had retained the influence of her high school art teacher, with whom she studied art history and art and learned about the quality of line. There followed eighteen months at the State University of New York at New Paltz. Here drawing became particularly important to Bettina because, in the beginning, she couldn’t speak much English. It was at New Paltz that Bettina learned to enamel, taught by Jamie Bennett, who said that enamel could translate the colour in her drawings to her work. Jamie Bennett was challenging enamel and this is what inspired her. She had been making pieces with binding wire at the time, investigating spike, pod and flower forms, and this was the start of finding her unique way of working. In addition to making her wire and enamelled sculptural jewellery, Bettina produces a range of rings with her partner Michael Jank. He has his own career as a printmaker, but together they are working on forged rings called ‘Foreverrings’, each making their own pieces but selling them together. Neither soldering nor polishing are part of the process, which involves melting the metal, punching a hole, and hammering out a thick, powerful ring shape. The technique is fast and spontaneous, in fact completely opposite to Bettina’s practice in enamel. Shefeels that it is important for her body and mind to do hard physical work after the hours spent with delicate, precise and intense soldering, stone setting and enamelling .« (British Society of Enamellers – summer 2006)
Bettina Dittlmann ‘rinchen’
Bettina Dittlmann pendants
Bettina Dittlmann- brooch – Iron and enamel – 2007-2008 (to SHOP on V&A website)
Bettina Dittlmann- brooch ‘Orange-Rot’, 2003 -Eisen, Emaile
Bettina Dittlmann – Brooch, Iron, garnet – 2007
Bettina Dittlmann (& partner Michael Jank) - ‘foreverring’
Bettina Dittlmann – « Big red » Brooch
Bettina Dittlmann - Red brooch, 2005, red ironwire enamel
Bettina Dittlmann -broche « oursin » (photos galerie Helène Porée)
OUI, Bettina Dittlmann - on AIME votre travail ! il me fascine !
ENAMEL – innovation in vitreous enamel – by Jessica Turrell- symposium-presentation
Jointed Jewels by Alissia Melka-Teichroew
« Jointed Jewels represents a union of new and old, organic and industrial, functional and decorative. At the heart of the project is the intention to transform complex and separate elements into a new kind of whole. It started as an exploration of ball joints, commonly found in cars and hip replacements. Alissia Melka-Teichroew had the idea of creating a ball joint -normally assembled with separate parts- as one single piece. Through the use of selective laser sintering she was able to literally make a ball inside a ball.
Each piece has been made with the same technique: it seems like an intricately assembled object but is in fact one single piece that was made in one go. Many of the bangles, necklaces and rings are interpretations of renaissance and Victorian jewels and there are also references to intricately made and very precious pieces by luxury brands like Bulgari and Cartier. In addition, there are multi-tiered necklaces that display connecting joints that resemble human bone structure. »
« This osteologically inspired jewelry series is based on the ball and socket joint used in industry and as surgical replacements. Instead of constructing her jewelry as separate jointed pieces, they are produced as a whole. She used a technique called selective laser sintering to make a ball inside a ball. Her innovative concept thus transforms a mundane industrial connector into adornment. «
« The pieces in the Jointed Jewels collection seem to have been intricately assembled, but each was a single piece made in one shot. » (from mocoloco web site)
jointed jewels (photo Lisa Klappe) – to see on Flickr
jointed jewels (photo Lisa Klappe)
jointed necklace (from blog « fastcompany« )
SHOP at BuyAMT
Sue GREGOR
« Living in a city as I do, people might think I’d be hard-pressed to find inspiration for my leaf and floral jewellery – far from it. The plants and weeds which grow in the front gardens and wastelands, in hedges and along paths are a rich source of material. I see beauty all around me and the plants which have struggled to succeed in an urban environment give me inspiration on a personal level and for my jewellery.
I use a process I developed while studying for my MA – I call it ‘fossilized plastic’ -Each piece of jewellery uses the actual plant and even the veins of the leaf will show, thanks to the fine detail which is captured on the embossed surface. This means that each piece is unique and every piece is handcrafted. Choisya, box, vetch and sweetpeas have all appeared in the jewellery I make, whether in the floral cuffs, leaf pendants or earrings.
My work links the natural world with the manmade by marrying acrylic with the plants I have gathered, to produce beautiful and individual pieces. My work is a celebration of the marriage of the organic and inorganic, industrial and natural. »
Necklace: Coral garland
Necklace: Flower garland peach pink -acrylic 50 cm long – 2010 – Mixture of plants and textiles
Sue Gregor – pendant: Hydrangea 2010 – Acrylic, silk, glass -Lime purple hydrangea flowers
Sue Gregor - Necklace: Black and white garland 2010 -acrylic- sampler of plants and flowers
purple pink gerainium leaf necklace (close up)
and ……. incredible cuffs !
and and and …. you can shop all these marvels on her website !
K. bo SONNE (Kristine bo Sonne) : Discovered at the Goldfingers Gallery, Copenhague.
Kristine bo Sonne graduated from Danish Institute of Fine Metals in 2005 where she was awarded the Danish National Banks Prize for the best final project. Bo manifests herself by her minimalistic, graphic and conceptual approach where her ideas often lead to unique pieces with distinctive functions and mobility, or pieces in series’ with many combination possibilities.
Institut for Ædelmetal promotion 2005
K. bo SONNE – « diamond #1″ ring – lion yarn (??), silver – definitively my FAVOURITE !
K. bo SONNE – « diamond #2″ ring – textiles, silver
K. bo SONNE – necklace – silver, silk, lacquer
K. bo SONNE – necklace – 170cm – brushed sterling silver
K. bo SONNE – « solitaire #1″ ring – topaz, silver
K. bo SONNE – « Mr Man » ring – lacquer, silver
to SHOP on NUURU website
