EXPO ONLINE at JEWELLERY SCAPE – TEXTILE section

http://www.jewelleryscape.com

Silvina Romero (Arg.)- necklace ‘Abajo del mar’ textile, fabric, cotton & silk thread

Paulie Schwartz – organza de soie

Sabrina Bottura – ‘black’ ring 2009 – felt, pearl black, silver
Karin Carmeliet

Colleen Baran – Felted Saucer Rings – 2007 – Felt, sterling silver

Elena Lorenzi   – Necklace in twine, coloured metal wire and braid of different colours

Federica Fabiano « Gradient » – necklace made by copper yarn coated with cotton yarn

Cristina Tajè  ‘Rosa, Rosae’ – necklace in felt with applications of copper, tin, iron and brass

Ruth Moore – sealife inspired neckpiece – 2009 – Heat formed synethetic fabrics, plastic beads, cotton thread

Kate CUSACK zipper necklace

Susanna Matsche (DE) – Breast pins – leather, silver, fur

Thomas de Falco (IT) – cotton, wool, silk, leather iron necklace

COUP de COEUR ! Caroline Broadhead

Caroline Broadhead studied jewelry in London with such distinguished artists as Wendy Ramshaw, Gijs Bakker, and Emmy van Leersum. A visit to East Africa in the late 1970s encouraged her to create jewelry that responded to the form of the body. By the mid 1980s, her constructions had become increasingly removed from jewelry as she concentrated on conceptual aspects of clothing and installation art. Since 1978, Broadhead has taught textiles, jewelry, ceramics, and other disciplines at Brighton Polytechnic, Middlesex University, and Goldsmiths College, University of London.
Education: 1969-72, Central School of Art and Design, London; 1968-69, Leicester School of Art, England – (Museum of Art & Design MAD)

« In the 70s and 80s, I was exploring ideas about jewellery, the way it could be handled, change on or off the body etc, ideas that were best expressed through materials of a certain colour, weight or flexibility. I made work out of coloured cotton threads and rope and my tufted bracelets used very fine nylon threads. And as my ideas were developing, I became more interested in the non-precious materials, ones that did not have a recent history in jewellery. By the mid 1980s I was making much larger scale pieces in woven nylon – veils, collars and sleeves. This scale was exciting as it allowed me to examine a spatial awareness around the body in a new way. For example, the Necklace/Veil was woven out of nylon line. It married something that you could wear round the neck with something you could also twist up to become a veil. It became a screen to look through to the wearer, or for the wearer to look back, as much as something to look at. These larger pieces that covered more of the body led me to clothing forms which gave me greater scope to express ideas about the whole person. These were not fashion but there didn’t seem to be a particular category for my pieces to be located, except art. »

Armpiece 22 in 1 - Cotton, nylon, monofilament – fabricated, sewn – 4 3/4 x 112 in. (2,84 m long) -(Photo Credit: John Bigelow Taylor, 2008)

Neckpiece – 1978 – Silver, wood, dyed nylon monofilament

Caroline Broadhead brush neck piece – wood, nylon – circular wooden frame with nylon fibres in tufts like brush, pointing inwards where they touch in the centre

Caroline Broadhead arm piece; nylon monofilament arm piece woven into a deep cylinder with both ends of the single thread hanging free and terminated with a blue plastic cylinder

Caroline Broadhead neck piece; nylon monofilament neck piece woven into a shallow cylinder with both ends of the single thread hanging free and terminated with a green plastic cylinder

Necklace/Veil  woven out of nylon line

« How important is function in your work?
Jewellery made me consider the fit and use of objects on the body in a practical way, but the function of my pieces has been to give the viewer or wearer a particular experience, or to start a train of thought. When I started making garments in the 80s they were wearable – even if they didn’t look it. The function of wearability was not my aim, the important thing was that there was a possibility that they could be worn. They were a way of exploring and expressing ideas. Clothing as art was an area in its infancy in the 80s.
So if function is no longer relevant, what are you trying to do with your garments?
I used the garments, and subsequent work, to explore notions about a person. The first shirts I made gave form to the gestures a garment makes you do when you put it on. For example Wraparound Shirt makes you ‘put the other arm in’, you keep repeating that gesture to put it on. But I also wanted to create pieces that had a strong visual impact when they weren’t being worn. In my work with dance, gesture and movement are also important. I have created dresses that direct the dancer’s movements and set the scene for these movements.
Can you explain your attraction to textiles?
I started working with textiles before I realised that that was what I was doing. Most of my work is working with textiles, or about textiles. I like the fact we are surrounded by it in various forms, its feel, and what it does. I enjoy the sense of touch. It’s an amazing manufactured material which you then add your manufacturing process to – often you meet the material in this half-way position. It’s already had a human touch.«  (Interview by Diana Woolf – nov 2009 – « maker of the month » – http://www.themaking.org.uk/)

Caroline Broadhead catalogue cover (open showing front and back) Arnolfini Gallery, Bristol November 1981

« This catalogue is of an exhibition of Caroline Broadhead’s, whose work at this time was inspired by having taken up embroidery in Kenya. Using the practice of wooden hoops for tensioning the material, she used laminated wood and the industrial nylon monofilament which she colour-dyed and utilised in this body of work. Work which was of a playful and colourful yet rigorous and controlled nature fashioned into bracelets, necklaces and brooches. These became canonical works in the repertoire of one of the five major presences in British New Jewellery : Caroline Broadhead, Pierre Degen, Susanna Heron, Julia Manheim, and David Watkins. »

Caroline Broadhead, Seven seams – skeleton of clothes - (winner of Jerwood Prize for Applied Arts- Textiles in 1997 )

In her early pieces she employed flexible nylon monofilament structures that could be collapsed to form a neckpiece, pulled up to form a ruff effect or even expanded to cover the face and head (e.g. neckpiece/veil, 1983; see Dormer and Turner, pl. 161). She also used multi-coloured woven flax for broad hooped necklaces and bracelets (e.g. tufted necklace, 1979; see Houston, pl. 12). The range of plain and coloured acrylic jewellery produced by C&N Buttons & Jewellery Production, a company she formed in London in 1978 with Nuala Jamison (b 1 Oct 1948), had a broader appeal. In her work Broadhead proposed new functions for materials and techniques, going beyond the idea of a unique item of value, to fuse clothing and decorative accessories in a complete and imaginative ensemble. In the 1980s she created a new mood with elusive body garments: Cocoon, Seam (both 1986) and Web (1989; all London, Crafts Council Gal.) are cotton and nylon fabrics that, once wrapped, form surreal patterns that play on an ambiguity between clothing and personality. Broadhead has been recognized as a leading innovator in the New Tradition tendency in Europe, a generation of designers who, over two decades into the 1980s, revised many of jewellery’s conventions.

 

BOOK :

Bodyscape: Caroline Broadhead  –
By: Pamela Johnson  -  Art Books Intl Ltd – 2000 – 32pp

COUP de COEUR ! Luis ACOSTA, beyond textile and paper …..

« Como diseñador me interesan particularmente las formas. Cuando descubro una de estas que me atrae la amplío o repito, después, me concentro en probar todas las posibilidades que me brinda esa forma que me ha de servir como base para el desarrollo de un diseño.
Me es importante trabajar con formas y colores. Las primeras me dan la dimensión del trabajo mientras que los segundos me proveen de calidez.
Una de las maneras para concretar esto es ‘jugar’ con una forma y varias capas de material, papel o hilo de papel, de diferentes colores.
La rigidez está dada según la cantidad de capas de material que he cosido juntos. » (Luis Acosta)

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« As a designer I am particulary interested in form. Once I’ve found a form, I enlarge or repeat it. Then I concentrate on using the possibilities of that form as a basis for the development of a design.
It’s important to work with both shapes and colour. The first gives dimension to the design while the second provides warmth. One way of doing this, is to ‘play’ with a shape and several layers of different coloured materials, which sometimes gives rise to an intriguing hybridization, conjuring up the impression of something plaited.« 

 

Los objetos de papel están confeccionados con la repetición de distintos tamaños de una sola forma.
La rigidéz está dada según la cantidad de capas de papel que se han cosido juntas, siendo estas de distintos colores.
The paper objects were created by repeating a differents sise of a simple basic shape.
differents types of paper, six stichted layers of paper, sewn together – diameter 30 cm, high 5 cm, 2008

Luis Acosta - collier

Luis Acosta - collier

Luis Acosta - pulsera – bracelet

Luis Acosta - pulsera – bracelet

Luis Acosta - pulsera – bracelet

Luis Acosta - pulsera – bracelet

 

COUP de COEUR ! Fie von KROGH – encore !!!???!!!!! bijoux TEXTILES

Fie von KROGH (Norvège) : Recycling viscose and nylon scarf

je vous avais dit ! quand on aime on ne compte pas !

‘Coronifera’ – collar

‘Litosphaeri’ – collar

‘Coronifera’ – bracelett

FELT FELT FELT… jewelry – upcoming book ’500 Felt Objects’

« Trumpet sound ! Some time ago, the call for entries went out for 500 Felt Objects, a book slated for fall 2011 release*. After seeing Fashioning Felt, the terrific show she curated, I enlisted Susan Brown of the Cooper-Hewitt National Design Museum to serve as the juror for this book. We’ve been reviewing the images to include in the book, and I’ve come across some really exciting jewelry made with this extraordinary material!
Now, please don’t think the decisions have been made for the book–we’ve still got a loooong way to go before selections are finalized. Just wanted to share the fascinating things some talented artists from around the globe are making. » (Larkcrafts)

* parution prévue pour l’automne 2011

Maria EIFE, a resident of the City of Brotherly Love, necklace

Justyna Truchanowska (Dublin) – necklace

Eun Yeong Jeong-  ring           –                Jennifer Moss (of Kalamazoo)

Chien-Ching Liao (Taiwan) – this piece incorporates felt so airy that light filters through

Lynda Watson (US) neckpieces :  ‘Eucalyptus’ & ‘Octopus Garden’

Kristin Mitsu Shiga

Maricha Genovese  « Under Pressure » Necklace: needle felted wool, thread, sterling silver

Maricha GENOVESE (US) – ‘Felted Balls’ Neckpiece – needle felted and dyed wool 

Jens A. Larsen (Norway) - necklace

 

SEE ALSO, for FELT / a VOIR AUSSI, pour le FEUTRE :

 

Wool Necklace Set – by « C’est la Chine«  (from JIA SUO Collection)(to shop on Etsy)

Anna Hinkes -Wood and Felt Bracelets – 2010

Kate Ramsey – felted flowers neckpiece adornement blue – (you can buy it on Etsy at « FeltFieltroFilc« )

bracelets by ‘dans mon corbillon‘ (Nadine Raymond) – blue serie felted bangles by « Dans mon Corbillon » (to shop at  « A little Market« )

Hanan Kedmi (design graduate of Shenkar college, tel aviv) has created a series of jewelry made from heat sink devices that are attached to computer parts which tend to get overheated

Dora Haralambaki : « my participation to the <> »

Cath Dearsley (NZ) – felt mouse pendant & jewelry

« Inspired by my furry friend Mr Nibbles, these pieces are made by needle felting wool into objects and jewellery, referencing my attraction to toy animals and childrens book illustration.
Metalwork embellishes the pieces to create the attachments for wearing on the body.  Additionally I created a series of holders for these pieces to sit on, hang or interact with, adding to their playfulness and fun. » (Cath Dearsley)

Sophie Taylor-Brockie (NZ)- necklace- Amethyst, Felt, Embroidery Cotton, Curtain Weight (on kit & caboodle)

Cèlio Braga gives form to his relections through hand-made felt, silk, cotton fabric and glass beads…

Anat Gelbard (IL) has developed her jewellery through an exhaustive exploration of felt making techniques and created beautiful understated organic pieces.

Thea Clark (US) – necklace - felted wool oxdized silver, and citrine

Cynthia Toops, felt bracelet

Vacide Erda Zimic (Perou)

Amy Klainer (US) -Laser cut 100% wool industrial felt, earth magnets

Hisano Takei (JP) – ‘linked’ 2006 - feutre/felt chain
Hisano Takei - felt neckpiece

GIIA (Italy) felt neckpieces (to SHOP on Etsy)

Brigit DAAMEN (NL) felt ring & necklace – she was recently featured in the exhibition “Fashioning Felt”, at the Cooper-Hewitt National Design Museum. Brigit felts plastic costume jewelry with merino wool and transforms them into precious edgy neck pieces.

 
Karin Wagner (CH) bien sûr ! (collier ‘fleurs’ et collier ‘bolitas’)

Anna Wales (UK) – ‘Blooming Boa’ Necklace, oxidized silver and red felt

Meiri ISHIDA (JP) layered felt jewelry
« inner voices » Brooch, 2005 felt, silver — ‘spiral city’ Necklace, 2006 – felt,plastic glass,silver

Catherine Svensson (SE) « OlliesWoollies » – Woolly Bobble Punk Bracelet  & leaf necklace in blue
(to SHOP on Etsy)

 Hanneke Paumen (NL) – felt discs necklaces

Hanneke Paumen (NL) -  felt Collar

Zorica Djukic (‘3FUN’ shop on Etsy) – Brown-Blue Multi Strand Felt Necklace – ‘Manic Organic’ (Felt Necklace or/and Bracelet)

Colleen Baran (CA) Felt Rings

Colleen Baran – Daily Recycled Rings (Ring a Day) – knot felt ring

Sabrina Bottura (IT) -  Anello/ring  ‘Explosion’ – argento, feltro lavorato a mano

Marchi Wierson (to shop on Etsy at « Marchi made it »!)

Marchi Wierson – Big Blob Bracelet – wool felted blobs, shaped & sewn together with inner cotton liner & cuff
WOW ! more to discover on her « kit&caboodle » page

Gail Crosman Moore (US)

Lily Yung -  felt ‘boa’ (‘Die cut‘ serie)

 Janine Berben (NL) – felt Rings with coral beads — ‘Coral’ set
HAVE A LOOK at her « new work » on Flickr !!!!

Danielle Gori-Montanelli (IT) – large ‘red loopy collar’ felt necklace

Danielle Gori-Montanelli (IT) – felt  ‘licorice’ brooch (j’adore !) (to SHOP here ! )

Ellen Weiske (US) – multi-layered use of color in this necklace

Michaela Binder (DE) 

 

some nice FELT shops on Etsy :

VAIVANAT

OPUS MAGNUM

HARLEQUIN Feltworks

Fashioning felt exhibition

 

BOOK :

Felt Fashion: Couture Projects from Garments to Accessories  - Jenne Giles – Quarry Books (oct 2010) – 128pp

rose scarve (!!) from ‘harlequinfeltworks‘ on Etsy ! (Jenne GILES)

COUP de COEUR (ROUGE !) – felt jewelry by Vacide Erda Zimic

 Vacide Erda Zimic (Peru)

« El fieltro es un paño cuya característica es que para fabricarlo no se teje,es decir, que no surge del cruce entre trama y urdimbre, compuestos de los que surgen las telas. para hacer un fieltro se necesita conglomerar mediante vapor y presión, varias capas de fibras de lana o pelo de varios animales, usando la propiedad que tienen de adherirse entre sí. Estos productos están hechos a mano reciclando los gorros de fieltro hechos con 100% lana de oveja que usan los campesinos en la sierra peruana,para protegerse del sol y de las lluvias.« 

‘aroa’ felt necklace

collar « Flor Japon » (red copia)

anemona necklace red

‘ la ira’ (la colère !) – fieltro – handbag

 

‘ira’ necklace (red copia)

« Vacide Erda Zimic was born in Lima, Peru in 1974. Her career started as an artist studying painting in the Fine Arts Dept. In 2001, she started her own studio and workshop, employing local artisans. Today, her collection is composed of textiles. Zimic uses recycled and reclaimed scrap fabrics like felt, cotton, alpaca and carpet; combining them to make objects using different processes such as sewing, rolling, sticking and cutting. Her current collection includes handbags, necklaces, brooches, earrings and many other fashion accessories.« 

« Dirige su propio taller, donde diseña y fabrica sus productos con baja tecnología, reciclaje y re-uso, constantemente reinventando sus diseños. Su contribución al mundo del diseño incluye un amplio espectro que comienza en 1999 con productos en mdf, creando la marca ARTIFICIO, donde diseña y produce piezas funcionales para el hogar y la oficina« 

en voir plus sur Flickr

 
SHOP some of her dahlia pins at the MOMA Store !

la Méditerranée comme lien de création …. petit tour par la GRECE

l’Expo est passée, mais j’aime cette idée (étant moi-même profondément méditerranéenne…) de la Méditerranée comme lien entre des créateurs et des créations …..

exposition « Terra di Mezzo – il Gioiello Contemporaneo incontra il Mediterraneo » (Pescara, Italy, juin 2009)

…….. Et plein de créateurs GRECS à découvrir,que je ne connais pas encore !!

Nenad Roban (Croatia) necklace (voir plus sur Flickr)

The artists that have joined the project are: Amandine Meunier (Morocco), Estela Saez Vilanova (Spain), Marc Monzó (Spain), Yiannis Siotis (Greece), Ljudmila Stratimirovic (Serbia), Anda Klančič (Slovenia), Alidra Alic,  Andre de la Porte (Bosnia and Herzegovina), Ramon Puig Cuyas (Spain), Augousta Themistokleous (Cyprus), Constantinos Kyriacou (Cyprus), Polytimi Nikolopoulou (Greece), Adrean Bloomard (Italy), Rallou Katsari (Greece), Selen Ozus (Turkey), Maud Traon (France), Sophie Robbe (France), Rana Mikdashi (Lebanon), Frederic Braham (France), Nenad Roban (Croatia), Pilar Cotter Nuńez (Spain), Ammal Labib (Egypt), Marijana Zebelijan (Montenegro), Petra Bole (Slovenia), Natasa Grandovec (Slovenia), Romi Bukovec (Slovenia), Fabrizio Tridenti (Italy), Giovanni Sicuro (Italy), Maria Rosa Franzin (Italy), Mirjana Rankovic (Serbia), Rossella Tornquist (Italy), and Maurizio Stagni (Italy).

Rana Mikdashi  (Liban) ‘Algae’ serie – ‘clearing’ earrings, silver, fired enamel -
« On the beaches of Tyr there are huge black rocks, which become covered by vibrant green algae in May.  »

Poly Nikolopoulou (GR) brooches

Maud Traon (FR) – bague ……. bleue comme la mer !

« The main topic of the event is the Mediterranean as the “sea between lands, border and connection sea between these lands”.
The Mediterranean is the line where north-west and south-east of the world meet and a crucial area for the future of humankind.
This point of contact may become, as the writer Samuel Huntington says, “the starting point for dialogue between civilisations”, where common features are mixed with differences and the respect for “diversity” is based on understanding and knowing other people’s nature.
Each community should learn from the others and teach to them: it is possible to break the “game” aiming at creating monolithic cultures only through these connections.
This was probably not understood in the past, but now a defined direction should be outlined and followed to achieve this objective.
Therefore, the “voice” of the Mediterranean is not coming from the past, but from the future, according to that balance between land and sea, belonging and freedom, where a living model does not demonize our need for establishing links or our need for freedom.
If it is true that hope is in the future, then assigning this message to an extremely contemporary and innovative art expression can help us achieving this objective.
This is the reason why Contemporary Jewellery was selected, as this is a sector of advanced research and experimentation halfway between design and tradition, as an expressive language to disseminate this message.
Through Contemporary Jewellery research, it is possible to highlight and give value to the cultural diversities characterising all communities living around the shores of this Sea.
This project has several purposes: promote the cultural heritage that has always characterised the Municipality of Nocciano, i.e. its Medieval Castle and Picture Gallery beyond the regional and national borders.
At the same time, this event includes the possibility to create a tourist-cultural movement between the Mediterranean Village and Nocciano, which are a few km far from each other.  »

Rallou Katsari (GR) – ring

Augousta Themistokleous (Cyprus) (page du catalogue)

 

BOOK :
The exhibition catalogue includes the contributions by Rita Marcangelo – president of the Contemporary Jewellery Association (AGC) of Trento, Bianca Cappello – jewellery historian from Milan, Rita El Khayat – awarded with the Palma per la Pace and official patroness of the Mediterranean Games, and Ivan D’Alberto, director of the MAAAC of Nocciano

Terra di Mezzo – il Gioiello Contemporaneo incontra il Mediterraneo
Pescara: 2009 – 44 pp

Yiannis Siotis - ‘Naturally Natural’ – Back Piece – Necklace

——————————————————

Autres créateurs GRECS découverts :

* Loukia Richards (découverte sur le blog d’Amy tavern)
tout un travail naïf, attendrissant, méticuleux, basé sur les techniques textiles, couture, broderie… une « petite Pénélope » des temps modernes …..

’17th Century Embroidery Interpretation ‘ cuffs, silk, cotton, pearls -  Embroidery sewing
Triple knecklace  – silk cotton semi precious stones gold and silver elements and plastic

« My work is inspired by old-fashioned activities such as sewing and embroidering. I admire how children transform ordinary materials into valuable assets and try to pay tribute to their game. I use natural materials – silk, wool, cotton, semiprecious stones. I produce small quantities because I work on my own. Every piece is unique and tells a story: of a couple meeting, a flower garland, and happy home. I search for vintage materials – buttons, textiles, stones. I want my jewellery to be funny but also detail orientated. I often use old garments, buttons and stones just to show that every material can carry a memory and still have a second life. » (Loukia Richards) (on CraftsCouncil page)

Theodora Pantazopoulou – earrings

(découverte sur le blog d’Amy tavern)

 

* la galerie Sagiannos (Athènes)
Makriyianni 3, Makriyianni, Athens, 18742
tel : [phone]

 

* sur le site WEB de « MY PRECIOUS« , destiné à promouvoir le bijou contemporain GREC :
voir, entre autres,  Argiris AGGELOPOULOS :  (j’aime surtout sa série de bijoux mariant argent et textile), Christina NIARCHOU (TRES beaux bijoux de papier)

Christina NIARCHOU – bague & bracelet

Christina NIARCHOU necklace

Argiris AGGELOPOULOS (GR) bracelet – oxidised silver, textile
Argiris AGGELOPOULOS  (GR) necklace – oxidised silver, textile, citrine

* of course,  Melanie GEORGACOPOULOS dont je vous ai déjà parlé , avec ses perles revisitées :

(voir article :  COUP de COEUR ! Melanie Georgacopoulos – Deconstructing the pearl necklace)

 

* M C P- Maria Christina Papaleontiou

M C P- Maria Christina Papaleontiou  jewelry – AMAZING !!!

* Maria APOSTOLOU, découverte sur « kit&caboodle » – j’aime beaucoup ce mélange « naïf », « enfantin » d’argent brodé de coton rouge …… un joli « coup de rouge’ ! allez voir son site !

Maria APOSTOLOU-  felted ring – silver, felted merino wool   –  red thread earrings

*  Chryssa Damianidou, who just had an exhibition of her jewelry at the Municipality Gallery of Mykonos (from 25 june to 1st July 2010 : « QUEENS » exhibition )

Chryssa Damianidou necklaces

* Artemis Valsamaki :

Silver, thread, image applied on wood, agate, mother-of-pearl, amethyst
2009
Photo: Myrsini Mokka » src= »http://www.myprecious.gr/wp-content/uploads/1240428231.jpg » width= »264″ height= »202″ />
Artemis Valsamaki - Earrings – Silver, image applied on wood, amethyst, cat’s eye 2009 – (Photo: Myrsini Mokka)
Artemis Valsamaki – Pendant – Silver, thread, image applied on wood, agate, mother-of-pearl, amethyst 2009 - (Photo: Myrsini Mokka)

* Dora Haralambaki : récemment découverte, avec ses bijoux en porcelaine

Dora Haralambaki – Ring – Earthenware clay with underglaze stains  2009

 

 

* ECOLES : voir le réseau Européen, avec les écoles « Galileo School » à Athènes, le « Mokume Institute » à Thessalonique (dont je vous avais déjà parlé, cf article Projet Européen «Quand la pierre brute devient bijou !» 2009) et la « DIEK jewellery school » à Volos.

COUP de COEUR ! Barbara STUTMAN : weaving, knitting and crocheting

Barbara Stutman specializes in textile techniques such as weaving, knitting and crocheting using metal wire. Since 1982 her innovative jewellery has been exhibited widely in galleries and museums in Canada and the United States, Europe and Asia; it has been published in numerous art journals, catalogues and books. Her work is in the permanent collections of the Museum of Arts and Design New York City, the Montreal Museum of Fine Arts, Le Musée du Québec and the Koch Ring Collection in Switzerland.

‘Empty Bezel’ Neckpiece 7, silver, colored copper wire and magnet, 2007

‘It’s a girl!’ , Ring, 6.5 x 3.6 x 2.5 cm, 22k, silver, colored copper wire, crochet

‘Ruby reds, for a Maharajah, Collier royale’ R13,  silver, colored copper wire, seed bead and magnet.

‘Diamond duo, for a Maharajah, Royal Bracelet’ R38, vinyle, seed beads – crocheted

(on « Visual Arts Center« , Quebec)

collier en argent fin, cuivre coloré, verre, perles, aimant (galerie Noel Guyomarc’h)

COUP de COEUR ! Pawel KACZYNSKI where textile meets metal

« pawel kaczynski : metal pleats, crinkles and wrinkles »

« Textile meets jewelry in an explosion of color and texture in this body of work.  The closures on Kaczynski’s cuffs and collars are a striking example of how an artist’s work can sing when the functional elements of a piece are incorporated into the design. I want to touch them and memorize the way they feel under my fingers.  Wrinkles have never been so sexy.«  (http://dailyartmuse.com/)

quand Susan Lomuto, la rédactrice de « dailyArtMuse », dit que son site -et ses bijoux !- sont WOW!, ce n’est rien de le dire !! à voir absolument !!!

COUP de COEUR ! Vivienne Martin

Vivienne Martin, from Ireland, is a textile designer.

« Vivienne Martin’s unique approach to material manipulation and embroidery has produced high end, statement fashion accessories that are highly intricate, delicate and striking in design.
Her current collection ranges from neckpieces to braclets, rings and brooches, which are produced with non-precious fine wire, nylon, and polyester fibre. Vivienne will also be extending her collection to hair accessories in the near future. »

 ’Haptic 1′ necklace – wire, nylon and horsehair

‘haptic 2′ – Non-precious fine wire, polyester

‘haptic 4′ – Non-precious fine wire,  monofilament

neckpiece

 

ring

 

discovered at « kit&caboodle »