BIJOU_CONTEMPORAIN

Bienvenue sur mon blog

  • Accueil
  • > Recherche : another 48 hours

03/05/2017

COUP de COEUR …. BLACK is BLACK with Tiina Rajakallio

Tiina Rajakallio
Finnish artist Tiina Rajakallio in Rome the 10th of may 2017, for the first time for a solo exhibition of contemporary jewelry at myday-byday space in Via Luca della Robbia 76, Testaccio. Gallery hours 10 30/19 30.
myday-byday ‎ Tiina Rajakallio in Rome on 10 may 2017
 » I am thinking about the present-day Western people and their connection with nature.
How natural the contact is? Is it romanticized, magical, run by economical efficiency or totally gone? Are we still part of the nature? And what is the relationship between spirituality and nature contact?
We have always been dependent on nature that is providing us the essentials of life. But is the aim for a never-ending growth and progress made us think everything here is only for us? «  Tiina Rajakallio
Myday-byday interview to Tiina Rajakallio:
1) Where is your inspiration coming from ?
Widely speaking I’m interested in everyday life of a contemporary Western people. I’m working with questions that intrigues or troubles me, things I would like to have a conversation about. And of course there is a lot of curiosity towards the body, communication and a piece of jewellery involved.
2) What are you trying to communicate in particular with your artwork?
It depends. At the moment I would like people to think about their own relationship with nature but also the common contact we have with it. How natural the contact is? Is it romanticized, magical, run by economical efficiency or totally gone? Are we still part of the nature? And what is the relationship between spirituality and nature contact? We have always been dependent on nature that is providing us the essentials of life. But is the aim for a never-ending growth and progress made us think everything here is only for us? I would like my work raises thoughts, I’m not to judge anyone, it would be hypocrite to do that.
3) Which material you prefer to use and why ?
It depends of the theme of the work. In an ideal situation the material tells the same story and even adds something to it. At the moment I use a lot of wood and combine it for example with recycled rubber. An old inner tube of tractor or bicycle, even it may be a bit old-fashioned as an object, it tells about our culture and our creative ability to utilize our surrounding. The material is protective, elastic and doesn’t decay really. Even there is some natural rubber in the mixture, it reminds many people about oil.
4) How much value do you give to researching material for your creations?
Of course there is some material research needed. But if it means new technical solutions and extraordinary inventions my works are rather simple in that sense.
 
5) Is it more important for you the process, or the final artwork itself?
Both are important. I love that hands-in investigation part of a work. But sooner or later there is a deadline waiting and you just need to start to make decisions. However every step is leading me further and to me ready pieces are also steps of the same process. The difference is many times the ready pieces are the only steps others will see.
 
6) Is there an artist you prefer and why ?
I admire many artists. Some because of their clever and brave ideas, some because of theis technical skills or expression, honesty and dedication.
 
7) Have you ever thought to collaborate with other artists , or you like to work on your own?
I love working on my own, but time to time it would be interesting to try to share the process with someone else. I have collaborated with other jewellery artists but it would be really interesting to do that with artists from another field. 8) Where do you feel you are at with this last collection?
It is a one step further from the series I called White Moments. I’m like walking around the same source inspired by the different aspects of it. I seem to go back and forth sometimes when there are so many sides to be discovered.

9) What have you discovered of yourself, are you sattisfied ?
I think I learned more about my own ability to endure stress, priorities and time managemenent and that one can’t cope totally alone.

10) Two words to describe your last artwork collection.
Still together?

myday-byday

Via Luca della Robbia 76, Testaccio, 00153 Rome

Enregistrer

17/04/2017

EXCHANGE-BIJOU 1 – Viktoria MUNZKER at Dorotheum (Vienna, AT) from 4 May 2017

Viktoria MUNZKER

« To give birth to something new, something old must die. »

the next selling exhibition will be at  Dorotheum,  Vienna (Le Dorotheum, fondé en 1707, est la plus ancienne salle des ventes au monde ; elle donne son nom à la société qui en assure la gestion)
It will be a small exhibition with 23 pieces, mainly to present my winning pieces from the Arts and Craft Design Award. Pieces can be seen from 4 May .
There is a private opening party on 4th may from 18:00 to 21:00.

 Viktoria Munzker  "Cupido minimus" necklace 2016 - (fish bones), brass, glass, glass granules, pearl, varnish - 12 x 10 x 2,5 cm, 45 cm length: Viktoria Munzker  « Cupido minimus » necklace 2016 – Crystal Odyssey series – (fish bones), brass, glass, glass granules, pearl, varnish – 12 x 10 x 2,5 cm, 45 cm length

Viktoria Munzker   necklace "Calmella Calvolini" from MICROVITA series 2017 - Driftwood, cotton, silver, plastic beads, granules, lacquer Viktoria Munzker   necklace « Calmella Calvolini » from MICROVITA series 2017 – Driftwood, cotton, silver, plastic beads, granules, lacquer

Viktoria Munzker   - brooch  "Tubularia Perla" < 2011 - 2012 - Worms series - Driftwood, Alpaca, Steel, Lyberian Dessert Glass, Paint, Metal Granules, Plastic pearls 2012: Viktoria Munzker   – brooch  « Tubularia Perla »  2011 – 2012 – Worms series – Driftwood, Alpaca, Steel, Lyberian Dessert Glass, Paint, Metal Granules, Plastic pearls 2012Viktoria Munzker  - brooch  "Blue Tunnel" < 2011 - 2012 - "Worms" series -: Viktoria Munzker  – brooch  « Blue Tunnel » < 2011 – 2012 – « Worms » series -

Viktoria Munzker  - brooch from 2015 - Orbis Regius series: Viktoria Munzker  - brooch from 2015 – « Orbis Regius » series

Viktoria Munzker   - brooch from 2013 - "Desiderium Ad Universum" series: Viktoria Munzker   – brooch from 2013 – « Desiderium Ad Universum » series

Viktoria Munzker  - brooch "Species"< 2011 - 2012 - Worms series: Viktoria Munzker  – brooch « Species »  2011 – 2012 – Worms series

 Viktoria Munzker - brooch " Heliopora coreulea " Driftwood, silver, glass granules, topaz, varnish - 13,5 x 5,5 x 4,5 cm: Viktoria Munzker - brooch  » Heliopora coreulea  » Driftwood, silver, glass granules, topaz, varnish – 13,5 x 5,5 x 4,5 cm

« At the beginning, all is empty and dark.
It looks like a never-ending sphere.
The darkness is strong and heavy.
Only a small grain from the destroyed world remains.
It’s floating and collecting positive energy from the space.
In the right moment, at the proper place, it explodes at the speed of light.
From one moment to another, the universe is full.
Blending, full of light, waiting for you.
Make a wish.
Create the new world of light, gravid in possibilities.
By focusing on the essentials we reach the blurred lines between natural and artificial.
These relationships are the jewel in the composition of freedom and individual expression.
Sometimes we see only what we want to see. Sometimes it’s enough.
We want to know the truth behind the things.
Truth is freedom.
So we ask, investigate and are curious.
We want to find out how things work.
We are creating universe with the least constraint.
The need to create is an elementary necessity of us all. » – Viktoria Munzker

 

 

 

Dorotheum
Kärntnerstrasse 36
A-1010 Vienna (AUSTRIA)
Phone: +43-1-513 32 02
Opening hours Monday to friday 9:30 to 19:00, saturday 9:30 to 18:00
 https://www.dorotheum.com/en.html

Enregistrer

Enregistrer

07/04/2017

EXPO ‘Myung Urso: Trans-Form’ – Gallery Velvet da Vinci, San Francisco (USA) – 5 Avril-7 Mai 2017

Classé dans : Exposition/Exhibition,Gal. Velvet da Vinci (US),Myung URSO (S.KR),USA — bijoucontemporain @ 19:43

Myung Urso: Trans-Form

Work from a Decade and Now

Opening Reception: Friday, April 7, 6-8pm

Myung URSO at Velvet da Vinci: (bottom : Scene, Brooch, Recycled Paper Pulp Basket, Sand, Asian Ink, Sterling silver, 2017
top : Brood, Brooch, Recycled Paper Pulp Egg Carton, Sand, Pigment, Sterling silver, 2017)
« Thread, ink, wood, paper. Humble raw materials are venerated for their textural, structural, and visual qualities. Stitched, sculpted, stretched to join seemingly incongruous elements into inseparable jewelry forms. Myung Urso has an uncanny ability not only to interpret everyday materials in entirely fresh ways, but to elevate them in her work to stature typically reserved for precious stones and metals. Even when Urso uses sterling silver, freshwater pearls, or other more traditional jewelry matter, she gives cotton, wood, and, most recently, paper pulp, centerstage. And, in their leading roles, under Urso’s direction, these objects are radiant and mesmerizing. At the heart of Urso’s work are the exploration and transformation of commonplace materials into art objects that are ambiguous, enigmatic, and beguiling.
Myung Urso is a sculptor working in jewelry, a textile artist by training, and a keen observer of the natural world’s permutations. Seasons of the year, growth cycles, the elements of water, fire, and earth, are recurrent themes in her bodies of work. Urso revels in soft, expressive organic shapes yet her approach is quite exacting and laconic. Consequently, her necklaces, brooches, and earrings can exhibit both, a minimalist architectural austerity, and an exuberance of form and surface.
Myung Urso has used jewelry as a medium of artistic expression for the past ten years. A decade is also how long she has lived in the United States. Her work reflects the abundant cultural and artistic influences of her former life in South Korea, as well as the challenges and rewards of navigating the American cultural landscape.
For years, Hanji paper was a material Urso utilized frequently in her work. More recently, she has turned to another paper product — recycled paper egg cartons and recycled paper fruit/vegetable baskets. First spotted by Urso in farmer’s market stalls in her current hometown of Rochester, NY, these humble objects, weathered by sunlight, use, and reuse, have come to symbolize, for her, the cycle of consumption and the grower-consumer relationship, Urso says. The recycled paper pulp containers carry the product of the farmers’ labor as well as nourishment for those who consume the fruit. In Urso’s hands, pieces of these containers are transformed again, their surfaces treated with marble dust or other substances, set in sterling silver, and recreated as jewelry pieces, to be worn and translated yet again.
Whether using calligraphy in novel ways, as Urso did in her early collections, or stitching through found wood debris, as she did later, or treating common paper pulp as precious commodity, Urso’s approach makes her metamorphic jewelry exhilarating. » – Elena Rosenberg, Independent Curator

 Myung Urso  -  trans-form - 'Shrine', 2017Myung Urso  -  trans-form – « Shrine » Necklace, Recycled Paper Pulp Basket, Sand, Pigment, Acrylic Paint, Silk Cord, 2017
*
 Myung Urso  -Trans-form - Rochester Public Market
Myung Urso  -Trans-form - Rochester Public Market Myung Urso  -Trans-form
Myung Urso - Trans-Form at Velvet da Vinci - brooch: Myung Urso – Trans-Form   – brooch
« It was very impressive to see all those greenish recycled paper containers when I entered the Rochester Public Market very first time… more or less ten years ago … one of top ranked farmers markets in US. Rich harvests from local farmers based on the Lake Ontario and Finger Lakes. To see all kind of berries and vegetables in these unusal and pretty containers was absolutely fascinating experience. This was kind of cultural awakening memory toward Western daily culture. Now these objects are trans-formed to my jewelry form.« 
Myung URSO - Blue Combination, Necklace, Silk, Silicone bands, Hanji, Asian ink, Thread, Sterling silver, Lacquer, 2014: Myung URSO - Blue Combination, Necklace, Silk, Silicone bands, Hanji, Asian ink, Thread, Sterling silver, Lacquer, 2014
Myung Urso - Trans-Form - site - 2017: Myung Urso – Trans-Form – site – 2017
Myung URSO - Site, Recycled Paper Egg Carton, Sand, Marble Dust, Asian ink, Hair, Sterling silver, 2017: Myung URSO - Site, Recycled Paper Egg Carton, Sand, Marble Dust, Asian ink, Hair, Sterling silver, 2017

MYUNG URSO -  Aquarius, Necklace, Recycled Paper Pulp Basket, Sand, Marble Dust, Acrylic Paint, Sterling silver, 2017: MYUNG URSO -  Aquarius, Necklace, Recycled Paper Pulp Basket, Sand, Marble Dust, Acrylic Paint, Sterling silver, 2017 

Myung URSO - Oneness, Necklace, Wood, Cotton thread, Acrylic paint, 2015: Myung URSO – Oneness, Necklace, Wood, Cotton thread, Acrylic paint, 2015

Myung URSO - Poem, Neckpiece, Cotton, Asian ink, Thread, Sterling silver, Lacquer, 2007: Myung URSO - Poem, Neckpiece, Cotton, Asian ink, Thread, Sterling silver, Lacquer, 2007

 

 

Velvet da Vinci
2015 Polk Street,
San Francisco, CA 94109
Phone: 415-441-0109
Email:  info@velvetdavincigallery.com
Hours: Tuesday through Saturday, 11am – 6pm, Sunday, 11am – 4pm

Enregistrer

05/12/2016

EXPO ‘IRREVERSIBLE’ – Popeye loves Olive gallery, Athens (GR) – 2-16 Dec. 2016

Raluca Buzura Solo Exhibition

IRREVERSIBLE
*impossible to return to a previous condition

 Opening: 02 December at 19.00
 Raluca Buzura Solo Exhibition
Popeye Loves Olive – Art Space presents, for the first time in Greece the Romanian jewelry artist Raluca Buzura. Using porcelain as a medium, the artist is creating three-dimensional jewelry, combining the organic forms with the elements of nature. 

   Raluca Buzura Solo Exhibition « IRREVERSIBLE

*impossible to return to a previous condition
Each human being lives for himself and takes his own actions, but as soon as he does it, this action, committed at a certain moment in time becomes irreversible and makes itself a part of the history. Therefore, my whole work defines the irreversibility of the actions I chose to take and of the material itself: once acquired a certain shape, at the end of the process, it cannot go backward, it becomes permanent. »
Nothing we do is inevitable, but everything we do is irreversible” -Joy Williams

Raluca Buzura  neckpiece

Raluca Buzura  neckpiece   - porcelain, transparent glaze, colloidal gold

 cover of "New Necklaces" Book by Nicolas Estrada with Raluca Buzura necklace cover of « New Necklaces » Book by Nicolas Estrada with Raluca Buzura necklace

Raluca Buzura  neckpieceRaluca Buzura  neckpiece   - porcelain, transparent glaze, colloidal gold

Raluca Buzura  neckpieceRaluca Buzura  neckpiece  – porcelain, transparent glaze, colloidal gold, leather ribbon, gold plated silver locks

Raluca Buzura  neckpieceRaluca Buzura  neckpiece

Raluca Buzura  broochRaluca Buzura  brooch

Raluca Buzura  neckpieceRaluca Buzura  neckpiece – porcelain, transparent glaze, colloidal gold, artificial leather, gold plated silver locks

Raluca Buzura  broochRaluca Buzura  brooch - porcelain, transparent glaze, colloidal gold, artificial leather, metal lock

Raluca Buzura  braceletRaluca Buzura  bracelet

Raluca Buzura  - brooch - porcelain, transparent glaze, colloidal gold,  metal lockRaluca Buzura  brooch - porcelain, transparent glaze, colloidal gold,  metal lock

About the artist:
———————————–
I attended the University of Art and Design in Cluj-Napoca, Romania, department ceramic-glass-metal, and then, from 2007,
I followed master in the same section.
During the studies, my works were in the installation area, participating in various projects and exhibitions. Since 2009, main focus becomes contemporary jewelry design.
My interest in jewelry may also come from the fact that this area has not been given much attention. Frequently, people use to see it only as an over plus brought to the human body, that has a value depending on the material used. Therefore, it was also a challenge to change viewer’s angle and to reveal an alternative, and more precisely that jewelry can be considered a work of art in its own right, having an artistic understanding, concept and message that can cover a wide range of fields. I continued to work by maintaining a preference for ceramic materials, due to the transformation of the material from one state to another: once acquired a certain shape, it can’t return to what it was before.
I like to combine seemingly fragile ceramic material with metal hardness or the warmth of a fabric, then to submit the form to compositional experiments that create the most expressive side of my creations. My work is a translation in porcelain of my personal experiences, trying to obliterate these traces during the process by simplifying the boundaries between real and abstract, in a swirl of colors and lines waterfalls from which are foreseen flashes of gold. The result of these experiences I like to think that is a legacy, a proof of my existence that reflects on the society, making it if not better, at least more beautiful and trying to rekindle the gap between public and art, by presenting a variety of aesthetic shapes and ideas that could remove it from the serial area.

 

 

Popeye loves olive
Limpona 5, Plateia Agias Eirinis,
10560 Athènes
opening hours: Tues.-Sat. 12.00-20.00, Sun-Mon. closed

 

Enregistrer

05/11/2016

EXPO ‘Of Things Unknown but Longed for Still′ – Galerie Beyond, Anvers (Antwerpen)(BE) – 6 Nov.-11 Dec. 2016

Solo expo by Carolina Apolonia
Side expo by Juan Harnie  and Ana Margarida Carvalho
Opening drink in presence of the artist  Sunday November 6, 2-6 pm

At beyondfashion 3m2 project room

Expo at Beyond Fashion Carolina Apolonia - "Of Things Unknown but Longed for Still"  *

Carolina Apolonia - Brooch Unique piece -Silver, wood, paint, steel: Carolina Apolonia – Brooch Unique piece -Silver, wood, paint, steel

« My work reflects my intimate world. I often construct abstract versions of rooms, buildings, and cities that mirror my dreams and fears. Some of them relate to memories I have, people in my past or people around me. Yet others deal with my needs for protection, my fear of being locked in or shut out, and my fascination with visible and invisible boundaries.
My work is about finding refuge and freedom.
I am inspired by the everyday rhythms in life; how we move, interact, build, love and heal.
And I’m fascinated by shelters, industrial construction work, and the rules of aerodynamics.
My most recent works show a slight change in shape and form. I wanted to create pieces that represent movement, or rather, the ability to fly.
The collection as a whole shows my view on the ever-changing dynamics between the needs of the individual and the safety, strength and demands of the collective. » 
Carolina Apolonia

  Carolina Apolonia - "Of Things Unknown but Longed for Still"   Carolina Apolonia - « Of Things Unknown but Longed for Still » – brooch

 Carolina Apolonia - "Of Things Unknown but Longed for Still" - brooch Carolina Apolonia – « Of Things Unknown but Longed for Still » – brooch

 Carolina Apolonia - "Of Things Unknown but Longed for Still" - brooch Carolina Apolonia -  Brooch: Heliópolis IV, 2014 -  Silver, steel, purple heart, paint 7.5 x 6 x 1.7 cm

Carolina Apolonia - "Of Things Unknown but Longed for Still" - necklaceCarolina Apolonia -  -  Necklace: Khione, 2014 – Silver, fibre board, steel, paint  90cm

Catolina Apolonia  -Necklace: Sillness, 2014 Silver, leather, paint, steel Length: 100 cm Object: 9.5 x 4 x 4 cmCarolina Apolonia  -Necklace: Sillness, 2014 Silver, leather, paint, steel Length: 100 cm Object: 9.5 x 4 x 4 cm

***

Side expo by Juan Harnie (BE) and Ana Margarida Carvalho (PT)
Ana Margarida Carvalho and Juan Harnie got paired in The Contemporary Jewelry Exchange 2016. Selected jewellers from around the world participated in this project and were paired to find a common interest or theme and make a piece for one another.
Both Ana and Juan look for beauty in things that are not necessarily beautiful to others. Combining plastics and metal is one of their common interests and neither of them shies away from using bright colours.
The pieces presented in this exhibition are similar to the two pieces they originally made for The Exchange. And even though both of them have their own interpretation of beauty and where to find it, their pieces accompany each other really well.

Juan Harnie - Ana Margarida Carvalho - Exchange 2016Juan Harnie - Ana Margarida Carvalho – Exchange 2016 

 

Gal. BEYOND   (3m2 PROJECT ROOM )
formerly Galerie Beyond Fashion
Sint Jorispoort 27
2000 Antwerpen
www.beyondfashion.be
PHONE / +32 (0)472 42 06 83
​OPENING HOURS / thu – fri – sat  11 am to 6 pm or by appointment​ -
EMAIL / hello@galeriebeyond.be 

Enregistrer

27/10/2016

EXPO ‘URBAN ARCHAEOLOGY’ – Popeye loves Olive gallery, Athens (GR) – 4-18 Nov. 2016

URBAN ARCHAEOLOGY

Inauguration: 04 Νovember, 19.00h
Tosa Borreda - Urban Archaeology - 2016

« The Urban Archaeology includes four aspects: research, restoration, integration and diffusion. They are important and present aspects in my way of creating. They define a methodology, a pattern that repeats itself, a collection of found fragments combining my passions. Each material requires a personalized treatment.
My neighborhood, its streets and its corners, is my source of inspiration, my particular archaeological site where I make my daily surveys and where I always find something interesting.
In this excavation, the different layers are mixed with each other, where the ancient strata appear in the modern levels. As it happens in life, everything is mixed, everything comes together, all of our experiences fuse to create something new, without renouncing to the past. »

Rosa Borredá -  Novilunium, Estratos de mi memoria.Rosa Borredá -  Novilunium, Estratos de mi memoria

Rosa Borredá -  Novilunium, Estratos de mi memoriaRosa Borredá Novilunium, Estratos de mi memoria
« the different layers are mixed with each other …….. to create something new, without renouncing to the past.« 

Rosa Borredá -  Nuevo proyecto/La Ruta de la Seda - 2016Rosa Borredá -  Nuevo proyecto/La Ruta de la Seda – 2016

Rosa Borredá -  Nuevo proyecto/La Ruta de la Seda - 2016 - detalleRosa Borredá -  Nuevo proyecto/La Ruta de la Seda – 2016 – detalle

Rosa Borredá -  Nuevo proyecto/La Ruta de la Seda - 2016La Ruta de la Seda – Rutas comerciales/Caravanas/Conexiones entre ciudades – 2016 – detalle

The International jewelry artist Rosa Borredá is traveling from Spain, bringing her excessive passion for Collecting in her suitcase. Her goal is to raise found objects to another category and perpetuate them through time, combining the knowledge and experimenting with the materials.

http://rosaborreda.blogspot.gr/

STUDIES
2015 PLASTIC ARTS AND DESIGN SPECIAL AWARD. Academic year 2013-2014.
2010-2014 ADVANCED TECHNICAL DEGREE IN DESIGN. Artistic Jewelry
School of Art and Advanced Design of Valencia (EASD).
1991-1996 BACHELOR OF FINE ARTS. Specialty: Conservation and Restoration of Cultural Heritage (Fine Arts Faculty of San Carlos (U.P.V: Polytechnic University of Valencia).

 

Popeye loves olive
Limpona 5, Plateia Agias Eirinis,
10560 Athènes
opening hours: Tues.-Sat. 12.00-20.00, Sun-Mon. closed

 

Enregistrer

Enregistrer

12/09/2016

EXPO ‘CrossPass’ – Gallery Velvet da Vinci, San Francisco (USA) – 8 Sept.-9 Oct. 2016

Demitra Thomloudis and Motoko Furuhashi: CrossPass

 
Artists’ Reception: Friday, September 9, 6-8pm

CrossPath  velvet da Vinci

CrossPass is a project featuring collaborative and solo works by artists Demitra Thomloudis and Motoko Furuhashi that examines place through expanded media and the intimate lens of jewelry and small objects. The project targets a distinctive stretch of the Interstate 10 corridor connecting the unique borderplex region of El Paso, Texas to Las Cruces, New Mexico. The objective of CrossPass is to allow site-specific locations and the artists’ shared personal inquiries along this route to initiate the collection of images, video and sound which directly influences the creation of jewelry and objects. The viewer is asked to join them in their investigation of this land awash with dramatic terrain, vernacular structures and a multitude of boundaries; and, to uniquely discover these sites through the body.

CrossPass Site #8 Mesa Crosspass: Demitra Ryan-Thomloudis "Over the Fence" installation of brooches

 CrossPass Site #8 Mesa – Students parking their cars at the University of Texas at El Paso have a direct view of the border of different a country: Mexico. Here the divide is physically reinforced with the expansive border highway fence  // Crosspass: Demitra Ryan-Thomloudis « Over the Fence » installation of broochesDemitra Thomloudis and Motoko Furuhashi, Site 7, 2016, Brass, powder coat, sand, found materials: Demitra Thomloudis and Motoko Furuhashi, Site 7, 2016, necklace Brass, powder coat, sand, found materials - Site #7 Mesa
El Paso is a city in constant flux. There you see the constant changing and rotating of businesses

 

Motoko Furuhashi was born in 1982 in Tokyo, Japan. While growing up in Tokyo, she received her introduction to art from her grandfather. Her recent works are inspired by her experiences traveling around the world and the road that takes her from one place to another. Motoko received her MFA from the University of Illinois at Urbana-Champaign. Currently, she is an Assistant Professor at New Mexico State University. Her work has been exhibited nationally and internationally including at the Museum of Contemporary Art Chicago, the Houston Center for Contemporary Craft, the Oakland Museum of California, and Nobana Art Works in Ginza in Tokyo. Publications include 500 Plastic Jewelry design by Lark Books, New Rings: 500+ Designs from Around the World by Nicolas Estrada, and Humor in Craft by Brigitte Martin.

Motoko Furuhashi, Anthony, 2016, Tape, road segments, brass, silver, powder coat, paint: Motoko Furuhashi, Anthony, 2016, Tape, road segments, brass, silver, powder coat, paint


 

Furuhashi Artist Statement:
“I am deeply fascinated with imperfection and the complexity of the natural cycle of growth, decay, and death as the processes that govern life. The overall intent with my work has been to slow the viewer down and make what goes unnoticed important. By highlighting what is viewed as imperfect my work can bring relevance to the object. My belief is that objects only gain importance when the artist draws attention to them. My work is a shift in the meaning of perfection, transforming our perception of reality to new perspectives.”

 Motoko Furuhashi, NMSU Parking Lot (New Mexico State University), 2016, Tape, road segments, brass, silver, powder coat, paint: Motoko Furuhashi, NMSU Parking Lot (New Mexico State University), brooch – 2016, Tape, road segments, brass, silver, powder coat, paintDemitra Thomloudis and Motoko Furuhashi, Site 9, 2016, Nickel silver, fabric, steel: Demitra Thomloudis and Motoko Furuhashi, Site 9, 2016, Nickel silver, fabric, steel

 

Thomloudis Artist Statement:
My jewelry is influenced by the ve­­rnacular architecture and landscapes of site-specific locations. This interest has led me to identify particular aesthetic characteristics and construction techniques that I employ to create works to be worn on the body. As an artist using jewelry and objects as an artistic format for self-expression, my work intends to challenge the construct of the medium as a means to examine value, material sign systems, and extensions of personal and place identity. By relating to the aesthetics of architecture, landscape, and place in this way, I see jewelry having the potential to connect us closer to the world we are surrounded by.”

Demitra Thomloudis and Motoko Furuhashi, Site 5, 2016, Steel, sand, dry grass, acrylic, paint, land segment, silver: Demitra Thomloudis and Motoko Furuhashi, Site 5, 2016, Steel, sand, dry grass, acrylic, paint, land segment, silver – Site #5 Anthony
The border town of Texas and New Mexico is Anthony. There Anthony, NM and Anthony, TX sit next to each other.

Demitra Thomloudis and Motoko Furuhashi, Site 2, 2016, Nickel silver, brass, silver, land segment, ink jet print, gesso: Demitra Thomloudis and Motoko Furuhashi, Site 2, 2016, Nickel silver, brass, silver, land segment, ink
jet print, gesso – - Site #2 Las Cruces (Near NMSU)  From land of Native Americans, the Spanish territory of New Mexico has been established over the time. These streets created here continue to develop and allows us access to the land.

Demitra Thomloudis and Motoko Furuhashi, Site 8, 2016, Steel, brass, cement, resin, pigment, fibers: Demitra Thomloudis and Motoko Furuhashi, Site 8, 2016, Steel, brass, cement, resin, pigment, fibers

Demitra Thomloudis and Motoko Furuhashi: Site #4, 2016 Steel, sand, dry grass, acrylic, paint, land segment, silver Site #4 Vado Demitra Thomloudis and Motoko Furuhashi: Site #4, 2016 Steel, sand, dry grass, acrylic, paint, land segment, s

ilver Site #4 Vado
New Mexico’s relaxing life style is highlighted by the vivid colors of the orange and beige sand, dry green grass, tumbleweeds, and its rectangular shaped farm lands.  

 

Velvet da Vinci
2015 Polk Street,
San Francisco, CA 94109
Phone: 415-441-0109
Email:  info@velvetdavincigallery.com
Hours: Tuesday through Saturday, 11am – 6pm, Sunday, 11am – 4pm

 

24/02/2016

During SCHMUCK 2016 : EXPO ‘HATARA PROJECT, TIME PERCEPTION VOL.2’ – Galerie Vernon, Munich (DE) – 24-27 Fevr. 2016

HATARA PROJECT, TIME PERCEPTION VOL.2
Galerie Vernon
#28

Opening 24.02 19:00-22:00

instagram.com/hataraproject 

Christine Jalio  - Hatara Project.

Having debutet at the Schmuck München for the first time last spring, Annea Lounatvuori and Christine Jalio return to München this year, this time with more international backup from Helmi Lindblom (Finland), Melina Lindroos (Finland), Wiebke Pandikow (Germany/Finland) and Ginta Zabarovska (Latvia). The six jewelry artists will revisit Hatara Project’s theme of last year, Time Perception, with a wide array of pieces in different styles and materials.

HATARA Project

with :  Christine Jalio Helmi LindblomMelina LindroosAnnea LounatvuoriWiebke PandikowGinta Zabarovska

   Time Perception  HATARA project

*

 PONY 'A4M6' ring with a screw thread, silver 925 and PONY bracelet, horse hair and various materials, Annea Lounatvuori 2015, picture Janne Lounatvuori - Annea Lounatvuori’s pieces are an extension of her work from last year. In Time Perception Vol.II she delves deeper into her passion of working with horse hair. Textures and surfaces determine her approach to the visual composition.: Annea Lounatvuori - PONY ‘A4M6′ ring with a screw thread, silver 925 and PONY bracelet, horse hair and various materials , Annea Lounatvuori 2015, picture Janne Lounatvuori –
Annea Lounatvuori is a jewellery designer currently living and working in Berlin and a 2015 Jewellery Design graduate from the Lahti University of Applied Sciences. In addition to running her brand PONY Jewelry for the past four years, she has worked together with institutions and organisations and sees her work as jewellery designer very widely. Her passion lies in visual arts and music. She likes to observe daily life but is also curious about escaping from it.
Annea Lounatvuori`s first solo exhibition in the gallery Vernon is a continuation of her work from the 2015 collaborative exhibition Time Perception. In Time Perception Vol.II she will be getting deeper and closer to her passion of working with horse hair through the means of contemporary jewellery. Textures and surfaces determine her approach to the visual composition.

 Annea Lounatvuori - rings with a screw thread, silver 925:  Annea Lounatvuori – rings with a screw thread, silver 925

 Christine Jalio - Past, Loss, Future 7', Christine Jalio 2015, brooch, Silk Clay and silver: Christine Jalio – Past, Loss, Future 7′, Christine Jalio 2015, brooch, Silk Clay and silver
Christine Jalio (1978) is extremely fascinated by the human psyche and the emotions and reactions that are part of it. She is intrigued by asceticism, old age and sensitivity. Her starting point is always an emotion to which she strives to find the correct combination of materials, shapes and colours. The “Loss” collection is a continuum of her earlier “Past, Loss, Future” collection which tells the story of aging and life before and after big turning points in life. In this new collection she has been concentrating on personal loss, sadness, and loneliness; on what an individual goes through emotionally when loosing someone loved. The main material she uses is still Silk Clay, but in addition she has been experimenting with other materials such as resin, acrylic and plaster this year.
Christine Jalio’s ‘Loss’ collection is a continuum of her earlier ‘Past, Loss, Future’collection which tells the story of aging and loneliness. In this collection she has especially been concentrating on personal loss, sadness, and the feeling of emptiness; on what an individual goes through emotionally when losing someone beloved. She is still using Silk Clay as her main material, but has also been experimenting with other materials in this project.

Hatara Project, Time Perception VOL.2 - Christine Jalio brooch 2016: Christine Jalio brooch 2016 ‘Loss’ collection

 Wiebke Pandikow - Necklace from the 'Tropaeolum'-series,  2015, recycled plastic bags and wood: Wiebke Pandikow – Necklace from the ‘Tropaeolum’-series,  2015, recycled plastic bags and wood
Wiebke Pandikow studied Jewelry Design in Lahti, Finland and now lives and works as a jewelry artist in Helsinki. She has been working with plastic bags since 2014. Without the ubiquitous plastic, our civilization could hardly have become what it is today, but at the same time it is an immense burden on the environment. Especially plastic bags are an obvious symbol for mindless consumerism and a throw-away society. This makes them so interesting for Wiebke to work with: to create from them textures and structures that recall forms of a natural world that we have set ourselves apart from. What was living organisms thousands of years ago, then became oil, then became plastic, now is returned into forms that resemble living plants once more. In our culture, plastics are commonplace, invaluable yet insignificant. For this artist, they bear the possibility of beauty.

Wiebke Pandikow - Necklacei 2015, recycled plastic bags and wood Wiebke Pandikow -  2015, recycled plastic bags and wood

Hatara Project, Time Perception VOL.2 #28 - 'Come', Helmi Lindblom 2015, brooches, mixed media, picture Ninni Vidgren: Helmi Lindblom   ‘Come’, 2015, brooches, mixed media, picture Ninni Vidgren
Helmi Lindblom is fascinated by the beauty of oddity.  
The jewelry series Come is made to mimic the object that awakens the child within us. Come is a series of brooches and necklaces that invites you to come and step closer maybe even touch. Series is inspired by a plant that consists of two cactuses crafted together by man.The combinations are made purely for aesthetic reasons regardless of the health of the plant. With this series Helmi recreates the feeling that the crafted cactus evokes in beholder: triggering a childlike curiosity and excitement based purely on the bizarre aesthetics of the plant.

Melina Lindroos  'Hiding Places',  2015, brooches, mixed media: Melina Lindroos  ‘Hiding Places’,  2015, brooches, mixed media
Melina Lindroos is a jewelry artist located in Helsinki. Themes that she feels especially drawn to are places, time and people’s inner lives. Melina is a listener and a searcher. Her approach could be seen as a life long journey, which lifts up bits of what she sees and what she wants to see, where she is coming from and where she is headed. « My series Hiding places lifts up the importance of shelter related to safety. These brooches are made through a slow meditative process in a comforting space. » says Melina.
The tender series of brooches invites the viewer to peek inside and hold them.

Melina Lindroos  'Hiding Places',  2015, brooches, mixed media  Melina Lindroos  ‘Hiding Places’,  2015, brooches

Ginta Zabarovska   'Home',  2014, necklace, silver plated brass, wood, plexiglas, aluminium: Ginta Zabarovska   ‘Home’,  2014, necklace, silver plated brass, wood, plexiglas, aluminium
Ginta Zabarovska (born 1989) graduated bachelor (2013) and master (2015) programs in the Art Academy of Latvia metal design department. While studying she actively participates in various exhibitions and competitions.
The artist draws her inspiration in traveling and by contacting with interesting personalities. As an important source of impact in the artist’s activities she considers studies at the Art Academy of Strasbourg in 2012/13. Due to the semester spent in France, the artist has found a growing interest in contemporary jewelry history and now continues her studies in the Art Academy of Latvia as a PhD student working on jewellery art history in Latvia during the post soviet period. While creating design for new jewelry pieces Ginta doesn’t spend long hours preparing sketches or technical drawings. Rather she prefers to work in the material; the idea gradually crystallizes in the working process. From a variety of experimental materials jewelry models are created searching for their compatibility with one another. The artist is bound by various types of graphic lines and delicacy in the plane so she fits these values in three dimensional pieces – they become jewelry.
Gintas jewelry theme for the exhibition Time Perception VOL.2 is home. As Ginta is repeatedly working in Strasbourg for a longer period she find’s the feelings of home and affiliation an inspiration for her work.

 

Galerie Vernon
Blütenstraße 1, Munich
Thu, Fri 11:00-19:00, Sat 12:00-17:00

 

 

 

 

06/09/2015

EXPO ‘Yong Joo Kim – Crossing the Chasm’ – Gallery Ahwon, Seoul (Korea) – 9-20 Sept 2015

Classé dans : Exposition/Exhibition,GALERIES,Korea (KR),Yong JOO KIM (S.KR) — bijoucontemporain @ 0:08

Yong Joo Kim’s Solo Exhibition, « Crossing the Chasm: Beyond the Threshold of Survival and Imagination« , to be showcased at the gallery Ahwon in Seoul, Korea.

2015. 9. 9. (Wed) – 9.20 (Sun)

Opening reception : Wednesday, 9 September, 5 – 7pm.
Please join us to meet the artist.

Yong Joo Kim  Gallery Ahwon - 9-20 sept 2015

 For the past 6 years, artist Yong Joo Kim has focused exclusively on working with one material, hook and loop fasteners. It is a material people often find unattractive, mundane, or insignificant, but through a series of dialogues with the material, she has continually produced works of art inspired by the qualities of beauty uncovered from within the material. Just as important as the beauty is the surprise. Most recently, she has limited herself to merely three distinct shapes of hook and loop fasteners. She wondered if she could survive with such harsh limitation.
Pushing this material to its limits, she started to experiment by generating many diverse sets of forms by combining one or more of the three shapes. During this time, she was surprised to see unexpected link between survival, variety, and mastery.
Ashby’s Law of Requisite Variety states that only variety can absorb variety. What he means is that, in order to master any problem or process, we have to be able to bring more variety to bear than is inherent in the situation.
To put it more simply, think of two jazz players improvising: one plays a certain melody and another responds with a different melody. Even when an unexpected melody is played, a master improviser has the ability to choose the most appropriate response that expresses the feeling they desire while maintaining the integrity of the ensemble. In this regard, mastery is the stage that one reaches by acquiring a sufficient variety of responses that empowers one to deal with this kind of interaction.
If the jazz players’ continuous playing is analogous to an artists’ being able to keep generating new forms, and the ability to continue generating new forms is related to surviving as an artist, what is the relationship between variety and survival? Could the process of survival be inextricably linked to the process of achieving mastery? These questions have intrigued Yong Joo greatly, and have been fueling her most recent explorations.

Yong Joo Kim Necklace 2015 Material: Velcro Brand hook and loop fasteners, Thread and Sterling Silver Photography by Studio MunchYong Joo Kim- Necklace 2015 – Velcro Brand hook and loop fasteners, Thread and Sterling Silver -Photo by Studio Munch

 Yong Joo Kim / Necklace: Transitions in Red II, 2015 Material: Velcro Brand Hook-and-loop fastener, thread / 35 × 29 × 4 cm Photo by: Studio Munch Yong Joo Kim – Necklace: Transitions in Red II, 2015 – Velcro Brand Hook-and-loop fastener, thread / 35 × 29 × 4 cm Photo by: Studio Munch

Yong Joo Kim  Gallery Ahwon - 9-20 sept 2015Yong Joo Kim

Yong Joo Kim - bunch to dream with .......Yong Joo Kim – bunch to dream with …….

Yong Joo KimYong Joo Kim

Yong Joo Kim braceletsYong Joo Kim bracelets

Yong Joo Kim - Reconfiguring the Ordinary / 2008/ Neckpiece / Hook-and-loop fastenerYong Joo Kim - Reconfiguring the Ordinary / 2008/ Neckpiece / Hook-and-loop fastener

 

Gallery Ahwon
3,Bukchon-ro 5ga-gil,
Jongno-gu,
Seoul – South Korea, 110-200
galleryahwon@hotmail.com
Yong Joo Kim press@yongjookim.com
Read More: http://bit.ly/1Q0OayqOpening hours:
Monday – Sunday 11am- 6pm
Admission is free.

02/09/2015

EXPO ‘Jo Pond: Intimate’ – Gallery Velvet da Vinci, San Francisco (USA) – 19 Aout-20 Sept. 2015

Jo Pond: Intimate
An exhibition of new works by the UK based artist

Artist’s Reception:  Friday August 21, 6-8pm

Intimate - Jo Pond - Velvet da Vinci

 

Jo Pond’s most recent jewelry works can be seen as reincarnated objects, relics of everyday urban life that have been transformed by the artist’s process. Material elements such as buttons, coins, cans, and keys are modified and reinterpreted, simultaneously creating new narratives for each piece while drawing from each object’s industrial heritage and unique past. Precious metals and stones such as diamonds or pearls are often included in combination with these found objects, playing with visual and conceptual notions around beauty and the mundane, social status, and hierarchical value or worth.

Born in Chiswick, London, Pond currently lives and works in rural Staffordshire. Her work has exhibited on an international level; highlights include exhibits at Schmuck (Munich), the V&A Museum, (London), the Price Tower Arts Centre (Oklahoma), and Contemporary Applied Arts (London). Pond’s Narrative Jewelry Collection received the 2005 BDI Industry & Genius Awards in the category of Products and Genius. The artist earned her Masters at The School of Jewellery, Birmingham and is a member of Contemporary Applied Arts, London.  She presently serves as a full-time lecturer at the School of Jewelery in addition to maintaining her studio practice.

 Jo Pond, Fine Quality (Brooch), Repurposed steel tin, steel, iron, diary pencilJo Pond, Fine Quality (Brooch), Repurposed steel tin, steel, iron, diary pencil

Jo Pond, Intimate tin locket, Repurposed steel tin, repurposed bone page turner, silver, gold plate, ribbonJo Pond, Intimate tin locket, Repurposed steel tin, repurposed bone page turner, silver, gold plate, ribbon

 Jo Pond, Baking Tin and Grater Series, Repurposed baking tin, citrine, 18ct Gold, Steel.Jo Pond, Baking Tin and Grater Series, Repurposed baking tin, citrine, 18ct Gold, Steel.

Jo Pond, Phillumeny neckpiece, Suspended in Pink Series, 1940’s baking tin, match sticks  Jo Pond, Phillumeny neckpiece, Suspended in Pink Series, 1940’s baking tin, match sticks 

Jo Pond, Planted Frame Brooch, Repurposed steel tin, steel, silver, gold plateJo Pond, Planted Frame Brooch, Repurposed steel tin, steel, silver, gold plate

Statement from the Artist:
“Using found objects is like starting the process of creating with part of the story already written. I am able to choreograph, make introductions and interventions. I may add and remove lines within the story and then watch to see if they read true to me, sometimes living with them in one form or another, still, watching and listening for them to tell me when they are comfortable and appropriate. I have a bond with each stage, a personal connection, one of belonging, a reluctance to let go or and an uncomfortable enjoyment of that which I have choreographed. Saving these intimate moments by capturing them safely in photographs, I am able to intervene once again, in the knowledge that I can recall that grouping and the essence of relationship it brings. My compositions work more happily in groups, sometimes the harmony of material, color or repetition compels the creation of a family, a void being left once one conclusion is made and moved to one side to free space for further meanderings. The conclusions are the quietest moments, following a multitude of compositional conversations it is necessary to listen to the outcomes to know if they are complete. There is a sense of separation at this point, the umbilical cord becomes severed and some of the tension seeps away, leaving me comforted in my decision making process.
There are phases, maybe somewhat fickle, where I have a changing passion for that which I find. Sometimes time, location or circumstance can influence these phases, but they mark a point of change and must be consciously considered. It is all part of being true to the visual conversation being orchestrated, alongside the voluntary and involuntary narratives, which serve to conduct my metaphor.”  Jo Pond, 2015

 Jo Pond, Small Necessities, Silver, repurposed bone toothbrush, 18ct gold, gold plate  - DETAIL: Jo Pond, Small Necessities, Silver, repurposed bone toothbrush, 18ct gold, gold plate  – DETAIL 

 

Velvet da Vinci
2015 Polk Street,
San Francisco, CA 94109
Phone: 415-441-0109
Email:  info@velvetdavincigallery.com
Hours: Tuesday through Saturday, 11am – 6pm, Sunday, 11am – 4pm

 

 

12