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07/02/2013

EXPO ‘The Food Project: The shape of taste’ – Mart Rovereto, Rovereto (Italy) – 9 Fevr.-2 Juin 2013

Classé dans : Barbara UDERZO (IT),Exposition/Exhibition,GALERIES,Italie (IT),organics,www Klimt02 — bijoucontemporain @ 19:57

Progetto Cibo – La forma del gusto

In recent years, the debate about food in the world of design has attained unheard-of levels of public interest. And the world of design, which always records and often anticipates aesthetic and cultural trends, together with socio-economic and anthropological ones, has in turn dedicated close attention to the world of food, showing creativity, curiosity and great innovative capacity.
The creations of a large group of “food designers” are at the centre of “The Food Project. The shape of taste” exhibition, with which the Mart, Museo di arte moderna e contemporanea di Trento e Rovereto presents the art of industrial projects and experimental design applied to foods.
Curated by Beppe Finessi, the exhibition will run from 9th February to 2nd June 2013.

EXPO 'progetto cibo'  Barbara Uderzo – Bijoux chocolat, 2004  “Progetto Cibo. La forma del gusto”

Selection of participating designers and architects: Enrico Azzimonti — Bompas&Parr — Achille Castiglioni — Stephan Bureaux — Lorenzo Damiani — Florence Doleac — FormaFantasma — Giorgetto Giugiaro — Marije Vogelzang — Marti Guixé — Giulio Iachetti — Marcel Wanders — Enzo MariAlessandro Mendini — Katja Grujters — Konstantin Grcic — Gaetano Pesce — Diego Ramos — Philippe Starck —  and leading chefs, like Gualtiero Marchesi, together with Bruno Barbieri, Massimo Bottura, Antonio Canavacciuolo, Carlo Cracco, Daniel Facen, Davide Oldani and Davide Scabin.
The exhibition is divided into a number of thematic areas and opens with a tribute to the “Good Design” book written by Bruno Munari 50 years ago, in which the great maestro taught his readers to read the products of nature, like oranges, as though they were objects of design, stressing their “functional and performance” characteristics with irony and precision.
Starting with the lesson, the exhibition reveals some “anonymous foods” through a series of graphic interpretations, to reveal their traditional forms in their sophisticated and precise architectural connotations: because behind such geographically connoted foods – like sushi or strudel, but also lasagna, and arancino or oliva ascolana – is frequently concealed a planning approach that is the result of a careful compromise between image, taste and production. A basic and omnipresent food – bread – will be presented in a series of different forms, displayed like sculptures to stress their aesthetic “fineness”.
Various types of pasta, designed by such as Giorgetto Giugiaro, Mauro Olivieri and Christian Ragot, will emblematically show how the creativity of designers converges with industrial production; this is one of the key themes of the exhibition. As Giampiero Bosoni writes in the catalogue, it has “revolutionised the relationship between form and content in food”. A felicity of synthesis that also underlies the success of commercial products, like Baci Perugina chocolates, Ferrero Rocher, Krumiro biscuits and Saratoga Chips.
The reflection about the transformations implemented by the food industry, which is still undergoing a radical evolution, meets the subject of ethics, ecology and also – in a section dedicated to patents – the relationship between creativity and standardisation.
“Food designers” today have an almost infinite freedom to shape form and function. Objects like the “Edible pen” of Martì Guixè, the chocolate “Golosimetro” (“greediness metre”) of Paolo Ulian and “Sugar Spoon” of Marije Vogelzang are some of the results of their fantasy.
In many cases, it is the form of a product that is planned and developed as a decorative element: the exhibition will display the jellies of Bompas & Parr reproducing St Paul’s Cathedral in London, the “Bread Palette” (a palette-shaped toast) by Ryohei Yoshiyuki and Delphine Huguet’s “Speculoos”, a biscuit that adapts to the shape of the coffee cup. All objects containing a dash of irony that develops into an entertaining detached viewpoint in the creations of Matteo Ragni, Diego Ramos and Enrico Azzimonti, gathered together in a section entitled “Irony, metaphor and paradox”.
Also on show are some designer objects made from food: chocolate jewels by Barbara Uderzo, bread dinner services by FormaFantasma and the “Decafè” of Raúl Laurí Pla, winner of the Salone satellite 2012 in Milan.
Alessandro Mendini’s “Cioccolator” (“Chocolator”) – a calculator in the form of a chocolate bar – and “Popsicles” by Putput – sponges shaped to resemble ice cubes – are instead unusual examples of designer objects alluding to food.
One section of the exhibition will reveal a number of recipes, created by creative figures who invent particularly sophisticated dishes as a living; not just leading Italian and international chefs, but also those who normally apply their sensitivity and creativity to other areas, including a sizeable group of designers invited recently to express themselves by offering a recipe.
There will also be a site-specific project made for the Mart by Martì Guixé, one of the new masters of design, and one of those who has most applied his talent to the world of food, revealing further expressive possibilities in a field that is so fundamental to our lives.
The exhibition ends with an overview of the future of food, with some brilliant and often very young talented designers who will for the first time present creations in the museum’s rooms that are not merely experimental and sophisticated, but also profoundly marked by an ethical and social tension. The exhibition will be accompanied by a rich catalogue, published by Electa, Milan, containing a number of essays dedicated to the subject, written by important experts and critics who have for years examined the relationship between food and design.
A busy programme of events will involve chefs of international standing, who will hold a series of evening cooking shows in the exhibition rooms. Workshops with the designers will provide visitors with the opportunity to create jewels and sculptures from local products. During the whole exhibition period, the visit will also enable the public to taste some free titbits and meet the protagonists of the exhibition.

Barbara Uderzo - Bijoux chocolat, 2004  “Progetto Cibo. La forma del gusto” http://www.mart.tn.it/progettocibo Barbara Uderzo – Bijoux chocolat, 2004

 The Food Project: The shape of taste -  Artists: Barbara Uderzo  - Mart Rovereto, (Rovereto, Italy)  09-Feb-2013 - 02-Jun-2013    website: www.mart.trento.it  mail: info@mart.trento.itBarbara Uderzo
David Bielander - Scampi, 2007  “Progetto Cibo. La forma del gusto” http://www.mart.tn.it/progettocibo David Bielander – Scampi, 2007

 Johnny Hermann - Wooden popsicle “Progetto Cibo. La forma del gusto” http://www.mart.tn.it/progettocibo Johnny Hermann – Wooden popsicle

 

Mart Rovereto
Corso Bettini 43
38068 – Rovereto
Italy
Telephone: +39 0464 438887
website: www.mart.trento.it
mail: info@mart.trento.it

27/08/2010

la ROUILLE en majesté …..

Alexandra Chaney - 'tetanophobia 'Alexandra Chaney - ‘tetanophobia ‘

voir article   « Ode à la ROUILLE …. Marianne Anselin« 

« La matière qu’elle affectionne aujourd’hui, vielles cartouches, ressorts rouillés, la sécurise, même s’ils sont des déchets. Elle y voit de la beauté, voire de la préciosité, quand d’ordinaire il y a rejet. Sa timidité est dans l’air, c’est pourtant l’ambiguïté qu’elle cultive.
Éloignée des valeurs mercantiles de la joaillerie traditionnelle, Marianne place la préciosité et la rareté là où on ne les attend pas : « je les cherche dans la fragilité de la nature, dans l’action du temps en arrêtant la dégradation du fer rouillé, en utilisant des objets rebuts de notre société qui ne sont pas vides de sens mais porteurs de mémoire ». Là où certains voient imperfections, aspérités, couleurs fanées, elle perçoit comment le souffle du vent, le cliquetis de la pluie viennent à bout de l’airain, comment de l’artificiel la nature se réapproprie et fait son oeuvre. La matière est déjà en migration car « tous les éléments sont fluides. C’est une question de temps. C’est la courte durée de notre existence qui fait que nous appelons «dur» ou «mou» tel ou tel matériau. Le temps met à mal ces critères ». En intervenant, elle arrête un processus qui menait le métal à sa fin, fige l’action du temps sous la violence de sa forge et offre à porter une impalpable et pourtant bien réelle effigie du devenir, un souvenir magnifié.  “ » (Marianne ANSELIN)

Marianne Anselin - collier Mecanique 2007 Marianne ANSELIN (FR) – sautoir ‘mécanique’ – fer rouillé, graines guatemaltèque

http://www.craftscouncil.org.uk/files/image_zoom/2ff12c12970f5226-cz_9.jpg
Christoph Zellweger- Chain (1994) (detail)

Adrean Bloomard – ‘Amphora’ project/jewels (Alternatives Gallery) – corrosion due à la mer & au temps, comme d’anciennes trouvailles archeologiques …..

http://www.alternatives.it/zoom/Bloomard/9.jpgAdrean Bloomard – amphora brooch – oxidized copper, silver, 22kt.gold

http://www.alternatives.it/zoom/Bloomard/5.jpgAdrean Bloomardamphora necklace – oxidized copper, silver, enamel

http://www.alternatives.it/zoom/Bloomard/3.jpgAdrean Bloomardamphora necklace – oxidized copper, 18kt.gold, enamel

http://www.alternatives.it/zoom/Bloomard/4.jpgAdrean Bloomardamphora Bracelet, oxidized copper, enamel

http://www.alternatives.it/zoom/Bloomard/2.jpgAdrean Bloomardamphora brooch – oxidised copper


bijoux faits par la Galerie SYMBIOSE, Perpignan (Eliane Amalric et Thierry Arabia)* :

http://bijoucontemporain.unblog.fr/files/2010/02/galeriesymbiosecollierrouilleperletahitidiamantsorcollierfilsargentetorjanv2010.jpgEliane Amalric et Thierry Arabia – collier rouille, perle tahiti, diamants, or, collier fils argent et or (janv 2010)

http://bijoucontemporain.unblog.fr/files/2010/02/galeriesymbiosebaguesrouilleargentdiamants.jpgThierry Arabia- broche/pendentif  et  bague -  rouille, argent, diamants

EXPO Gal Elsa Vanier- Thierry VENDOME- Collier en or jaune, acier rouillé provenant d'un hublot, diamants et péridotsThierry VENDOME- broche 'ikebana' Or jaune. Acier rouillé. Perle de Tahiti
Thierry VENDOME- Collier – or jaune, acier rouillé provenant d’un hublot, diamants, péridots
broche ‘ikebana’ Or jaune. Acier rouillé. Perle de Tahiti

Philip Sajet  Ring: Rust  Iron, gold, niello on sîlverPhilip Sajet  Ring: Rust  Iron, gold, niello on sîlver

foto Luciano Cipullo ---------------------photofoto Luciano Cipullo ---------------------photo
Barbara Uderzocollier & bracelet ‘ruggine’ (rouille) … en chocolat !

http://3.bp.blogspot.com/_gu49dWTj6NQ/Ro5YOJkKfrI/AAAAAAAACg0/njarNKAs3ew/s400/fabrizio5.jpghttp://www.preziosamagazine.com/wp-content/uploads/2010/09/Fabrizio-Tridenti.jpg
Fabrizio Tridenti - bagues / rings
on pense (je pense !) souvent que ses bijoux sont en rouille, mais en fait il s’agit de peinture acrylique …

Stefano PedonesiStefano Pedonesi – Ring: sterling silver, oxidized copper (alors, rouille ou pas rouille ?)
Edgar Mosa - 'Di Indigetes' - rusted steel
Edgar Mosa – ‘Di Indigetes’ – rusted steel

« Relationships with time, space and objects were the focus of my attention during my time in Detroit, Michigan, USA. In an attempt to belong – as a bird makes its nest – I gathered materials that surrounded me; and searched for forms that could convey the struggle within.
Saw blades and rusty steel populated my studio, as vanitas on a still life. From them I created brooches that hung on the body like uncomfortable companions, burdens of a neglected past, that engaged a bittersweet relationship with the wearer. The pieces found their visual strength in the contrast between the delicate organic surfaces versus the sharp industrial edges » (
Edgar Mosa)

http://3.bp.blogspot.com/_cR8fdJ7MyTQ/TEQjFAi04_I/AAAAAAAAAmw/iRDoluXBxyg/s1600/P1010744_1334_modifi%C3%A9-2.jpgIsabelle Di Martino (FR) – « études » sur « l’usure »  (Projet de bijou sur le thème de » l’usure », jeu lancé par le forum « La Manufacture »)….. voilà du cuivre oxydé sans calcul (laissons agir la chimie), quelques gouttes de patine pour expérimenter…

Ingrid Ventura (Escola d'Art del Treball Barcelona)vu à JOYA Barcelona 2010 : Ingrid VENTURA – Escola d´Art del Treball

Montse Basora - (Taller Perill,Montse Basora – (Taller Perill, grupo « Joyas Sensacionales ») ‘lo perdido – lo encontrado‘ – pendant : silver, iron -2010

* galerie SYMBIOSE (Eliane Amalric et Thierry Arabia)
7 pl Gambetta
66000 PERPIGNAN
tél 04 68 34 12 59
fax 04 68 66 56 17
galeriesymbiose@orange.fr

24/07/2010

MIAM ! des bijoux ! …… CHOCOLAT & C°…

 » While examining the psychological and sociological potency of chocolate ….. » (Anika Smulovitz)
en tout cas, si ce n’est le chocolat, qui inspire enormément (et particulièrement celui servi aux soirées de « l’Ambassadeur » ….. ;-) …..), la denrée alimentaire, détournée, inspire, et aspire à son rôle de bijou …. le stade « collier de pâtes » est largement dépassé, actuellement, un repas complet est possible, des « antipasti » au dessert ! quant ce n’est pas ce qui reste après un bon « gueuleton » qui nous est servi comme bijou … n’est ce pas Patricia Lemaire ???!!? emoticone

En tout cas, le thème a l’air d’être dans l’air du temps : voir le projet « Aesthetic Nutrition » d’Ana Cardim (juillet 2010) que je viens de trouver dans la dernière newsletter de Klimt02  : « With her project ‘Aesthetic Nutrition’, Ana Cardim seeks attention for the idea of the difference in quantity, and levels of value, between the esthetic value of gold and the value given to the basic human need for food. »

 

« I want to call attention to the power, importance, and beauty of   food. In our culture of  fast, disposable, and store-bought food, we often misunderstand our relationship to what we eat » ( Venetia Moushey Dale, in « 500 necklaces » book)

Venetia Moushey Dale - copper, BEANS necklace - 2003
Venetia Moushey Dale – copper, BEANS necklace

Mouche caramel/ caramel beauty spot   by Manolya KonukManolya Konuk- Mouche caramel/ caramel beauty spot (patch)

`Mute language` was used in the17th century by European aristocracy, as a way to talk with symbols rather than words. This beauty spot was a way to signify the intentions and dispositions of lovers.
Placing on the face or breast each have different meaning. As a finery made from caramel, the sweet jewel becomes a temptation to be eaten from the body itself. // Langague muet du XVII ème siècle, les mouches étaient le moyen de signifier ses intentions et ses dispositions. Ici de parure, le bijou sucré se fait tentation (Manolya Konuk- en vente à la Tate gallery)

  http://3.bp.blogspot.com/_u1lW7hUL1zA/S0bApUSxmSI/AAAAAAAABvA/peAoBf_4XNc/s400/Polly+Wales+and+Lina+Peterson-+made+of+Bread+and+Steel+_o.jpg
Polly WALES (UK)- bread ring  (MIAM !! YUMY !!;-) )

Marie Pendariès - BREAD giant neckpiece !!Marie Pendaries – ‘La traîne’ Collier. Pain de mie

David Bielander - Wiener & Weisswurst, 2009. Necklaces. Wood from original Thonet chair David BielanderWiener & Weisswurst, 2009. Necklaces. Wood from original Thonet chair

MIAM ! des bijoux ! ...... CHOCOLAT & C°... dans Ana CARDIM (PT)
Stephanie Hensle (DE)- ‘MEAT-LOVER’

« Meat. The word alone polarizes. For some it represents the sensuous, the erotic, life and carnal lust. For others it arouses associations of morbidity, decay and death. In its archaic and raw state it triggers aversion in many, but is welcome when served as a fragrant roast. It is peddled in discount shops and bargain counters, or traded for 200 euros per kilo.  Delving into these contrasting worlds, Stephanie Hensle explores the luxury of meat in context of adornment, indulging our lust for both on many levels. Inspired by the art of butchery, she packs resins, jewels and other traditional jewellery pieces into sausages and pâté. Throughout she redefines not only a typology for jewellery but also our relationships to creating and acquiring it. The act of slicing („100 grams of brooch, please“) defines the pedant or brooch pieces while addressing the system of value associated with jewellery. Typical sausage netting, meat hooks or skewers become fasteners attaching the pieces to the wearer. Left over pieces are wrapped like cold cuts for the purchaser‘s consumption.  A third group of pieces reflects on the human body as meat. Neck and body pieces hang like detached organs or mysterious growths. Cut open, they allow a glimpse into the skin-colored insides. And remind us, that the line between beauty and disquiet is fine yet elegant. » (Stephanie Hensle)

Emmanuel Lacoste  Ring: Chair (Flesh) 2009  22k gold, beef meat  The usual diamond is replaced with meat, as a metaphor of the human body preciousness Emmanuel Lacoste  Ring: Chair (Flesh) 2009  22k gold, beef meat  The usual diamond is replaced with meat, as a metaphor of the human body preciousness

chips-retouche_modifie-2 dans Anika SMULOVITZ (US)
Stéphane Landureau Collier “Chips’n Chic”, chips de dinette en plastique, argent, 2002 

[materiamorfosi_pasta.jpg]
Margherita Marchioni - collana di pasta

40 dans Barbara UDERZO (IT)
Margherita Marchioni fruit collection

Ana Cardim Ana Cardim

402 dans Claire LAVENDHOMME (BE)
Hilde de Decker (BE) – organic rings

Hilde De Decker- veggie ring
Hilde De Decker – veggie ring

Luisa Bruni, “...e non è più occidente” Luisa Bruni - anelli « spezie » « …e non è più occidente »

 dans COUP DE COEUR dans David BIELANDER (CH/DE)
Hsiang-Ling LU – Rice piece  - rice, resin, threads

« For this assessment, I put new material and technique into my work. For fixing the fragility, I add resin with rice, for the replacement of fabric and rice sheets I made previously. I want to keep the delicate detail and the smooth texture of rice » (Hsiang-Ling LU)

5_rizcollier.jpgFanny Agnier - collier riz – argent, riz (silver & rice)
Fanny Agnier -« grenades » de riz (pour un mariage « explosif »)

frédérique Trinquese- Bracelet pelures de pommehttp://thecarrotbox.com/news/2008/0325.jpg
Frederique Trinchese- bracelet pelures de pommes (gauche)
Virginie Bois – bague en peau d’orange (droite)

http://www.designboom.com/contemporary/poorjpg/309.jpg
Leonor Hipolitowrapping foil ring & necklaceRéception chez l’ambassadeur …………….. ;-)

Le collier de la reine/ The queen necklaceManolya Konuk – ‘Le collier de la Reine’ – Here, perhaps more than in the other pieces, the material has taken up all importance. The queen necklace was the necklace of Marie Antoinette and hence can be seen as a prelude to the French Revolution. Symbol of excess and decadence, this jewel, never worn, caused the demise of the French Monarchy. Playing with words again, this chocolate abundance can provoke a ‘’crise de foi(e)’ which can be translated both as ‘‘sick by food’ as ‘‘loss of faith’.

 

kette_close_neu dans Emmanuel LACOSTE (FR)Jeannette Jansen utilise des papiers d’emballage de chocolat pour sa collection “Chocolate Eater. Réalisées à la main, on peut même lire le nombre de calories que l’on porte en bracelet, collier ou boucles d’oreilles !

http://comeunagazzaladra.files.wordpress.com/2011/01/geri_nishi.jpg
un gelato ??? collier Geri Nishi 

uderzo_chocolate.jpgBarbara Uderzo – bijoux en chocolat - ‘ruggine’ (rouille) & ‘boules’

http://static.blogo.it/designerblog/barbara-udenzo/BarbaraUdenzo.jpg

This jewellery collection is created in chocolate; necklaces, bangles and rings –designed specifically as romantic items for couples to eat together. Small, handcrafted production runs.
RUGGINE: Rusty iron in appearance, these are created using an old confectionary technique that uses cocoa powder dusting in its preparation.
BOULES: These are chocolates covered in an edible gold leaf foil effect.

http://fuorisalone.it/2007/photos/fs06fotothB243000016,391.jpg
Barbara UderzoLiquirizia e marshmallow da indossare

Barbara Uderzo - glucogioiello- candy chain 2003 - marshmallows
Barbara Uderzo – glucogioiello- candy chain 2003 – marshmallows

« …… Oltre al cioccolato, citato nel titolo, il visitatore potrà ammirare anche i “Glucogioielli”, collane e bracciali realizzati alternando caramelle scelte, quali marshmallows, liquirizia, gommosetti, fruits….come nel caso della collezione “Candy Chains”; mentre per quanto riguarda la collezione “Uno Vero” è presente un’originale accostamento della materia alimentare, in un unico elemento in pietra dura irriconoscibile alla vista.« 

Anika Smulovitz Chocolate jewelry installation Catherine Clark Gilbertson
Anika Smulovitz - Chocolate (a collaboration with artist Catherine Clark Gilbertson) -2002 – Ferrero Rocher chocolate wrappers

« This body of work explores human interaction with objects, specifically the interaction of our lips with objects. While examining the psychological and sociological potency of chocolate in the pieces entitled Love Tokens, I became aware of the sensual power of our lips. This culminated in Chocolate, a collaborative interactive installation comprised of a series of impressions made in the gold foil wrappers of Ferrero Rocher chocolates. The impressions are of puckered lips or teeth. In its use of repetition, mass quantities of « faux » gold foil, reference to chocolate and to the mouth, the installation speaks of consumption, indulgence, passion, and consumerism. » (Anika Smulovitz)

Smulovitz Anika Chocolate Jewelry
Anika Smulovitz -Love Token (wedding bands) Ferrero Rocher chocolate wrappers 2002

Anika Smulovitz Chocolate jewelry choker necklace
Anika Smulovitz -Love Token (choker) - 2002 – Ferrero Rocher chocoate wrappers, wood, brass

Anika Smulovitz Chocolate jewelry rings
Anika Smulovitz -Love Token – rings

 dans Fanny AGNIER (FR)
Tatjana Panyoczki - ‘tutti frutti in pink’, brooch, 2010
and NO, you can’t eat it !!! it is made with … pom poms … waxed !

chocolate_rings_web dans Francesca di GIAMBERARDINO (IT)
Ambre France (UK) – « Eat me », « Suck me »… rings

« Diamonds are girls best friends! But chocolate wins the second place, so this is the perfect combination: chocolate and jewels! An idea from Ambre France (UK) who creates funny rings in chocolate! Mmm, I can’t wait to taste them, ops, I mean to wear them! «  (site « JewelleryScape« )

http://www.designboom.com/cms/images/ridcue/haunt02.jpg
Ted Noten – ‘haunted by 36 women’ exhibition - ‘chocolate hooker rings’

 

«  Gioielli da mangiare! Cathy, una giovane studentessa di arte, che ama creare bijoux e li presenta nel suo blog “La prochaine fois” Tra i suoi lavori, troviamo accessori realizzati con la frutta secca, l’idea da cui sono nati è curiosa: Durante un viaggio in Francia, Cathy ha assaggiato la frutta  essiccata e in particolare ha molto apprezzato il kiwi. Ritornata a casa, ha cercato questo tipo di frutta nei negozi americani ma non ha trovato niente del genere. Ha deciso allora di acquistare un essiccatoio per realizzare da sè queste dolcezze. Prima di mangiarsele però, Cathy le fotografava e, osservando la bellezza di queste fettine di frutta, ha deciso di sperimentare qualcosa di nuovo. Nascono così anelli e collane prodotti con le mele “Granny Smith” oppure “a base” di fettine di pera o di patate dolci. (« irisjewelry.it »)

driednecklaces04_thumb1fruitrings02
Cathy (blog “La prochaine fois”) - dried fruit jewelry project – Granny smith apple ring

fruitrings14driednecklaces10
Cathy (blog “La prochaine fois”)pear ring – necklace

« The fruit has been sealed, with either lacquer or wax. I wanted to see if these would hold up better/longer than the raw ones. However, I’m not a fan because it changes the meaning of the pieces somewhat – being sealed, they stop being about the moment and instead go into the preservation. And wax = bad because it just flakes off. I’m still on the hunt for different ways to treat the surface!« 

driednecklaces08
Cathy (blog “La prochaine fois”)Sweet potato necklace

Noémie DOGE (CH)  collier, pomme-de-terre, argent et cotonNoémie DOGE – ‘KRIELTJES’ collier, 2005, pomme de terre et argent

« Ce que je cherche à donner à mes objets, c’est ce que je ne trouve pas dans les parures des bijoutiers traditionnels: une richesse qui ne vienne pas de la préciosité des matériaux mais de la force visuelle, primitivement symbolique de l’objet. » (Noémie DOGE)

sans titre, 2008, pomme-de-terre, argent et coton by Noémie Doge, artiste plasticienne
Noémie DOGE   collier, 2008, pomme-de-terre, argent et coton

Julie Usel - Julie Usel from Geneva is doing her master degree at the Royal college of Art in London. Her work is now in Portugal at the “Steinbeiser” gallery in Lisbon until the 6th November. A collection of colored and unique jewelry made out of potatoes.   Julie Usel (CH) patates séchées et teintées

« You can bake ‘em or fry ‘em, hash ‘em or mash ‘em, and now… you can wear ‘em! Swiss jeweller Julie Usel has made the starchy tuber even more perfect with her dried and dyed potato rings. »

Helena Johansson - Feb 2010 - the potato jewelHelena Johansson - April 2010 -   The Potato Jewel has started to grow.
Helena Johansson – The Potato Jewel (Feb 2010 a then April 2010)

alimentaire- Patricia lemaire - Broche peau de  melonPatricia lemaire - Le temps des cerises- 1200 queues de cerises !
 Patricia Lemaire - Broche peau de  melon
 Patricia Lemaire - Le temps des cerises – 1200 queues de cerises !

Tanya Shin - made from organic like pomegranate seeds, passionflower,lemo, pomelo...parfum- tanya shin
Tanya SHIN (IL) – pomegranate seeds bracelet — parure de tête, oranges séchées

6 dans Frederique TRINCHESE (FR)
Claire Lavendhomme – « Le plus profond c’est la peau » 2009. Broche. Argent, photo, résine, citron

 

« Pommes de JONG » (Jacqueline de JONG, NL)

Klik op afbeelding om het venster te sluitenKlik op afbeelding om het venster te sluiten
Jacqueline de JONG, NL‘pommes de jong’ – 2009  varying sizes cm – jewelry – mixed media (gold-dipped potato skin

« For her current exhibition, de Jong has created a series of potato bijoux, « Pommes de Jong. » They consist of potatoes laid out to dry until they are totally shrivelled, and then dipped, roots and all, in a bath of molten gold, with surprising results – jewel-like objects in weird and wonderful forms.
Her interest in integrating the humble potato, which she cultivates in her garden in France, into her art, began in 2001 with her series of paintings inspired by Malevich, as the hair of The Farmer’s Wife (« Potato Hair »). This was followed in 2002 by a painted dialogue (« Harvest ») with the pioneering Russian artist.This theme continued with « Aardappeltaal’ (Potato Language), a collaboration with Jennifer Tee at the Van Abbe Museum in Eindhoven in 2003. In 2006, participated in the Biennale di Ceramica dell’arte (curated by Roberto Orth), in Albissola, Italy, with an installation of ceramic objects of « baked potatoes » for the home and garden of the Danish artist Asger Jorn (1914-1973).
« 

Francesca di Giamberardino  "la caramella" Francesca di Giamberardino  – ‘La Caramella’ – candy -yellow gold-silver- Murano glass pearls

113401 dans Geri NISHI (CA)
Yoko SHIMIZU« coffee-ring »  silver, coffee, resin (Galerie Slavik)

bon, maintenant, on se boit un petit coup ?

Katharina Ludwig - ice jewels Katharina Ludwig – ice jewels

http://irisjewelry.it/files/2010/03/gioielli-by-yoav-kotik.jpg
Yoav Kotik

513 dans Helena JOHANSSON (SE)
Mason Douglas  (US) soda can rings

aesthetic+nutrition1 dans Hilde De DECKER (BE)Aesthetic+Nutrition2 dans Hsiang-Ling LU (Taiwan)

 project ‘Aesthetic Nutrition’, Ana Cardim

« How does nutrition, on a socio-economic level and in its’ most basic form, relate to the aesthetic values of today’s society? This question can only come from Ana Cardim, who has a passion to make interactive, sociable jewelry-art. This takes shape in her recent project “Aesthetic Nutrition”.
The project consists of a video, projected on a wall, three heaps of rice, chopsticks and three bowls containing one, two and three hand-made rice grains. Each grain is made from pure gold, weighs half a gram, and has the economic value of about 15 kilos of eatable dry rice. (How many grains would that be?) In total, the project exists of three grams of gold, enough for a beautiful gold ring, and 90 kilo’s of rice, which can provide a meal for 1800 people! In the video you’ll see a girl trying to eat it all… Everyone that visited ‘Aesthetic Nutrition’ was given a cup filled with delicious rice-pudding.
With her project ‘Aesthetic Nutrition’, Ana Cardim seeks attention for the idea of the difference in quantity, and levels of value, between the esthetic value of gold and the value given to the basic human need for food.
I am glad this project touches the subject of discrepancy in value and quantity from an aesthetic point of view. The rice-colored, ceramic bowls that contain the golden grains, are shaped like up-side-down rice heaps and make a good visual contrast with the actual heaps of rice. The chopsticks both separate and connect the two, underlining the visual link. The video shown on the wall, completes the display. The action of handing out cups of rice-pudding causes the viewer to connect to the exhibit. How can you resist thinking about the subject, when looking at the serene beauty of the whole set-up, whilst eating yummie pudding!
The launch of the ‘Aesthetic Nutrition’ project happened on the 6th of July, and was commissioned by Bypass, an art magazine that invites artists to write about their work. The second magazine is due to be released in October 2010 and will contain an extensive article by Ana Cardim.
‘Aesthetic Nutrition’ was held in Appleton Square, which is a multivalent space geared towards diverse artistic manifestations and towards the sharing of multidisciplinary experiences. It was the first time that they had work on display by a jewelry designer! » (Broes van Iterson)

Image de prévisualisation YouTube

(anacardimproductions)

 

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