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27/09/2016

EXPO ‘Swedes and Belgian Blues’ – Gallery Four, Göteborg (SE) – 2 Sept.-1er Oct. 2016

Swedes and Belgian Blues

Four Gothenburg, Sweden

Opening: September 2nd, 17-21

FOUR - Swedes and Belgian Blues

Chocolate, beer and Jean-Claude Van Damme, waffles, the European parliament and Brussels sprouts. Sadly enough people probably also associate Belgium with terror and cattle with breeding problems.
When we think of Belgium we think of jewellery! Not only of the diamonds in Antwerp, but predominantly of the eminent art jewellery scene. Belgium has some of the most famous contemporary jewellery schools, – galleries and – artists. Playful, thought provoking and with an elegant confidence, the art jewellery culture is vibrant and powerful.
Galerie Beyond (formerly Beyond Fashion) is situated in the central parts of Antwerp and has been run by Karin De Buysere and René Darmont for 15 years. The work of the artists that the gallery represents has a conceptual strength and challenges the traditional perception of what jewellery is. The connection to the lively fashion- and art field is unmistakable while classic goldsmithing seams more distant.
The exhibition ”Swedes and Belgian Blues” is a co-operation between Galerie Beyond and Four, showing work by 5 Belgian and 5 Swedish artists. Sweden is also a well-known country in the international jewellery world and we also have an influential fashion scene. Are there any similarities? Are there any differences? To connect a certain aesthetic or a style to a nationality might be impossible in a society where the global art scene is only a browser away. But is there something of a local culture? Swedes and Belgian Blues will be shown in Antwerp in January 2017.

  

Participating artists:
Tine De RuysserJonathan HensArnaud SprimontAnneleen SwillenKaren VanmolKarin Roy AnderssonLinnéa ErikssonHanna LiljenbergAnna Norrgrann – Sanna Svedestedt Carboo.

Karin Roy Andersson - brooch from 2016 made of recycled plastics (from lunch trays), thread and steel - FOUR: Karin Roy Andersson – My brooch from 2016 made of recycled plastics (from lunch trays), thread and steel –
« Since I was a kid I have had a strong interest in animals, especially fish and birds. I love their shape, their movements and the pattern of the feathers and scales, their bodies, faces and exceptional behaviour. The pieces on show at « Swedes and Belgian Blues » are made of plastics collected from garbage containers and ditch-banks. I keep my eyes open when I go to the hairdresser; I search in my friends’ bathrooms and fridges – you have to be observant if you are going to find that perfect jewellery material!

Sanna Svedestedt Carboo-  Building blocks, 2013, necklace made of naturally tanned leather Sanna Svedestedt Carboo -  Building blocks, 2013, necklace made of naturally tanned leatherSanna Svedestedt Carboo works with leather. In this material she create sharp and exact shapes that look heavy but are surprisingly light. Svedestedt Carboo uses old leather shaping techniques and Cuir Bouilli, adding a contemporary expression to a classic craft tradition. With the right touch, boiling hot water and quite a lot of stubbornness, the leather is transformed into the desired form. « I am drawn to the combination of controlled shapes and soft organic flow, and the clash that takes place in the meeting of the two. »

bracelets by Tine de RuysserTine de Ruysser - Dollar Bracelets, 2016,  made of banknotes
Paper money came into existence because people did not want to carry their gold around. Through time the relation between money and gold has been close but the connection has changed. Now we are hesitating about having too much money in our wallets but many of us are happy to show wealth, status or image by wearing gold. For this piece banknotes are used as a precious material. The notes are put together to create an object. The banknotes are not damaged, so the object can be taken apart and returned to the monetary value of the materials. Just like precious metals.

 Anneleen Swillen - Weights pending 2, 2016, necklace made of resin, plaster, concrete, cotton, rubber and natural stonesAnneleen Swillen – Weights pending 2, 2016, necklace made of resin, plaster, concrete, cotton, rubber and natural stones
Inspired by the way daily goods are consumed and (re)presented, Anneleen Swillen draws attention to the intrinsic but often unnoticed qualities of everyday objects. Weights, pending is an artistic research into both formal and functional potential of disposable packaging for object and jewellery design.  The necklace is composed of pairs of various pendants that differ in weight, shape and size. Both sides of the necklace can be shifted and scaled in search for a balance – or imbalance – when worn. Carrying these weights as a collection of charms around the neck and shoulders does not go unnoticed for the wearer or the viewer.

Anna Norrgrann - Necklaces made of aluminium and nylon threadAnna Norrgrann – Necklaces made of aluminium and nylon thread
« I’m attracted to the qualities in different kinds of metal that make them perform in various ways, depending on the treatment. I see my work as collaboration between these qualities in the material and my own technical skills. m attracted to the qualities in different kinds of metal that make them perform in various ways, depending on the treatment. I see my work as collaboration between these qualities in the material and my own technical skills. » – Anna Norrgrann

Karen Vanmol - AKA #Iseefaces, brooches -made of wood, laminate and steelKaren Vanmol - AKA #Iseefaces, brooches -made of wood, laminate and steel
« The human mind has the desire to name things. Our brains are so eager to recognize patterns and correlations they see them where there are none. Have a closer look at Karen Vanmol’s brooches and let us know what you see. »

Hanna Liljenberg - Untitled, brooches, 2016- made of black burned iron, oil paint, varnish and steelHanna Liljenberg - Untitled, brooches, 2016- made of black burned iron, oil paint, varnish and steel
« My jewellery is in constant collision between the organic and the rigidly constructed. In this project I wanted to simplify the construction of my jewellery to the greatest extent, and I have been working with old painting techniques to produce light in the darkness. Having previously worked with repetitions of one single form, I have now tried to shape one sprawling piece into a cohesive unit. » – Hanna Liljenberg

Jonathan Hens - Human 2.0 #1, #4 and #5, necklaces made of pewter, suture and latex  Jonathan Hens – Human 2.0 #1, #4 and #5, necklaces made of pewter, suture and latex 
 - Jonathan Hens designs are the result of an intense search for an alternative identity. Rather than a classic example of beauty, the viewer gets to see Hens’ interpretation of it.

Linnéa Eriksson- Connect, necklace 2016 made of steel, oxidized silver and spray paint.Linnéa Eriksson- Connect, necklace 2016 made of steel, oxidized silver and spray paint.
Linnéa Eriksson’s work is a reflection of her surroundings. She finds inspiration in pieces of metal or in the feeling of a heavy beat. « It is a combination of traditional jewellery crafts and the modern street expression. »

 Arnaud Sprimont  - Microbiota 1, brooch, 2016 -made of polyurethane resin, steel and pigments.Arnaud Sprimont  – Microbiota 1, brooch, 2016 -made of polyurethane resin, steel and pigments. 
Supported both by a scientific and empirical observation of the cells and patterns of the living, Arnaud Sprimont investigates an invisible and frightening universe.  The exploration of the strong ties that exist between human being and nature is the heart of his approach and of his will to define himself, in nature and in harmony with it, as microbiotes living in symbiosis with their host.
 

Nordhemsgatan 74,
Göteborg (Sweden)
+46 73 086 42 49
New ppen hours! Wed, Thu, Fri 12-18, Sat 12-16

 

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03/01/2016

COUP de COEUR / COUP de BLUES : Inbar SHAHAK

Classé dans : Inbar SHAHAK (IL),Israel (IL),SHENKAR (IL),techniques textiles — bijoucontemporain @ 22:50

Inbar Shahak and her « textile » jewelry

Kibbutz honours textile tradition. The jewellery of Inbar Shahak is a tribute to women who for centuries have woven and decorated fabrics following techniques and traditions that have remained virtually unaltered. Shahak copies the patterns and transfers them to metal. “In this way one pattern can produce an entirely different design by using a different material”, Shahak explains

For the « Fauna & Flora » collection 2015 : « The whole world to me is made out of textile, this grey word that we don’t seem to think about much represent all aspects of our life. Starting from our very own clothing and going up to industrial product for space. Textile to me is the ancient work of the woman, in some culture it is their only way to express themselves or even to make their living. It is often a Sisyphean work that requires observing and inner listening, and that is very distinctive to the rhythm of the industrial world that we are living in today. »

Inbar Shahak -  My blue heart  - at Joya 2015: Inbar Shahak -  « My blue heart »  – presented at Joya 2015

Inbar Shahak - brooch - JOYA 2015 - Fairy garden - Fauna y Flora collection for Joya Barcelona: Inbar Shahak – brooch « Fairy garden »- Fauna y Flora collection – JOYA 2015

Inbar Shahak -  2015 -   I had a dream once that there is fine chocolate in lapis lazuli bite: Inbar Shahak -  2015 -   I had a dream once that there is fine chocolate in lapis lazuli bite

Inbar Shahak-   Pure and perfect with eyes like the sea after storm #joya2015: Inbar Shahak-   Pure and perfect with eyes like the sea after storm -joya2015

Necklace | Inbar Shahak.  Draw by hand and etched into metal and plated with handmade verdigris colours: Inbar Shahak – Necklace  2014 .  Draw by hand and etched into metal a plated with handmade verdigris colours – part of the BARIKA collection ; characterized by dozens of small metal lace leaves combined together for a unique piece (to buy here on Etsy)

Taking inspiration from ancient lace and crochet patterns with Inbar Shahak-textile jewelry VERDIGRIS Collection: Taking inspiration from ancient lace and crochet patterns with Inbar Shahak-textile jewelry VERDIGRIS Collection

Inbar Shahak    Sparkling Blue blossom: Inbar Shahak    Sparkling Blue blossom 2015

Inbar Shahak -    Weaving tiles necklace: Inbar Shahak -    Weaving tiles necklace

Inbar Shahak - textile jewelry - weaving tiles necklace - detailInbar Shahak – textile jewelry – weaving tiles necklace – detail

Inbar Shahak - textile jewelry  Inbar Shahak – textile jewelry

Inbar Shahak is a textile designer by profession, graduating from the Shenkar University of Fashion in Israel, where she majored in weaving, knitting & printing. After working in the garment industry for Calvin Klein, the urge to create handmade textiles art drove her to establish her own succesfull brand of textile jewelry. Inbar’s jewelry is inspired by delicate tracery patterns and her greatest passion is combineing ancient textile-making traditions with new modern techniques. Inbar’s collections are all drawn by hand and printed over metal at her atelier in Kibbutz Maagan Michael.She regularly collaborates with fashion designers around the world.

17/06/2014

EXPO ‘The paper talk show – paper and textile jewellery’ – Galeria Tereza Seabra, Lisboa (PT) – 21 Juin- 2014

Classé dans : Exposition/Exhibition,GALERIES,papier / paper,Portugal (PT),textile — bijoucontemporain @ 3:07

The paper talk show – paper and textile jewellery” opens at 5pm on Saturday, June 21, at Galeria Tereza Seabra – Studio Jewellery, with works by eight artists, from Portugal and other countries, that have chosen, in some cases more than three decades ago, paper and / or textiles as their prime material.

inauguration samedi 21 juin  17:00 – 21:00

Galeria Tereza Seabra.

This exhibition, the first of its kind in Portugal, wishes to emphasize the sophistication and mastery with which these artists have converted common into noble materials.

 

Janna Syvanoja (FN), Kazumi Nagano (JP), Lisa Catterson (UK), Maria José Oliveira (PT), Michihiro Sato (JP), Pedro Sequeira (PT), Ritsuko Ogura (JP) e Verena Sieber-Fuchs (CH).

 

Verena Sieber FuchsVerena Sieber-Fuchs
Verena Sieber-Fuchs  Necklace "Springli" - chocolate paper and wire
Verena Sieber-Fuchs – Necklace « Springli » – chocolate paper and wire
Ritsuko Ogura Bracelet - painted corrugated cardboard and silverRitsuko Ogura – Bracelet – painted corrugated cardboard and silver
Pedro Sequeira Untitled (wear) - cotton, paper and body dirtPedro Sequeira -  Untitled (wear) – cotton, paper and body dirt
Michihiro Sato  Brooch “I don’t have an evil heart” - paper, silver, brass, synthetic Japanese laquer and stainless steelMichihiro Sato - Brooch “I don’t have an evil heart” – paper, silver, brass, synthetic Japanese laquer and stainless steel
Maria José Oliveira “Sculpture for a body”; raw canvas, gold leaf and clayMaria José Oliveira - “Sculpture for a body”; raw canvas, gold leaf and clay
Lisa Catterson Brooch "White contour" - oxidised white metal and handmade paperLisa Catterson Brooch « White contour » – oxidised white metal and handmade paper
Kazumi NaganoAlfinetes - Fibra de bambu, papel de linho, ouro 18ct, prata, pintado com "sumi"Brooches - Bamboo fibre, linen paper, gold 18ct, silver, painted with "sumi"Kazumi Nagano – Brooches – Bamboo fibre, linen paper, gold 18ct, silver, painted with « sumi »
 
Janna SyvanojaColar - papel reciclado (mapas) e fio de açoNecklace - recycled paper (maps) and steelwireJanna Syvanoja - Necklace – recycled paper (maps) and steelwire
Galeria Tereza Seabra
Rua da Rosa, 158/160A,
1200-389 Lisbonne
Tel. 213 425 383
tereza@terezaseabra.com

02/08/2011

«Cheveu un bijou !!!» hurle la Dame de Coeur

«!Tranchez-lui la tête!!! Cheveu un bijou!!!» hurle la Dame de Coeur, dans Alice …

mais … faut pas se faire de cheveux dans la vie !! ici, on est à un poil du bijou ….. si ce ne sont pas des bijoux au poil !! ;-)

Au-delà du dégoût que peut susciter l’emploi d’un tel matériau (à la « grande époque » du bijou en cheveux, à l’époque Victorienne, mode lancée par la très romantique Reine Victoria, cet engouement eu un grand succès dans les pays anglo-saxons mais suscita du dégoût et un certain rejet en France et dans le reste de l’Europe), ce n’est pas étonnant, à mon sens, qu’il suscite tant d’attrait parmi la jeune génération de bijoutiers : à force d’interroger le rapport du bijou au corps, le corps s’incorpore petit à petit au bijou lui-même.

 

Tiffany Parbs – Extension (2008) – hand woven hair, digital print – photo Terence Bogue: Tiffany Parbs, Piece, 2008:

 Tiffany Parbs – Extension (2008) – hand woven hair, digital print – photo Terence Bogue

« Contemporary art is getting hairy Long and silky; short and curly. Blond, brunette, red or grey. It’s hair and it has an important part in our perceptions of ourselves. It defines gender and visual identity, and is playing an important role lately in art — in jewelry, drawings or in mixed media pieces. Hair has long had a role in the work of artists and artisans. In the Victorian era, creating jewelry from hair became almost as popular as knitting or crocheting.  By using one’s own hair or that of a beloved family member women were able to design bracelets, chains, rings and earrings. Apart from jewelry, mourners would weave hair into decorative, memorial wall hangings. By the early 1900s using hair fell out of fashion. During the past 15 years, however, there’s been a fascination among contemporary artists using skin, nail clippings, urine and hair to create various forms of art. Fascinated with Victorian hair jewelry, artist and jewelry designer Melanie Bilenker has revived the art form. Like the Victorians who kept lockets of hair and miniature portraits painted with ground hair and pigment to secure the memory of a lost love, renders the « quiet minutes, the mundane, the domestic, the ordinary moments » from her own tresses. Bilenker observes various daily activities such as cleaning, bathing, dressing, resting or eating. She chronicles the private moments by setting the camera’s timer and goes about her business which can be anything such as eating chocolate, writing a note or enjoying a Saturday morning breakfast. Once she has the photographed images, Bilenker creates tracings of the forms within ghem with thousands of tiny strands of her own hair – which are eventually fixed in resin.  She meticulously layers several different drawings to give the appearance of depth, one as foreground, another as background.  The entire process takes the course of about a week of laying hairs, mixing resin, and then allowing it to cure.  Says Bilenker, « Once the hairs are set as line drawings within resin, I shape, smooth and polish the exterior.  I then fabricate the jewelry findings and set them.  The piece is then complete. »" (Courtesy Melanie Bilenker and Sienna Gallery)

Melanie Bilenker Jewelry:   Oh, and they're made from human hair.: Melanie Bilenker (courtesy of Sienna Gallery) - miniature portraits painted with ground hair

hair jewelry by Melanie Bilenker: Melanie Bilenker

« Note » by Melanie Bilenker (courtesy of Sienna Gallery) - miniature portraits painted with ground hair: Each line in these drawings by Melanie Bilenker are made using strands of the artist’s own hair! The delicate drawings depict quiet scenes of domestic life which are sealed in Victorian-inspired brooches and rings.

 Galatée Pestre -Broche dans le sens du poil: Galatée Pestre- Le Sens des Bijoux – Broche ‘Dans le Sens du Poil’ – argent, poils, inox (photo by flavorflavy)

galatée Pestre - broche poils: Galatée Pestre- Le Sens des Bijoux – Broche ‘Dans le Sens du Poil’ (detail)

Nicola Scholz  Necklace: Untitled 2006  Pubic hair, gold: Nicola Scholz  Necklace: Untitled 2006  Pubic hair, gold

Rodrigo Acosta - necklace - pelo natural: Rodrigo Acosta – necklace – pelo natural

Rodrigo Acosta Arias  Lo permisivo de tu Dios, 2009.  Pendientes,pelo,latón, plata.  Fotos: Adolfo López      El cabello como armar de seducción y poder en el contexto de las distintas religiones a las que el hombre quiere pertenecer.  El pelo y lo prohibido, el pelo y la sabiduría, el pelo y la lujuria, el pelo y lo permisivo de tu Dios.: Rodrigo Acosta-  « Lo permisivo de tu Dios », 2009.  Pendientes,pelo,latón, plata.  Fotos: Adolfo López  -   El cabello como armar de seducción y poder en el contexto de las distintas religiones a las que el hombre quiere pertenecer.  El pelo y lo prohibido, el pelo y la sabiduría, el pelo y la lujuria, el pelo y lo permisivo de tu Dios

Agnes Larsson, necklace, hair jewelry: Agnes Larsson, necklace, hair jewelry 2015

Agnes Larsson, necklace, hair jewelry - Remains 9, 2015, necklace, calf skin, aluminum, horse hair, 16 x 9 x 1.25 inches ("Agnes Larsson - Remains" EXHIBITION at Ornamentum gallery  August 8 – September 7, 2015 ): Agnes Larsson, necklace, hair jewelry – Remains 9, 2015, necklace, calf skin, aluminum, horse hair, 16 x 9 x 1.25 inches (« Agnes Larsson – Remains » EXHIBITION at Ornamentum gallery  August 8 – September 7, 2015 )

Carolina Hornauer Necklace: The collector 2009 Cotton thread, synthetic cotton, river pearls, silver, patina, steel wire, enamel on cooper, magnets, burned wood, tinted hair, parts constructed, silver ball chain, silver tube textured, stone, silver charcoal (casting piece): Carolina Hornauer Necklace: The collector 2009 Cotton thread, synthetic cotton, river pearls, silver, patina, steel wire, enamel on cooper, magnets, burned wood, tinted hair, parts constructed, silver ball chain, silver tube textured, stone, silver charcoal (casting piece)

Carla Castiajo brooch Auto Portrait, 2007 gold, hair70 x 50 x 10 mm (via Contemporary jewellery - brooches) Carla Castiajo -  brooch « Auto Portrait », 2007 – gold, hair

Carla Castiajo   "horror vacui"  "Full of you"   brooch 6 x 5 x 3 cm   Gold, hair: Carla Castiajo   « horror vacui »  « Full of you »   brooch (back) 6 x 5 x 3 cm   Gold, hair

Katie Wightman | Exploring the fragility of the female form. Experiencing hair loss as the result of illness, Katie uses precious metals and human hair to release the stigma and create pieces with a new found sense of beauty and power.Katie Wightman | Exploring the fragility of the female form. Experiencing hair loss as the result of illness, Katie uses precious metals and human hair to release the stigma and create pieces with a new found sense of beauty and power.

"Purity" 2008 Tiina Rajakallio - human hair: Tiina Rajakallio « Purity » 2008 – human hair

Monika Strasser – Hair Brooch 2012 - Hair, rubber, silver, steel – Series: On Beauty: Monika Strasser – Hair Brooch 2012 - Hair, rubber, silver, steel – Series: On Beauty

Maho Takahashi - central st Martins 2012 - “Celebration necklace” Human hair, glue: Maho Takahashi  – “Celebration necklace” Human hair, glue - Central st Martins 2012

Noon Passama - KNOBS - graduate project 2010 - Brooch and Lucia King's portrait: photography - DAN/NAD: Noon Passama – KNOBS – graduate project 2010 – Brooch (“Black Hair Knob” brooch, 2010. Antelope fur, sheepskin, silver.) and Lucia King’s portrait: photography – DAN/NAD

Mielle Harvey - Hair Colored Red: 1998, ca. 14in, human hair, dye, bone: Mielle Harvey – Hair Colored Red: 1998, ca. 14in, human hair, dye, bone (série « city tribal amulets »)

Mielle Harvey - City Tribal amulets serie - Blond Hair and Pearls: 1998, ca. 14in, human hair, pearls, 14k gold: Mielle Harvey (série « city tribal amulets« ) – Blond Hair and Pearls: 1998, ca. 14in, human hair, pearls, 14k gold

Marie Pendaries - "Boucle d’or"  Collier. Cheveu et or (hair & gold necklace): Marie Pendariès - Boucle d’or. Collier. Cheveu et or (gold & hair necklace)
Claire Baloge - "mais, vous avez un poil dans la main !"  2005  Hair, silver: Claire Baloge - « mais, vous avez un poil dans la main ! »  2005  Hair, silver
Claire Baloge - "Mes Tendres Poils"  -  2005 - hair, natural fibers, oxydated copper   Claire Baloge - « Mes Tendres Poils »  -  2005 – hair, natural fibers, oxydated copper   
 Marie Masson - necklace Cravate 2011, silver, horse hair, ribbon: Marie Masson – necklace Cravate 2011, silver, horse hair, ribbon
Marie Masson, France Brooch, Toiletrie 04 Hair transplant, 2013 Latex, horse hair, semolina, leather, 7,5 x 5 cm Leatherwork technics, embroidery, jewellery technics. photo : Marie Masson: Marie Masson, France Brooch, Toiletrie 04 Hair transplant, 2013 Latex, horse hair, semolina, leather, 7,5 x 5 cm Leatherwork technics, embroidery, jewellery technics. photo : Marie Masson
Eun Yeong Jeong -'Growth' from Growth series - copper, wool, wood, horse hair: Eun Yeong Jeong -’Growth’ from Growth series – copper, wool, wood, horse hair

Farah Bandookwala  - redhead neckpiece - sterling silver, fake hair    Farah Bandookwala (UK) redhead neckpiece – silver, fake hair

Farah Bandookwala (UK) –  "which one are you today ?" neckpiece 2007 - silver, fake hair  http://farahbjewellery.files.wordpress.com/2010/06/which-one-are-you-today-neckpiece3.jpg?w=460Farah Bandookwala (UK) « which one are you today ? »  neckpiece – 2007 – silver, fake hair 

FARAH BANDOOKWALA -blue hair brooch  Farah Bandookwala (UK) – blue hair brooch

FARAH BANDOOKWALA - platinum ring Farah Bandookwala (UK) « platinum » ring

Sint Lucas Antwerpen School - JOYA 2012 - Sandra Buyck: Sandra Buyck - fake hair neckpiece – Sint Lucas Antwerpen School – JOYA 2012

Clémentine Despocq - 'Vénus' - Parure de corps/Body ornament - Laiton, cheveux synthétiques/ Brass, synthetic hair  - (AFEDAP ) 2010: Clémentine Despocq – ‘Vénus’ – Parure de corps/Body ornament – Laiton, cheveux synthétiques/ Brass, synthetic hair  – (AFEDAP ) 2010

Olivia Creber - "Keeping Schtum" - resin, acrylic, brown horse hair - Edinburgh College of Art 2013: Olivia Creber - « Keeping Schtum » – resin, acrylic, brown horse hair – Edinburgh College of Art 2013

Roxane Amirouche  PERSONA - 2012  Masque de nuit  Laiton, cuir retourné, cheveux synthétiques,  Elastique  crédit photo Patricia Lemaire (diplome AFEDAP 2012): Roxane Amirouche  PERSONA – 2012  Masque de nuit  Laiton, cuir retourné, cheveux synthétiques,  Elastique  crédit photo Patricia Lemaire (diplome AFEDAP Paris 2012)

Ana Carolina Escobar (AFEDAP 2012) "chez moi chez moi" doble 3- cheveux , laiton, film thermopastique, papier: Ana Carolina Escobar (AFEDAP 2012) collier « chez moi chez moi »- cheveux , laiton, film thermopastique, papier

Julia ValleJulia Valle (Bresil) – hairy accessories

Mona Hatoum, Hair Necklace, 1995 - detail "human thoughts may not be what they appear to be at 1st glance, an idea that this necklace, made from the artist's hair, play with": Mona Hatoum, Hair Necklace, 1995 – detail « human thoughts may not be what they appear to be at 1st glance, an idea that this necklace, made from the artist’s hair, play with » 

Castle in the Air / ÕhuLoss.   - Kadri Mälk Brooch: Lossylong, 2013 Darkened silver, human hair, purple spinel: Kadri Mälk (Castle in the Air / ÕhuLoss) Brooch: Lossylong, 2013 Darkened silver, human hair, purple spinelPolly Van der Glas (AU) – hair jewelry – Sterling silver cast human hair plait necklace & Human hair knuckle ring 2008: Polly Van der Glas (AU) – hair jewelry – Sterling silver cast human hair plait necklace & Human hair knuckle ring 2008

Polly van der Glas -'red hair neckpiece' 2008 Polly van der Glas -’red hair neckpiece’ 2008  -oxidised copper, red Human hair, oxidised sterling silver

Polly van der Glas (AU)  -  Since 2005 my work has centered on materials that were once attached to our bodies: human hair, teeth and fingernails. These materials were at one time part of an intimate, elaborate maintenance ritual.: Polly van der Glas (AU)  -  Since 2005 my work has centered on materials that were once attached to our bodies: human hair, teeth and fingernails. These materials were at one time part of an intimate, elaborate maintenance ritual.

Juan Harnie - (MAD) - Hair (2014) Brooches & necklaces. Resin, human hair, elastic band, silver.: Juan Harnie – (MAD) – Hair (2014) Brooches & necklaces. Resin, human hair, elastic band, silver

Juan Harnie - Hair (2014) Brooches & necklaces. Resin, human hair, elastic band, silver.: Juan Harnie – Hair (2014) Brooches & necklaces. Resin, human hair, elastic band, silver

Untitled ("a hairy tale"), Nina Khazani, Human hair, gold-plated brass and linen - Royal College of Art 2012 dregree show: Nina Khazani, Untitled (« a hairy tale ») – Human hair, gold-plated brass and linen – Royal College of Art 2012 dregree show

Anna Schwamborn, who has worked for Alexander McQueen and Vivienne Westwood and is studying at Central St Martins in London, uses real human hair and human ashes mixed with black bone china. Moxern Mourning Jewellery: Anna Schwamborn, who has worked for Alexander McQueen and Vivienne Westwood and is studying at Central St Martins in London, uses real human hair and human ashes mixed with black bone china. Moxern Mourning Jewellery - Mourning jewelry, bracelet, human cremated ashes mixed with black bone china, human hair, « Wearable body pieces including human material « Morning Objects – The collection of objects contains post-mortem memorial pieces which include aspects of a deceased corpse, namely hair and cremated ashes »

Alchimia Gallery presents Chiara Cavallo "Disturbs" - my curly hair, nylon tube, thread: Chiara Cavallo « Disturbs » – my curly hair, nylon tube, thread (Alchimia)

Géraldine Luttenbacher -NOIR comme BASALTE 2015: Géraldine Luttenbacher - at « NOIR comme BASALTE » 2015

Sylvia Burgoa -’Raiponce–La Colère’/'Rapunzel–Anger’ -- Broche et Collier/Brooch and necklace -- Argent, photographies acetate, fil d’or, fil d’argent, cuir/Silver, photographic acetate, gold thread, silver thread, leather: Sylvia Burgoa -’Raiponce–La Colère’/'Rapunzel–Anger’ – Broche et Collier/Brooch and necklace – Argent, photographies acetate, fil d’or, fil d’argent, cuir/Silver, photographic acetate, gold thread, silver thread, leather – 2010

«Cheveu un bijou !!!» hurle la Dame de Coeur dans Agnes LARSSON (SE) Gejaagd-door-de-Wind-Willemstijn-2Francis Willemstijn- Gejaagd door de Wind, Zuiderzeemuseum – 2009 – Collier – Haar (human hair), git, glas, zilver, textiel Collectie Zuiderzeemuseum, Enkhuizen, NL

Francis Willemstijn - bracelet "Hair", from "gone with the wind" - silver, jet, glass, human hair, textile: Francis Willemstijn – bracelet « Hair », from « gone with the wind » – silver, jet, glass, human hair, textile

 Amy Tavern -Forget Me Not sterling silver, spray paint, picture of my father, my father's hair - detail: Amy Tavern - »Forget Me Not » sterling silver, spray paint, picture of my father, my father’s hair – detailAna Goalabré - bagues 'j'aimerais tant passer mes doigts dans tes cheveux' 1997 Ana Goalabré – J’aimerais tant passer mes doigts dans tes cheveux – Cheveux et résine – 1997  tous droits réservés.
« Puisant dans la tradition des bijoux en cheveux, matériau depuis longtemps collecté dans des foires et marchés ou dans l’intimité des familles pour devenir parure, Ana Goalabré se joue de cet usage en coupant une de ses mèches et en y taillant une bague qu’elle envoie à un homme accompagnée de la missive «J’aimerais tant passer mes doigts dans tes cheveux». Cette phrase, appel érotique d’un corps d’artiste, devient le titre d’une série déclinant divers contenus aimants et sensuels, traditionnellement gardés jusqu’alors implicites au nom d’une morale et d’une bienséance rigoureuse et qui tout à coup semblent avoir gagné le droit de dire clairement le désir, qu’il s’agisse de celui d’une mère, d’un père, d’une amante, d’un amant… et ce dans toute sa trivialité. Pourtant, il n’y a aucune charge obscène dans ces bagues. Qu’elles soient très travaillées ou reprennent le mouvement naturel d’une mèche de cheveux, elles nous renvoient à nos jeux tactiles dans les cheveux de l’autre, en fixant le mouvement, image arrêtée puis détachée du corps pour n’en garder que la sensation. »
(Monique Manoha – Actes du colloque international Projections : des organes hors du corps (13-14 octobre 2006)

Rickson Salkeld   Rickson Salkeld – I am interested in the feminine ideal in relation to the female body.  I enjoy creating work that expresses my wish to both conform and  rebel against ideas of femininity. Through various materials and  processes I take from my own body both physically and metaphorically.  Hair can be used to comment on feminine allure and power, while  clear resin is used to symbolize an abundance of tears

 Azahara Santoro - Tricomotealcyalgenfobia- Miedo irracional al pelo de las mariposas de coral plateado. Piezas unicas  Azahara Santoro  (EASD Valencia 2012) -   bagues avec cheveux (rings with hair) 
Tricomotealcyalgenfobia- Miedo irracional al pelo de las mariposas de coral plateado. Piezas unicas

maria ignacia walker - MFA JEWELLERY AND BODY ORNAMENTS Alchimia contemporary jewellery School 2013 - 2015: Maria Ignacia Walker – MFA JEWELLERY AND BODY ORNAMENTS Alchimia contemporary jewellerySchool 2013 – 2015 –   A simple fact of life that María Ignacia Walker obsesses over: The shedding of hair. The obsession – losing them, collecting them, ordering them, measuring them and archiving them. The desire – to preserve these losses – It gives rise to “transcendieron”.  The discourse is not about beauty and it is not about sensuality, not even about cultural symbols that hair carries.  How much hair do you lose constantly, everyday ? How many pieces grow out of your body and die every moment ?  “The transcendents” are a homage to the moments when you lose your hair. Captured and immortalized in the fragility of the porcelain, they give perpetuity and freeze all their expressions in the moment of their detachment from the body. With a threading method, the artist uses horsehair as connectors. They show the lightness, energy and freedom, while demonstrating the real, natural movement of the hair. Together with the act of keeping and protecting the hair in a porcelain form, they are given another life that keeps them present through their absence.

Maria Ignacia Walker  - 2015 - TRASCENDIERON - Materials: Porcelain / Horsehair / Resin / Gold thread / Gold: Maria Ignacia Walker  – 2015 – TRASCENDIERON – Materials: Porcelain / Horsehair / Resin / Gold thread/ Gold

María Ignacia Walker Contemporary Jewellery - 2015 - TRASCENDIERON: María Ignacia Walker  – 2015 – TRASCENDIERON

María Ignacia Walker   - 2015 - TRASCENDIERON: María Ignacia Walker  – 2015 – TRASCENDIERON

Maria Ignacia Walker Trascendieron 1 2015 Necklace-object, 28 x 45 cm, porcelain, horse hair and resin Photo by Marcos Bucco, courtesy of the artist: Maria Ignacia Walker – 2015 – TRASCENDIERON – Necklace-object, 28 x 45 cm, porcelain, horse hair and resin Photo by Marcos Bucco, courtesy of the artist

Maria Ignacia Walker - 2015 - TRASCENDIERON - necklace (detail)Maria Ignacia Walker – 2015 – TRASCENDIERON – necklace (detail)

Sébastien Carré - collection Hair Landscape - 2016: Sébastien Carré – collection Hair Landscape – 2016 broche (bijoux réalisés pour une collaboration avec le blogger Cut by Fred )

MARION DELARUE-FR Mania-Traditional korean lacquer, korean hair. 2011  MARION DELARUE - Mania :

MARION DELARUE — « Mania » – Traditional korean lacquer, korean hair. 2011 « During my stay in South Korea, I was struck by Korean ladies’ habits of playing with their hair fringes. As soon as they had the chance they would roll up their hair by making it slide between their forefinger and their middle finger and then pull on it softly. Since I was often bored during such long classes taught in a language I don’t understand, I spent time observing the students… »

Dionea Rocha Watt Pendant: Protection Locket, 2006 Silver, human hair 3.1 x 5.5 cm Piece for section History, Memory, Tradition: Dionea Rocha Watt Pendant: Protection Locket, 2006 Silver, human hair 3.1 x 5.5 cm Piece for section History, Memory, Tradition (at  « Think Twice: New Latin American Jewellery » 2010-2011)

Dionea Rocha Watt (Brazil) - locket/hair.: Dionea Rocha Watt (Brazil) – locket/hair

Raluca Buzura’s collection, “Hairy Tales” comes out of an imaginary world and it’s a combination of new materials such as polymeric rubber, pumice, artificial leather and artificial hair.   Raluca Buzura, “Hairy Tales”, Romania  Here come the Authors! 7 - 8 November | Sala Dalles | Bucharest: Raluca Buzura’s collection, “Hairy Tales” comes out of an imaginary world and it’s a combination of new materials such as polymeric rubber, pumice, artificial leather and artificial hair.  
at Autor 2015 – 7 – 8 November | Sala Dalles | Bucharest

Salome Lippuner  Neckpiece: Kin Kanshitsu 2008  Black and natural coloured Urushi on hemp-cloth,gold-leaves,horse tail hair  15 x 10 cm: Salome Lippuner  Neckpiece: Kin Kanshitsu 2008  Black and natural coloured Urushi on hemp-cloth,gold-leaves,horse tail hair  15 x 10 cm

REBECCA HANNON-USA Collier  Crin de cheval: REBECCA HANNON-USA Collier  Crin de cheval
REBECCA HANNON-USA -USA  Nest,Horse Hair Twist: REBECCA HANNON-USA -USA  Nest,Horse Hair Twist
AOI KOTSUHIROI AOI KOTSUHIROI - hair neckpiece – cabello humano en conjunto con piedras y pequeños cráneos
AOI KOTSUHIROI - hair neckpieceAOI KOTSUHIROI - hair neckpiece - cabello humano en conjunto con piedras y pequeños cráneos

 Aoi Kotsuhiroi Horse hair, horn, urushi lacquer and buffalo leather Aoi Kotsuhiroi Horse hair, horn, urushi lacquer and buffalo leather Vika Mayzel  (IL) - necklace (silver,wood,fur,leather)   Out of Cage vikamayzel.com: Vika Mayzel  (IL) – necklace (silver,wood,fur,leather)   Out of Cage vikamayzel.com

Lauren Passenti, Cleaning Fish on a Sunday Morning wrist piece, 2009, sterling silver, horse hair, 8 inches diameter: Lauren Passenti, « Cleaning Fish on a Sunday Morning » wrist piece, 2009, sterling silver, horse hair, 8 inches diameter

Eunmi Chun: Eunmi Chun, zebra, 2011, brooch, small intestine of cow, silver, human hair, gold leaf, 120 x 40 x 75 mm, photo: artist

 Brooch by Eun Mi Chun: Giraffe 2011 23 x 8 x 9 cm. Human hair, gold leaf, small intestine of cow, seeds, silver: Brooch by Eun Mi Chun: Giraffe 2011 23 x 8 x 9 cm. Human hair, gold leaf, small intestine of cow, seeds, silver

 

voir également les bijoux de Kerry Howley :

Decouverte : Kerry HOWLEY – Human hair as jewellery

Kerry Howley human hair jewelry - Kerry Howley Attraction/Aversion is a material exploration of how people can feel seemingly opposing emotional responses simultaneously. The necklaces are made of human hair, a familiar material that we take pride in. However once off of the body hair becomes an innate source of aversion.: Kerry Howley human hair jewelry
Kerry Howley Attraction/Aversion is a material exploration of how people can feel seemingly opposing emotional responses simultaneously. The necklaces are made of human hair, a familiar material that we take pride in. However once off of the body hair becomes an innate source of aversion.

 

 

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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 

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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 !

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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)

20/06/2010

COUP de COEUR ! Naomi Filmer – focus sur ce corps qu’on ignore …

Classé dans : BOOKS / BIBLIO,COUP DE COEUR,Naomi FILMER (UK) — bijoucontemporain @ 0:08

Out of the Ordinary: Spectacular Craft

« Naomi Filmer studied jewellery design and is based in Milan and London. She is preoccupied with the body, fascinated by its shapes, sounds and movements. By capturing a facial gesture on film, or the sound of someone clearing their throat, she abstracts the familiar and makes it strange. With her three-dimensional pieces Filmer chooses not to adorn but to celebrate the human form. By casting an elbow or the back of a knee, and magnifying and isolating them inside glass lenses, she is setting the jewels of the body.
In Filmer’s practice she is both hands-on and hands-off: sketching and casting metal, and also working like a producer by collaborating closely with sound designers, glassblowers and cameramen.
The work I make focuses on ordinary parts of the body that we never really celebrate, but actually there is nothing ordinary about them at all, they are unique to every individual. By isolating them, and making a spectacle out of them, they are made extraordinary. I am interested in recognisable sounds like breathing – there is nothing more familiar than the sound of your own breath. If you capture those sounds, amplify and repeat them, they become unfamiliar.’  »

http://www.coolhunting.com/2010/02/25/fash-jewl-filmer2.jpg
ring – on book “Fashion Jewelry: Catwalk and Couture

naomifilmer-5.jpghttp://i.telegraph.co.uk/telegraph/multimedia/archive/01163/arts-graphics-2005_1163022a.jpg
http://www.craftscouncil.org.uk/files/image/a482583afa638490-breasts.jpg
Naomi Filmer (UK) – Ice Jewellery (Photo: Philip Sayer) 1999
Naomi Filmer- ‘A Sensual Shiver’  2000

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Naomi Filmer, Chocolate Mask, 2001. (Photo: Richard Burbridge)

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Naomi Filmer, Lenticular: ‘Elbow Lens’ (right), 2007

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Naomi Filmer for Anne-Valerie Hash – gold-plated shoulder piece (on right)

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Naomi Filmer, Finished piece: ‘Orchid Neck Piece’ ( left) for Anne Valerie Hash S/S 2009 Couture collection

 

 

BOOK :

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Fashion Jewelry: Catwalk and Couture” – Maia Adams

26/03/2010

EXPO ‘A nadie le amarga un dulce…’ – « Dulcería de Celaya », Mexico city – 17 avril-5 mai 2010

A jewellery exhibition by Felieke van der Leest & Laura de Alba

EXPO- dulce

(Felieke, van der Leest – Brooch ‘Lolo Pop’ Textile, crystal beads, metal)

EXPO 'A nadie le amarga un dulce...' -

« Traditional Mexican candies are as mestizo as Mexicans themselves. Milk and bread came from Europe to meet the native fruits, nuts, berries and flowers, such as chocolate and vanilla, pumpkin, cactus fruit or amaranto seeds. Over 120 varieties of sweets born from the marriage are still sold at Dulcería de Celaya: camotes or  yams mashed into little tubes, glazed and individually wrapped; tepopozte, made from hominy, cinnamon, aniseed, brown sugar and sage leaves; nogada, walnut-based chocolate nougat made with sugar, eggs and butter; muéganos, hollow flour balls coated with caramel, then sprinkled with nuts and palanqueta – peanut brittle.
For the past century-and-a quarter, the place to stock up on such classic Mexican candy both for locals and foreign has been Dulcería Celaya at the Historic Center of Mexico City.  The shop opened in 1874 and, since 1900 it has been located at the Art Nouveau building at the bustling  street of Cinco de Mayo. Originally located at Calle de Plateros (or Street of the Silversmiths), the orated interiors of Dulcería de Celaya could not serve as a better scenery for the meeting of two jewellery artists: Mexican Laura de Alba and Dutch Felieke van der Leest.
Felieke van der Leest is a story teller, who has brought the use of textile art to a new dimension, crocheting impossible animals and fantastic characters. Laura de Alba is a textile artist whose ideas often end up turning into frolicking ornaments. Together, they converse about history, tradition, color, textiles and jewellery and present a small exhibition of their work that, for two weeks will coexist with the cheerful and capricious forms of Mexican sweets. »

Felieke van der Leest, Rings, Laura de Alba, Necklace,
Felieke van der Leest - rings « Candy Rabbit » Textile
Laura de Alba - necklace « Mascara I » Textile, found objects, candy

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Laura de Alba - necklace « Mascara I » during exhibition – Textile, found objects, candy 

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Felieke, van der Leest – Brooches ‘Lolo Pop’  during the exhibition – Textile, crystal beads, metal

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Felieke, van der Leest 

 

 

Evenements parallèles à « Walking the Gray Area« 

 

Dulcería de Celaya, Mexico City
Avenida Cinco de Mayo 39
06000 – Mexico City (Mexico)
Telephone: +52 55 5521 1787