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15/03/2014

EXPO ‘COMMON LANGUAGE’ – Periscope Gallery, Tel-Aviv (Israel) – 15-31 Mars 2014

Classé dans : Exposition/Exhibition,GALERIES,Israel (IL) — bijoucontemporain @ 0:49

« COMMON LANGUAGE »
a  contemporary exhibition in Tel-Aviv at Periscope Gallery, until the 31st of march .

This exhibition features contemporary jewelry makers, highlighting the artists’ personal forms of expression and their methods of creation. The work evokes questions of identity, self-definition, and the role of the jewelry maker as a craftsman, integrating his or her professional skills and practice with a personal philosophy of art making.

Curated by Jean-Yves Le Mignot

the very concept of « Common Language » presented by the Periscope gallery : young designers, newly graduated from the Bezalel Academy of Art and Design and Shenkar College of Engineering and Design, share space with Jakob Bloch and Vered Babai, two recognized artists. Jean-Yves Le Mignot continues to pursue this dialogue by inviting 6 of the most representative French jewellers out of the last major exhibition held at the Musée des Arts Décoratifs in Paris, ‘Dans la ligne de mire’.
Contemporary jewellery talks about identity. No matter how coded, it is a language that transcends the spoken word and instigates an intimate rapport between the creator and his collector. A unique piece often has the power to transcend the aesthetic intent of the creator to become an even more powerful personal expression of the person who wears it.

 

Photo de Naama Haneman.

6 israelian + 6 french jewellers :
Brune BoyerFlorence LehmannSophie HannagarthAude MedoriGéraldine Luttenbacher Agathe Saint-Girons Vered Babaï — Jacob Bloch — Noy Alon — Naama Haneman — Roe Press — Galit Einav

 

Photo de Naama Haneman.
Sophie Hanagarth - bagues "lipstick"Sophie Hanagarth – bagues « lipstick »

 

Agathe Saint GironsAgathe Saint Girons
Aude MedoriAude Medori
Brune Boyer

Brune Boyer

Transitional Object by Noy Alon (Shenkar) created from epoxy putty and gold-plated brass. http://www.noyalon.com/Noy Alon (from Shenkar college) Transitional Object-rings – epoxy putty and gold-plated brass
Vered Babai - "a change of seasons"Vered Babai – « a change of seasons » brooches


 

Periscope Gallery
176 Ben Yehuda street
Tel-Aviv
Tel: +972-3-5226815
Opening hours: Monday- Thursday 17:00-20:00
Friday-Saturday 11:00-13:00

14/02/2013

Enfoncer le CLOU ………….. NAILS (you know …,but not nails…)

Enfoncer le CLOU ………….. ou … « DES CLOUS ! » ?

ne dit-on pas aussi « lui river son clou » ? donc, définitivement,  je vous « rive votre clou » !! :  de toute façon, et de façon certaine, le clou est à la base du bijou. Ne parle-t-on pas de « clous d’oreille » ? donc, voici le ….. « clou du spectacle »  (avant que tout cela ne soit « mis au clou » ………  vous qui avez l’air de penser que cela « ne vaut pas un clou » !) (cf définitions du mot « clou »)

* (nails, les « clous », but NOT the nails « les ongles » …)

Rosa Borredá - antique nails neckpiece - (jewelry with nails) #nails #clousRosa Borredá – antique nails neckpiece

Rosa Borredá - (jewelry with nails) #nails #clousRosa Borredá  – ring

Rosa Borredá (jewelry with nails) #nails #clousRosa Borredá Jewellery (detail)

Rosa Borredá Jewellery - ring (jewelry with nails) #nails #clousRosa Borreda – ring with nails

Rosa Borredá - ring - (jewelry with nails) #nails #clousRosa Borreda – ring

Gilles Jonemann - France, 2003  - bague (ring) fer forgé (jewelry with nails)Gilles Jonemann – France, 2003  – bague (ring) fer forgé

SIERAAD 14 - Vincent Vestrepen - ROYAL ACADEMY OF FINE ARTS ANTWERP -  ‘A TOUCH OF STEEL’ (jewelry with nails): SIERAAD 14 - Vincent Vestrepen - ROYAL ACADEMY OF FINE ARTS ANTWERP -  ‘A TOUCH OF STEEL’  Vincent Vestrepen – 2014 ROYAL ACADEMY OF FINE ARTS ANTWERP –   ‘A TOUCH OF STEEL’ 

Katerina Asam, pendant, nails, cord, 2007 (Alchimia school) (jewelry with nails)Katerina Asam, pendant, nails, cord, 2007 (Alchimia school)

Iris Eichenberg - From the Series X, 2013, necklaces, wood, iron/ copper nails, copper chain (jewelry with nails)Iris Eichenberg - From the Series X, 2013, necklaces, wood, iron/ copper nails, copper chain

Marine Stampfli - (jewelry with nails) #nails #clousMarine Stampfli – nails jewelry

Marine Stampfli - nails bracelet - (jewelry with nails) #nails #clousMarine Stampfli nails bracelet

Rui Kikuchi Physis Neckpiece (Eucalyptus macrocarpa)  Old steel nails, 18K gold  25cm diametre  2009 (jewelry with nails)Rui Kikuchi Physis Neckpiece (Eucalyptus macrocarpa)  Old steel nails, 18K gold  25cm diam- 2009

Janos Gabor VARGA- Nail ring -- iron tube, nails, hard model wax (wax only used to impregnate the gaps between the nails -- does not hold anything) (jewelry with nails)ring 210 in progress – nail ring 2010 Par « Blind Spot Jewellery » (Janos Gabor Varga) – « this ring is a forging experiment and I wasn’t sure if it works. As I forced the nails into the ringhead they naturally took a twisted configuration. Untill the very last moment I wasn’t sure if they will be fixed but at the end they became a massive unit. « ‘Blind Spot Jewellery’ (János Gábor Varga) ring 210 – nail ring – 2010

 Sein auréolés : Sophie HANAGARTH - Des clous plantés dans un disque métallique s’assemblent et se superposent pour former un «sein en armure». - (jewelry with nails) #nails #clousSophie HANAGARTH – « Sein auréolés » – Des clous plantés dans un disque métallique s’assemblent et se superposent pour former un «sein en armure».

Sophie Hanagarth - Semence de tapissier, collier, semence, 1996 - -Tacks-Oats, necklace, nails, 1996 - (jewelry with nails) #nails #clousSophie Hanagarth – « Semence de tapissier », collier, semence, 1996 – -Tacks-Oats, necklace, nails, 1996

Sophie HANAGARTH - - Traquenard, bracelet, fer pur forgé,  -clous de fer à cheval, 2009-  -Trap, bracelet, hand forged pure iron,  -horseshoes-nails, 2009- (jewelry with nails)Sophie HANAGARTH – - Traquenard, bracelet, fer pur forgé, clous de fer à cheval, 2009-  -Trap, bracelet, hand forged pure iron,  -horseshoes-nails, 2009 Catalina Brenes ring - "Belong" / ring / silver 925, iron screw and a ruby / 2010 / series piece. (edited 10 copies) .... www.catalinabrenes.comCatalina Brenes ring « belong » silver 925, iron screw and a ruby / 2010

Viktoria Munzker - "New inferno" - Halskette, 72 cm lang -   Baumwollfaden, alte Sargnägel   2010 - (jewelry with nails) #nails #clousViktoria MunzkerNew inferno – Halskette, 72 cm lang -   Baumwollfaden, alte Sargnägel   2010 Viktoria Munzker - New inferno "No way out" Brosche, 13 cm lang - Silber, Peel-off maske, Sargnagel, Baumwollfaden  2010 -   (jewelry with nails) #nails #clousViktoria Münzker - Brooch: sewed material, old rusty nail and silver -  « New inferno » « No way out » Brosche, 13 cm lang – Silber, Peel-off maske, Sargnagel, Baumwollfaden  2010

Viktoria Munzker - New inferno -  - Sorrow - Anhänger, 11 x 4 x 4 cm    Sargnagel, Gold, Kunststoff mit Copal (Räucherwerk), Samtpuder    2010 - (jewelry with nails) #nails #clousViktoria Munzker - New inferno -  – Sorrow – Anhänger, 11 x 4 x 4 cm    Sargnagel, Gold, Kunststoff mit Copal (Räucherwerk), Samtpuder    2010

Phillip Sajet (earrings with nails)Philip Sajet earrings... lovely use of nails (jewelry with nails)

Philip Sajet earrings with nails (on right, gold, amethysts, nails)

Philip Sajet earrings -  argent niellé, attache en or, clous en fer (jewelry with nails)Philip Sajet earrings with nails -  argent niellé, attache en or, clous en fer (Galerie Diane & Eric Lhoste)

Philip Sajet earrings with nailsPhilip Sajet earrings with nails – (Ornamentum gallery)

Susan Ewington - 'small snow' earrings, sterling silver, glass, steel nails (jewelry with nails)Susan Ewington (AU) – ‘small snow’ earrings, sterling silver, glass, steel nailsFlorence JAQUET - "Kipik" -  Collier - Clous (nails), toile et fil de coton - Pièce unique - 2007  http://www.organiques.ch/images/colliers/kipik.jpg  (jewelry with nails)Florence Jaquet – «Kipik»  Collier – Clous (nails), toile et fil de coton – Pièce unique – 2007

« Dans un monde dominé par le désir de plaire, la séduction peut parfois être ressentie comme une obligation à laquelle l’on aimerait pouvoir se soustraire.
Ce collier à clous a donc été spécialement conçu pour les esprits indépendants, les solitaires heureux et pour toutes les personnes qui ne souhaitent tout simplement pas faire de rencontres.
Il envoie un message clair et fort pour dire «Ne m’approchez pas». Idéal pour les soirées pesantes, il est particulièrement indiqué lors de rendez-vous ennuyeux et convient également lors d’une rupture amoureuse. »

Karl Fritsch nail ringsKarl WHO ?????????????????????? Silver, crystal, 2011 (Karl Fritsch of course !!) (jewelry with nails)

Karl Fritsch  nail rings (on right : Silver, crystal, 2011)

Contemporary New Zealand Jewellery by Karl FritschKarl Fritsch ring with nails – 2010

Karl Fritsch  Screw ring  2010  silver, nails, screws  6.0 x 4.0 x 4.0 cm  Collection of the artist  © Karl Fritsch  Photo: Karl FritschKarl Fritsch  « Screw ring »  2010  silver, nails, screws  6.0 x 4.0 x 4.0 cm  Collection of the artist  © Karl Fritsch  Photo: Karl Fritsch

Karl Fritsch  ring (jewelry with nails)Karl Fritsch ring with nails

Karl Fritsch Ring: Untitled 2012 Silver, steel, cubic zirconiaKarl Fritsch Ring: Untitled 2012 Silver, steel, cubic zirconia

Karl Fritsch ring (jewelry with nails)Karl Fritsch ring

Bernhard Schobinger (jewelry with nails)Bernhard Schobinger ring

Sofia Bjorkman "natural born jewellery" (jewelry with nails)Sofia Bjorkman « natural born jewellery »

Lisette Colijn – necklace « silvernails » - silver 2008 (jewelry with nails) Lisette Colijn  – necklace « silvernails » - silver 2008

Alina Alamorean - (jewelry with nails) #nails #clousAlina Alamorean

ALINA_ALAMOREAN (jewelry with nails)Alina Alamorean

Alexandra Chaney - tetanophobiaAlexandra Chaney – tetanophobia

Alexandra chaney tetanofobia - colar- (jewelry with nails)Alexandra Chaney – tetanophobia (detail) Antje Stolz -   brooch (jewelry with nails) #nails #clousAntje Stolz -   brooch

Antje Stolz -   brooch 2007, coal, nails (silver), rubber thread, oxidised silver (jewelry with nails) #nails #clousAntje Stolz -   brooch 2007, coal, nails (silver), rubber thread, oxidised silver
Bas Bouman (NL) – « protector »-2007- oak, iron nails (jewelry with nails)Bas Bouman (NL) – « protector »-2007- oak, iron nails
Anabell's jewelry  colgantes, corteza de palmera. (jewelry with nails) #nails #clousAnabell‘s jewelry  colgantes, corteza de palmera
Mae Alandes  -  MINIMUM II. Plata. - earrings (jewelry with nails) #nails #clousMae Alandes  -  MINIMUM II. Plata. – earrings
Mae Alandes - Clavos de cobre y cierres de pin de latón bañados en plata

Mae Alandes  365. Clavos de cobre y cierres de pin de latón bañados en plata.

Mae Alandes  365. Clavos de cobre y cierres de pin de latón bañados en plata.    Texto: Extracto de « La Poinçoneuse » Bernard Heids Leck’s    Comme chaque matin  Comme chaque matin  Comme chaque matin  Comme chaque matin  (…)  Como cada mañana  Como cada mañana  Como cada mañana  Como cada mañana  (…)

kathleen hennemann - beton - http://www.khxx.com/index_flash.html  (jewelry with nails)Kathleen Hennemann beton serie rings

kathleen hennemann - symbole -  #nails #clous (jewelry with nails) Kathleen Hennemann – symbole ring

Kathleen Hennemann - symbole -  #nails #clousKathleen Hennemann – symbole ring

Brooch | Pat Flynn.  22kt gold, diamonds and iron.  ca. 1993   Pat Flynn – Brooch – 22kt gold, diamonds and iron.  ca. 1993 

Pat Flynn - His pairing of rusted nails and diamonds executed with flawless gold mechanisms and details (jewelry with nails)Pat Flynn -  bracelets – rusted nails and diamonds executed with flawless gold mechanisms and details 

Akiko Kurihara - “Nail” FlourishRing in oxidised silver 360£  (jewelry with nails)Akiko Kurihara – “Nail” FlourishRing in oxidised silver

Akiko Kurihara - Brooch: Nails, 2008 Oxidized Silver Photo: © Tanel Veenre (jewelry with nails)Akiko Kurihara – Brooch: Nails, 2008 Oxidized Silver Photo: © Tanel Veenre

  New Pieces | AndyCooperman.com (jewelry with nails) Andy Cooperman -  New Pieces – commission using antique square cut nails

nailed rings by Liron Loval  nailed rings by Liron Loval

Liron Loval’s artistic foot steps since her first year student at the Jewelry Design Department at the Shenkar College. (jewelry with nails): Liron Loval’s artistic foot steps since her first year student at the Jewelry Design Department at the Shenkar College. (jewelry with nails)Liron Loval’s artistic foot steps since her first year student at the Jewelry Design Department at the Shenkar College. « experiment with combinations of wood and metal, using nails, screws, and wood. »

Nadine Kuffner -  EXPO "Précieux passages" - 18-28 sept2013, Bib. Forney Paris
Nadine Kuffner -  (EXPO « Précieux passages » – CIRCUITS BIJOUX – 18-28 sept2013, Bib. Forney Paris)

final result ?

OUCH !

perhaps need these rings ?

Band-Aid Rings by Michelle Lopez -- Used bandaids never looked so good.Band-Aid Rings by Michelle Lopez

 

 

 

 

31/10/2010

EXPO ‘VALUABLES – The weight of ideas’ – B-Side Jewellery Festival, Amsterdam (NL) – 4-7 Nov. 2010

You are cordially invited to the exhibition « VALUABLES – The weight of ideas »
within the B-Side Downtown Jewellery Festival in Amsterdam.

EXPO 'VALUABLES - The weight of ideas' - B-Side Jewellery Festival, Amsterdam (NL) - 4-7 Nov. 2010 dans B-Side Festival
Featured artists:
Beatrice Brovia, Nicolas Cheng, Dana Hakim, Susanne Wolbers.
 Opening time: November 4th-7th 2010, open all days 14:00-20:00

Address: Keerpunt 12, Amsterdam

 dans Beatrice BROVIA (IT)

“Valuables – the weight of ideas”
If we assume that:
WEIGHT, MATERIAL, TIME CONSUMPTION.. ≠ VALUE
and that:
IDEAS = VALUE
We get closer to our belief of what jewelry is, of what it can be.
Through a joint exhibition and installation, we’d like to give our jewelry, and to the ideas originating it, a new specific weight, questioning and triggering the common sense of what is valuable.
How can we define a balance between material value and idea value? Between the visible and the invisible? Between tangible and emotional?
When discussing and questioning jewelry, the connotation of “value” (be it financial, sentimental, symbolical..) is always present. It therefore comes natural, to openly address the value issue, in all its shades and definitions, through contemporary jewelry.

 

http://bsidefestival.wordpress.com/

10/09/2010

EXPO ‘aka jewellery’ – Falkenbergs Museum (Sweden) – 11 Sept.-27 Nov. 2010

« Also known as jewelery«  *
17 contemporary French artists
* A project of Christian Alandete & Benjamin Lignel for la Garantie, Association pour le Bijou

EXPO 'aka jewellery' - Falkenbergs Museum (Sweden) - 11 Sept.-27 Nov. 2010  dans Amandine MEUNIER (FR) afficheakajfalkenberg1

 

Claire Baloge, Babette Boucher, Brune Boyer-Pellerej, Frédéric Braham, Monika Brugger, Carole Deltenre, Joanne Grimonprez, Sophie Hanagarth, Ulrike Kämpfert, Emmanuel Lacoste, Catherine Le Gal, Florence Lehmann, Christophe Marguier, Amandine Meunier, Jana Natier, Nathalie Perret , Maud Traon

All images from also known as jewelry at Velvet da Vinci Gallery,
Nathalie Perret- Paliceder, necklace 2007

 

Entitled Also known as jewelery * by French curators Christian Alandete & Benjamin Lignel shows how the participants jewelry artists choose a critical approach to art history, jewelry and crafts traditions. They invite us out from other disciplines such as anthropology, philosophy, film and architecture, questioning the conventional definition of jewelry.Nathalie Perret necklace with plaster powder leaves a shadow on the necklace and the clothes we wear are the shade. Babette Bouchers work revolves around time and memories often based on found objects as a toy or a fragment of a photo. The lost toy has been a sarcophagus and affects the feeling of regret that we can easily recognize. Amandine Meuniers necklace with intricate designs taken from the doors she had seen on his travels is cut in inner tubes – beautiful and sensual.

Other artists raise questions about gender roles and sexuality that Carole Deltenre with his necklace made up of girls respectively boy toys in plastic. In Frédéric Braham projects Cosmetics is a shift.  It is not the user who is attractive but beauty aids become coveted items in the form of natural-looking lipstick, eyeliner and powder box in silver and gold.

Also know as jewelery * has been shown in galleries and museums in the United States and Europe.

All images from also known as jewelry at Velvet da Vinci Gallery,
Babette Boucher- Sarcophagus 2007 -  jet and found object

All images from also known as jewelry at Velvet da Vinci Gallery, All images from also known as jewelry at Velvet da Vinci Gallery,
Amandine Meunier- ‘Roads never travel’ necklace, 2007-08 – rubber hose

All images from also known as jewelry at Velvet da Vinci Gallery,
Carole Deltenre- Necklace – plastic toys -2007

All images from also known as jewelry at Velvet da Vinci Gallery,
Ulrike Kampfert, « Silver Thistle » Brooch 

All images from also known as jewelry at Velvet da Vinci Gallery,
Christophe Marguier, « Esperance de vie de la femme », Necklace 

All images from also known as jewelry at Velvet da Vinci Gallery,
Catherine Le Gal, « Under Over » & « Souvenir » Brooches

All images from also known as jewelry at Velvet da Vinci Gallery,
Monika Brugger, « Marianne as roberts » Brooch

All images from also known as jewelry at Velvet da Vinci Gallery,
Joanne Grimonprez, « Bernicks » Brooch  (photos Galerie Velvet da Vinci)

All images from also known as jewelry at Velvet da Vinci Gallery, All images from also known as jewelry at Velvet da Vinci Gallery,
Emmanuel Lacoste, « Langues » Tongue Jewels

All images from also known as jewelry at Velvet da Vinci Gallery,
Jana Natier, « Barbie » Necklace 

08/09/2010

EXPO ‘Making Treasure’ – Birmingham City University, Birmingham (UK) – 13-22 Sept 2010

« Making Treasure  »

REALLY, REALLY  …. TREASURES !!!!!!!!!!!!!!  :-)

« Fantastical edible creations, modern re-interpretations of historical decorative arts, rubber glove garments and wearable drawings, a selection of what will be showcased at Making Treasure, the MA Jewellery, Silversmithing and Related Products graduate exhibition opening on September 13th.
The exhibition is the culmination of the intensive one-year long course taught at the renowned School of Jewellery, Birmingham City University.
The international group of makers join together to present new and original work that pushes conventional boundaries that co-exist within sculpture, fashion and fine art. The work exhibited challenges preconceived ideas of what jewellery and objects can be in form, material, function and scale whilst displaying individual aesthetics, design methodologies and artistic points.  »

EXPO 'Making Treasure' - Birmingham City University, Birmingham (UK) - 13-22 Sept 2010 dans BIAD Birmingham (UK) postcard+for+ma+show

Artists:
Farrah Al-Dujaili, Laura Brannon (UK), Li-Chu Wu (Taiwan), Miriam Rowe (US), Ningrui Zhou (China), Xiaorui Zhang (China), Yu-Ching Huang (Taiwan), Yuhan Ye, Hsiang-Lin Lu (Taiwan), Natalie Smith (UK), Simon Pattinson, Yi Lei Li, Yi Liu (China), Yu-Ping Lin (Taiwan), Suchanan Chinanuvathana (Thailand).

 

« Not only is perception of ourselves, of others and the world around us, a source of inspiration, it also invites us into an active and dynamic engagement, which is deeply related to the things we make. Considerations of sculptural form, composition, material, function and aesthetics are enhanced by contemplations of meaning, emotional investments and intellectual content.
The creative work of the makers in this exhibition address aspects of the most vital issues in contemporary applied arts; in their questioning of established ideas of what constitutes adornment, how decoration should be defined and executed, these works engage the eye and the mind simultaneously. They appeal to the intellect, whilst eliciting an instantaneous sensual reaction of pleasure, a desire to touch, hold, use and wear.
MA Jewellery, Silversmithing & Related Products is the overall title of the course. This is however a very limited and traditional description when one considers the wide variety of products that are within the province of the designer who has knowledge and expertise in the area of personal ornaments, body signification and decorative metal objects. The variety of materials, manufacturing techniques and processes available to an artist or designer in this field is far larger and of much greater potential than is indicated by the term ‘jewellery and silversmithing’ and has some affinities with industrial design, fashion design, fine art and sculpture and is often informed by intellectual engagements like general philosophy, conceptualisation or critical theory.
Our course philosophy addresses the existing and potential relationships within this sector, and educates its students to recognize, identify, understand and operate within this diversity. The philosophy of the course is embodied within a structured project programme that requires students to address vocational and academic research in design by applying their developing abilities and interests to a wide range of issues. Design experiences include ideas generation focused through strategies for concept development, the analysis of design problems and reflection on the relationships between personal objectives, cultural values, market identities, prototyping techniques and new technologies, thus enhancing knowledge and understanding, as well as facilitating the formation of professional studio methodologies. «   (Professor Jivan Astfalck, PhD )

 

Farrah Al-Dujaili
My design methodology revolves around the act of drawing
as an intuitive and subconscious process; geometric and organic components ‘grow’ alongside each other to create visual contrasts. Through a palette of feminine and masculine symbols, heavily detailed flowers and geometric shapes and crosshatched lines hybrid forms are created; not overtly floral, but organic and playful.
My making is immersed in metalwork because of the material’s ability to be visually delicate but physically strong. Fragments are created and later constructed to create the idiosyncratic detailing that appears in my drawings. I work within an intuitive mix of drawing and making that crosses over and intertwines.
I apply drawing materials of pencil, crayons and watercolours to a surface of enamel paint. This gives an interesting material link to my design methodology, enforcing the dialogue between drawing and making.

http://4.bp.blogspot.com/_szz00VVY2uE/S_WX_n_qc4I/AAAAAAAAAAs/zgjoqzmtM-g/s1600/mod4necklace.jpg
Farrah Al-Dujaili- Untitled 3,neckpiece, 2010. Copper, spray paint, acrylic paint, pastels, watercolour pencils, paper

 

http://1.bp.blogspot.com/_szz00VVY2uE/S_WXQue_SXI/AAAAAAAAAAc/o-u5VbwnAAQ/s1600/image_three.jpg

Farrah Al-DujailiUntitled 2, Neckpiece, 2010. Copper, spray paint, thread.

 

Hsiang-Lin Lu
Rice is cheap, small, but vital
. I like the taste of rice, and the form of rice. I enjoy playing with the rice grains and placing them into different shapes. They are like bricks creating lush texture and speckled pattern.
In contrast, lace, delicate embroideries, and ribbons present the opulence and craftsmanship of aristocratic fashion. For some people, food is the only object they desire, unlike the ladies of the court who are chasing adorned shoes and beautiful garment or jewellery, the vast number of people need bread and water.
Rice is the food that most of the people in my country rely on. It is the symbol of living, a symbol that is cheap but essential, which is like potato or corn to others. The definition of ‘ordinary’ and ‘luxury’ at different levels of social status is contradictory and interesting. I use this ‘ordinary’ material to describe opulence, and also explore the meaning of value and preciousness in different contexts. The richness and tactile abundance in the texture of rice delivers a deluxe beauty in place of the lace and jewels. I use this cheap material to produce enchanting and original works.

http://1.bp.blogspot.com/_DDARWatdC2g/TFdf2L-fC-I/AAAAAAAAADQ/_OEQPH-fEMc/s1600/Large+Image-Zoe.jpg

Hsiang-Lin Lu- I’ve been doing my final project of MA degree recently. I try to use rice and other combinations to explore the potential of this material. Here is one of them

 

Laura Brannon
‘Deadlights’
I create Jewellery that is grotesque yet intriguing by using rubber, plastics and found objects. Symbols from our collective subconscious, weird imagery of clowns, costumes, monsters and madness have fuelled this idiosyncratic collection.
The objects show elements of play amongst those of fear- this ambiguity can give the viewer an uncomfortable feeling as it requires to engage with two contradictory ideas at the same time. This I find fascinating!
My making process is spontaneous but controlled. I use a wide range of materials including rubber, plastics, foam and found objects. These contrasting textures and clashing colours are amalgamated, allowing the pieces to develop sculpturally. The use of ready-mades gives structure to the work and increases uncanny feelings. We know these ready-mades but when they are positioned within this madness, they offer new perspectives- we have to take a second look.

 dans Exposition/Exhibition
Laura Brannon - furry brooch

 

Li-Chu Wu
Paper has, without doubt, many varied uses. However, multiple layered paper interests me with its subtle movement and tactile qualities. I aim to recreate the link between the material and its original source in the natural environment. Pure and organic elements reveal a delicate and subtle visual language. The pieces function both as wearable pieces of body adornment and as sculptural objects off the body. The soft and subdued tones of colour that I choose give a quiet, calm and contemplative quality to the pieces.
Time is an essential element through the making progress; time, nature and I form my works, meticulous working processes enable me to develop a range of elements, which create the compositions.

http://1.bp.blogspot.com/_7dcqwzhNSnk/TAgqfsfEjII/AAAAAAAAAFc/JftO1V4oG2s/s1600/R0018438-01.jpghttp://4.bp.blogspot.com/_7dcqwzhNSnk/TAgqhUM0onI/AAAAAAAAAF0/EnJ5Y5bhaKQ/s1600/R0018491-01.jpg
Li-Chu Wu- Brooch -paper, copper, paint and stain steel pin
Li-Chu Wu- Necklace -paper, ceramic and wire

 

Miriam Rowe
I am interested in the dialogue created when recognisable forms from the history of European fashion and the decorative arts are combined, changed, and reinterpreted in a modern material.
For this project I chose to focus on material research and development, exploring plaster as a primary material in jewellery. Plaster has long been used in architectural decoration, but the plaster I use has been chemically changed with modern products to create an altered material that is waterproof and suited for use in jewellery production. I explored surface enhancement and advanced construction techniques to further develop the jewellery. I developed my construction methods based on historical plasterwork, adapting these techniques to fit my personal design agenda.
The images and forms I use come directly from my photos and drawings, based on objects seen on my visits to museums and stately homes. My interest in the forms, patterns, and images from the rich history of European design inspires this collection of contemporary jewellery.

http://miriamrowe.files.wordpress.com/2010/06/p1070039.jpghttp://miriamrowe.files.wordpress.com/2010/06/p1070035.jpg
Miriam RoweGrey Ironwork Brooch – Pin detail &  Side

 

Natalie Smith
My work explores the ideas of growth, transformation and disintegration. I find inspiration in surrealist science fiction, which is rich in atmosphere and imagery. Many of the books describe apocalyptic landscapes and alternate worlds that are on the brink of geographical catastrophes. In these dramatic dreamscapes there are no utopias, emphasis is placed on mental explorations and evocative journeys of the isolated humans.
I create my pieces by combining permanent and temporary materials such as textiles and sugar. I like the pieces to have a constantly changing structure and once completed, begin their transient lives. Depending on how they are cared for they may dissolve in humid conditions, change colour or melt like an ice-lolly on a hot day revealing the materials underneath. The evolution of the work is something that interests me greatly. I do not attempt to try and control what happens to the pieces after they are finished. I like an element of surprise.

http://4.bp.blogspot.com/_DJG5GOhrsjY/TC94JKBSUbI/AAAAAAAAAGg/6kYPCOtfuzI/s1600/marvellousmedicine.jpghttp://3.bp.blogspot.com/_DJG5GOhrsjY/S_mZkatKawI/AAAAAAAAADk/xCLaR3vP4Sg/s1600/sprew+lolly+stick.jpg
Natalie Smith – Marvellous Medicine 1 -Brooch – 2010
Natalie Smith -‘Scrumdiddlyumptious’ Brooch, 2010

 

Ningrui Zhou
The theme behind my work is to create a “city in the sky”. My inspiration initially came from a plastic bag flying in the air which I saw when I looked up into the sky .This evoked a good feeling and I began to consider the concept and question of flying; why should jewellery not fly? My work evolved from this to become sculptural objects. I create objects from bamboo and Chinese rice paper, exploring form, shape and structure. The visual use of lines in the pieces, in the installation and images of my work build together an alternative city skyline. I hope people can find a feeling of freedom and escapism in my work. I express this idea by taking photographic views of the city and making short films to tell stories about my flying pieces.

http://4.bp.blogspot.com/_5VAjeGNN0dM/TENpy0uHKWI/AAAAAAAAACQ/CvjbqkPEa8Q/s1600/0001.jpg

 

Simon Pattinson
My work derives from an exploration of the relationship between form and function. I look to create functional objects for the home which challenge and excite the user with designs which are serious yet play on their relationships. I have explored possibilities in form to create objects which invite interaction and arouse interest beyond mere function. Through these ideas I have created families of objects which communicate with one another and belong.
I look for relationships between materials, processes, colours and finishes, in different mediums including ceramics, metal and wood. I have used industrial processes to create some of the objects, whilst others have been developed using paper and card. When people interact with my work I want them to smile, to have fun with the objects, bringing joy to the relationship between object and user.

http://makingtreasure.files.wordpress.com/2010/07/simons-work.jpg

 

Suchanan Chinanuvathana
“Line is a basic element that exists in nature as a structural feature such as branches of a tree, or as surface design, such as striping on a tiger or a seashell. It can also exist by implication, as the edge of forms or its silhouette”. (Joseph A. Gatto 1987)I am interested in linear form and structure; the way in which a simple component can be combined and connected to create complex patterns and forms. All of my pieces are created from only one element “line”. I use a combination of curved lines to create my own three-dimensional forms with my textured wire technique. I use my traditional fine jewellery skills to make sculptural and wearable jewellery by using precious metals with simple colour range to show the purity of the line and the structure. I aim to make each piece appear beautiful from all angles.

http://makingtreasure.files.wordpress.com/2010/07/nancy_mgl7863-_.jpg
Suchanan Chinanuvathana - bracelet 2010 – Mixed media

 

Xiaorui Zhang
My work explores exagerated form and flexible wearability. I am interested in the idea that clothes are usually dominant and jewellery secondary, worn as an accessory to add decoration. My enquiry reverses this concept. To show this emphasis I create large scale jewellery that attracts people’s attention and functions like an item of clothing.
I choose rubber gloves as my material, aiming to transform a mundane everyday item into beautiful and original objects. I explore special dyeing techniques on the rubber gloves. I aim to create a unique aesthetic combination of sculptural construction, dramatic colour and texture. I see my work as visually interesting pieces for every-day wearing.

http://2.bp.blogspot.com/_u_Y-sDRXVWM/TGrl2mBPl9I/AAAAAAAAAFw/-yUOYHjyElU/s1600/debby2-1.jpg
Xiaorui Zhang- Dyed rubber gloves, 14ct plated gold. (showed by flexible wearability)

http://4.bp.blogspot.com/_u_Y-sDRXVWM/TAQ8ToNbVEI/AAAAAAAAACw/FxKMBMz_uHU/s1600/08.jpg
Xiaorui Zhang- Dyed rubber gloves jewelry

Yi Liu
My jewellery investigates notions of mourning and memorial jewellery, souvenirs that remember a loved one and which are a reminder to the living of the inevitability of death. I work predominately in plaster, which communicates a feeling of fragility related to our weak and transitory life.
Life is precious! I chose to work with tones of black, white and gray. These three tones are the background in my work and are combined with the highlights of copper and gold to form a contrast between preciousness and emptiness. I created images on plaster with symbols of death once used in Victorian mourning jewellery such as skulls, skeletons, and human hair, Memento Mori that are a warning against vanity.

http://makingtreasure.files.wordpress.com/2010/07/big-image-16x16-jpg.jpg
Yi Liufound objects, transfer, plaster, electroforming

 

Yi Lei Li
My inspiration comes from nature; the linear structure of plants is fascinating to me. I refine these natural shapes from my photographs of plants by overlaying line drawings. By using metal wire and crochet techniques I transfer graphic shapes into interesting and original three-dimensional structures to make wearable pieces of jewellery.
My collection is like a ‘garden’, every piece is unique with different colour, structure and other contrasts. They express feelings in the same way like in a real garden, where each kind of flower has its own beauty and character though they are different, they can enrich each other and be in harmony. In the process of exploring the linear structures and the balance between each piece and the whole group, I am trying to express the beauty I have found in nature.

http://3.bp.blogspot.com/_mkIgBYP3tmY/TCpMGGWWO2I/AAAAAAAAAAM/FAX2tKeM5ek/s1600/IMG_2783g.jpg
Yi Lei Li- copper wire, spray paint

http://3.bp.blogspot.com/_mkIgBYP3tmY/TFG2T3QQPCI/AAAAAAAAAAs/-3_FMIuETXI/s1600/IMGP3143square2.jpg

 

Yu-Ching Huang
My designs mirror myself and how I have been shaped by the people I have met.
I am looking for an answer to what might be a gentle and considerate.
Could silence be heard, even without talking?
Could virtue be seen, even without showing?
Could people not hurt each other, even though we all flawed?
Sometimes flowers and plants give me part of reply in the symbiotic relationships they have with other plants and organisms. Plants always have their individual characteristics but don’t interfere with each other. Maybe this is the reason I am fascinated by them.
I chose to use zips in my work to show the connections between people, events, things or places. People all want to connect and have graceful relationships like flowers in a garden.

http://1.bp.blogspot.com/_pB5EecEsq-I/TIIoxOlUo7I/AAAAAAAAAEI/H_KbUYrVImE/s1600/autumn-b-2.jpgmywork-4 dans Farrah AL-DUJAILI (UK)
Yu-Ching Huang- Autumn 2 – & ‘Plant our dream’ necklace

 

Yuhan Ye
My work combines popular fashion elements and bold colour which relate to Pop Art. I organise these elements as collage and stylised images of fashion and beauty. I create my own images from these fashion elements using computer software. The colour range within the images helps me to bring my work together as a collection.
Together with the illustrations and bold colours, I have also designed electronic circuits to extend my jewellery into the realms of light and sound. Adding the electronics makes my work more playful and gives an added function which encourages interaction. My illustrations can be illuminated by the light when worn in a dark place. I have also added sound sensors to my work, so that my work can be changed by the volume of the speed of speech and music.

http://3.bp.blogspot.com/_dPCtS6N0r2k/TDO3DUqgFcI/AAAAAAAAABw/8bHVAc48Enk/s1600/IMG_1376.JPG
Yuhan Ye- Light up ring 1

Yu- Ping Lin
My work is process-based and structurally complex. I am never without a sketchbook where my ideas evolve so I am constantly drawing with brush strokes. The inks sometimes bleed into the Chinese rice paper and at other times they develop into more in-depth ideas and detailed images.
I did not set out to be a fashion designer or to create artwork relating to environmental issues but as my portfolio developed and I became interested in both style and ecology. My work tends to focus on inspiration from nature, the notion of folding and pleating, architectural structures, interaction with people and seduction of pattern and colour; the original pleasure captured by the structure of organisms and forms inherent in nature.

 dans Grande-Bretagne (UK)
Yu- Ping Lin - Inherence in nature 5 – ‘mushroom’

http://4.bp.blogspot.com/_XZcHP9U7A_I/TIP4m6d76cI/AAAAAAAAAJQ/Omc7nkUmLmw/s1600/_MG_0074.jpg
Yu- Ping Lin - ‘bloom’

 

Birmingham City University
Vittoria Street
B1 3PA – Birmingham
United Kingdom
Telephone: +44 121 331 5940
website: makingtreasure.wordpress.com
mail: makingtreasure@googlemail.com

09/08/2010

Jill Baker Gower – ode grinçant à la « féminité »

Classé dans : COUP DE COEUR,Gal. Facere (US),Jill BAKER GOWER (US),USA — bijoucontemporain @ 0:05

Masters of Fine Arts, Jewelry/Metals – MFA exhibition - 2006
(ASU- Arizona State University-School of Art)

au début ça commence « bien », « classique » je dirais … et puis, petit à petit, un humour grinçant s’immisce, et ça dégénère ……… et ça devient délectable ! :-)

« My work revolves around how women of today are influenced by society’s concept of “ideal beauty” as portrayed by the media.  Advertisements, commercials, stores, magazines, and television shows aim to make women believe that by using or wearing certain products they will come closer to “physical perfection”.  The jewelry and metalwork I create helps the wearer become closer to this ideal beauty, but also points to the humor in contemporary American society’s definition of perfection.  The objects I make often contain prosthetics or embellishments that can be applied to or worn on the body such as make-up or fingernails.  By turning make-up containers into wearable objects, the wearer is able to conveniently yet obsessively look in the mirror, reapply lipstick, blush, or powder numerous times in a day.  The burden of wearing such large or uncomfortable objects on one’s body parallels the onerous practice of reaching physical perfection.
 Certain people may be persuaded that in order to reach a particular status or to be accepted and considered beautiful by society, they need outrageous and at times physically painful surgeries, prosthetics, and injections.  Under select circumstances, sadly, this may be true.  Objects such as silver and gold teeth, fake eyelashes, and Botox compacts comment on these more invasive practices.  There are a multitude of contemporary advertisements for teeth veneers, eyelash enhancers, and facial injections that make people believe these prosthetics and procedures are vital life necessities.
Historically and currently, just as physical beauty can show or determine a person’s social status and power, so can jewelry.  Gold, jewels, and pearls can sometimes show a person’s wealth and status.  In order to signify that the pieces are valuable and precious, I use mediums such as silver, gold, pearls, and lustrous fabrics. By the use of these materials my pieces reference historical metalwork, specifically silver toiletry and make-up items.   Although my jewelry has humorous undertones and is not always practical and functional, it maintains its beauty and value, a quality that many women deem important in life. » (Jill Baker Gower)

Jill Baker Gower - ode grinçant à la 200600764 dans Gal. Facere (US)Jill Baker Gower Lipstick Necklace, sterling silver; mirror; lipstick, 2004 (close & open)
Blush RingJill Baker Gower Blush Ring; close, sterling silver; mirror; brush; blush, 2005
Jill Baker Gower - graduate work - Blush Ring; displayed open, sterling silver; mirror; brush; blush, 2005 (open)Jill Baker Gower Blush Ring; displayed open, sterling silver; mirror; brush; blush, 2005
Jill Baker Gower- Powder Puff Ring (close & open)
Aphrodisiac Rose PomanderJill Baker GowerAphrodisiac Rose Pomander, pewter; sterling silver; feathers; rose oil, 2006

Jill Baker Gower - Add Some Sparkle to that Smile' -  Detail of Teeth, MDF; acrylic case; jewelry boxes; satin pillows; sterling silver; 18K;24K gold plate; CZ; enamel paint, 2005‘Add Some Sparkle to that Smile’ -  Detail of Teeth, MDF; acrylic case; jewelry boxes; satin pillows; sterling silver; 18K;24K gold plate; CZ; enamel paint, 2005

Jill Baker Gower -  Botox Injection Compact, sterling silver; brass; syringe; vial, 2006 (open)
Botox Injection Compact, sterling silver; brass; syringe; vial, 2006

Dans la continuité de cette idée, et de cet esprit, elle a participé en octobre 2008 à l’exposition « Girls Play Games » à la Facere Gallery

 Jill Baker Gower, 'Glamour Gem Locket Brooch' in argentium sterling silver, feather boa, magnifying mirror, brass, and plastic gem. Jill Baker Gower, 'Glamour Gem Necklace' in aregentium sterling silver, vintage glass, and plastic gem.
Jill Baker Gower - ‘Glamour Gem Locket Brooch’- argentium sterling silver, feather boa, magnifying mirror, brass,  plastic gem
 Jill Baker Gower - ‘Glamour Gem Necklace’ – argentium sterling silver, vintage glass, plastic gem.

 Jill Baker Gower, 'Pink Roller Necklace' in argentium sterling silver and foam hair rollers. Jill Baker Gower, 'Pink Roller Brooch' in argentium sterling silver, fine silver, foam hair curler, and stainless steel.
Jill Baker Gower – ‘Pink Roller Necklace’ – argentium sterling silver , foam hair rollers
Jill Baker Gower - ‘Pink Roller Brooch’ – argentium sterling silver, fine silver, foam hair curler,  stainless steel.

14/07/2010

Dualidades-dualidades – Workshop by Jorge Manilla – La Germinal, Barcelona (ES) – 28-29-30 Juill. 2010

Dualidades-dualidades. Taller por Jorge Manilla.

Taller a cargo de Jorge Manilla y Marta Hryc (asistente)
Dates: 28, 29 and 30 of July 2010 (25 hours in 3 days) / Fechas: 28, 29 y 30 de julio de 2010 (25 horas en 3 días)

Dualidades-dualidades - Workshop by Jorge Manilla - La Germinal, Barcelona (ES) - 28-29-30 Juill. 2010 dans Atelier/workshop 38406_138858129466828_138857806133527_324250_2794112_n

Place/Lugar: La Germinal
Cost: 140 €
To participate, please contact us before July 25
Para participar, por favor póngase en contacto con nosotros antes de 25 de julio

 dans BARCELONA

10-16 participantes

Objectives:
This workshop offers to participants a new way to encourage creativity based on emotions and personal experiences, seeks to stimulate critical thinking and analytical conceptualization of ideas in what is meant by contemporary jewelry.
Also this workshop aims to provide the participants with sufficient tools to define their aesthetic and personal profile

Este taller ofrece a los participantes una nueva manera de fomentar la creatividad basada en emociones y experiencias personales, busca estimular el pensamiento crítico y analítico conceptualización de las ideas en lo que se entiende por la joyería contemporánea.Además, este taller tiene como objetivo proporcionar a los participantes con las herramientas suficientes para definir la estética y el perfil personal

These goals will be met by means of / Estos objetivos se alcanzarán mediante:

● Confrontation with personal experiences
● identification of personal patterns and their effects on our lives
● Statement of ideas and emotions through various drawing techniques
● Definition and confrontation of what appears as rational and what is meant mystic
● Usage of the imagination in the creative process based on four basic points: reduction, expansion, division and multiplication. 

● La confrontación con experiencias personales
● identificación de los patrones de personal y sus efectos en nuestras vidas
● Declaración de ideas y emociones a través de diversas técnicas de dibujo
● Definición y la confrontación de lo que aparece como racional y lo que se entiende mística
● El uso de la imaginación en el proceso creativo basado en cuatro puntos básicos: reducción, ampliación, división y multiplicación.

Contenido:
Throughout history, the Mankind has felt the need to express through artistic means. In this case we’ll talk about jewelry items. Most jewelry pieces were made to show emotions, status, beauty, grief, farewell or nostalgia, just to name some of their meanings…
In this workshop we rely on the man-object relationship and the symbolism acquired by the objects when they are full of emotions and personal symbols. 

In this workshop we will find the key to contextualize and decontextualize emotions and situations that will be projected through that due to its materials and shapes can create a personal and general dialogue between the object and the viewer.
In this workshop states of consciousness will play a most important role. 

A lo largo de la historia, la humanidad ha sentido la necesidad de expresarse a través de medios artísticos. En este caso vamos a hablar de artículos de joyería. La mayoría de piezas de joyería se hicieron de mostrar sus sentimientos, el estado, la belleza, el dolor, o la nostalgia de despedida, sólo por nombrar algunos de sus significados …
En este taller se basan en la relación hombre-objeto y el simbolismo adquiridos por los objetos cuando están llenos de emociones y símbolos personales.
En este taller vamos a encontrar la clave para contextualizar y descontextualizar las emociones y situaciones que se proyecta a través de que, debido a sus materiales y formas se puede crear un diálogo personal y general entre el objeto y el espectador.
En este taller los estados de conciencia desempeñará un papel más importante.

 

Materiales:
All participants should bring to the workshop the following items: 
-        Drawing paper and some material that identifies him/her as a person. 
-        A digital camera for personal use. 
-        Three photographs that represent the three most common states of mind in their life.

Todos los participantes deberán traer al taller los siguientes elementos:
- Papel de dibujo y algún material que le identifique como una persona.
- Una cámara digital para uso personal.
- Tres fotografías que representan los tres estados más comunes de la mente en su vida.

Language: English, Dutch, Spanish, Polish.
Idioma: Neerlandés, Inglés, español, polaco.

http://lagerminal.files.wordpress.com/2010/07/untitled1.png

 

To know more about Jorge Manilla , please click here

 

La Germinal ??

« A space to stimulate, test and train creativity.
Somewhere to plant, grow and implement ideas.
Fertilized soil where you can grow wild.
A place to do and undo.
 »

La Germinal
Gemma Draper
carrer dels Salvador, 22, 2n 2a
08001 Barcelona
email: gemma@gemmadraper.com

(voir aussi sur facebook)

18/02/2010

What does Contemporary Jewellery mean ?

 What does Contemporary Jewellery mean?

Benjamín Lignel Bethel, Metalsmith Magazine, 2006

The following question is part of a questionnaire sent by the Italian Association for Contemporary Jewellery to its members : Italy and France, whilst boasting a long history in high-end jewellery, by and large remained untouched by the experimental jewellery movements of the ’60s (most active in the US, England, and Holland). Today, the studio Jewellery community in both countries remains small, and I found from experience that the otherwise simple task of defining one’s activity is unexpectedly daunting for us, and continues to fuel many of our conversations.

This is a ‘French’ answer to an Italian question, written in English: a nice metaphor for our international community of gold-tinklers, but one which complicates the task of defining jewellery – the English use alternatively design jewellery and contemporary jewellery, the French may say creation (i.e. creative) jewellery, the Italians art goldsmithing, while American readers will prefer art or studio jewelry. Having trained in the UK (and to simplify matters), I used the expression Contemporary Jewellery, though, as you will see, I am not at all convinced that it does the profession much justice.

What does Contemporary Jewellery mean ? dans Benjamin LIGNEL (FR) police_state_badge

William Clark Police State Badge, 1970 and 2005 Sterling silver, 10k gold
Photo: Richard Matzinger

What does Contemporary Jewellery mean?

Not very much, to anyone outside the profession; but the question is a helpful reminder that:
1. In most countries, the debate will never find an audience outside the actual community that launched it.
2. This is a simplistic label, falling short of the profession’s complex heritage and range of interests.
But it’s a tricky one, and I tried to list some of the ways one could answer it:

Contemporary Jewellery is a type of practice – understood as the contemporary offspring of a craft-based design activity that finds its origin in medieval workshops. Such a definition stresses contemporary jewellery’s historical past, and finds antecedents in the British and American Arts & Crafts movements, the renewed late XIXth century interest in manual skills (as a last stand against industrialisation), and the emergence of radical jewellery movements in the 60s: it underlines the notions of individuality, craftsmanship, and its troubled relationship to the production mainstream;

or a type of object: poised between high-street jewellery and art (the former’s glorified other, the latter’s poor relative), we know what it’s not (‘just’ manufactured artifacts for wearing), and what it wants to be (the expression of individual talent that reflects on, and sometimes influences, contemporary culture), much less what it is.

happy_family dans Estela Saez VILANOVA (ES)

Benjamin Lignel – Happy family NHS (two adhesive rings), 2002 Rubber, gauze, ink
Edition of 300 – Photo: Joel Degen

A few distinctive characteristics, however, seem to be beyond debate: the human body as a general working area; an open attitude to methods and material that echoes art’s own agenda, complicated by the notion of wearability; the distinctiveness we associate with individual expression; and an emancipation from consumer goods’ vocation to ‘just’ satisfy consumer desires.

It could also be defined as a market (I follow here the argument that cultural artifacts are defined less by methods of production than by distribution, accessibility and ultimately, potential impact on a larger consumer base). In most countries, a limited number of galleries take care of both distribution and promotion – while the designer-maker is expected (if (s)he wants to make a living) to be represented by at least five galleries, and complement consignment sales by direct, off-the-anvil transactions. From my point of view, the Contemporary Jewellery market works in ways similar to the art market, but on a scale so small, that its lack of visibility questions its existence.

hand dans Leonor HIPOLITO (PT)

Estela Saez Vilanova – GBN  -Silver, wool, paint

So then: most jewellers would agree that Contemporary Jewellery is a fast-evolving profession at a crossroad between craft, design, and art, currently ridged by identity concerns. However, I think that the problem, rather than one of identity, is one of image. Although the lack of an established definition has contributed to an extremely rich range of output -personal answers to a collective question- it seems that diversity stands in the way of a more cohesive front, one that would focus on explaining to people that there is a life after Cartier, Pomellato and Tiffany’s. And the unsuspecting public still lumps the practice together with its craft-based past, judges its production on a par with high-end (or any other) jewellery, and considers artistic ambition rather like a presumptuous fancy (unless one equates artistic with skilled, meaningful or committed to self-expression).

bag dans Mirla FERNANDES (BR)

Mirla Fernandes – Fe 2008 Latex and mineral pgiments

This happens at least for two reasons:

Firstly, there are not enough of us to rally a larger population to Contemporary Jewellery’s standards: exposure is limited by the output (there are comparatively few jewellery design programs, fewer graduates that stick to the trade, and not many pieces produced per year per jeweller). This scarcity of active jewellery makers is further complicated by our cultural antagonism with serial reproduction -and therefore, bigger distribution 1). A cynical bystander would add: this is a micro-profession, which means little appeal to the press, anemic cultural budgets, no specific courses in the history of Contemporary Jewellery (to my knowledge), and therefore, no history. As a result, Contemporary Jewellery is always deemed a subsidiary activity, on the margin of mainstream jewellery creation. Secondly, designer-makers are by nature a/o trade, uncommunicative, or certainly not prone to enthusiastic pamphlet scribbling. Who’s ever heard of Contemporary Jewellery, outside its confidential network of galleries and specialized clientèle?

Leonor dans Reflexion

Leonor Hipolito – Sin titulo – Silver, cotton

The situation, and this is my point, demands more than just communication: instead of shunning assertive promotion/information strategies (for fear of contamination?), we must resist inertia from within and without that confine Contemporary Jewellery to its ill-defined (but restricting) marginal position, and explore new means of proliferation.

So we should communicate more. And explain our intentions. But in the end, let us not be too intent on defining our practice as one thing only: if anything, I would even drop the Contemporary or Studio used to qualify this jewellery: whatever specific meaning it may have had is now superseded by a vague sense of institutionalized otherness.

Let’s be proud, and call it jewellery.

n623746066_1377937_1633
« Let’s be proud, and call it jewellery«  (photo Sandra Kocjančič)

 

 

About the Author : Benjamin Lignel (1972) first trained in philosophy & literature, then in art history, at New York University, and finally in furniture and jewellery design, at the Royal College of Art in London. Hence his interest in the functional object, complicated by a penchant for art, and further perverted by sustained exposures to literary works, often momentous, sometimes pertinent.

 

 

 

 


 Footnote1) The dominant discourse by jewellers and gallerists alike tend to equate value with uniqueness. While the argument certainly has weight from a mercantile point of view, it seems very outdated when applied to artistic value: not only have multiple editions (either executed by fine artists or copied from original work) been produced since the XVth century, as a way to reach a wider audience, but anyone in today’s contemporary art world trying to champion a pre-Warholian superiority of the unique, hand-made piece would be laughed at.