BIJOU_CONTEMPORAIN

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03/11/2016

EXCHANGE-BIJOU 1 – Jina Seo – Toucher avec doigté ……

Jina Seo

Des objets très sombres, très tactiles -comme de la peau, mais quelle peau exactement ?- et donnant envie de la toucher, tâter, soupeser …., très « à double sens », IN or OUT -visions extérieures d’un corps, ou intérieures ?-, vus/vues du dedans ou du dehors ? comme ces gants qu’on retourne … d’ailleurs faits à partir de gants de cuir « vintages », retaillés, recoupés, recousus, ils ont la tactilité du cuir -sa souplesse, son  moelleux-, de la peau …. peau humaine, muqueuse(s), ou « juste » cuir ???
Jina Seo se joue de tous ces sens, dans le « bon sens », à « double sens », en « contresens », contre, tout contre, les sens …. comme avec innocence - »inno-sens »-, « l’innocence » de ces jeunes japonaises déguisées en baby-doll de mangas, avec ironie, tout est « comme si de rien n’était », mais tout est bien là ! Tout, du corps humain bien sûr.

Jina Seo - "Under the layers" serie -  A Pair (2)  Wearable object (2016)  Leather, brass, ABS, thread: Jina Seo - « Under the layers » serie -  A Pair (2)  Wearable object (2016)  Leather,brass, ABS, thread

Jina Seo - OK ring - 2015/ brass, glove, thread: Jina Seo - OK ring – 2015/ brass, glove, thread

« The extraordinary power of objects is obtained, because people believe in them. The more mundane the objects are, the more powerful they become.  My practice contextualizes the primitive energy that is submerged beneath the layers of  garments. When the body is removed, the absence becomes an empty structure. The internal structure is evidence of human existence.
It remains full of authentic spirit and fantasy. 
Through the processes of deconstructing and reconstructing materials into symbolic forms, I uncover the hidden intimate and sensual power of humanity. It is a moment when ordinary objects become surreal and uncanny in order to redeem the socially constructed expectations and perceptions. « 

Jina Seo,  " End to End", 2015Jina Seo, « Fingers » serieEnd to End necklace / 2015 – parts of gloves, brass, copper, thread, elastic band

 

Jina Seo,  " End to End", 2015 - back side Jina Seo,   » End to End », 2015 – BACK side

Jina Seo A Pair. 2015 Leather, wool, ABS, brass, sterling silver: Jina Seo A Pair. 2015 Leather, wool, ABS, brass, sterling silver
quand elle parle d’ »une paire » … pourquoi est-on (suis-je ?) amené à penser à ça ???

Jina Seo Promis. Brooch. 2015 Leather, copper, thread, pigment, fabric: Jina Seo Promis. Brooch. 2015 Leather, copper, thread, pigment, fabric
Il y a toujours un orifice -qui a l’air moelleux- pour y « fourrer » son doigt …. Me fait penser aux poupées sexuelles japonaises …… toujours cette connotation sexuelle claire et cachée à la fois …

Jina Seo - Point the Finger brooch / 2015 found object, sterling silver, wax: Jina Seo - Point the Finger brooch / 2015 found object, sterling silver, wax
ou dans l’autre sens ….

Jina Seo  Thumbs Up Thumbs Down  Brooch / 2014 / glove parts, copper, enamel, thread, fabric: Jina Seo  Thumbs Up Thumbs Down  Brooch / 2014 / glove parts, copper, enamel, thread, fabric
sans ambigüité …. ou presque, puisqu’elle parle de « pouces » (thumbs) …

Jina Seo - Inside Out Brooch / 2015 found object, fabric, thread: Jina Seo - Inside Out Brooch / 2015 found object, fabric, thread
envie de pousser, d’enfoncer, d’explorer ……. sain ou malsain ?

Jina Seo - "Desire" series - Desire ; blossom -2014 / copper, fabric, thread Jina Seo - « Desire » series – Desire ; blossom -2014 / copper, fabric, thread
vulvaire …. ou c’est moi qui ai l’esprit tordu ?

Jina Seo - "Not anymore" series -  Vertical and Horizontal  2014 / wood, used clothing, beads, thread: Jina Seo - « Not anymore » series -  Vertical and Horizontal  2014 / wood, used clothing, beads, thread:

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Jina Seo (b. South Korea) is an artist and an educator living in the United States. Her practice explores the relationships between body, clothing, sexuality, fetish, and space. She received her MFA in Metals at the University of Illinois Urbana-Champaign and BFA in Metalwork and Jewelry Design at the Kookmin University at Seoul, South Korea. Her work has been exhibited nationally and internationally, including Brooklyn Metal works, Brooklyn, NY; Walker Art Center, Minneapolis, MN; Woman Made Gallery, Chicago, IL; Sung-Gock Gallery, Seoul, Korea; and (AV17) Gallery, Vilnius, Lithuania. She was a Gold Award recipient for the ITAMI International Craft Exhibition in 2010 and currently is a Fountainhead fellow at the Virginia Commonwealth University in 2016-2017.

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She will be presented at SOFA Chicago as « EMERGING ARTIST« SOFA Chicago. D-2SOFA Chicago  – lecture on friday NOV. 4

Jina SEO, presented by Charon Kransen Arts

SNAG Emerging Artists 2016

8:30 – 9:30 am Room A

 Three exceptional emerging jewelers, Tara Locklear, Jina Seo and Aurélie Guillaume will discuss the work they create from a broad palette of mediums that include recycled skateboards, old leather gloves, along with more traditional jewelry materials such as silver and enamel.

 Sponsored by the Society of North American Goldsmiths

SOFA Chicago 2016
Navy Pier Festival Hall
Chicago IL.
Nov.4-6  2016
Opening Night Nov.3

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EDUCATION
2016  MFA in Metal,University of Illinois Urbana VCUarts (Virginia Commonwealth University, USA)
2012 BFA in Metalwork & Jewelry Design, Kookmin University, Seoul, S.Korea
2011 Study Abroad in Metalsmithing/Jewelry, University of Kansas, Lawrence, KS
2006 Deokwon Art High School, Emphasis: Painting & Graphic Design, Seoul, S.Korea

 

Jina Seo on instagram too

Enregistrer

02/03/2016

Un problème avec la COURONNE ?

Un problème avec la royauté ?
La couronne ressurgit sporadiquement, comme si, finalement, tout bijou ne tendait qu’à ce fantasme suprême : se poser une couronne sur la tête.
On ne l’ose que subrepticement, et encore, accompagnée d’une galette et d’une fève ….
Fantasme ultime du (bon) peuple : les « Têtes couronnées » ?

à SCHMUCK 2016, le groupe « Dialogue Collective » proposait « By Royal Appointment » :

Dialogue Collective -  By Royal Appointment, Munich 2016 Dialogue Collective -  By Royal Appointment, Munich 2016

Dialogue Collective- Natsuki Sawai day dreaming about Munich Jewellery Week !! Crown by Margot Sevadjian.Dialogue Collective- Natsuki Sawai day dreaming about Munich Jewellery Week !! Crown by Margot Sevadjian.

Rachel Terry- By Royal Appointment - 'Drama Queen" 2016 [couronne]: Rachel Terry- « By Royal Appointment »  – ‘Drama Queen » 2016

Aneta Wrobel - ROYAL APPOINTMENT The Dialogue Collective  - photo Yiota Vogli: Aneta Wrobel – ROYAL APPOINTMENT The Dialogue Collective 2016  – photo Yiota VogliMarie Pendaries 'Reine d'un jour, reine pour toujours' - couronne cuivre doré (EXPO Cagnes-sur-mer): Marie Pendaries ‘Reine d’un jour, reine pour toujours’ 2012 – couronne cuivre doré (EXPO Suzy Solidor – Cagnes-sur-mer)

Marie Pendaries - "l'enfant roi " - baby trousseau  copper & silver gilt, silver, pvc - 2012-2014 (Melting Point 2014 -  Circulo Bellas Artes ): Marie Pendaries – « l’enfant roi  » – baby trousseau  copper & silver gilt, silver, pvc – 2012-2014 (Melting Point 2014 -  Circulo Bellas Artes )

Galerie Objet Rare -" BIJOU JOUJOU", 9 JANVIER 2014 de 18h à 21h - Marie-José MORATO présente la collection de «  têtes couronnées » inspirées de couronnes historiques. »: Marie-José MORATO présente la collection de «têtes couronnées» inspirées de couronnes historiques.  (Galerie Objet Rare – exposition « BIJOU JOUJOU »,  janvier 2014)

I feel that tiaras are vastly underrated - everyone should own one. This is by the incomparable Tanel Veenre.   - seahorse, beetle, silver headdress #tanelveenre #estoniandesign  #tiara #headpiece [couronne]: « I feel that tiaras are vastly underrated – everyone should own one. This is by the incomparable Tanel Veenre. «   -  seahorse, beetle, silver headdress 

Tanel Veenre [couronne]: Tanel Veenre « in royalty »

ironie suprême avec la couronne « en carton » de David Bielander, carton reproduit en or ….

David Bielander, 2015 - Cardboard Crown,   necklace, gold 18k, edition 00 of 5,  7 x 8 x 1.25 inches   photo: Dirk Eisel   Cardboard becomes gold, gold becomes cardboard Cardboard tiaras and crowns become precious jewelry."     David Bielander, 2015 – Cardboard Crown,   necklace, gold 18k, edition 00 of 5,  7 x 8 x 1.25 inches   photo: Dirk Eisel   Cardboard becomes gold, gold becomes cardboard Cardboard tiaras and crowns become precious jewelry. » 

DIY, Installation, 2015.  We have all probably worn a cardboard crown at some point in our childhood, and we all probably have the desire to be bestowed with a crown of regality on occasion.  In the latest works by David Bielander this crown is accessible, camouflaged as the role-play headdress of the kindergartener within us.   "Our perceptions are based on our conceptions of what is familiar.  If a shift in the normal context of something occurs, it can trigger a shock to our understanding, forcing us to examine the object in a manner completely new to us.  Things don’t remain the things we perceive at first glimpse.  The Cardboard works materialize the ambiguity, the multifaceted nature of things.   Cardboard becomes gold, gold becomes cardboard Cardboard tiaras and crowns become precious jewelry."                                                David Bielander, 2015: David Bielander, 2015 – DIY, Installation, 2015.  We have all probably worn a cardboard crown at some point in our childhood, and we all probably have the desire to be bestowed with a crown of regality on occasion.  In the latest works by David Bielander this crown is accessible, camouflaged as the role-play headdress of the kindergartener within us.  
« Our perceptions are based on our conceptions of what is familiar.  If a shift in the normal context of something occurs, it can trigger a shock to our understanding, forcing us to examine the object in a manner completely new to us.  Things don’t remain the things we perceive at first glimpse.  The Cardboard works materialize the ambiguity, the multifaceted nature of things.   Cardboard becomes gold, gold becomes cardboard Cardboard tiaras and crowns become precious jewelry. »   David Bielander

David Bielander, 2015 - Big Apple Neckpiece, 2015, necklace, silver, white gold, unique, 11 x 13.25 x 4.25 inches   photo: Dirk Eisel.             Cardboard becomes gold, gold becomes cardboard. Cardboard tiaras and crowns become precious jewelry."                      David Bielander, 2015 – Big Apple Neckpiece, 2015, necklace, silver, white gold, unique, 11 x 13.25 x 4.25 inches   photo: Dirk Eisel.        Cardboard becomes gold, gold becomes cardboard. Cardboard tiaras and crowns become precious jewelry. »                     

Nils Hint lui « rabaisse » la couronne aux activités du quotidien : manger

Crown by Nils Hint: Crown by Nils Hint    

Nils Hint  Crown: Extraordinary piece No.2  Forged iron: Nils Hint  Crown: Extraordinary piece No.2  Forged iron

Et si tout, finalement, ne se résumait qu’à une histoire de « trône » ?
vous savez … « Si haut que soit le trône, on n’est toujours assis que sur son cul. »

by Royal appointment - Dialogue collective - Victoria King (brooch ?) photo Yiota VogliVictoria King (brooch ?) – by Royal appointment – Dialogue collective 2016 -  photo Yiota Vogli

 

 

25/01/2016

Selection 4 SCHMUCK 2016 : Kadri Mälk

Kadri Mälk,  BLACK BEAUTY

Congrats to all the artists who made the SCHMUCK 2016 list, on show at the Handwerksmesse during #munichjewelleryweek  24/02–1/03/2016

Congrats to all the artists who made the SCHMUCK 2016 list, on show at the Handwerksmesse during #munichjewelleryweek / #jewellery #brooch by Kadri Mälk     brooch by Kadri Mälk

Kadri Mälk  Brooch: Very Guilty 2010  Siberian jet, black rhodium plated white gold, spinel, tourmalines  11.5 x 6.6 x 1.2 cm: Kadri Mälk  Brooches : « Very Guilty » & « Guilty » 2010  Siberian jet, black rhodium plated white gold, spinel, tourmalines  11.5 x 6.6 x 1.2 cm

interview :« Kadri Mälk – Love Me Or Leave Me Or Let Me Be Lonely »
By Aaron Patrick Decker (THANKS to AJF)

I ascended old stairs to a cozy apartment in Tallinn, Estonia, where I had the pleasure of interviewing the renowned Estonian jeweler Kadri Mälk. As the head of the metals department in the Estonian Academy of Arts, she shines a spotlight on younger Estonian jewelers. She has given rise to a generation whose work is strong, individual, and definitely Estonian. Mälk’s work is dark, poetic, and wholly of her own voice. Utilizing such traditional jewelry materials as gold, silver, gemstones, and jet, she creates a recipe whose melancholy fragrances permeate through all her work. 
Aaron Patrick Decker: How did you come to jewelry?
Kadri Mälk: Initially I studied painting for four years and really enjoyed it. Before that, I worked in a publishing house. After studying painting, I suddenly felt that maybe it wasn’t for me, maybe I needed something more intimate. After that I went to the Academy to study jewelry. I was either 28 or 29 when I graduated. I felt somehow that I was late, an autumn flower. I remained a freelance artist and was on my own for about nine years; meanwhile I was invited to teach. Initially it was just a small workload, like once a week. I enjoyed staying in my atelier and working on my own schedule and freedom. I liked it so much, no due dates and a kind of wild life, a lifestyle I still really appreciate.
After graduation I began some studies in stonework. First in St. Petersburg in a stone-cutting factory, a huge factory that received quite high-quality raw materials from Siberia. Then I studied gemology in Finland at the Lahti Design Institute for two years. I was offered to prolong my studies in London in 1993–94 and receive the highest degree one could get in gemological studies. During that time in Estonia, there was no one in the field of gemology. It’s a small field in general, but in Estonia, no one had this sort of certification.
But then my professor, Kuldkepp, fell ill and couldn’t return to the department anymore. Until this point I had worked alone. Leading a department is not just about being an ideological leader, there are other concerns about finances, and finding a team that works. You have to find people who fit together. I had no experience in this work so I was very afraid of the proposal to take the department. And especially since I was offered the gemological certification, which was seductive.
Simultaneously, I got a chance to work in Germany. I was young, bold, and at that time ready to jump. I applied to Bernd Munsteiner’s studio. He rejected me at first, saying he had too much work to also teach an apprentice. Somehow he changed his mind and decided to bring me in. They were intrigued by Estonia, the wild northern forest, so they said okay. He was concerned about my age and the time allotted; to learn stone cutting and faceting requires a large amount of time. I went in there not being able to speak German, and they had a certain dialect. I had some stone-cutting experience from St. Petersburg, but not at the level at which his workshop operated. It was very generous of him to take me.
We began at 7 a.m. and the first break was at 10:30 for some coffee. It was very tight and regimented. Funnily, during lunch they turned off the power in the shop; I thought I could work more during this time, but it was not allowed. He didn’t believe in the beginning that I could learn facet cutting, but at the end he was happy with where I got. I remember having a notebook and just trying to write down everything during lunchtime. I wouldn’t eat. I’d just write what the workers were saying. The old knowledge. It was my passion, stones.
You have said you were close with your professor; can you talk about your decision to take over the department?
Kadri Mälk: She was the reason I decided to take over the department. It was kind of fatal serendipity—as I saw it then, but not anymore. I had to do it because she could not. She was an extraordinary personality in the time and circumstances, she did not fit the environment, didn’t fit the times. If you read her writings, you could tell she had such a drive sourced from somewhere else. She had such a mission to pass on things to people, not in a direct way but in an indirect and metaphoric way. Her teaching methods were not pedagogical at all, she was often much more abstract. She locked the students in the room and said, “Just work.” All should be concentration, creativity driven to the work. No cinema, no theater, no magazines, no outside information, and it should all come from yourself, come through you. Extreme methods, but very effective. She wanted you to achieve the maximum. She was not very communicative, didn’t go anywhere, didn’t move around, her efforts were very concentrated on certain students. I can’t find the right words to completely describe her, but she wanted students to open up by closing off.
Do you think becoming a professor so early shaped you as an artist and continues to shape you?
Kadri Mälk: I was a baby professor. I was elected when I was 37. I had already been a renowned artist for some time, but as an educator, administrator, or team member, I had no experience. Looking back, I realize now the trust from admin and colleagues when I took over the department. My creative past supported me and proved to them I could survive in the school. Just recently somebody outside of the academy, and artists, came to me and said, “Now, Kadri, I realize you have done it well…” In the beginning, others were hesitant because I was seemingly unsuitable for the job. The highest hesitations came from me. I was unsure if I could rise to the occasion. And when the women came, 15 years later, it was some confirmation.
I just liked to make my pieces. And it’s so funny, I still go about my work in a similar way. Nowadays students are much more oriented by a schedule and thinking about making work for exhibition. Deadlines. My satisfaction came from my pieces, from the process. I liked how they came to me, how they happened. When I was in school, learning about the art field was not included. The professor tried to keep this off us, all these associations, how this works, etc. I remember asking her what happens when I graduate. She didn’t tell me anything about the real life of artists. It was all about the work. It was a conscious decision to keep the art world away from us.

Kadri Mälk  necklace "Amnesia" 2010  - ebony, tourmaline, silver, - photo Tanel VeenreKadri Mälk  necklace « Amnesia » 2010  – ebony, tourmaline, silver, – photo Tanel Veenre

Kadri Mälk - "Mid-day of life" 2008 brooch - jet, silver, almandine, smoky quartz - photo Tanel Veenre: Kadri Mälk – « Mid-day of life » 2008 brooch – jet, silver, almandine, smoky quartz – photo Tanel Veenre

Do you think your work changed during this period?
Kadri Mälk: No, not because of the Academy. The majority of my time went into the Academy, but this didn’t affect my work. In the first years, we gave assignments to students in the form of certain themes. Later on, especially at the MA level, where the study is more conceptual, they must meet their choices themselves to reinforce their spiritual identities.
Someone asked me, “What do you like best about teaching?” I feel lucky that I have the possibility to notice and follow how personalities develop and begin to blossom; how new talented personalities emerge in a creative surrounding; and how they act and react. And how passionate they may be in their work! It’s the achievement of every member of our staff.
Not much changed about me, either. Of course I had to modify my talking towards topics, concentrate, and learn to convey or see the methods that worked best, but at the core I didn’t change.
It’s very different to be just a teacher rather than the department leader. You are responsible for all that happens. The biggest difference is that the academy and the students are number one, followed by your work and your family. The academy and the students are number one. They can call me at any time if they need. I feel better in this. They know that they can come, they are not lost.
I think that’s quite admirable. I haven’t heard of another professor so invested in the program in the ways you are. What do you think some of the most important things to pass on to your students are, what do you hope they take away from you and the Academy?
Kadri Mälk: A kind of attitude, that you should believe in yourself. People shouldn’t take you off your path. Younger artists are vulnerable, in a condition to be shaped or reshaped; it’s important to tell them or convince them that whatever happens you should turn that attention in to yourself, otherwise you get lost. If you take into consideration all the opinions you hear, you get lost; there is so much noise. You don’t know where to look or where to go. You don’t orient yourself any longer in the world. Believe in yourself … it’s hard to when you’re young. Believe and be strong in your core.
Then your core begins to fortify?
Kadri Mälk: Yes, it becomes stronger. It crystalizes, the elements that are more important, the ones that are harder, take shape, and the rest falls apart. It comes with time, you shouldn’t force or exaggerate. You have to be patient.
There are so many conferences, so many books asking the big question—is jewelry art? It’s not my task to answer it.
My comment to it is very simple: love me or leave me or let me be lonely. 
Or to put it differently: take it or leave it or let me be lonely.
What do I mean with that? It’s very simple. There is always another way out. It’s not only taking or leaving. There is another possibility which is hardly seen. You just have to be patient and look carefully.
Also, the creative process has confusion, has crisis. You should not be afraid of these things, they are natural. Fear that your next work will fail is so very normal. Crisis is normal in art making. Art is always about starting again in hesitation.
What are your impressions of younger jewelers now coming into the field, at large and in Estonia?
Kadri Mälk: (long pause) It is very hard to generalize, even here the local scene is quite diverse. You can se
more design-oriented work, more personal work. I try to encourage these people who are afraid of having somehow veiled, personal, or exceptional ways of expressing. If they compare themselves to what is happening in different places with people their age, they begin unconsciously to bring other aesthetics into their own work. I want to encourage people who are different, who are slightly insecure.
Francis Bacon said, if you are going to decide to be an artist, you have got to decide that you are not going to be afraid to make a fool of yourself.
Making art is so simple—all you have to do is to wait quietly, staring at a blank wall until the drops of blood appear on your forehead. Be aware that criticism always comes along with creative work. If you can’t handle it, you have to quit.
How frequently and easily success transforms into depression! You can avoid it by leaving some loose threads in your work, some unresolved part that carries you forward in your new work. What you need to know in your next piece is silently present in your last. You can find it while looking in patience. It’s like a seed crystal for your next destination.
I am not really analytical like most. I am interested mostly in my unconscious choices, what I like and what triggers me.
If someone were to ask about your work, how would you describe it to them?
Kadri Mälk: Look at the originals. You should look at the original pieces and see for yourself.
Do you think that is an important idea, to see things in person?
Kadri Mälk: Yes. We are so much in the age of reproduction. We see the screen or the page with the picture. We don’t look at the original anymore, we don’t feel the tactility of the pieces or taste the iron. It is very harmful to humankind to go about it in this manner. Go to the originals. Otherwise it is so meta-meta, you don’t feel, you don’t know the scale, the details, or the material from the copies.
What are some of the things that inspire you?
Kadri Mälk: I don’t know what inspiration is exactly. Sometimes things are more intense and sometimes less intense. Sometimes I feel that I can capture things, forms, colors, something in the air, and sometimes I feel like sand is running through my fingers.
Consciously I cannot, but it comes more from my subconscious. There’s some differentiation between mental and physical subconscious. One is staying here (Mälk points to her head) and one is here (she points to her stomach), the first is mental and then the second is more gut, subconscious. The feelings are very different. Or maybe the frequencies are different. I like life in all its expressions, that’s my source
In talking about those two polar ways—analytical and emotional—in your work, do you bring them together, is there one that’s more important to you?
Kadri Mälk: Usually it’s subconscious, these decisions you make. They are made before they are at your conscious level. You made the decisions in a big fog. Just as in crystallization, they come into being. And when they are there, it is your choice to call them either consciously made or born out of the sky.
Looking at your work, there is a quality of instantaneous moment; going deeper, you find more and more. The work is quite striking and emotionally charged. Seems very palpable, like it has a heartbeat. There is also a melancholy quality to many of your pieces. Is that a conscious decision or a more subconscious one?
Kadri Mälk: A tiger cannot avoid his stripes! (She laughs.)
That’s a great analogy. 
Kadri Mälk: I am very shy describing my work. I am afraid I cannot reach the truth through verbalization.
There is this quality of Estonian jewelers, not a reluctance, but an ability to keep the integrity of the work. It’s hard to describe the work prescriptively in its conceptual and formal functions, often it acts like poetry, it speaks with power but is not completely resolute. What is your opinion of this attitude?
Kadri Mälk: When I think of my jewelry, it’s easier to describe it. “It’s blue, violet, black, and purple. There is fog, there are shades of magenta.” You can be precise without being clear. And unclear may also be precise. It’s very much an oxymoron.

Kadri Mälk, Downcast Face, 2013, brooch, black rhodium-plated white gold, black baroque pearl, black diamonds, black diamond dust, 120 x 72 x 12 mm, artist’s collection, photo: Tiit RammulKadri Mälk, Downcast Face, 2013, brooch, black rhodium-plated white gold, black baroque pearl, black diamonds, black diamond dust, 120 x 72 x 12 mm, artist’s collection, photo: Tiit Rammul

Being precise but unclear, can you talk more about this notion?
Kadri Mälk: It’s really a sort of hologram, like a puzzle. As a notion and phenomenon, I think it’s possible. 
It is an interesting facet of Estonian jewelry. Sort of irresolute.
Kadri Mälk: Yeah, it’s in a stage of becoming. Being on the way.
Yeah, it’s not negative, its more open. 
Kadri Mälk: Yes, an ambivalence. 
Is there something that you want people to get from your work?
Kadri Mälk: To share the unsharable. What often happens is that the viewer approaches in a superficial way, which is natural. On the foreground they see materials, especially if there are unusual materials.
I’ve used a lot of moleskin in my work and it’s taken a kind of attraction or peculiarity in my work. I don’t feel a need to explain the choices I’ve made. How it came to me, it was just an incident. Or a happy accident.
When all my stuff was stolen from my atelier, I found a coat of my grandmother’s from the war, made out of moleskin. I took it apart, slices of extremely thin, like silk, soft silk paper like. Then I saw these pieces. The tenderness at first, the sensuality of the material, and that the fur grew in only one direction. It was so thin, the fur. It had such a strong character, though. I started to work with this, used it a lot, the coat is now gone into all the pieces. I also think the animal is present in the work. The mole, he’s blind, he doesn’t have sight but has extreme animal spirit. All this orientation in time and space. I studied how they moved, their lives, did more research. How they were trapped and caught. This animalism was powerful and important for me in these works. But you aren’t going to retell the story. If you put it into a story, it’s banal. 
Can you talk more about the jet in your work?
Kadri Mälk: When I carve it, like timber or wood, it has nerves like a human body. The stones have structure, they direct you. They tell you where to go. You should go there and you shouldn’t make the wrong decision. There is a negotiation with the stone when I cut it. Jet is mute, silencium. Only a big dust is coming. Your lungs are filled with jet powder. Like stones are directing you in advance, there are inclusions, by heat they will crack more. Jet is completely mute. This is what fascinates me. It’s not much used in jewelry anymore. 
I lack the habit and custom and will to interpret my works after they have been completed. The work either tells you something or it doesn’t. Once you have completed it, then keep quiet. The work must know whether it radiates or not. The piece of jewelry in your mind, in your imagination, is always correct and beautiful. Resistance starts when you try to convert it into material. Oh, la la! Materials are like elementary particles—charged, heavily charged sometimes, but indifferent. They don’t tell you much, you have to tell them the truth.
You have staged events and produced a number of books—JUST MUST, Castle in the Air, etc.—about Estonian jewelry and jewelers. You have made the work coming from the Academy available to a much larger audience. Give us your thoughts about publishing these books and what your intentions were at the time you did them.
Kadri Mälk: Firstly, I love books. I love their smell and the shade of the voice when you turn the page and then unexpectedly see a new image … It’s both emotional and intellectual. Since 1989 I have published twenty-something publications, some of them out-of-print already. The first ones were really ugly ducklings, black-and-white … I’ve strived always to tell something different with them, it has been my passion. Indeed, they have been acting as ambassadors of Estonian jewelry in the world, although it was not intended. So many students coming from abroad have said the pull came from the books. Strange! Usually nowadays the urge comes from the Internet. 
To make an impression abroad is not as important as to make an impression in your own soul.
Thank you.

 Kadri Mälk - "Fresh, dried, only young" 2001 brooch - sarcodon imbricatus (mushroom), silver, almandines: Kadri Mälk – « Fresh, dried, only young » 2001 brooch – sarcodon imbricatus (mushroom), silver, almandines

Kadri Mälk, Medusa IV – ehisnõel (oksüdeeritud hõbe, kumm). coop.artun.ee/nope5/: Kadri Mälk, Medusa IV – ehisnõel (oksüdeeritud hõbe, kumm)

21/07/2015

Coup au COEUR avec Yiota VOGLI

Classé dans : Anamma Workshop (GR),COUP DE COEUR,Grece (GR),JOYA (ES),Yiota VOGLI (GR) — bijoucontemporain @ 4:14

Yiota VOGLI

….. Coeur anatomique s’entend, avec son « Arteries & Veins » 2015 serie ! « converting fear into jewels » ….
Coup de rouge, coup de sang, coup de coeur ….

Son travail sera visible à Barcelone  au prochain Salon JOYA 2015

Yiota Vogli is a PhD Fine Arts artist, with extensive experience teaching art as well as the author of two books for jewellery design. In addition her artwork has been featured in numerous exhibitions in Greece and abroad.
Her jewellery designs are based on natural, recycled materials, ropes and others, with the intention to transform these ordinary materials into attractive embellishments for the body. The entire collection is hand-made by implementing classical jewelry crafting techniques.
She is the author of ‘Jewelry Design’, 2002 and ‘Jewelry & Object Design’, 2004, books for the Greek Ministry of Education

« The cardiovascular system is a key element in transporting and exchanging substances between the environment and the cells that function in tissues. Cardio is from the Greek word ‘kardia’, meaning heart, and ‘vascular’ is from the Latin word vasculum, meaning vessel. To the ancient Egyptians, the heart was the seat of emotion, thought, will and intention. The ‘Arteries and Veins’ work (a collection of mixed media paintings and jewelry)  is an exorcism of my fears. By weaving and puzzling the threads and the yarns, feelings of strong will and determination arise and travel through my mind projecting positive energy and great strength , the strength of Margarita, who fought and won death. »  Yiota Vogli

 

Yiota Vogli - 'Strong', necklace, 'Arteries & Veins' collection 2015, cotton, woolYiota Vogli – ‘Strong’, necklace, ‘Arteries & Veins’ collection 2015, cotton, wool

VOGLI Jewelry - 2015 - 'Arteries & Veins' collection 2015 - Necklace, copper, steel. ' Is that jewel? ' Atopos exhibition, AthensVOGLI Jewelry – ‘Arteries & Veins’ collection 2015 – Necklace, copper, steel. ‘ Is that jewel? ‘ Atopos exhibition, Athens

 Yiota Vogli - Heart, brooch (back), 2015, silver, cotton threads, steel - Arteries & Veins serie  , back -Yiota Vogli -  ‘Arteries & Veins’ collection 2015, Heart, brooch (BACK), 2015, silver, cotton threads, steel

« When love makes this sound baby
A heart needs a second chance
Don’t put me down babe
Can’t you see I love you
Since you’ve been gone I’ve been in a trance
This heart needs a second chance
Don’t say it’s over I just can’t say goodbye »

Yiota Vogli -  arteries&veins, brooch II, copper, steel, paper, sponge,  2015Yiota Vogli -  arteries&veins, brooch II, copper, steel, paper, sponge,  2015

Yiota Vogli -   'arteries & veins', neckpiece II, copper, paper, sponge, steel, foil, 2015Yiota Vogli -   ‘arteries & veins’, neckpiece II, copper, paper, sponge, steel, foil, 2015

Yiota Vogli -   'arteries & veins', neckpiece II, copper, paper, sponge, steel, foil, 2015 - detail -Yiota Vogli -   ‘arteries & veins’, neckpiece II, copper, paper, sponge, steel, foil, 2015 – detail

Yiota Vogli - selected for JOYA 2015 ! -    'Arteries & Veins', 2015 experiment, AnammaYiota Vogli -   ‘Arteries & Veins’, 2015 experiment, at Anamma

Yiota Vogli - 'Arteries & Veins', 2015 experiment, at Anamma - detailYiota Vogli - 'Arteries & Veins', 2015 experiment, at Anamma - detail

Yiota Vogli – ‘Arteries & Veins’, 2015 experiment, at Anamma – details

'weaving', mixed media, Yiota Vogli visual art‘weaving’, mixed media, Yiota Vogli visual art

 

13/04/2011

BANG BANG (MY BABY SHOT ME DOWN)

"I was five and he was six We rode on horses made of sticks He wore black and I wore white He would always win the fight

Bang bang, I hit the ground
Bang bang, that awful sound
Bang bang, my baby shot me down…. » (Nancy Sinatra)

Reka Lorincz  Brooch: Pinocchio 2011  Plastic,rubin, gold, rubber  Dimension: 90x40x70 mmReka Lorincz  Brooch: Pinocchio 2011  Plastic,rubin, gold, rubber  Dimension: 90x40x70 mm

tednoten_gunbag.jpg
Ted Noten

http://www.designboom.com/cms/images/ridcue/haunt07.jpg
Ted Noten ‘haunted by 36 women’ exhibition  - ‘macha’ as a ring

Michael Dale Bernard, MLTV Evening, plastic, rubber, silverMichael Dale Bernard, MLTV Evening, plastic, rubber, silver

Two creeds jewel collection by Nicolas EstradaNicolas Estrada, Rosary 7, 2008, silver, semiprecious stones, plastic, paper

Nicolas Estrada - Blood / Sangre Nicolas Estrada – Blood / Sangre Necklace

BANG BANG (MY BABY SHOT ME DOWN) dans Bety MAJERNIKOVA (SK) thumb488
Malaika Najem-‘Forgotten’ pendant

This piece (‘Forgotten’ pendant) is about child soldiers and is called “Forgotten”. A subject that sadly still exists in 3rd world countries that are in war whether in Africa, the Middle East or Asia. The average child soldier is under the age of 18 and is forced and manipulated in doing and committing horrors that they are not aware off due to the use of drugs or brainwashing. The child is just an instrument, just a number; just a slave to the gun…the gun is the symbol of power.” (Malaika Najem)

Malaika Najem https://www.facebook.com/group.php?gid=131724863532390=wallMalaika Najem, « A long way gone » necklace, silver, zinc, brass, aluminium, iron, fabric

Boris Bally’s Brave No. 2, 2006Found steel handgun triggers, gold, white sapphire, silver, steel cableMuseum of Arts and Design; gift of the artist in honor of Alex Schaffner, Basel, Switzerland, 2006.
Boris Bally’s Brave No. 2, 2006 – found steel handgun triggers, gold, white sapphire, silver, steel cable – Museum of Arts and Design

Bety Majernikova -  "WRAF" serie - 2008-2009         In this series I try to reflect the omnipresent "war" of today's women with the world surrounding themBety Majernikova ‘Wraf’ series necklace -2008-2009

« In this series I try to reflect the omnipresent « war » of today’s women with the world surrounding them. On one hand I criticize that nowadays society expects from women unrealistic results in many aspects. On the other hand I also aim criticism at women, because they themselves put up with these unrealistic criteria and strive to comply with them. I choose well known symbols as a gun, flower heart… and I am using this cliché symbols on the purpose. I work with it; I build on it a new composition with readable meanings. Dark beats applied to perforated spots on the pieces of jewellery are a symbolic reminder of a gunshot – a bullet – an attack. They are made out of different materials – hematite, marble, glass, steel and pearl-shell. »

Bety Majernikova - WRAF serieBety Majernikova ‘Wraf’ series brooch

 dans blog ArtJewelryForum
Demi Thomloudis

carole-deltenre-collier.1294994000.jpg
Carole Deltenre – collier

In+god%27s+name+chlo%C3%A9+durand+bijou+contemporain dans Boris BALLY (US)
Chloé Durand – broche “in god’s name”

http://a4.l3-images.myspacecdn.com/images02/113/1aa2c28c2d824e42824ae90ef1672113/l.jpghttp://a4.l3-images.myspacecdn.com/images02/137/203e6dca145a4896bbccb4f70f5d7653/l.jpg
Emmanuel Lacoste - »Human Nature » -  box closed & open (2010)

http://a4.l3-images.myspacecdn.com/images02/116/25a18d29176f460a8735862cd69e3e8c/l.jpg
Emmanuel Lacoste - »Human Nature » – Implant – Bullet (2010)

 EXPO amber - Philip Sajet Philip Sajet – amberHalász Előd - "Bang! You're Dead " broochElőd Halász – BANG! You’re Dead

14/03/2010

coup-de-coeur ! MI-MI MOSCOW, un bijou d’humour !

Classé dans : COUP DE COEUR,Mi-Mi MOSCOW (RU),Russie (RU) — bijoucontemporain @ 0:51

 MI-MI MOSCOW  : Mila Kalnitskaya & Micha Maslennikov – Since 2000 working & exposing together, as “mi-mi moscow”
Tous nos « vices de société », nos impulsions, nos « addictions », nos « films cultes », nos (petites) manies modernes, tout est montré du doigt, retourné-emballé-pesé, hop! un régal ! A chaque fois, après le hoquet de surprise, un éclat de rire : j’adore ! JUBILATOIRE !
mi-mi moscow - bracelet 'Mutation of the sunken galleon' 2002MI-MI MOSCOW- brooches 'Herring-submarines' 2001
bracelet ‘Mutation of the sunken galleon‘ 2002 –  brooches ‘Herring-submarines’ 2001
………de « 2001, Odyssée de l’Espace » à « Star Wars » tout est là !! :-)
 

MI-MI-MOSCOW - Mila Kalnitskaya.  necklace-ear-ring.  1991MI-MI MOSCOW - necklace 'tranquility' 2003
Mila Kalnitskaya/  necklace-ear-ring.  1991 – moi qui rêve de boucles-d’oreilles « créatives » !!!
MI-MI MOSCOW – necklace ‘tranquility’ 2003
MI-MI MOSCOW - rings + bracelet 'sabotage' 2006MI-MI MOSCOW - Set of rings 'EXPECTATION OF THE HERITAGE' 2006MI-MI MOSCOW - ring 'WITHOUT A WORDS' 2006
rings+bracelet ‘sabotage’  –Set of rings ‘Expectation of the Heritage‘ – ring ‘Without  a word‘ 2006set-brooches

MI-MI MOSCOW- paper-rubbers- ring 'Come to me my Baby' 2006MI-MI MOSCOW- paper-rubbers- ring 'North-West' 2006MI-MI MOSCOW- paper-rubbers-necklace 'GhoulBUSTER' 2006 (the hunters for vampires)
paper-rubbers- ring ‘Come to me my Baby
ring ‘North-West’ 2006
necklace ‘GhoulBUSTER’ 2006 (the hunters for vampires)

Mi-Mi Moscow bracelet the nest of drunken chicken' 2007Mi-Mi Moscow necklace.jpg
bracelet the nest of drunken chicken’ 2007
necklace (detail)
MI-MI MOSCOW- necklace 'Poppy' 2003 melhior, paperMI-MI MOSCOW- bracelet 'Autumn in Kyoto' 2003
necklace ‘Poppy’ 2003 melhior, paper
bracelet ‘Autumn in Kyoto’ 2003
MI-MI MOSCOW - moustache- 'UNKNOWN HERO' 2007MI-MI MOSCOW- necktie '... for very important man' 2004 (idea 2000)
‘Unknown Hero’ 2007      –     necktie ‘… for very important man’ 2004 (idea 2000)

Ironie mordante des titres, des sujets, des photos (toutes excellentes, de Mi-Mi Moscow) – tout sujet, du plus sérieux au plus futile, s’en prend un coup sur la figure !

et, pour donner tout son sens à ce blog, ce titre de bague (et son « porté ») qui m’enchantent :

MI-MI MOSCOW - double ring 'CONNECTING PEOPLE' 2006
double ring ‘CONNECTING PEOPLE 2006

 

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