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EXPO ‘Frühling’ – Galerie Rosemarie Jäger, Hochheim (DE) – 23 Mars- 13 Avril 2014

Beate Klockmann and Philip Sajet: Couples in Jewelry—Frühling

Galerie Rosemarie Jäger, Hochheim, Germany

Coming Sunday morning, welcome.
Beate Klockmann & Philip Sajet
Rosemarie Jäger had been noticing how many couples there are in the jewelry world, and suddenly one day, she realized that it was a great idea for a series of shows. This one, with Beate Klockmann and Philip Sajet, is the first, and appropriately it is called Frühling or “Spring” and is the beginning of the series. It is fascinating that there are so many couples working together or at least living together. It will be fun to interview some of them and understand better how that works. I am very curious.
Philip Sajet, Ring, 2013 A la recherche du joyau perdu 12, 2013, ring, rock crystal, gold, silver, enamel,Philip Sajet, A la recherche du joyau perdu 12, 2013, ring, rock crystal, gold, silver, enamel, 50 x 23 x 12 mm, photo: Beate Klockmann
Susan Cummins: Please tell the story of where you were born and raised and how you became interested in making jewelry
 Beate Klockmann: I was born in the GDR (German Democratic Republic) and raised up in a little town in Thuringia in Ilmenau. Johann Sebastian Bach lived in this area, and I like that because I feel connected to his music, but I have no musical talent at all. My father and my mother both worked in the porcelain industry, and I got my drawing talent from my grandmother. She was a workaholic, making cloth the whole day long with a lot of creative ambitions, but she did not have a lot of possibilities during the war. I decided to make jewelry spontaneously after seeing a slideshow that was shown to introduce different departments of the Burg Gibichenstein, Hochschule für Kunst and Design, Halle, Germany. I remember I was touched by a photo of a classically made little precious box with blue enamel and golden animal inlays. I hadn’t looked at jewelry before.
Philip Sajet: I was born in Amsterdam and raised by a French mother of Russian descent and a Polish-American (step) father. We travelled to Djakarta, Indonesia, where I saw a lot of Chinese antiques—so beautiful, so magnificent. I love tradition. I think that 96-percent of what I do is based on accumulated knowledge. Well actually, I am being very presumptuous here. I should have written 98.7 percent.
I was very fascinated by these small objects with colors and colored stones and enamels. Their (heavy) weight felt so powerful. I think I fell love with these objects several times—When I saw the jewels in the palace of the shah when I was 13 (1966), and then when I saw Egyptian jewelry. But the time that made me decide to also do it was when I saw the jewelry of Giampaolo Babetto and Francesco Pavan. That was in 1977 in Gallery Nouvelles Images. I remember the first question I asked my teacher Karel (Niehorster): “How do they get that intense yellow color?” “Well, by using gold” he answered. But it was so expensive—8 Dutch guilders a gram (2.5 US dollars)!Beate Klockmann, Brooch, 2013
 Beate Klockmann, Butterfly, 2013, brooch, 110 x 80 x 20 mm, photo: artist
How did you meet?
 Beate Klockmann: In 2001, I was a student in Halle Burg Gibichenstein and busy with my last pieces for my final exam. Philip was supposed to teach, but because of certain circumstances, his students had to finish another project and didn’t appear the first days of the workshop. So Philip focused on the only person available, and that was me. He was sitting next to me and was solving problems for me that I didn’t have days before. And I liked to solve these new problems with him
Philip Sajet: Now, here the accounts may differ. I was in Halle in 2001 in March. I was doing a workshop in Burg Gibiegenstein. The class I was guiding was the year before last. There was a girl (young woman, of course) who was preparing her final year’s work. She threw the red-hot metal in the pickle. That made a sizzling sound. I explained that the silver or gold doesn’t like getting a shock like that, and coincidentally, neither did I. My request to refrain was met with a somewhat diminished fire/fluid encounter. It wasn’t red hot anymore but still warm enough to make a sound. Funny enough, a week ago Beate did the same thing again, 12 years later. I discovered that Beate’s horoscope was a fire in water and a water-in-fire dominated constellation. I don’t know what that means, but I thought that it was remarkable. Beate also made a piece called Fire on the water, and I made a ring for her with rubies and aquamarines. 
 In the beginning, I had the impression that wherever I was standing Beate stood in front of me. I made an appointment with Rudolf (Kocea) in a bar, and all over sudden, Beate was sitting between us. I actually suspected that Beate threw that hot metal in the pickle to attract my attention. But she has never given me a definite confirmation of this suspicion.
 I know that her account of our meeting was that wherever she was sitting, I happened to stand behind or next to her. So, what this proves is that history should always be taken with a certain measure of suspicion.

Philip Sajet, AmberGluering, 2014, ring, amber, glue, 39 x 26.5 x 10 mm, photo: Beate KlockmannPhilip Sajet, AmberGluering, 2014, ring, amber, glue, 39 x 26.5 x 10 mm, photo: Beate Klockmann

Where do you live? Are your studios near each other? Do they look the same?

 Beate Klockmann: Since 2012, we have lived in a little village next to Hanau in Frankfurt. We are both strangers here. We work in the same studio. Our studio is always changing. There is a continuing discussion about how it should be organized.
 Philip Sajet: In Bruchköbel, near Hanau, where Beate teaches in the Hanau Zeichen Akademie. But, a few months a year I live in a house we own in Latour de France, a winemakers village where we lived for many months in the past. Funnily enough, the wine of that region can actually be bought cheaper in supermarkets near Munich. We have made the living room of our house in Germany into a studio.
 Beate KlockmannBeate Klockmann, The green house ring, 2013, ring, 35 x 20 x 20 mm, photo: artist
Do you use the same equipment?
 Beate Klockmann:  In general, we use the same equipment. There are only a couple of instruments that are personal.
 Philip Sajet: We share the big tools, and we use our own smaller pliers and files.
Philip SajetPhilip Sajet, JadeGluering, 2014, ring, jade, glue, 40 x 27 x 12.5 mm, photo: Beate Klockmann
Do you interact during your studio time?

 Beate Klockmann: Our days are not really divided into studio time and relaxing time. The studio is the center of our house. So, everybody is doing things there, such as listening to music or reading books. We discuss things there as we paint, often with our daughter. Philip also has apprentices, and he makes music there, too. The studio is also the place where the birds are living. So, there is a lot of interaction. If all goes well, it creates a good atmosphere for making jewelry along with other things.
Philip Sajet: Our hours differ. I am a daytime worker, and Beate likes the nights. In a way, we work shifts. We do interact, of course, but usually it is small talk. We do ask each other for advice, but more often than not, it is not followed. But, a major thing we give each other is courage. When one of us wants to make a piece, we spend a lot of materials and time in making it very particular, which turns out to be very expensive as well. So, there is an inclination not to do it, but we say to each other, “you really must make that piece.” That is very nice.
Give us a description of how your workday goes.
 Beate Klockmann: Because I am a teacher at the Zeichen Akademie in Hanau, I have only one to two days a week to work in the studio on my own work. I like to work together with Philip, and sometimes with an apprentice, but the daytime can be very chaotic because of our daughter Jura. That’s why I like to work during the nighttime so much. I have the illusion that I have endless time to work, and I can be alone with my work for a while. 
 Philip Sajet: I have the luxury of getting a late start. I wake up at 8:30am, have coffee in bed, then shower and do administrative chores. At around 12:00, I might finally start working. Then, two hours later, I make lunch. Right now, the daily meal is brown rice in the Japanese rice cooker, peeled aubergine, tomatoes, sesame paste, seaweed, eggs, sesame seeds, sunflower seeds, pepper, thyme, garlic in the peel (en chemise, as it is called in French), and at the end, I add oil olive and sea salt. It’s so easy. Just throw these ingredients in, close the lid, and half-an-hour later, it’s done. I try to get a full six hours of work. My best hours are my last one-and-one-half. If I get that a minimum of five days a week, I can reach my aim of an average of one piece a week.
Philip SajetPhilip Sajet, Portuguese_split, 2013, ring, replica of the diamond “Portuguese,” rock crystal, gold, silver, enamel, 37 x 33.5 x 12 mm, photo: Beate Klockmann
What questions do you ask yourself when preparing to make a piece?
Beate Klockmann: I look at my messy table and ask, or better, I try to feel which piece motivates me to work on it, and then I simply start to work on it. In general, I am just happy if I am working, so I try not to think about it too much before I start.
 Philip Sajet: Is it technically feasible? Is it pretty or ugly? (Not that one or the other might decide an outcome.) How high are the investment costs? Will it fall well on the body? Does it have a meaning? Is there a necessity?
You both seem interested in unusual materials and stones. How do you decide, for example, to use the sole of a shoe in a necklace? 
Beate Klockmann: Once in a while, I like to take bigger risks in my experiments, also in choosing materials—such as glass, textile, enamel, paper—but after a while, I always go back to working with gold.
 Philip Sajet: In my case, in my mind’s eye, I put everything I see in a circle. So, the inside curves of the soles placed that way make an almost perfect, big new circle. Then, the next thought is, “Oh this is really too awkward, and nobody will ever wear that!” There is also a reference to the Paul Simon song (I recently discovered that we have the same initials) Diamonds on the Soles of Her Shoes. Well, diamonds would have been a lot of investment, so I went with rubies, and it was a more affordable one. Also, the color went well, the red with brown.
Do you think you influence each other, and if so, how?
 Beate Klockmann: Sure, we influence each other. The good thing is that I always have a highly critical public in the house. So, I feel well trained in handling the different reactions when I exhibit my work. On the other hand, Philip gives me special compliments if I have a bad day. In general, we both try to support the other in whatever strange thing we are doing. If we didn’t, then everything would become boring.
 Philip Sajet: Yes, definitely. We maintain a high level of quality, and we judge how major a piece is and whether it is boring or not. We aren’t shy about saying what we think to one another.
What have you seen, read, or heard lately that has excited you?
 Beate Klockmann: I read a little book called Montauk by Max Frisch. I liked it because it was full of wisdom and very nicely written. But really, to be honest, the highlights I get at the moment are the intelligent expressions of our daughter. At six-years-old, her drawings, conversations, and so many essential things are on the table, and with such a surprising clearness, that I enjoy it a lot. 
 Philip Sajet: Lion Feuchtwanger’s The Oppermann’s is deeply disturbing and dramatically describes the destruction of a family in an intolerant totalitarian regime. But there are so many magnificent books. American Psycho by Bret Easton Ellis is also a magnanimously written novel about a very ugly person.
The music I listen to a lot lately is from Nils Frahm, and always Bach, of course.
I know it’s very fashionable, but I love (almost) all the movies from the Coen brothers.
My absolute favorite is No Country for Old Men, and my absolute favorite scene is where Anton Chigurh (Xavier Bardem) confronts the gas station man by flipping “his” traveling quarter.

Beate KlockmannBeate Klockmann, Squashed 1, 2013, necklace, 400 x 150 x 2 mm, photo: artist


Galerie Rosemarie Jäger

Wintergasse 13
65239 Hochheim
T +49 (0) 6146 2203
F +49 (0) 6146 601068


Legnica Jewellery Festival SILVER – 30 Avril-30 June 2013

Legnica Jewellery Festival SILVER  -  May / June 2013  Venue: Gallery of Art in Legnica

This year in the Legnica International Jewellery Competition REVOLT participated 319 artists from 43 countries. They sended 625 pieces. International jury (Galit Gaon (IL), Jiro Kamata (JP/DE), Hans Stofer (CH/GB), Sławomir Fijałkowski and Aneta Lis-Marcinkiewicz (PL)), which sessed in the days 4-5 of April, qualified to the exhibition part of pieces and chosed laureates. Names of the winners we will know on the vernissage, 18th of May 2013  in the Gallery of Art in Legnica, Poland.

Legnica Jewellery Festival SILVER - may-june 2013


It is better not to turn on the television today. We are being attacked by images of economic crises, stock market crashes, falling ratings, budget deficits, cost cutting programs and increasing unemployment from everywhere. As a reaction to the overwhelming impression of a lack of opportunities there are emerging movements such as « Occupy … », helplessly protesting against banksters, corporations and governments. Doesn’t speaking in such circumstances about jewellery – the subject invariably associated with the demonstration of wealth and selfish hedonism – seem socially unacceptable and even ethically suspect? After all, the burning  of ATMs and the broken glass of jeweller’s shops have become part of the frustration of all the Indignados.
But there is also another aspect of the design and use of jewellery – which – like no other product of the imagination – can be an effective message, manifesting the point of view of the user – a voice of protest, being anti-or pro-, attitudes of rebellion, rebellion and guerrilla warfare. Can a standard set of slogans written out on banners, T-shirts and slap tags be complemented with another more sophisticated message? Are jewellery designers able to demonstrate their own opinion and join the discussion concerning non-aesthetic issues? Is the tradition of exclusive gold jewellery going to be our irreversible remorse? And will the chorus « Diamonds are a girl’s best friend » always sound  as infantile as the recent testimony before the European Court of Justice in The Hague of the famous model Naomi Campbell, who at one time accepted an embarrassing gift from the dictator of Liberia, tried for war crimes, so evocatively reconstructed in the movie « Blood Diamond » with Leo DiCaprio as a ruthless mercenary?
EXPO - Revolt (competition) - Legnica SILVER festival 2013

List of artists qualified to the exhibition :
 Agata Bartos (PL) — Nicole Beck (DE) — Claudia Betancourt & Ricardo Pulgar (Chile) — Krzysztof Borkowski (PL) — Andrzej Boss (PL) — Vernon Bowden (NZ) — Laura Bradshaw-Heap (Irl) – Bartosz Chmielewski (PL) — Sungho Cho (S. KR) — Jeongsun Choi (S. KR) — Teresa Dantas (PT) — Katharina Dettar (DE/ES) — Sara Gackowska (PL) – Tamara Grüner (DE) — Mieczysław Gryza (PL) — Nils Hint (EE) — Susanne Holzinger (DE) — Maja Houtman (NL) — Marta Hryc (PL) — Joanna Hryniewicz (PL) — Dorry Hsu (Taiwan/CA) — Mari Ishikawa (JP) — Timothy Information Limited (GB) — Luijt Janjaap (NL) — Lee Jeong Hwa (S. KR) — Christina Karababa (GR) — Renata Korpas-Sutowicz (PL) — Dominik Kotwicki (PL) — Solveiga Krivičiene & Alfredas Krivičius (Lithuania) — Marzena Krupa (PL) — Claudia Küster (DE) — Lena Lindahl (SE) — Ria Lins (BE) — Susanne Matsché (AT) — Marek Mrowiński (PL) — Marek Nałęcz-Nieniewski (PL) — Michalina Owczarek (PL) — Andrzej Pacak (PL) — Fiona Parkinson (GB) — Krzysztof Piotrowski (PL) — Sari Räthel (DE) — Mandy Rasch (DE) — Berta Riera Ruiz (ES) — Isabell Schaupp (DE) — Kveto slava Flora Sekanova (Slovakia/ NZ — Katarína Siposová Węgry (HU) — Ludmila Šikolová (Czech Republic) — Grzegorz Radosław Ślączka (PL) — Terajima Takayoshi (JP) — Bartosz Ulatowski (PL)



About festival

For more than thirty years, the Gallery of Art in Legnica has specialised in promoting contemporary jewellery and artistic objects made mainly of silver. We have been organising individual and group exhibitions of Polish and international artists, publishing exhibition catalogues, organising conferences and symposia, as well as fashion and jewellery shows, competitions and fairs. The most important event we organize is Legnica Jewellery Festival SILVER. Every year we present individual and collective exhibitions as part of the festival, including:
LEGNICA INTERNATIONAL JEWELLERY COMPETITION The competition dates back to 1979 and every year it has a different topic. The competition is open and addressed to all artists, whose task is to present their work on a given topic – every year a different one – including an original artistic idea and representing a high level of artistry and technical skills. What is favoured is the concept, value and meaning of an artistic expression. Works entered for the competition are assessed by an international jury, on which over fifty outstanding goldsmithing artists and theoreticians have sat so far. What is characteristic of the competition is the fact that the winners of the first three prizes receive – according to a long-standing tradition – silver pellets and cash prizes.
The submitted works are qualified by an international jury. Over the years, we have invited a number of distinguished artists to seat on the jury, including: G. Babetto, G. Bakker, O. Boekhoudt,  S. Bronger, R. Puig Cuyás, P. Derrez, G. Dobler, A. Gut, F. Falk, M.R. Franzin, M.J. van den Hout,  E. Knobel, O. Kűnzli, T. Noten, V.K. Novák, R. Peters, M. Petry, K. Pontoppidan, G. Pucsala, A. Ratnikowa, P. Sajet, B. Schobinger, P. Skubic, Z. Songqing, W. Tasso-Mattar,  T. Smeets, D. Watkins, M. Vilhena, A. Zanella and from Poland – M. Dubiel, M. Gradowski, I. Huml, S. Fijałkowski, G. Jabłoński, J. Sokólski, A. Szadkowski, T. Zaremski, A. Wolski.
ABOUT THE ARTISTS is a cycle of retrospective presentations of distinguished personalities in jewellery art from Poland and abroad, including: J. Byczewski (PL), S. Fijałkowski (PL), P. Kaczyński (PL), N. Cherry (GB), H. O’Connor (USA), E. Knobel (IL), V.K. Novák (CZ), F. Peters (AU), M. Petry (GB), Rose & Gisbert Stach (D), L. Šikolová (CZ), W. Tasso-Mattar (D).  Soon: R. Puig Cuyás (E), H. Hedman (S), P. Sequeira (P).
SILVER SCHOOLS is a cycle presenting the artistic oeuvre of jewellery art schools from Europe, their professors, graduates and students. So far there have been presentations of schools from Barcelona, Birmingham, Bratislava, Düsseldorf, Edinburgh, Florence, Hanau, Idar-Oberstein, Lappeenranta, Łódź, Matosinhos, Munich, Oslo, Padua, Pforzheim, Prague, Stockholm, Tallinn and Vilnius. Continuing the cycle in the subsequent years, we are going to show one after the other all European silver schools. A total of 22 schools has been presented so far. The cycle will be continued with the intention to show all of them.
DEBUTS is a cycle presenting pieces of young Polish artists, who just start their activity in the field of design and art. Our plan is to invite novices from abroad.
THE BOUNDARIES OF GLOBAL ART is a cycle of science sessions devoted to the newest art, goldsmithery and design.




The Gallery of Art in Legnica
Pl. Katedralny 1
59-220 Legnica, Poland
tel. +48 76 86 20 910, fax. +48 76 85 65 126


EXPO ‘Manon van Kouswijk : Artefacts of life’ – Platina, Stockholm (Sweden) – 20 Oct.-12 Nov. 2011

Manon van Kouswijk : Artefacts of life

Within her work she focus on the value and meaning that everyday objects represent to us. She is interested in actions and rituals in which these objects take part, like finding, buying, collecting,receiving and giving. In the works she visualises aspects of their function, of use and wear, and of associations that are connected with them.
Manon van Kouswijk sees the making process as a way of making things visible rather than designing; she stays quite close to the objects and work with the materials and techniques that the archetypes which she starts from have been made with.
Manon van Kouswijk- ‘Fossil’

What do we modern humans have in common with the first people that inhabited the earth? Well, we wear jewellery; we were already wearing jewellery before we started wearing clothes. The fact that the Neanderthals were making and wearing jewellery proves that they had the capacity for symbolic thinking. Jewellery and weapons are the world’s oldest artifacts. Today’s weapons do not look like the ancient ones, but the appearance of the bead necklace has remained the same. The adornment of the human body is a primal urge that has created a flow of jewellery with endless symbolism. Jewellery is beautiful, it provides protection; it is economic security; shows status; carries memories and more. Jewellery refers to human and spiritual issues. The objects are often small in size but take the greater place in our emotional worlds.
Along with the diamond ring, the pearl necklace is the most popular piece of jewellery. While humans prefer soft and round shapes to square shapes a beaded necklace does not need to be of genuine pearls or round balls. A bead can be made of any rigid material with a hole so it can be threaded on a string. The range of the beaded necklace is enormous, from children’s first pieces of jewellery made of plastic beads to the invaluable pearl necklaces for kings and 20th century movie stars.

Odengatan 68
11322 – Stockholm
Telephone: +46-8-300280


EXPO ‘Barbara Uderzo: Blob Rings’ – Macef Milano (Italy) – 27-30 Janv. 2011

Classé dans : Barbara UDERZO (IT),Exposition/Exhibition,Italie (IT),plastiques,rings,www Klimt02 — bijoucontemporain @ 18:11

Blob rings are made in silver and coloured plastics and incorporate symbolic micro-objects from contemporary life. Barbara works the magmatic and coloured plastics in an experimental way, recreating casual shapes around a silver ring. During the years Barbara Uderzo has created small “families” of Blob rings on specific themes, such as Blob rings food, with food material and kitchen tools; jewels with slices of cakes, small cups or teapots, small coffeepots or sweets, all dipped in cream or in a translucent glass. 
*The collection’s name comes from the title of a science fiction cult movie of the Fifties, “The Blob”, whose main character is a strawberry-like jelly which invades the Earth and swallows everything and everyone it finds on its way.

EXPO Barbara Uderzo Blob Rings

I Blob rings sono realizzati in plastica e inglobano micro-oggetti simbolici della contemporaneità. La plastica, magma e colore, è lavorata in modo sperimentale, rielaborando forme casuali attorno ad un cerchio in argento. Nel corso degli anni Barbara Uderzo ha creato piccole “famiglie” di anelli Blob su argomenti specifici, come ad esempio i Blob rings food, relativi al cibo ed agli oggetti di cucina, quelli con fette di torte, tazzine o teiere, caffettiere o bonbon, immersi nella panna o in traslucide glasse.
*Il titolo della collezione, viene da quel film degli anni ’50 divenuto un culto per gli amanti della fantascienza: “Blob, il fluido che uccide”; protagonista del film è infatti una gelatina color fragola che invade la Terra e inghiotte qualsiasi cosa o persona capiti sulla sua strada.

EXPO 'Barbara Uderzo: Blob Rings' - Macef Milano (Italy) - 27-30 Janv. 2011 dans Barbara UDERZO (IT) 02
Barbara Uderzo - ‘Blob rings’ – anelli – plastica, argento (rodiato), miniature



Macef Milano
DESIGNER CLUB A21 B24, padiglione 11
fieraMilano/Rho – Milan
Macef Milano is one of the largest trade events dedicated to home decor, jewellery & fashion accessories, gifts & antique market in Europe.


a « ROCK star » : Debra Baxter

Classé dans : COUP DE COEUR,Debra BAXTER (US),pierre / stone,USA — bijoucontemporain @ 21:02

Sculptor Debra Baxter is carving her own niche

a « Remember that scene in Superman: The Movie when Clark Kent travels to the North Pole and ends up discovering his life’s purpose in the crystalline Fortress of Solitude? So does Debra Baxter. But the impact the film made on the local sculptor as a young girl lay dormant until adulthood—when she realized her own superpowers.
Over the past three years, the 37-year-old artist has earned three grants from 4Culture (King County’s cultural services agency), an Artist Trust Fellowship, a Jentel Artist Residency (in Wyoming) and a solo exhibit at Massimo Audiello gallery in New York City. In the past six months, she’s had a highly acclaimed solo show at Seattle’s (now closed) Howard House, received a rave in national Sculpture magazine and caught fire in the blogosphere—thanks in part to her recent work with quartz, a fascination she traces back to that influential 1978 movie in which crystals were the key to manifesting power.
While Baxter refuses to “trip out” on crystals in the New Age, “woo-woo” sense, she concedes that working with quartz and geodes—which she marries with wood, alabaster and metals—gives her a feeling of strength. That sensation is perhaps most visible in her 2009 piece “Crystal Brass Knuckles (I am going to realign your chakras mother******!),” a set of hand-forged brass knuckles sized for a woman’s grip and adorned with spiky crystals decidedly not of the healing sort. The humor, feminism and craftsmanship of the piece are irresistible—evidenced by the adoring bloggers who caused a photo of it to go viral last spring. Little did they know that these traits have long been hallmarks of Baxter’s work.
Raised in Nebraska by a quiltmaker mother and an anesthesiologist-turned-landscape-photographer father, Baxter earned a bachelor of fine arts degree at the Minneapolis College of Art and Design and moved to Seattle in 1997 (mainly, she says, “because of the winters in Minneapolis”). After a brief stint in New York to obtain an M.F.A. from Bard College, she returned to Seattle and currently lives on Lower Queen Anne, teaches art appreciation and visual art to computer game designers at DigiPen in Redmond and sculpts in an industrial-Ballard studio.
While Baxter’s previous work has expressed a desire to feel safe (cloudscapes made of powder puffs, tissue and cotton; sculptures using inflatable life jackets and water wings), she says recently she decided to embrace her vulnerability —an acquiescence that has resulted in exposed necks and disembodied vocal cords and tongues, made of stone but seemingly also soft, pliable and naked.
Her incorporation of crystals began with the 2009 sculpture “Suck It Up (hyperventilation bag),” a paper bag made of alabaster and crimped at the neck, as if someone breathed in it to avoid passing out. On one side the bag has split, and quartz pours out like frozen panic. An asthma sufferer, Baxter incorporates breathing (or not) in her work—recently via balloons made of thin glass (whole and shattered), alabaster punching bags resembling lungs, an alabaster ventilation mask and inhaler.
The crystalline path has also led to an unexpected sideline in jewelry making—slices of geodes slung on chains and crystals jutting out of silver rings—which Baxter attributes to being “so in love with my rocks, I’m trying to figure out how to wear them.” Either that or she’s secretly perfecting her superhero costume.  » (By Brangien Davis in Seattle magazine)


Crystal Brass Knuckles (I am going to realign your chakras motherf*****)Crystal Brass Knuckles (I am going to realign your chakras motherf*****)
Crystal Brass Knuckles ( I am going to realign  your chakras mother******! )

« It is sort of a superhero tool/weapon. Most of my work is about engaging the body in some way. Calling the body to do something. My work embraces failure and fragility…though you won’t know that seeing this piece.
I have been fascinated with crystals since high school where I did a [talk] [sic] about their potential powers. Explaining how my grandpa who was an electrical engineer made a quarts crystal radio utilizing the « vibrations » of quarts. As much as I am not new agey or woo woo, crystals do have energy and powers. They seem to amplify what is already there. Crystal Brass Knuckles ( I am going to realign  your chakras mother******!) is dealing [with] [sic] this, the dichotomy of a weapon and healing device in one. And just how completely ridiculous and contradictory that is. They are made to fit a woman’s hand. There is a feminist/grrl power piece to this…and to all my work. Women engaging in their power and sexuality. » says Debra Baxter about these jewelry.




NEXT SHOW: Sheppard Fine Arts Gallery in Reno, Nevada (a group show with Seattle artists Dawn Cerny and Jenny Heishman) in October (4 Oct.-5Nov. 2010) – SCULPTURE exhibition

Sheppard Fine Arts Gallery
1664 N Virgina St
Reno, NV 89557, États-Unis
(775) 784-6658


RING a DAY challenge !!

Ring a Day challenge : For anyone who wants to participate in making a ring a day for the year 2010! nothing strict. you just have to make something every day… out of anything you want!!

post your propositions here :

le but du jeu ? faire une bague par jour, pendant l’année 2010 !!!

Les propositions sont délirantes, drôles, superbes, imaginatives, créatives …. à voir (à défaut de créer soi-même !) je me régale !!!

some of my « fav » :
Kathryn Riechert - Silver plate spoon handle with an enameled flower (glass on copper) Kathryn Riechert 'The SQUID''clarestoker'- ring_a_day'Ligia Rocha'- ring_a_dayVictoria TAKAHASHI- 'experimetal'  ring_a_day

Kathryn Riechert - Silver plate spoon handle with an enameled flower (glass on copper) pinned in place by a sterling rivet – ‘The Ring I Made With the Red Flower That Goes Over Multiple Fingers’ — Kathryn Riechert ‘The SQUID’ made w/ a fork ! — – Clare STOKER Ligia ROCHA‘  — Victoria TAKAHASHI ‘experimetal’
'ninadinoff'- ring composed of the entirety of Martin Luther King Jr.'s 'I Have a Dream' speech from August 28, 1963 -ring_a_day-  de 'mikeandmaryjewelry'Tomi (Thomasin Durgin)('Metal Riot')  - Crown of Thorns Cilice Ring - ring_a_dayTomi (Thomasin Durgin)('Metal Riot')  - a testicular beaded moment!!! -2- ring_a_dayTomi (Thomasin Durgin)('Metal Riot')  - ring_a_day-

Nina DINOFF  ring composed of the entirety of Martin Luther King Jr.’s ‘I Have a Dream’ speech from August 28, 1963 –   ‘mikeandmaryjewelry‘ feathers — Thomasin DURGIN (‘Metal Riot’)  ‘Crown of Thorns Cilice Ring’ –  Thomasin DURGIN (‘Metal Riot’)  a testicular beaded moment!!! — Thomasin DURGIN (‘Metal Riot’) cerf-volant/kite ring – 

Les plus belles photos de toutes ces merveilles d’inventivité sur / have a look at the best pictures on


Thomasin Durgin is a stand-out participant in the Ring A Day Project on Flickr. I’ve been watching her mix it up with classic metalwork, shocking political statements, innovative use of alternative materials, and inspired conceptual pieces. If that weren’t impressive enough, she’s also created video art.
Making one ring per day for a year is challenging,” Thomasin says, “and I’ve found it helpful to switch between mediums to keep it fresh for myself. Some of my videos are made as conceptual rings and some simply demonstrate the uses of rings that I’ve created. I know virtually nothing about making movies, but I have a lot fun playing with i-Movie and exploring stop-motion techniques.

Image de prévisualisation YouTube


Valérie Salvo |
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