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25/04/2017

AUTOR Contemporary Jewelry Fair – Grand Hotel du Boulevard, Bucarest (Romania) – 13-14 May 2017

AUTOR 2017

ready for its 16th edition ! May 13-14,  Grand Hotel du Boulevard, Bucharest. Come discover the emerging talents of contemporary jewelry.

Out of the 190 applications received for the 2017 editionn, our jury selected 90 artists to be discovered during our international fair
AUTOR 2017
 
AUTOR <3 community. AUTOR takes its 8 years mission further by shaping the contemporary jewelry community. We connect artists with passionate jewelry lovers, collectors, international galleries, distributors or specialised media. The 2017 jury includes Sofia Björkman – Jewellery artist and Founder of Gallery Platina in Stockholm Doris Maninger – Director of Alchimia Jewelry School in Florence, Lucia Massei – Director of Alchimia Jewelry School in Florence, Ruudt Peters – Artist, Professor Opere Summer School in The Netherlands, Paulo Ribeiro – Founder and Director of Joya Barcelona, Dan Pierșinaru – Founder and Director of Autor. This spring we launch the 4th issue of AUTOR – the contemporary art magazine, one more reason to be there!
 CRUSHED by Andra Lupu, Romania - AUTOR 2017CRUSHED by Andra Oana Lupu, Romania
« A celebration of fragility, life and feelings in a beautiful brooch.
”Crushed is what you feel when something beautiful is ending, crushed is how you feel when you lose someone dear. But every ending is a new beginning, it’s up to you how you start over, or whether if you take the good or the bad of every experience. In my new collection, I use thin layers of « crushed » melted silver, to create a jewelry as a metaphor to the fragility of life, relationships, feelings”. »
 Tubular Collection by Ana Pina, Portugal - AUTOR 2017Tubular Collection by Ana Pina, Portugal
« Ana’s jewelries celebrate multiple possibilities using geometrical wiseness. To infinity and back!
”The Tubular Collection combines round wires and tubes in a subtle way, creating both minimalist and statement pieces that aim to celebrate pure geometric lines and its multiple possibilities of combination. The rationality of orthogonal alignments is challenged by the mutable character of movement and by the seeming idea that the connections between the different elements are fragile and unpredictable, which accentuates the sense that any combination is possible – from the simplest isolated element to infinity” »
16psyche Collection by Anna Börcsök, Hungary  16psyche Collection by Anna Börcsök,  Hungary 
« Can a jewelry collection be an exclamation sign? Anna’s answer is yes.
”The jewelry and the wearer should be inseparable. Without them we are naked and helpless. These pieces are fractal based Armours and they determinate the movement and actions of the wearer’s position. I was studying the Ancient societies and examining the current social models to get a predictable image of the future. The collection is an exclamation point, an invitation to face our own limitations”. »
Second Shape by Giulia Boccafogli fashion jewelry, Italy - AUTOR 2017Second Shape by Giulia Boccafogli fashion jewelry, Italy
« The forgotten becomes unforgettable.
”Second Shape is a second chance for the material to be used in a different way and also a second chance for my jewelry to become something different: an ornament or almost a dress. I like the idea that a ruin could be such a great source of beauty and this is the reason why I tried to explore a different way to work the “forgotten” leather: a super clean and modern material that can be worked in an apparent rough way” »
Night Writing by Letiția Pintlie, RomâniaNight Writing by Letitia Pintilie, România
« The sensory jewelry.
”Vision, our dominant sense, allows us to perceive the world through images, motion and colour. We use the information received from it to recognise and interact with objects and environments, interpret spatial cues. When impaired, one way of assisting it is by supplementing information through other means, like tactile. I translated this into the collection by constructing the pieces on elements that address both the vision and the touch” »
 Alien Flowers by Gülnur Özdağlar/ tertium non data, Turkey Alien Flowers by Gülnur Özdağlar/ tertium non data, Turkey
« Exploring new horizons of beauty  ”This collection is a search for creating deep sea corals and tropic flowers of another planet” »
 Necklace series by Magali Thibault Gobeil Joaillière, CanadaNecklace series by Magali Thibault Gobeil Joaillière, Canada
«  »SOMEBODY GOT CRAZY WITH THE CANDY MACHINE »
Lost in my imaginary world where everything is so delightful. That little place inside myself where everything is calm, joyful and pretty. Where my mind goes when everything is so hard outside, in the real world. These crazy forms of nature made from artificial materials are the result of that retreating into that special world that protects myself from not going crazy in the real world. They touch all our senses. We want to eat them as if they were candies, to touch them because of their appearance so smooth, spongy and colourful We all need that little break to full our body with a bit of joy. »"
AUTOR 2017 Sandra Tepla Jewellery, Czech Republic: Atomic Visions by Sandra Tepla Jewellery, Czech Republic
« Jewelry stand for a vision of future.
”Atomic Visions: Human Impulse is about futuristic textile structures, exploring empowerment/dominance in a pre-apocalyptic ‘rise before the fall’. My infatuation with textile cord has enabled me to create large scale work of colours previously unknown to me. It is this ‘WHY NOT?’ attitude that does the trick; often producing the most striking creations” »
 About Colour/ (Im)movable Collection by Konstanze Prechtl, Austria - AUTOR 2017About Colour/ (Im)movable Collection by Konstanze Prechtl, Austria
« Colour sets us free
« I use a range of colours derived from my personal life and surroundings which are applied in different ways to various materials. Depending on the line of sight, the viewer and wearer discover different colour schemes. The series “(Im)movable” reflects on Movement and Restraint – Freedom and Restriction. Although each joint is movable, they are restricting and limiting each other”. »
 REflections Collection by Kapka Jewelry, Macedonia  - AUTOR 2017REflections Collection by Jana Acevska/Kapka Jewelry, Macedonia
« Jewelry speaks for today.
“Jewels as reflection of our internality are containing stories of the present, but also past, transmitted through generations. Relating the traditional with the contemporary is an endeavour to generate new stories, unique and specific, which is the idea behind the Reflections, new KAPKA jewelry collection”. »
 Lamella Collection by Veronika Fazekas, Hungary - Playing with magic. - AUTOR 2017Lamella Collection by Veronika Fazekas, Hungary - Playing with magic. - AUTOR 2017
 Lamella Collection by Veronika Fazekas, Hungary – Playing with magic.
« With these pieces my aim was to make a setting in a ’magical way’, using optical illusion and the help of the light. To see the settled lens, you need light which reflects it into your eyes. I could reach this with the help of lamellar structures.” »
Identity by Franziska Höhne, Germany - A non-gender jewelry.Identity by Franziska Höhne, Germany – A non-gender jewelry.
« ”The collection sharpens the senses to become more sensitive in dealing with each other. It encourages thinking beyond simple categories so everyone can become aware of their own identity and develop it freely without constant external conditioning. There are no obvious gender markers in the collection. Each person can decide for themselves how the jewelry is worn, giving hints of one‘s own identity or masking it” »
Colorful Emptiness by Adriana Díaz, Colombia/SpainColorful Emptiness by Adriana Díaz, Colombia/Spain
« A piece of jewelry to remind us how time flies. Each and every moment. ”These pieces are small receptacles that actually contain nothing except a patina that is evocative of the passing of time. They are like rusty cans that have been abandoned in some forgotten corner, exposed to the elements and disuse” »
Balloon bracelet + Silver earrings by Tengely Nóra Jewelry, HungaryBalloon bracelet + Silver earrings by Tengely Nóra Jewelry, Hungary
« Playing with balloons and chain lines to find new balances.
”My jewelries are made of sterling silver with the technic of rigidified chains. Each link is soldered one by one. The balloon collection was made to find a new closure method. The bracelets consist two flat separated parts and the balloons press them together – they are the lock of the two parts”« 
 Deforested by Mona Velciov Monotip, Romania Deforested by  Mona Velciov Monotip , Romania
  Mona Velciov,  Her collection for AUTOR 16 is dedicated to transforming protest into a powerful aesthetic statement.
”Due to the last 20 years of vast illegal logging, both by private companies and the government, hundreds of thousands of hectares of Romanian forests, one of Europe’s last virgin forests, were deforested. This body of work is a protest and a confession: of the pain these actions are causing to the forests that it is also my pain”.
AUTOR 2017 - Girls in Red by Diederick van Hövell, Belgium: Girls in Red by Diederick Van Hovell, Belgium
 » What color is your mood? “With the contemporary jewel as a medium, I search, with detours, a specific color to translate a mood, a technique to express a touching feeling, to transpose emotions. A portrait, a jewel, a thought – as a testimony of an interest in the individual, as an evocation of the distinctive signs, to learn about the intersecting identities of each other. This is my subject matter”.:

Earth's four elements -  Bracelets by Isabel Sabato Argentina Earth’s four elements -  Bracelets by Isabel Sabato Argentina

Fractured Bracelet by Kyri Hinkleman, USAFractured Bracelet by Kyri Hinkleman, USA
”Working with found objects, I am interested in taking the previous inferred meanings of materials and changing the context to represent a new experience. Discarded metal, found threads, forgotten hardware and even seemingly useless care tags are things that often go unnoticed. Through my work, I intend to rediscover and represent these findings through a fresh outlook”.
Tidal Surge by Heather McDermott Jewellery, ScotlandTidal Surge by Heather McDermott Jewellery, Scotland
« ”Unconventional in size and structure, each piece is an expression of sculptural form and is designed to create a statement. The continually changing shoreline is my constant source of inspiration and my collection is the contemporary interpretation of these surroundings. Stainless steel and silver wire is hand formed into soft geometric shapes mimicking fishing nets and lobster pots” »

 Framing the Unframeable by Letizia Maggio jewelry, Italy Framing the Unframeable by Letizia Maggio jewelry, Italy

 The Morning After by Shiran Shashua, Israel The Morning After by Shiran Shashua, Israel
”In this collection, I used paper as a main element giving it high value by setting it in a jewel. Using two different materials with different properties side by side. My inspirations comes from maps, latitude and longitude, compasses, arrows and signs”
 Past, loss, future by Christine Jalio, Finland - Exploring emotions Past, loss, future by Christine Jalio, Finland – Exploring emotions
”The collection shows that I am intrigued by asceticism, old age and sensitivity. The pieces have a sense of comfort and safety to them and look very heavy, but are very light. I am extremely fascinated by the human psyche and the emotions and reactions that are part of it. In my work I want to study the human life span and the transitions, choices and turning points of life”

AUTOR 2017 - Noha Nicolescu - Little Blue, ring, wood, silver 'I am a sky where spirits live. Stare into this deepening blue, while the breeze says a secret.' Rumi #autorfair: Noha Nicolescu – Little Blue, ring, wood, silver
‘I am a sky where spirits live. Stare into this deepening blue, while the breeze says a secret.’ Rumi

WEK, Portugal ★  “It's all about playing! Connecting long necklaces, matching colours. Join as much as you want! Play collection is focus on the lock, the main piece of the necklace. Thought to be more than functional, the lock means singularity, irreverence, the importance of details”.WEK, Portugal ★
“It’s all about playing! Connecting long necklaces, matching colours. Join as much as you want! Play collection is focus on the lock, the main piece of the necklace. Thought to be more than functional, the lock means singularity, irreverence, the importance of details”.

 Ana Barbu Uzura , RomâniaAna Barbu Uzura , România
”As more as I get closer to plants and nature and work with them, I feel like a more powerful concept is taking over in this approach, the awareness of fragility of life, and for that to be more obvious I need to leave my plants more to hazard. In order to do that I have this new way, more voluptuous, of exhibiting dying organic matter, just by putting it into small protective exoskeletons made of precious metals or under thin glass”.

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AUTOR 2017 with mydaybyday gallery
Mia Maljojoki, Noelia Macchi , Tal Barash Efraim with myday-byday Gallery in Rome selected at the Autor Fair 2017 !!
 
 
 Grand Hotel du Boulevard, Bucharest
Bulevardul Regina Elisabeta 5, București, Roumanie
Téléphone : +40 21 210 2363
hello@dautor.ro

 

17/04/2017

EXCHANGE-BIJOU 1 – Viktoria MUNZKER at Dorotheum (Vienna, AT) from 4 May 2017

Viktoria MUNZKER

« To give birth to something new, something old must die. »

the next selling exhibition will be at  Dorotheum,  Vienna (Le Dorotheum, fondé en 1707, est la plus ancienne salle des ventes au monde ; elle donne son nom à la société qui en assure la gestion)
It will be a small exhibition with 23 pieces, mainly to present my winning pieces from the Arts and Craft Design Award. Pieces can be seen from 4 May .
There is a private opening party on 4th may from 18:00 to 21:00.

 Viktoria Munzker  "Cupido minimus" necklace 2016 - (fish bones), brass, glass, glass granules, pearl, varnish - 12 x 10 x 2,5 cm, 45 cm length: Viktoria Munzker  « Cupido minimus » necklace 2016 – Crystal Odyssey series – (fish bones), brass, glass, glass granules, pearl, varnish – 12 x 10 x 2,5 cm, 45 cm length

Viktoria Munzker   necklace "Calmella Calvolini" from MICROVITA series 2017 - Driftwood, cotton, silver, plastic beads, granules, lacquer Viktoria Munzker   necklace « Calmella Calvolini » from MICROVITA series 2017 – Driftwood, cotton, silver, plastic beads, granules, lacquer

Viktoria Munzker   - brooch  "Tubularia Perla" < 2011 - 2012 - Worms series - Driftwood, Alpaca, Steel, Lyberian Dessert Glass, Paint, Metal Granules, Plastic pearls 2012: Viktoria Munzker   – brooch  « Tubularia Perla »  2011 – 2012 – Worms series – Driftwood, Alpaca, Steel, Lyberian Dessert Glass, Paint, Metal Granules, Plastic pearls 2012Viktoria Munzker  - brooch  "Blue Tunnel" < 2011 - 2012 - "Worms" series -: Viktoria Munzker  – brooch  « Blue Tunnel » < 2011 – 2012 – « Worms » series -

Viktoria Munzker  - brooch from 2015 - Orbis Regius series: Viktoria Munzker  - brooch from 2015 – « Orbis Regius » series

Viktoria Munzker   - brooch from 2013 - "Desiderium Ad Universum" series: Viktoria Munzker   – brooch from 2013 – « Desiderium Ad Universum » series

Viktoria Munzker  - brooch "Species"< 2011 - 2012 - Worms series: Viktoria Munzker  – brooch « Species »  2011 – 2012 – Worms series

 Viktoria Munzker - brooch " Heliopora coreulea " Driftwood, silver, glass granules, topaz, varnish - 13,5 x 5,5 x 4,5 cm: Viktoria Munzker - brooch  » Heliopora coreulea  » Driftwood, silver, glass granules, topaz, varnish – 13,5 x 5,5 x 4,5 cm

« At the beginning, all is empty and dark.
It looks like a never-ending sphere.
The darkness is strong and heavy.
Only a small grain from the destroyed world remains.
It’s floating and collecting positive energy from the space.
In the right moment, at the proper place, it explodes at the speed of light.
From one moment to another, the universe is full.
Blending, full of light, waiting for you.
Make a wish.
Create the new world of light, gravid in possibilities.
By focusing on the essentials we reach the blurred lines between natural and artificial.
These relationships are the jewel in the composition of freedom and individual expression.
Sometimes we see only what we want to see. Sometimes it’s enough.
We want to know the truth behind the things.
Truth is freedom.
So we ask, investigate and are curious.
We want to find out how things work.
We are creating universe with the least constraint.
The need to create is an elementary necessity of us all. » – Viktoria Munzker

 

 

 

Dorotheum
Kärntnerstrasse 36
A-1010 Vienna (AUSTRIA)
Phone: +43-1-513 32 02
Opening hours Monday to friday 9:30 to 19:00, saturday 9:30 to 18:00
 https://www.dorotheum.com/en.html

Enregistrer

Enregistrer

31/10/2016

EXCHANGE-BIJOU 1 – Viktoria Münzker – granules forever !

Classé dans : Autriche (AT),COUP DE COEUR,EXCHANGE-BIJOU,Viktoria MUNZKER (SK/AT) — bijoucontemporain @ 0:32

Viktoria Münzker

« In the beginning, all is empty and dark. It looks like a never-ending sphere. The darkness is strong and heavy. Only a small grain from the destroyed world remains. It is floating and collecting positive energy from the space. At the right moment, in the proper place, it explodes at the speed of light. From one moment to another, the universe is full. Blending, full of light, waiting for you. Make a wish. Create the new world of light, gravid with possibilities. To give birth to something new, something old must die. By focusing on the essentials, we reach the blurred lines between natural and artificial. These relationships are the jewel in the composition of freedom and individual expression. »

Usually, I love the BLUE(s), so I should show you the new Viktoria Munzker blues, the ones we saw at last JOYA Barcelona 2016, the Crystal Odyssey serie, done with some skeleton fish (see the incredible back of this neckpiece !) …….

Viktoria Munzker -  2016 - Crystal Odyssey - "Hyacinthina" necklace Operculum, Bronze, Silber, Glasstein, Granulat  2016Viktoria Munzker -  2016 – Crystal Odyssey – « Hyacinthina » necklace Operculum, Bronze, Silber, Glasstein, Granulat  2016

Viktoria Munzker -  2016 - Crystal Odyssey - "Hyacinthina" necklace (DETAIL) Operculum, Bronze, Silber, Glasstein, Granulat  2016Viktoria Munzker -  2016 – Crystal Odyssey – « Hyacinthina » necklace (DETAIL) Operculum, Bronze, Silber, Glasstein, Granulat  2016

Viktoria Munzker -  2016 - Crystal Odyssey - "Hyacinthina" necklace (BACK) Operculum, Bronze, Silber, Glasstein, GranulatViktoria Munzker -  2016 – Crystal Odyssey – « Hyacinthina » necklace (BACK) Operculum, Bronze, Silber, Glasstein, Granulat

2016 – Crystal Odyssey

Imagine your boat drifting in the winds
towards the stars
nothing is real
everything is fantasy
kaleidoscope skies with your head in the clouds
there\\\’s a place of diamond fields
lonely hearts standing there
where are they coming from
words are sea of green, gold and blue
follow the man next door
the sun will know
all you need is everyone
across the lane we live a life of ease
return to the galaxy of souls
where the crystal odyssey was written
and colored with memories

BUT ……. I’m in a REDDISH mood (Halloween ?????) so HERE we are !!!!

Viktoria Münzker Ferus  Ring: Rose Absolue, 2016  Silver, wood, granules: Viktoria Münzker – Ring: Rose Absolue, 2016  Silver, wood, granules

Viktoria Münzker Ferus  Ring: Violet, 2015  Wood, silver, granules: Viktoria Münzker- Ring: Violet, 2015  Wood, silver, granules

Viktoria Münzker- Brooch: Magenta, 2016  Wood, silver, amazonite: Viktoria Münzker- Brooch: Magenta, 2016  Wood, silver, amazonite

Viktoria Münzker Ferus Brooch Violina, 2016 Silver, wood, granules: Viktoria Münzker - Brooch Violina, 2016 Silver, wood, granules

Viktoria Munzker -  the tear & the pendulum necklace 2016Viktoria Munzker -  the tear & the pendulum necklace 2016 wood, silver, fluorite, glass, granules.

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NEWS

An exhibition with the finalists of the 5th edition of the prestigious Eligius Jewellery Award, which is granted with 7000€ prize money for Austrian jewellery artists. The exhibition includes a retrospective from Anna Heindl and will take place in a second venue in september 2016, at the MAK – Austrian Museum of Applied Arts in Vienna.  In the artists list, of course, Viktoria Munzker !

Viktoria Münzker - Brooch: Gorgonie, 2016  Wood, onyx, silver, granules: Viktoria Münzker – Brooch: Gorgonie, 2016  Wood, onyx, silver, granules

BLUE or RED, I’m MAD of her granules !!!!!

 Enregistrer

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)

25/09/2013

LOOT 2013: MAD about Jewelry – 1-5 Oct. 2013

Classé dans : Exposition/Exhibition,MAD Museum (US),SHOP,USA — bijoucontemporain @ 0:43

The Museum of Arts and Design will present LOOT 2013: MAD about Jewelry, its curated exhibition and sale of artist-made jewelry for four days this October. Now in its 13th edition, LOOT: MAD about Jewelry has become known as the ultimate pop-up shop for contemporary art and studio jewelry by both artists and collectors alike; it affords the public the rare opportunity to acquire pieces directly from some of the most innovative jewelry artists in the world. This year, the creations of more than 50 emerging and acclaimed jewelry artists will be on sale. Prices will range from $200 to $12,000, with $1000 the average. Proceeds from the selling show will benefit the Museum’s exhibition and education programs.

Opening Benefit:
Tuesday, October 1, 4:30PM to 8PM
The Show Continues:
Wednesday, October 2, 11AM to 6PM
Thursday, October 3, 11AM to 9PM
Friday, October 4, 11AM to 9PM
Saturday, October 5, 11AM to 6PM

LOOT 2013: Violaine Ulmer - porcelain
Violaine Ulmer (FR) - porcelain necklace
For Parisian jeweler Violaine Ulmer, the conception of a new piece of jewelry involves consideration of the interactions of light, transparency, form, & space to create a plastic object, not just an item of adornment. Each piece is above all a sculpture & a further source of experimentation. This approach gives form to “objewels” (objects-sculptures-jewelry), work that can be placed at the intersection of art, fashion, & design. Her current explorations focus on the meeting point between specific porcelain techniques & classic jewelry-making processes. Through this research, Ulmer evolves forms that exploit the fundamental character of her materials; they are both generous & pared to the essence.
Mathilde Quinchez .Mathilde Quinchez (FR)
Inspired by the lines found in nature, and more particularly by seeds and cocoons, Paris-based designer Mathilde Quinchez conveys a subtle and sensual world at fertility’s moment of origin. She communicates the most intimate matters with delicacy: her small, original cells convey a latent strength, comprising both the essence and the entirety of the universe. Beyond symbols, Quinchez brings us back to our perception of our senses—a wide range of simple and vital emotions. Her work also reflects on time, in her careful attention to detail, and the patina that the jewels will eventually wear. Quinchez’s way of working with silver, her pure lines and forms that explore fullness and emptiness, and her delicate perforations make her jewels extremely refined. In her hands, the metal becomes a synthesis of light, femininity and subtlety.
Andrea PinerosAndrea Pineros (FR)
 Andrea Pineros ’ work is based on the themes of structure and lightness. With his background in design, he is inspired by urban constructions such as bridges, towers, stairs, and even transport networks. As he observes Paris, its inhabitants, its intrinsic rhythms and movements, he considers the thousands of daily trips that form networks and links. Pineros transcribes these ideas into jewelry, focusing on the essential concepts of full and empty, tension between links, proportion and equilibrium, growth and chaos. The wire he uses to create his designs serves as a pencil does for an architect: this thread which can stretch out, multiply, and fill an entire space allows him to express his creative universe. His pieces remind us that the preciousness of an object resides not only in its material but in its esprit. Through his jewelry, Pineros reduces the monumental in scale to make it accessible and finally tame.
LOOT 2013 Florence Croisier
Florence Croisier (FR)
Florence Croisier composes with the body, catching the variants of composition that movement can offer. Born in Geneva, Croisier graduated from Geneva’s School of Decorative Arts and worked in Paris as a designer or maker for different companies until 1999, when she started her own collection. Three years later, she began working with titanium. This material’s durability, hypoallergenic property, and capacity to take on beautiful colors allowed Croisier to fully express her creativity—and titanium’s lightness allows the wearer to pile on as many pieces as desired while retaining complete freedom of movement. Croisier started this work using a sculptural approach, but later began to use titanium wire as a kind of pencil permitting her to draw directly with the material. Others of Croisier’s pieces are assembled from an accumulation of repetitive elements organized into a structure that is sometimes completely random, sometimes inspired by nature.
LOOT 2013 Fabien Ifirès
Fabien Ifirès

Self-taught designer Fabien Ifirès apprenticed in luxury saddlery and handmade shoe-making workshops. He decided to create his own label in 2010 in collaboration with Michaël Vandewielle. His mastery of traditional sewing techniques allows him to explore all the possibilities of leather, his favorite material, and offer pieces that are precious and unique due to his meticulous creative process. All of Ifirès’ jewels are entirely handmade according to traditional saddlery techniques, with very high quality leathers sourced from the best European tanneries.

Hungarian designer Janka Juhos was born into a family of artists, and so her future career was marked out well in advance. After receiving her BFA in 2010, Juhos founded her own jewelry design company, JUJJ.
Hungarian designer Janka Juhos was born into a family of artists, and so her future career was marked out well in advance. After receiving her BFA in 2010, Juhos founded her own jewelry design company, JUJJ.
LOOT 2013: Yoko Shimizu
Yoko Shimizu
Japanese designer Yoko Shimizu studied at Alchimia Contemporary Jewelry School in Florence, Italy, and chose to stay there to establish her jewelry practice. Living in a foreign country has heightened Shimizu’s consciousness of her cultural background and natural sense of expression and aesthetics. Subtleness and simplicity, fragility and vigor, harmony and tension are all important to her work. The theme of her collection in resin is transformation, which is manifest in Shimizu’s exploration of the mutability of forms, materials, and colors. Pieces of wood are alchemized into pieces of resin, and the surface of wood is transferred onto the surface of the resin. The metamorphosis of wood to resin, of natural to artificial, of opaque to transparent, and the continuous changes that occur when the jewels are worn on the body … all of these inspire Shimizu’s work.
LOOT 2013: Michihiro Sato
Michihiro Sato
Michihiro Sato became interested in contemporary jewelry when he was an arts education student in Japan. After his graduation, he traveled to the University of Pforzheim in Germany to research the field. This was the beginning of a very long stay in Germany, where he gained valuable experiences and perspectives as a citizen, an employee of several advertising agencies, and finally a freelance artist before he left the country in 2002 to study jewelry in Oslo, Norway. Most importantly, in Germany Sato encountered the philosophy of Buddhism, which has influenced his work. Sato is currently living and working in Osaka, Japan as a freelance jewelry artist and teacher. He creates his jewels using various materials, including paper, silver and resin. His experiences living in different cultures have had a great impact on his creations. For Sato, something transient is beautiful if he has the insight to perceive something permanent
Jo Hayes Ward Constructing jewelry from small building blocks,
Jo Hayes Ward – Constructing jewelry from small building blocks

25/05/2013

EXPO ‘Réka Fekete : Balance’ – Galerie Ra, Amsterdam (NL) – 25 Mai-10 Juill. 2013

Réka Fekete : Balance      

Réka Fekete: Balance    Artists: Réka Fekete  Management: Paul Derrez  Place: Galerie Ra  (Amsterdam, Netherlands)  25-May-2013 - 10-Jul-2013    website: www.galerie-ra.nl(Réka Fekete, Satellite#1151, brooch, 2012, steel, silver)

‘In the Balance collection I draw with the material and explore connections: I look at how each individual component can be coupled to the next link. This creates different spontaneous compositions and creations mainly in steel and coloured wood which are linked together by silver rivets. The components can be juxtaposed with each other in different ways, thereby finding a new sense of balance. This dynamic adds character to the pieces, just like the bright colours and the irregular organic forms do. To touch and explore the various possibilities of movement is to engage in contact, a form of introduction between the onlooker and the jewellery, in order to be fellow companions ultimately.’  Réka Fekete

Réka Fekete - Sun in the sky - 2013 brooch - steel, laminate, silver, aluminium, paintRéka Fekete – Sun in the sky – 2013 brooch – steel, laminate, silver, aluminium, paint

Réka Fekete - Sun in the sky - 2013 brooch - steel, laminate, silver, aluminium, paintRéka Fekete – Sun in the sky – 2013 brooch – steel, laminate, silver, aluminium, paint

interview by AJF Blog :
« Why is your show called Balance?
Réka Fekete: « As well as in my previous series, I am experimenting with movement within these pieces. Movement stands for personality, for the ever-changing quality of life, and for the freedom in it. The way I connect the elements gets special attention this time. The connection itself becomes so prominent that it appears to be the main element. Other times, the elements fit into each other and are hammered together so an extra connecting element is no longer needed. Within the construction of each piece there is a lot of mobility and different ways of wearing it. This mobility also expresses how I am in my life. At any moment I might change my mind and take a new path in order to maintain my balance, which I think is one of the most fundamental aspects of life. No matter how much you reduce and consolidate as long as the components of each side remain in balance you will be fine. I see the act of preserving this balance as an exchange. It is simply the way we live and just like the different kinds of relationships that exist between people. »
How does this new work differ from the work you were doing last year?
Réka Fekete:  » I am drawing a lot, and I felt the need to integrate it into my three-dimensional work. While putting the pieces together, I felt like I was drawing. There are black lines of steel connecting colored surfaces of wood or laminate. White wooden parts get blackened little by little as the steel rubs up against it. It ends up looking like charcoal on paper.
For my installation at Galerie Ra, I added some drawings on the wall as well. I wanted the wall to be more than an object upon which the pieces are presented. Acting like a huge piece of paper, the wall becomes part of the work, connecting the pieces and bridging the surfaces and the jewelry. In this series of work, I began to paint on the wood with my fingers instead of spraying each piece with one color. This process allowed me to discover a very liberating way of interacting with my materials. I think I was able to bring similar effects to the wall of the gallery. Overall, this new body of work has evolved graphically, especially within the shadows where the linearity of the steel is constantly reflected. »

 

Reka Fekete BroochRéka Fekete Brooch

Reka Fekete BroochRéka Fekete « Satellite #11″ Brooch

Reka Fekete Juggling BroochRéka Fekete Juggling Brooch

Reka Fekete BroochRéka Fekete Brooch

Galerie Ra
Nes 120
1012 KE – Amsterdam
Netherlands
Telephone: 020 6265100
Fax: 020 6204595
website: www.galerie-ra.nl

13/10/2012

EXPO ‘Wilderness of the Unknown’ – Dterra gallery, Sant Cugat del Valles (Barcelona, ES) – 10 Oct. 2012-12 Janv. 2013

Judy McCaig: Wilderness of the Unknown

EXPO 'Wilderness of the Unknown' - Dterra gallery, Sant Cugat del Valles (Barcelona, ES) - 10 Oct. 2012-12 Janv. 2013 dans BARCELONA desert-star-2012-webJudy McCaig – Brooch: Desert Star 2012 – Mixed media, silver, rock crystal, herkimer diamond, wood, tombac

Free, freedom,
flight,
soaring birds,
singing winds,
heat, fire, haze,
long black shadows
Leafless trees,
branches silhouetted,
sun bright shines through

Slanting dusk light,
moon pale in the dark of the night,
distant rain clouds
lightning, thunder
monsoon skies,
scarcely flowing rivers,
motionless stone
landscapes
sculpted by time,
dry rocks
glisten,
washed anew…….

Desert, heat, dead trees, bareness, shadows, silence, stillness, vast landscapes, huge skies, storms.

Different materials at different times start attracting me-
I am searching, with no clear idea as yet,
I am stockpiling.
For the latest pieces it was steel, crystals and uncut stones in certain tones and colours which drew me.
Many fragments and sketches are turned into three-dimensions, experimenting with the materials and techniques that currently inspire. I may draw into perspex, carve it, engrave formica, add paint, use enamel, resin and gold leaf, set stones or glass fragments to achieve what I need. Improvising, playing with the fragments, shifting shapes around, introducing new components. The results are a mixture of spontaneity, instinct and that seed of an idea.
I enjoy that a piece can take or guide you places where you hadn’t previously thought of going, when that accidental rightness happens or a mistake makes you see another way, gives you a new idea which would never have occurred had it not been for the mistake, that fortunate accident. What is left out is essential. Making marks that are my own.
My different working methods also apply to painting, printmaking and sculpture, which all interconnect and develop one from another, size and materials link. Painting, adding textures, mixed media, brushstrokes, rubbing out, painting over, sanding back are all techniques that I use not only in painting. Hints of images emerge, half hidden, fading, disappearing, reappearing. The connections between each of the disciplines every time getting closer.

Judy McCaig  Brooch: Night 2012  Silver, resin, gold, aquamarineJudy McCaig  Brooch: Night 2012  Silver, resin, gold, aquamarine

Judy McCaig  Brooch: Between 2012  Silver, perspex, enamel on copper, formica, paint, gold leaf, tombac  10,8 x 5,2 x 1 cmJudy McCaig  Brooch: Between 2012  Silver, perspex, enamel on copper, formica, paint, gold leaf, tombac  10,8 x 5,2 x 1 cm

 

 

Dterra gallery + workshop
Av. Josep Anselm Clavé, 9
08172 – Sant Cugat del Valles
Spain
Telephone: + 34 936747807
website: www.dterra.es
website: www.dterrablog.blogspot.com

mail: galeria@dterra.es

10/04/2012

EXPO ‘Hand-Made’ – Galerie Louise Smit, Amsterdam (NL) – 1er Avril-4 Mai 2012

Hand-Made : Annamaria Zanella & Renzo Pasquale
01 04 2012 – 04 05 2012

Pinned Image

Annamaria Zanella :
The structural emphasis which has always characterised her work is also visible in its compositional freedom, which apparently moves away from the rigour of geometric abstraction typical of the Padua School. Her deconstructed works are therefore always based on rules which seem to be inverted, worn by contradictions, discordant elements, unpredictable opposites. « Poor materials », pigments mixed with lacquers, patinas, niello, oxides and powders corrode surfaces and change the ideal project which, however, can always be recognised.
The dynamic colours of surfaces are not so much informal as imbued with the movements of Action Painting. Zanella’s abundant use of materials unusual in jewellery, such as paper, cardboard, rags and iron, may seem to recall neo-Dadaism, but her work is far from being absurd or onirical; it is always concentrated between compressed emotions and openly expressed rationalism.
Creativity, strength, sensitivity and courageous inventiveness make this artist unique in her formal solutions and in her assiduous and constant experimentation with materials.

EXPO 'Hand-Made' - Galerie Louise Smit, Amsterdam (NL) - 1er Avril-4 Mai 2012 dans Annamaria ZANELLA (IT)Annamaria Zanella – Brooch « Green cell » 2012 – silver, vitreous enamel

 dans Exposition/ExhibitionRenzo Pasquale – Brooch « Olimpica » 2008 – silver, titanium, plexiglass

Renzo Pasquale :
The geometrical shapes, transparencies, the superb ability in working precious stones like rock crystal, granites, jasper, etc. impressed Prof. Mario Pinton who, as head of the Pietro Selvatico Institute of Art, charges Renzo Pasquale with setting up an artistic laboratory of hardstone and semi-precious stones and also to teach this art to the students of the Institute.
Teaching brought Renzo to confront himself with other goldsmith artists of the Pietro Selvatico Institute of Art: Francesco Pavan, Giampaolo Babetto, Diego Piazza… It is with them that he starts to exhibit his works in various exhibitions form the eighties onwards. His work reveals the transparencies of the material.
The infinite variations of light that filters through these sculptures made of rock crystal or black, opaque granite. Sculptures that can be worn without conveying the impression of a redundancy of lines and volumes. Essentiality of design, concrete perceptions of thought of Euclidean beauty.
Pondered geometries, meditation on the study of shape, equations of pure mathematics: all seem to dissolve in the emotional impact transmitted by these creations of his, that talk not so much of stone but speak a language of pure poetry and perfect equilibriums.
The displacement of solids, sections, torsions, slippage, cutting, breaking through of solids such as cubes, cones, pyramids, cylinders created in different-coloured stones, always matched with small portions of gold. In this case gold emphasizes a drawing, enhances a section, receives the perspective breaking-down of a stone wall.
Plastic transitions of the inorganic, apparently indomitable material (stone) that softens as it is transformed in the hands of the artist. The transition and change in the Paduan artist’s most recent works are evident.
From the consolidated enquiry regarding shape in space of the previous years now reveals a series of pins where « going beyond » is transformed into the play of opaque transparencies, in secret rooms, of misty glass where a window seems to be made of, and created by, light.
A portrait of time, a photographic shot engraved in quartz to look for new emotions that tell of personal abstract perceptions.
A set of landscapes of the life and soul that this artist transforms with the hard stone into delicate water colours that partly evoke the contrasting shades and « chiaroscuro » of the great Dutch painters of the seventeenth century.

Galerie Louise Smit
Prinsengracht 615, 1016 HT Amsterdam
gls@xs4all.nl
tel (020) 625 98 98
fax (020) 428 02 16
www.louisesmit.nl

15/11/2011

EXPO ‘TRACES: Rust, Dust & Belly Button Fluff’ – Kath Libbert Gallery, Saltaire (UK) – 17 Nov. 2011-29 janv. 2012

TRACES: Rust, Dust & Belly Button FluffTen New Graduates finding beauty in hidden places

http://gallery.mailchimp.com/80dd27831061585680047f9c4/images/TRACES_INVITE_Mailchimp.jpg

Traces brings together the work of ten new graduates who find beauty in things brushed aside, in intimate ephemeral moments, in smallness, in lost objects, in things that are hidden and secret; creating jewellery that is in turn delicate, dramatic and distinctive.

Says Kath Libbert,
I always find curating the New Graduate Exhibition very exciting. For many collectors, this annual show has become their first sight of work by jewellers who often then go on to become renowned offering a wonderful opportunity to be the first to invest in the talents of the future.

Rust
Using subtly coloured enamels on copper Nicola Roberson’s brooches explore the ageing process, the way paint chips and metal rusts and the patterns they leave behind. Mirjana Smith’s quirky ‘teapots’ are made of rusting vintage tins sourced from charity shops, boot sales and auctions which she then reassembles into characterful and playful constructions.

Dust
Victoria Kelsey’s ‘Precious Grime’ collection is inspired by the marks and traces of age left behind on forgotten jewellery and where dust and dirt has settled she gold plates, literally transforming dirt into precious trails of ‘Gold dust’!

Belly Button Fluff
Michelle Oh is fascinated by the minutiae of intimate relationships. She takes impressions of her loved ones laughter lines, ‘designer stubble’ and even belly buttons casting them into precious permanent silver jewels which embody the memories attached to those moments. She also offers a bespoke service.

From discarded human hair Kerry Howley weaves the most intricate necklaces which play on the attraction and aversion qualities we attribute to hair, creating beautiful pieces from a material usually swept up and thrown away.

The exhibition also includes work by Samantha Hesford, whose joyfully coloured necklaces look like exotic corals. Nicola Mather’s delicate jewellery is inspired by the ephemera of seedheads, pods and dandelion clocks, while Esme Newdick’s latex collars are decorated with patterns reminiscent of those used for scarification in African tribes. Bryony Stanford’s ‘Crushed’ collection takes inspiration from tin cans, discarded, squashed forms that in her hands are transformed into elegant bangles and brooches. Finally Rachel Jones takes a uniquely personal approach to jewellery collecting emotional stories of lost items of jewellery to inspire fresh pieces which contain ‘Traces’ of the original.

 

Also presenting GLITZ – A Glamorous Christmas Showcase starring Elsa Sarantidou, Greece, Josef Koppmann, Germany/UK,  Kate Wood, UK, and Melanie Ankers , UK. Precious pieces with a twist, from Elsa’s flowing wave inspired rings and bracelets encrusted with sparkling diamonds, sapphires and rubies, to Josef’s bold architectural rings and cufflinks set with the most gorgeous carefully selected gems. Kate’s delicate organic collection of jewellery is inspired by blossoms, berries and barnacles, glistening rich clusters of rubies, sapphires and pearls that cascade elegantly, the perfect adornment for that LBD! And for a touch of total glamour, the new Shimmer collection by Melanie, a myriad of delicate silver strands each tipped in rich 24ct gold is stunning!

 

We hope you can join us from 6pm on Thursday 17th November for the opening, refreshments will be served, and we are offering 15% Discount on any work bought on the opening night!

http://www.kathlibbertjewellery.co.uk/optimised-images/Traces/roberson_valley-road-4.jpg
Nicola Roberson  ‘Valley Road 4’- Brooch enamel on copper

Nicola Roberson is intrigued by the ‘ageing’ process: the way that paint chips, that metal rusts and the patterns it leaves behind. Experimenting with enamels on copper, she creates brooches inspired by photographs that study the natural appearance of rust. She uses the colours and abstract shapes found within these images to inform the surface patterns and form of her work

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Victoria Kelsey ‘Precious Grime’ Onyx necklace in Onyx and 18ct gold plate, detail

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Michelle Oh ‘Hand’- Brooch in silver and turquoise thread

Michelle Oh is an Indonesian designer/maker based in East London. Her work is often inspired by the quotidian and the commonplace, with a special emphasis on the relationships around her.
In this particular series (We Were Here), textures encountered within a domestic life were moulded and cast into precious permanent copies of the memories attached to them. This is her invitation for you to celebrate the everyday.

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Kerry Howley ‘Attraction/Aversion 3’- Necklace in human hair and epoxy resin

Attraction/Aversion is a material exploration of how people can feel seemingly opposing emotional responses simultaneously. The necklaces are made of human hair, a familiar material that we take pride in. However once off of the body hair becomes an innate source of aversion. Kerry wanted to see if she could make discarded hair attractive again. Through the familiar form of a necklace, and using patterns and symmetry that are instinctively pleasing, Kerry Howley has created a delicate balance between the viewer/wearer’s feelings of aversion and attraction.

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Bryony Stanford ‘Crushed and Dissected’- Brooch in gold and silver plated copper

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Bryony Stanford Gold Black Square Brooch

Bryony Stanford creates unique designs through destructive processes.
In her current body of work she focuses on the relationship between construction and deconstruction.
Simple three-dimensional shapes are transformed into intriguing, intricate wearable objects by forcefully changing their original form.
Bryony works mainly intuitively and enjoys the element of surprise innate to her process.
In contrast to this initial freedom, she pays close attention to the visual connection between the interior and exterior of the work by applying different textures and finishes.

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Samantha Hesford Pink Brooch in foam clay with powder coated casting nuggets

Samantha Hesford : « My current body of work has developed by exploring organic shapes, curves of the natural body and repeated elements within design. I have a fascination for non-precious materials particularly those materials that have a tactile quality. I like the idea of jewellery braking out the traditional role using new unusual materials. Playing around with scale challenges me and allows me to create larger scale statement pieces in which to attract the viewers attention.
I explore forms and ideas through making, the softness and curves are appealing aspects of my forms as are the texture, vibrant colour and over all composition. Each of my pieces are made entirely by hand resulting in each piece being completely unique.
I strive to create vibrant, wearable, pieces that attract the viewer’s attention.
 »

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Rachel Jones  ‘Spare Scroll Collection’- Earring in gold plated copper with silver earring scrolls

Recently graduated from Middlesex University, Rachel Jones takes a personal approach to jewellery. Interacting with friends, family and often strangers allows Rachel to create sensitive and personal work. Her graduate collection focuses on stories of lost jewellery. Using collected tales of losing jewellery Rachel creates new pieces often involving familiar existing items of jewellery, creating a juxtaposed of the lost, unwanted, functional and the new. 

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Nicola Mather ‘Dandelion’- Pin Brooch in stainless steel

Nicola Mather is a designer jeweller maker who specialises in stainless steel structures combined with gemstones and pearls to create delicate, sculptural jewellery which is functional but unique.
The designs are often generated from interests in repetition of a single form and extensive experimentation of material. By combining linear forms with vibrant gemstones Nicola intends to mirror the delicate qualities of organic structures whilst adding her own unique style. The jewellery is beautifully intricate but deceptively resilient combining form and movement.
Nicola’s stainless steel designs can be personalised using precious metals (excluding silver) with various gemstones which are available on a commission basis.
Nicola also produces one-off sterling silver designs which are etched with her own personal prints she develops using collected seeds, mushrooms and pods as a printing tool. For more information please contact the gallery.

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Esme Newdick Latex Collar in latex, brass and zinc

Esme Newdick : « I am deeply interested in the Scarification of African Tribes. The intricate nature of the patterns inspired my work and the processes I have explored. I have created a range of collars made out of latex rubber. I utilised the latex as a medium to emulate the skin and to show it does not have to be seen as a ‘fetishist’ material. Through further development of the material, I added powdered metal to create a representation of the patterns of Scarification but also to maintain flexibility in my pieces. The unique combination of these materials allows the metal to react with the latex and this I have been able to manipulate to create different coloration.«  

 

 

Kath Libbert Jewellery Gallery
Salts Mill
Saltaire
BD18 3LA
UK
0044 (0)1274 599790
www.kathlibbertjewellery.co.uk
Open Daily 10 – 5.30 Mon – Fri and 10 – 6 Weekends

11/06/2011

EXPO ‘¡Genial! New Jewelry from Spain’ – Velvet da Vinci Gallery, USA – 15 Juin-17 Juill. 2011

La nueva joyería en España

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,

La galería Velvet da Vinci reúne en la exposición ¡Genial! a 18 artistas de diferentes generaciones representativos de la joyería contemporánea española en la actualidad; aunque de orígenes diversos todos ellos tienen en común su relación con Barcelona.
Repasando la geografía española observamos que se impone la tradición más conservadora y, en gran medida, prevalece la idea de que el valor de la joya recae principalmente en el valor del material con el que está hecha. Las nuevas joyas ya no son necesariamente de metales y piedras preciosas, sino que los artistas joyeros utilizan toda clase de técnicas y materiales como madera, plástico, esmaltes, porcelana, resinas, hueso, tejidos, viejos objetos, fotografías, etcétera para atraer la atención del espectador, otra característica que las distingue es el tamaño, lejos de estar sujetas a una regla, las medidas de estas joyas pueden causar sorpresa y así encontrarnos por ejemplo con enormes broches que funcionan como una escultura ya que buena parte del valor artístico de las piezas viene dado por el trabajo conceptual que encierra cada una de ellas.
Los nuevos conceptos de joyería se han ido introduciendo poco a poco en nuestro país a través de las escuelas y galerías que se encuentran principalmente en Barcelona y su área de influencia. Esta ciudad mediterránea, cruce de caminos y puerta hacia Europa, de mentalidad abierta al conocimiento de nuevas propuestas, está impregnada de dinamismo creativo y actividad comercial, por cuyo motivo muchos joyeros procedentes, sobretodo, de diferentes lugares de España y de Latinoamérica así como del resto de Europa y del mundo en general coinciden en este punto en algún momento de su trayectoria artística para participar en exposiciones, compartir experiencias, ampliar estudios o, simplemente, buscar inspiración.
La joyería entendida como objeto artístico, como una reflexión original y única, va ocupando un espacio que hasta hace poco en España estaba vacío. Nuevas galerías, ferias especializadas, workshops, exposiciones y conferencias sirven para conectar con el público y atraer a nuevos coleccionistas. A pesar de que nos queda un gran camino por recorrer, sobretodo si comparamos nuestra situación con la de los países del norte de Europa, seguimos avanzando y las nuevas herramientas de comunicación permiten que nos aproximemos cada vez más deprisa al resto del mundo.
Contar historias, reinterpretar símbolos, ensalzar la naturaleza, representar paisajes de la memoria, buscar la sorpresa, indagar en las tradiciones, motivar la reflexión y enlazar elementos geométricos son sólo algunos de los argumentos de los que se sirven estos artistas para la realización de sus joyas. Ramon Puig Cuyàs hace referencia a una arquitectura ligera a través de sus composiciones armónicas construídas con líneas y planos que se interseccionan creándose espacios que invitan a un recorrido desde diferentes puntos de vista. En las piezas de Judy McCaig aparecen elementos figurativos que se repiten y la imagen de los pájaros acaba convirtiéndose en un símbolo que evoca el movimiento y la libertad. En sus joyas Grego García Tebar transporta sentimientos engarzando sus sueños en ellas para que éstos acaben depositados en la memoria. Silvia Walz nos acerca a los tiempos escolares de cuando nos iniciábamos en el estudio de la geometría.
Desde las propuestas más conceptuales a las más formales en el conjunto de los artistas participantes, algunos de los más significados de la joyería contemporánea española, encontramos trabajos realizados con materiales muy diversos como metales, madera, porcelana, resina, esmaltes o tejidos. Teniendo siempre en cuenta el diálogo permanente entre el cuerpo humano y la joya viven sumergidos en sus procesos creativos enriqueciendo el conocimiento, experimentando con materiales y buscando nuevos recursos para, a través de sus diferentes lenguajes, elaborar pequeñas obras de arte como las reunidas en esta exposición las cuales son una clara muestra de lo que se está haciendo actualmente en nuestro país, un trabajo heterogéneo sin marcadas líneas comunes emanando libertad. (Montserrat Lacomba Barcelona, May 2011)

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery, All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Gemma Draper The Floating Knot necklace

 

Contemporary Spanish Jewelry
Velvet da Vinci Gallery has curated an exhibition entitled ¡Genial! presenting 18 artists of different generations who represent contemporary Spanish jewelry. Though the artists’ backgrounds are varied, all have a common link with Barcelona.
When contemplating Spanish jewelry, it is obvious that the most conservative tradition plays a major role along with the idea that the value of a piece of jewelry is found mostly in the value of the material from which it is made. These traditions still hold true to a great extent. The new jewelry, however, isn’t necessarily made from precious metals and stones, but today’s jeweler artists use all kinds of technologies and materials like wood, plastic, enamels, porcelain, resins, bones, fabrics, found objects, photographs, etcetera to attract the attention of the spectator. Another characteristic that distinguishes them is size. Far from being subject to a rule, the sizes of these jewels can provoke surprise. For example, we can see enormous brooches as if they were sculptures since a large part of the artistic value of such pieces is thanks to the conceptual ideas that surround each of them.
Such new concepts of jewelry have been introduced to our country little by little through schools and galleries that are found mostly in Barcelona and its sphere of influence. This Mediterranean city, which is the crossroads between Spain and Europe, has an open mind to knowledge of new ideas. It is impregnated with dynamic creative and commercial activity, and it is that motive that draws many jewelers from other parts of Spain and Latin America, as well as from the rest of Europe and the world in general, to travel there at some time in their artistic trajectories to take part in exhibitions, share experiences, to study or simply to look for inspiration.
To think of jewelry as an artistic object, as an original and unique reflection, is occupying a space that in Spain had been empty even in recent times. New galleries, fairs specific to contemporary jewelry, workshops, exhibitions and conferences have been good for making a connection with the public and attracting new collectors. Even though we still have a long, hard road to follow, especially when comparing our situation to that in other Northern European countries, we forge ahead with new communication tools allowing us to quickly become closer to the rest of the world.
Telling stories, reinterpreting symbols, celebrating nature, representing memories, seeking surprise, investigating traditions, motivating the reflection and joining of geometrical elements are but a few of the arguments these artists pursue for the accomplishment of their jewels. Ramon Puig Cuyàs refers to an airy architecture through his harmonic compositions constructed with lines and planes that are intercut to create spaces that invite us to tour from different points of view. In Judy McCaig’s pieces, there appear figurative elements that repeat themselves to then become completed by the image of birds that becomes a symbol to evoke movement and freedom. In her jewels, Grego García Tebar transports feelings from her dreams by connecting them with her jewels so those feelings become deposited in our memories. Silvia Walz takes us back to our school days when we were beginning a study of geometry.
From the most conceptual to the most formal among the participating artists, all of those represented are among the most significant in Spanish jewelry. We find works realized with very diverse materials including metals, wood, porcelain, resin, enamels or fabric. Always keeping in mind the permanent dialog between the human body and the piece of jewelry, these artists live immersed in their creative processes, enriching the greater knowledge, experimenting with materials, and looking for new resources across different languages to elaborate small pieces of art such as those assembled in this exhibition. They are distinct examples of what is being done nowadays in our country — heterogeneous work without obvious lines of demarcation, based on freedom. (Montserrat Lacomba -Translation by R. Weis)

 

Participating artists:
Rinaldo AlvarezCarmen AmadorAline BerdichevskyTrinidad ContrerasPilar CotterGemma DraperNicolas EstradaGrego Garcia TebarCarolina GimenoDalia JuradoEnric MajoralJudy McCaigMarc Monzó Silvia WalzElisabeth PuigRamón Puig CuyàsGastón RoisEstela Saez

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Judy McCaig- Brooch « Through Night and Day »

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Aline Berdichevsky « Reconstruction 4″ 

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Dalia Jurado « Lilith 0″

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Elisabet Puig « Medallones de miraguanto » 

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Rinaldo Alvarez Pendant 017

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Gaston Rois Object 60° 32’35″ 

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Pilar Cotter « Re-Cuerda 2″ Brooch

 All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Carmen Amador « Diálogo IV » Brooch/Pendant

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Estela Saez Brooches « Box 6-I » and « Box 6-II »

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Grego Garcia Tebar « Sentada en el mar de la paciencia »

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Trinidad Contreras Brooch 

 

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Carolina Gimeno « Draw the Mist Serie II » Pendant 

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Carolina Gimeno « Draw the Mist Serie III » Brooch

 

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Silvia Walz La visionaria (Geometria Series) Brooch

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Nicolas Estrada- Huesos Necklace

All images from ¡Genial!  New Jewelry from Spain at Velvet da Vinci Gallery,
Ramón Puig CuyàsBrooch No. 1364

 

 

Velvet da Vinci Gallery
2015 Polk Street
San Francisco CA 94109
Phone 415.441.0109
Tuesday – Saturday 11 to 6,   Sunday 11 to 4

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