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05/11/2017

EXCHANGE-BIJOU 2 – Dora Haralambaki at SIERAAD – 9-10-11-12 Nov. 2017

Dora Haralambaki 

at SIERAAD 9-10-11-12 Nov. 2017 – booth 9-10-11  ceramic jewellery Dora Haralambaki

Pilino Soma (BODY CLAY):  AGAPI SMPOKOU, DORA HARALAMBAKI,  ANASTASIA GEMELIARI

3 ladies in a group named Pilinosoma.
What is “pilino soma”? and who are we?
We are an art group specialised in ceramic art jewellery, “Pilino soma”( stands for body clay in Greek). Pilino soma is a community, a movement of people engaged with ceramic jewellery. It is a social transaction, an exchange and a cooperation for lovers/ professionals of clay and porcelain jewellery. The members of the group are As Jewellery – Agapi SmpokouAnastasia Gemeliari and Dora Haralambaki

 

Dora Haralambaki  at SIERAAD nov 2017

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Dora Charalambaki, Pilino Soma, Sieraad nov 2017

Dora Charalambaki, Pilino Soma, Sieraad nov 2017

ceramic jewellery Dora Haralambakiceramic jewellery Dora Haralambaki

 
 
 
SIERAADArt Fair, international jewellery design fair
info@sieraadartfair.com

http://www.sieraadartfair.com

SIERAAD ART FAIR
Gashouder WesterGasterrein
Klönneplein 1
1014 DD Amsterdam

01/11/2016

SIERAAD Art Fair 2016 – Amsterdam – 10–13 Nov. 2016

SIERAAD Art Fair 2016 – Amsterdam – 10–13 Nov. 2016

 

SIERAAD Art Fair 2016 - Amsterdam - 10-13 Nov. 2016

ALL PARTICIPANTS 2016  here

Here is a little SELECTION :

MYTHS 2016 Loukia Richards, Valia Karapidaki, Marietta Karamaria, Maria Rousso, Jacqueline Vugs-Voets, Hadas Levin, Christoph Ziegler and Atelier Myths -  www.myths2015.de - stand 3MYTHS 2016Loukia Richards, Valia Karapidaki, Marietta Karamaria, Maria Rousso, Jacqueline Vugs-Voets, Hadas Levin, Christoph Ziegler and Atelier Myths -  www.myths2015.de - stand 3
  MARION LEBOUTEILLER JEWELLERY French marion.lebouteiller@gmail.com www.marion-lebouteiller.com  stand 65
  MARION LEBOUTEILLER  French marion.lebouteiller@gmail.com www.marion-lebouteiller.com  stand 65
  RIA LINS Belgium ria.lins@telenet.be www.ria-lins.be  stand 68RIA LINS  Belgium  ria.lins@telenet.be  www.ria-lins.be  stand 68
  HELMI LINDBLOM STRANGE BUT JEWELRY.COM Finish helmi.lindblom@gmail.com strangebutjewelry.com  stand 73HELMI LINDBLOM STRANGE BUT JEWELRY.COM  Finish helmi.lindblom@gmail.com strangebutjewelry.com  stand 73

YANNICK MUR -  French -   www.yannickmur.fr -  stand 45  YANNICK MURFrench –   www.yannickmur.frstand 45

VALERIA MARTINEZVALERIA MARTINEZChilean – www.valeriamartinez.cl stand 4
  PROCHAINE By: Andra Lupu Romanian contact@andralupu.com  stand 87aPROCHAINE By: Andra Lupu  Romanian  contact@andralupu.com  stand 87a
  RB DESIGN By: Raluca Buzura Romanian ralucabuzura@yahoo.com http://ralucabuzura.blogspot.ro/  stand 87cRB DESIGN  By: Raluca Buzura  Romanian  ralucabuzura@yahoo.com  http://ralucabuzura.blogspot.ro/  stand 87c
ZETA TSERMOU  -  Georgia Tsermou - Greek - www.zetatsermou.com - stand 10ZETA TSERMOU Georgia Tsermou – Greek – www.zetatsermou.com - stand 10

ANNA VLAHOS  -  Greek/Australian - annavlahos.com - stand 11ANNA VLAHOS Greek/Australian – annavlahos.com - stand 11

  PEGGY BANNENBERG Dutch info@peggybannenberg.nl www.peggybannenberg.nl  stand 81PEGGY BANNENBERG  Dutch  info@peggybannenberg.nl  www.peggybannenberg.nl stand 81
ALEJANDRA SOLAR     Spanish-Mexican www.alejandrasolar.com stand 21ALEJANDRA SOLAR   Spanish-Mexican  www.alejandrasolar.com stand 21

LOUISE SEIJEN TEN HOORN LOUISE SEIJEN TEN HOORN  Dutch  www.luzzious.com  stand 28

KAROLINA BIK JEWELLERY KAROLINA BIK JEWELLERY  Polish www.karolinabik.com  stand 30a
BYTOMSKI/ BYTOMSKA JEWELLERY          Polish  www.by-jewellery.com  stand 30bBYTOMSKI/ BYTOMSKA JEWELLERY    Polish  www.by-jewellery.com  stand 30b
LIISA HASHIMOTO  Japanese  www.hinge-dept.com  stand 32bLIISA HASHIMOTO  Japanese  www.hinge-dept.com  stand 32b
  Joo Hye Kim South Korean joo2024@hotmail.com  stand 88. CSM 2009Joo Hye Kim  South Korean  joo2024@hotmail.com  stand 88. CSM 2009
  Chen Wenting Chinese wentingchan@qq.com  Stand 88. CSM 2009Chen Wenting  Chinese  wentingchan@qq.com  Stand 88. CSM 2009
RITA BEY YU LIN  American  rita.jewellery@gmail.com  www.ritabeyyulin.com  stand 34aRITA BEY YU LIN  American  rita.jewellery@gmail.com  www.ritabeyyulin.com  stand 34a
NK STUDIO  Korean   Namkyung Lee  www.nkstudio5.co.uk   stand 39NK STUDIO  Korean   Namkyung Lee  www.nkstudio5.co.uk   stand 39
JO MCALLISTER      British www.jomcallister.com  stand 44bJO MCALLISTER      British  www.jomcallister.com  stand 44b
ALICE CLARKE British alice@aliceclarke.co.uk www.aliceclarke.co.uk  stand 42ALICE CLARKE British alice@aliceclarke.co.uk www.aliceclarke.co.uk  stand 42
  LINDA EZERMAN Dutch linda@ezerman.nl www.lezerman.com  stand 52bLINDA EZERMAN  Dutch   linda@ezerman.nl  www.lezerman.com stand 52b
  JILLIAN MOORE American jillian.a.j.moore@gmail.com www.jillianmoore.net  stand 52aJILLIAN MOORE  American  jillian.a.j.moore@gmail.com www.jillianmoore.net stand 52a
  POPPY PORTER ABSTRACT ARTIST: JEWELLER    British info@poppyporter.co.uk www.poppyporter.co.uk  stand 48POPPY PORTER ABSTRACT ARTIST: JEWELLER    British  info@poppyporter.co.uk  www.poppyporter.co.uk  stand 48
  YAN-ZE LUO Taiwanse nue0924@gmail.com  stand 53dYAN-ZE LUO  Taiwanse nue0924@gmail.com stand 53d
  SHIH-DEA DEBORHA TSENG Taiwanse deborahtseng@hotmail.com www.deborahtseng.wix.com/jewellery  stand 53b SHIH-DEA DEBORAH TSENG Taiwanse deborahtseng@hotmail.com www.deborahtseng.wix.com/jewellery  stand 53b
  HENG LEE Taiwanese henglee1017@msn.com www.facebook.com/HengLeeJewelry  stand 53aHENG LEE Taiwanese henglee1017@msn.com www.facebook.com/HengLeeJewelry  stand 53a
  JOHN MOORE British info@johnmoorejewellery.com www.johnmoorejewellery.com  stand 55bJOHN MOORE  British   info@johnmoorejewellery.com  www.johnmoorejewellery.com stand 55b
  ATELIER BLOEDJES By; Judith Bloedjes Dutch info@judithbloedjes.nl www.judithbloedjes.nl  stand 56  ATELIER BLOEDJES By  Judith Bloedjes Dutch info@judithbloedjes.nl www.judithbloedjes.nl
  stand 56
  AMY RIDYARD DESIGN British ridyardamy@gmail.com amyridyarddesigns/facebook.com  stand 60
  AMY RIDYARD DESIGN British ridyardamy@gmail.com amyridyarddesigns/facebook.com  stand 60
KSENIA VOKHMENTSEVA  Russian kseniavoh@yahoo.com www.kseniavoh.com  stand 63
KSENIA VOKHMENTSEVA  Russian kseniavoh@yahoo.com www.kseniavoh.com  stand 63
  CHRISTINE JALIO Finish christine.jalio@gmail.com www.christinejalio.fi  stand 70CHRISTINE JALIO Finish christine.jalio@gmail.com www.christinejalio.fi stand70

 

 

 

 

 

SIERAAD 2016
Gasholder Westergasfabriek
Klönneplein 1
1014 DD – Amsterdam – Netherlands
Telephone: 00 31 (0)33 4337009
website: www.sieraadartfair.com
mail: aberens@sieraadartfair.com  and on FB

 

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31/10/2016

EXCHANGE-BIJOU 1 – Linda EZERMAN – How I fell in love with shrimps ….

Classé dans : COUP DE COEUR,EXCHANGE-BIJOU,Hollande (NL),Linda EZERMAN (NL),www Klimt02 — bijoucontemporain @ 23:19

Linda EZERMAN

Contemporary jeweller Linda Ezerman lives and works in Wormerveer, The Netherlands.  Ezerman has a diverse educational background embrassing areas such as Sculpting, Cultural Management and Communication. Her jewellery plays with the paradoxical feelings her surroudings (the woods and the sea) can invoke, as well as the menaning of their history. 

« « In my jewellery I combine non-precious and precious materials. The creation process of my work is lengthy; it takes me many days, if not weeks, to complete a piece of jewellery. I work in an organic manner and combine unusual and unique materials. The result is tactile and wearable light-weight jewellery. Recognise the original materials in my jewellery may require a second or even a third close look.
My jewellery echoes the sea, contemporary and striking. Each piece is handmade and unique. »
 »

 I admired her beach serie, sea seeds, corals & algea jewels ….. This year we got SHRIMPS ! ALL very wearable, VERY desirable shrimps !

Linda Ezerman - Shrimps 2016 - Neckpiece, unique piece Materials: silver, silicone, ink Linda Ezerman - Shrimps 2016 – Neckpiece, unique piece Materials: silver, silicone, ink

Linda Ezerman - Neckpiece from the series Shrimps Materials: silver, paint, silicone, pigment: Linda Ezerman - Neckpiece from the series Shrimps Materials: silver, paint, silicone, pigment

Linda Ezerman  Necklace: Shrimp, 2015  Silver, silicone, ink  Photo by: Linda Ezerman  From series: Shrimps: Linda Ezerman  Necklace: Shrimp, 2015  Silver, silicone, ink  Photo by: Linda Ezerman  From series: Shrimps

Linda Ezerman Neckpiece: Shrimp, 2015 Silver, silicone, ink Photo by: Linda Ezerman From serie: ShrimpsLinda Ezerman - Neckpiece: Shrimp, 2015 – Silver, silicone, ink – Photo by: Linda Ezerman -From serie: Shrimps

« In my jewellery I express how I experience the outside world. I am fascinated by the surroundings I find myself in and what these surroundings invokes in me: paradoxical feelings of freedom, security and imminent danger.
A walk in the woods, for example, invokes a feeling of freedom, yet the woods also make me feel slightly ill at ease: there always seems to be lurking something in the shadows.
With the sea I also maintain a paradoxical relationship. There is space and unfamiliar life, which I find both fascinating and frightening because of its incomprehensible infinity.
Moreover, the history of my surroundings create meaning. Century-old remnants of industrial life have made this landscape into what it is today and shaped the people who live here into who and what they are.
The materials I work with originate from my surroundings: felt, wood, silver and copper, mixed with polymer clay, silicone and paint. My work is wearable, which allows it to offer security or protection from that which is so intangible and yet so impressive: the surroundings in which you find yourself. »  Linda Ezerman

 Linda Ezerman Brooch: Shrimp, 2015 Silver, silicone, ink: Linda Ezerman Brooch: Shrimp, 2015 Silver, silicone, ink

 

Had several workshops/workclasses in felt jewelry, polymer clay ‘at Dutch Polymer Guild), goldsmithing
Exhibited in 2016 at « Más que Zuecos y Tulipanes./Més que esclops i tulipes« 

 

She will e at SIERAAD 2016 – Amsterdam – 10-13 Nov. 2016

SIERAAD Art Fair 2016 - Amsterdam - 10-13 Nov. 2016

  LINDA EZERMAN Dutch linda@ezerman.nl www.lezerman.com  stand 52bLINDA EZERMAN  Dutch  linda@ezerman.nl  www.lezerman.com  stand 52b

29/10/2016

EXCHANGE-BIJOU 1 – Jonathan Hens – the HIGHWAY of success !

Jonathan Hens

I discovered his works at fall 2013 during PARIS – CIRCUITS BIJOUX , at the exhibition ‘Precieux Passages’ at Bibliothèque Forney. A first « face to face » with a (very) STRONG creation !

Strong creation that encountered SUCCESS : in 2012 the Royal Academy of Fine Arts Antwerp presents his works, together with some other students, at SIERAAD 2012 Amsterdam, we saw his works at Marzee Graduate show 2012 AND 2013, an exhibition during SCHMUCK 2014 (« Lights ON/Lights OFF » 3 stations Galerie, Munich), an exhibition during SCHMUCK 2015 (« Oscure sacrifices« , together with Jorge Manilla, at 3STATIONS,  Munich), an exhibition during SCHMUCK 2016 (« Trans-it » – 3STATIONS,  Munich), has been selected  for TALENTE 2016, Munich, he is presented at AUTOR 2016 (the International Contemporary Jewelry Fair in Bucarest, Romania) ……
This is not the « Route of Success », it’s an HIGHWAY !!!

 Jonathan Hens Page aimée · 1 mars · Modifié ·   X10IONS OF THE TRIBE #7 necklace 2015 pewter/ sutures/ leather/ rubber/ diamond dust ® Hanne Nieberding Jonathan Hens   ·   X10IONS OF THE TRIBE #7 necklace 2015 pewter/ sutures/ leather/ rubber/ diamond dust ® Hanne Nieberding

« After having researched different kinds of sub-and material-cultures, Jonathan Hens constructs with his own culture of tin while exploring the different qualities of the metal, making himself a master of his practice. By engraving, pouncing and printing, he develops a new dimension to the material. This results in graphic surfaces combined with archaic shapes and volumes. Hen’s pieces, beautiful as they are, are not indented as mere objects, but as points of recognition in a world of Tribal Ravers. They cross time and cultures. They are an ode to the pleasures of the now. »
– Jonas Belde, Fashion Designer, at Marzee graduation show 2012 Jonathan Hens (MA) - Belgium, Antwerp, Koninklijke Academie voor Schone Kunsten - #8, 2012, necklace, pewter, sutures - 430 x 260 x 99 mm - After having researched different kinds of sub-and material-cultures, Jonathan Hens constructs with his own culture of tin while exploring the different qualities of the metal, making himself a master of his practice. By engraving, pouncing and printing, he develops a new dimension to the material. This results in graphic surfaces combined with archaic shapes and volumes. Hen's pieces, beautiful as they are, are not indented as mere objects, but as points of recognition in a world of Tribal Ravers. They cross time and cultures. They are an ode to the pleasures of the now. - Jonas Belde, Fashion DesignerJonathan Hens (MA) – at Marzee graduation show 2012 - Belgium, Antwerp, Koninklijke Academie voor Schone Kunsten – #8, 2012, necklace, pewter, sutures – 430 x 260 x 99 mm –

Autor 2016.  Jonathan Hens. Alliages Choice.: Jonathan Hens works presented at Autor 2016  

« Jonathan Hens’ striking work speaks of recent developments in today’s world, which has seen a fusion between the banal and the subcultures and becomes a place where men and women have merged into androgynous beings.
His designs are the result of an intense search for an alternative identity. Rather than a classic example of beauty, the viewer gets to see Hens’ interpretation of it. He chose the material pewter to launch his fetishism line.
His dark look mirrors (or reflects) ‘the now’, a place where there is scope for experiment and self expression. His atypical aesthetic has no truck with traditional techniques. Jonathan Hens creates a visual game between austere forms and a rough edge finish. He heightens the geometry and black textures by using suture thread to bind the various elements.
His work raises many questions, such as what beauty means today and whether or not there is still a difference betweens the sexes.
Jonathan Hens’ work gives us greater insight into the diversity of our world. » / Jorge ManillaJonathan Hens -   THE CITY IS MY CHURCH - 2014 - #1 Necklace  -Pewter/ Sutures/ LatexTHE CITY IS MY CHURCH – 2014 – #1 Necklace  -Pewter/ Sutures/ Latex

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Actually

HUMAN 2.0 by Jonathan Hens 2016HUMAN 2.0 by Jonathan Hens
BEYOND FASHION 3m2 PROJECT ROOM  PRESENTS
HUMAN 2.0 BY JONATHAN HENS
Oct 13- Nov 10, 2016
24/24 window display
beyondfashion 3m2 project room
Pourbusstraat 7
2000 Antwerpen
www.beyondfashion.be
+32 472 420 683
Jonathan Hens - HUMAN 2.0 #6  necklace 2016 pewter/ sutures/ latexJonathan Hens - HUMAN 2.0 #6  necklace 2016 pewter/ sutures/ latex

Jonathan Hens – Human 2.0 #1, #4 and #5, necklaces made of pewter, suture and latex: Jonathan Hens – Human 2.0 #1, #4 and #5, necklaces made of pewter, suture and latex

Jonathan Hens – Human 2.0  Performance By Vincent van Reusel on the nocturnal opening night of our new project with work of Jonathan Hens!: Jonathan Hens – Human 2.0  Performance By Vincent van Reusel on the nocturnal opening night of our new project with work of Jonathan Hens

Jonathan Hens work is also featrured by the gallery’s permanend collection in there new gallery space: Galerie beyond, Sint Jorispoort 27, 2000 Antwerp
www.galeriebeyond.be

 

 

 

Education
2011-2012 Master Jewellery design & Silversmithing – Royal Academy of Fine Arts, Antwerp (Belgium)
2008-2011 Bachelor Jewellery design and Silversmithing -Royal Academy of Fine Arts, Antwerp (Belgium)
2007-2008 Bachelor Fashion design – Royal Academy of Fine Arts, Antwerp (Belgium)

 

 

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26/10/2016

EXCHANGE-BIJOU 1 – Marion Lebouteiller – Beauté de l’éphémère, de l’incomplet, de l’imparfait

I « got the blues » with Marion Lebouteiller ……

« I am a French contemporary art jeweller who now lives and works in England. The pieces I make are born out of my fascination for materials and colours. My background as a chaser and patinateur on bronze sculptures influences deeply my approach to contemporary art jewellery.
Whilst combining silver and bronze I allude to the natural and the cultural worlds and highlight contrasts of colours, textures, concept of full and void… I am inspired by my surroundings and by the Japanese culture and the «Wabi-Sabi» philosophy: the beauty of things imperfect, impermanent and incomplete.
I like leaving space to the unexpected and tend to let the materials express by themselves, hoping to get the pure essence from them. Experimenting with lost wax casting and patinations processes allows me to materialise my sensitive perception of the world. » (ACJ Org.)

 Marion Lebouteiller – Towards the light – brooch – Sterling silver, copper crystals, handmade felt, gold leaf, steel wire.: Marion Lebouteiller - Symbiosis collection – Towards the light brooch – sterling silver, copper crystals, felt, gold leaf, steel wire.
Marion Lebouteiller - Symbiosis collection - Towards the light brooch - BACK - sterling silver, copper crystals, felt, gold leaf, steel wire.Marion Lebouteiller - Symbiosis collection – Towards the light brooch – BACK – sterling silver, copper crystals, felt, gold leaf, steel wire.
Marion Lebouteiller - Gravity brooch Bronze, sterling silver. Patinated, 24k gold leaf, steel wire, lacquered.: Marion Lebouteiller - Gravity brooch Bronze, sterling silver. Patinated, 24k gold leaf, steel wire, lacquered.
Marion Lebouteiller - Gravity torque Bronze, sterling silver. Hammered, patinated,  lacquered.: Marion Lebouteiller – Gravity torque Bronze, sterling silver. Hammered, patinated,  lacquered
Marion Lebouteiller - oct 2016 - · Wearing my new Sepiola neckpiece at madelondon: Marion Lebouteiller – oct 2016 – · Wearing my new Sepiola neckpiece
« Je suis une créatrice de bijoux française installée dans le sud de l’Angleterre. Mes créations sont impregnées de mon attrait pour la matière et les couleurs. Mon passé en tant que ciseleuse et patineur sur sculptures en bronze influence considérablement mon approche de la bijouterie contemporaine.
Je suggère les oppositions entre nature et culture, naturel et artificiel, sauvage et domestique et j’accentue les contrastes de couleurs, textures, matières…
Mon inspiration s’enrichit de mon environnement quotidien immédiat mais aussi de la culture japonaise et du “Wabi-Sabi”: soit la beauté de ce qui est éphémère, imparfait et incomplet.
Je laisse une place au hasard et aux imprévus, et je tends à laisser la matière s’exprimer par elle-même. J’utilise la technique de la fonte à la cire perdue mais aussi je cisèle, martèle, soude et patine le métal afin de concrétiser mes idées.

Toutes mes créations sont des pièces uniques ou des petites séries entièrement faites à la main et fabriquées en utilisant, autant que possible, des métaux recyclés ou Fairtrade, reflétant ainsi mes convictions de vivre sur cette planète en ayant un impact minimum sur l’environnement mais aussi sur la vie des mineurs.« 
Marion Lebouteiller -  my new "Infinite" brooch -  Infinite&Twist Collections 2015: Marion Lebouteiller -  my new « Infinite » brooch -  Infinite&Twist Collections 2015
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UPCOMING EXHIBITIONS
ACJ EXHIBITION CHOICE!  New Ashgate Gallery - Farnham 17 September / 5 November 2016ACJ EXHIBITION « CHOICE! « New Ashgate Gallery – Farnham (UK) – 17 Sept./5 Nov. 2016
I am thrilled to have been selected for this year’s Association for Contemporary Jewellery (ACJ) exhibition Choice! at the fantastic New Ashgate Gallery in Farnham. The exhibition showcases the work of 26 UK jewellers until the 5th of November. The gallery also exhibits a great selection of paintings, wooden objects, photography and contemporary ceramics.
  MARION LEBOUTEILLER  French marion.lebouteiller@gmail.com www.marion-lebouteiller.com  stand 65
New Ashgate Gallery
Waggon Yard
Farnham
Surrey GU9 7PS
United Kingdom
tel 01252 713208
gallery@newashgate.org.uk

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26/05/2016

EXPO ‘JewelScapes’ – Estudio Gallery, Kifisiá (Athens)(Greece) – 27 Mai-4 Juin 2016

at Estudio Gallery : «JewelScapes» with Eleftheria Spantidaki

Textile landscapes -  Wearable landscapes

Eleftheria Spantidaki "JewelScapes: Estudio Gallery
The artist Eleftheria Spantidaki in her third personal exhibition, presents for first time the comprehensive collection of wearable gardens and landscapes.
Eleftheria’s fantastic wearable gardens traveled twice to SCHMUCK International Jewellery Week and SIERAAD International Jewellery Art Fair in Amsterdam. Her work, ambassador of Greek landscape, the colors and the unique light, sent a message to visitors that despite the difficult everyday the future is bright, optimistic.

Eleftheria Spantidaki  Eleftheria Spantidaki  HomyScapes, 2016

Eleftheria Spantidaki - Garden Imprints, 2015 Silk fabric, cotton treadsEleftheria Spantidaki - Garden Imprints, 2015 Silk fabric, cotton treads

 Eleftheria Spantidaki -jewelScapes -  Mind the Stone, 2016 Bubble wrap, cotton treads, mossEleftheria Spantidaki -jewelScapes -  « Mind the Stone » necklace, 2016 Bubble wrap, cotton treads, mossEleftheria Spantidaki  - detail  "Mind the Stone" necklace, 2016 Bubble wrap, cotton treads, mossEleftheria Spantidaki  – detail  of « Mind the Stone » necklace

Eleftheria Spantidaki  - Eleftheria Spantidaki " Live Outside the Box", 2016 Burlap, cotton treads, live mushrooms Eleftheria Spantidaki  – Eleftheria Spantidaki  » Live Outside the Box », 2016 Burlap, cotton treads, live mushrooms

 Eleftheria Spantidaki " Live Outside the Box", 2016 Burlap, cotton treads, live mushrooms: Eleftheria Spantidaki « Live Outside the Box » necklace – detail

Eleftheria Spantidaki Inside Blooming, 2015 Cotton and linen threads, Silk fabric: Eleftheria Spantidaki Inside Blooming, 2015 Cotton and linen threads, Silk fabric

 

 

Estudio Gallery
22A, Kyriazi str.,
14562 Kephissia (Kifisiá, ATHENS), Greece
+30 21 0808 6611
machi@estudio.grhttp://www.estudio.gr/

 

 

 

16/03/2015

After Identity Crisis: Ceci n’est pas “art jewellery” (2/4) by Ezra Satok-Wolman

Classé dans : Ezra SATOK-WOLMAN (CA),Reflexion,www Klimt02 — bijoucontemporain @ 21:39

« For real change to occur, action needs to take place. My intention with “Identity Crisis” was to drop a pebble into the water and hope that some of the ripples turned into waves. It is in that spirit that I am publishing this follow up essay.
(This is the second part of a text that will be published in 4 individual texts. Read the previous article: Part 1 ) »

After Identity Crisis: Ceci n’est pas “art jewellery” (2/4).

There are galleries, fairs, exhibitions, university programs, museum collections and stacks of books dedicated to art jewellery.  Art jewellery has gone global.  So how can art jewellery be dead?  The reality is art jewellery isn’t dead, but it has become unrecognizable.  One of the biggest problems that I see today is that art jewellery has become an “umbrella term,” used to refer to a number of different types of jewellery and philosophies about jewellery that collectively create a fairly schizophrenic personality.  It might be more appropriate to suggest that art jewellery has multiple personalities and may at times present itself as craft jewellery, alternative jewellery, or small scale conceptual art (that may or may not function as jewellery at all).

  • One of the biggest problems that I see today is that art jewellery has become an “umbrella term,” used to refer to a number of different types of jewellery and philosophies about jewellery that collectively create a fairly schizophrenic personality

Art jewellery should be more successful today than it has ever been, yet we have continued to slump even further into decline as the field has grown and as time has passed.  Our tendency has been to look for external reasons for our struggles, but I believe it is time we accept that the problems lie within what art jewellery has come to be, rather than factors that have impacted it.  We can no longer blame an unstable economy for the lack of art jewellery sales because the jewellery market in general is booming.  In a recent article about the Birmingham School of Jewellery’s 125th anniversary, Professional Jeweller Magazine1 reported that the UK has seen consistent growth in the jewellery and watch industry since 2009 valuing it today at £5 billion annually.  Why then has art jewellery struggled so terribly?  The contemporary art world is also booming, and it shouldn’t be so crazy to think that art jewellery should be enjoying similar success.  I can’t help but think that the problem must lie within the realm of art jewellery itself because things seem to be fine in the outside world.

  • The extremist approach to art jewellery has guided artists to become consumed with trying to reinvent jewellery, rather than focus on making jewellery art that other people will both react to and want to wear

The problems that have arisen regarding art jewellery’s sustainability may have more to do with issues that are not fundamentally relevant to jewellery at all, but rather relate to radical ideologies about art jewellery that have heavily influenced trends within the field.  We have allowed extremism and dogmatism to take the reigns and now find ourselves asking how we got here.  It is not that people don’t want to buy art jewellery, but perhaps more likely that people don’t want to buy this art jewellery.  The extremist approach to art jewellery has guided artists to become consumed with trying to reinvent jewellery, rather than focus on making jewellery art that other people will both react to and want to wear.  Looking at the full spectrum of what is produced today under the guise of art jewellery might have you questioning how many artists are capable of actually producing good functional jewellery.  Experimentation seems to take precedence over technique. “Narratives” and “concept” have become far more important than the end result.  Craftsmanship and attention to detail seem to be a thing of the past, and too much of either could have people telling you that you’re not an artist at all.  Ted Noten recently spoke about being criticized for this as an art student in a recent interview with The New York Times2 and was quoted saying; “if you want to be an artist you should have the tools and skills to make something.  If you want to come up with concepts, be a writer.”

While I am a dedicated supporter of art jewellery in all forms, the field could certainly benefit from some distinctions being made between the kinds of art jewellery being produced right now.   As art jewellery has grown and developed, a number of facets have taken shape and the term art jewellery has come to represent a diverse range of things, including at times costume, multi-media installations and performance art.  It may be unfair to say that art jewellery in general has failed or has become irrelevant, because some facets are doing much better than others.  There are certain kinds of art jewellery that will always appeal to the market better than others.  There are tremendous differences between the kind of customer that is looking for a highly conceptual piece of “jewellery art” for their private collection, and the customer that is looking for a piece of art jewellery to wear.  I am fairly confident that the number of customers looking to purchase well made art jewellery that can be worn will always outnumber those looking to buy unwearable or overly conceptual pieces that can not be worn.  For the purposes of clear communication and good marketing, it might not be such a bad idea to represent this kind of highly conceptual work separately altogether.  While there may be a place for conceptual jewellery within the spectrum of art jewellery, to have expectations that it will have success on its own commercially may still be unrealistic.

Beyond highly conceptual jewellery, the need to distinguish between art jewellery and craft jewellery is also crucial.  For too long we have allowed serial and edition craft work to masquerade as art jewellery.  Too many makers have resorted to focussing on multiple “editions” or serial work, which may appeal to requests from galleries for “new collections,” but often devalues the pieces overall.   As more makers attend fairs to exhibit and sell their work, art jewellery has been altered to fit the needs of the wholesale format.  Once again this is very reminiscent of craft jewellery, as artists look for ways to produce inexpensive multiples and work within margins.  The market is changing for galleries too, many of which are now spending a good amount of time in the field attending fairs themselves.  Contemporary art and design fairs have become hotbeds of activity for both artists and galleries, but it’s still too soon to say what kind of support will be cultivated in the form of new followers and collectors.

  •  Ultimately it is the audience or market that determines the value of the art we make.  We can only sell our pieces for what people are willing to pay, if they are willing to pay anything at all. 

I often hear people proclaiming that more art jewellery isn’t purchased because the audience isn’t educated, and doesn’t understand the value of what they are looking at.  I happen to disagree with this statement and have found quite the opposite in my experience.  People who have an interest in art jewellery tend to be quite educated.  They also tend to have both an understanding of, and appreciation for art and craftsmanship.  Ultimately it is the audience or market that determines the value of the art we make.  We can only sell our pieces for what people are willing to pay, if they are willing to pay anything at all.  Regardless of how educated the audience is or isn’t, they directly contribute to the valuation and commercial success or failure of an artist’s work, more so than galleries do.  You can’t fake craftsmanship, and it’s something that people have simply come to expect when it comes to jewellery whether you work in gold, plastic, paper or textile.

  • It may be fair to say that there is currently a lot of good craft jewellery and conceptual art being made by people who call themselves jewellery artists.  But calling something art jewellery and something actually being art jewellery are two very different things.

Art jewellery has changed dramatically over the last decade.  When I think back to what art jewellery was about when I first became interested in it, I remember a vastly different landscape.  Fundamentally speaking, art jewellery was about artists making jewellery.  The art jewellery movement began when artists who were highly skilled jewellery makers, started exploring different approaches to jewellery making that were outside the traditional boundaries of conventional jewellery. These artists experimented with various kinds of materials, forms, and techniques, developing a field that at the time was quite radical.  Art jewellery was about more than stringing together bits and pieces, or assembling collections of found objects.  Using alternative materials, casual construction, and giving the piece a socio-political title was not enough to qualify something as art jewellery.  It may be fair to say that there is currently a lot of good craft jewellery and conceptual art being made by people who call themselves jewellery artists.  But calling something art jewellery and something actually being art jewellery are two very different things.

  • Virtual success is measured by social media ratings which in turn has only fed our need for instant gratification.  In a “fast food” like manner we are constantly bombarded with content, giving us little time to digest between servings.

Before the internet became a mainstream resource and tool for communication, the information available about art jewellery was not only limited, but carefully curated as well.  “Information” came in the form of physical exhibitions, books and magazines.  There were no websites or blogs and therefore information was available periodically and for the most part regionally.  Today we each have our own websites or social media “channels,” and information is made available in real-time.  New work is “published” daily and essentially with little to no filter.  The internet has become the ultimate platform for the work we produce, providing artists with the ability to virtually exhibit and sell their work to a global marketplace.  Virtual success is measured by social media ratings which in turn has only fed our need for instant gratification.  In a “fast food” like manner we are constantly bombarded with content, giving us little time to digest between servings.

The art jewellery spectrum has been stretched beyond imagination.  Sometimes it seems as though artists are merely competing to see who can take jewellery to the furthest points of abstraction, physically and philosophically, while others compete to see who can use or repurpose the most obscure materials or objects in a quest to create the “nouvo-collage” on a pin or a string.  This is a complete departure from what art jewellery is intended to be, and a departure that I attribute in part to extremism.  Extremism has convinced students year after year that in order to succeed as a jewellery artist, they must reinvent art jewellery  and the materials they use to create it.  Extremism has replaced skill and technique with ego and shock value.  While I have seen some very interesting and thought provoking things arise from this extremist approach to art jewellery over the years, I would venture to say that it is work of the “extremist art jeweller” that could be pronounced dead rather than art jewellery in general.  If you look at the ideologies at either end of the “art jewellery spectrum,” what you will find are extreme interpretations of jewellery that may not have much potential for commercial success.

In my opinion, if you remove the craft jewellery, alternative jewellery, and the extreme conceptual jewellery from the mix, there really isn’t a tremendous amount of art jewellery being produced, and much of it probably does quite well in terms of sales.  The “art jewellery umbrella” currently covers a lot of work by default that quite frankly would be more accurately described as something else.  A good example of this dynamic exists at Sieraad Art Fair, the annual event in Amsterdam dedicated to art jewellery.  It was my experience at Sieraad that while there was some art jewellery at the fair, the work was primarily a mix of craft jewellery, alternative jewellery and highly conceptual jewellery.  I believe  Ward Schriver was making the same declaration in his review of the 2013 edition of the fair for Art Jewelry Forum,3 in which he concluded by saying; “If you are keen on seeing, and possibly buying, a great diversity of affordable, “modern” jewelry, you’ll have a field day at Sieraad.”

  • Many artists no longer think enough about who or if anyone will ever wear their jewellery, which has led to a complete disconnect with the wearer

Today’s iteration of art jewellery has been diluted.  Our standards have simply been watered down. Craftsmanship, functionality, and synthesis of concept and form are no longer important when assessing the success or failure of a piece. Photographs and artist’s statements have become more valuable currency than the objects themselves, often obscuring the true nature of the pieces they document, or how well or poorly they are made. The foundation skills necessary for making jewellery  are no longer required to make art jewellery, or so it would seem.  Some groups will tell you that a piece of art jewellery need not function as jewellery at all, as long as the intention exists.  Many artists no longer think enough about who or if anyone will ever wear their jewellery, which has led to a complete disconnect with the wearer.  Artists no longer produce jewellery for people to wear, but rather to build portfolios and develop their own artistic identities.  The wearer or end user has been erased from the equation, and herein lies another one of our critical dilemmas.  Jewellery is something that people need to have a very personal and individual connection with, much more so than art which is generally intended for a broader public audience.  Finding a happy medium can often be the biggest challenge when making art jewellery and must at least begin with a desire to do so.

1 Professional Jeweller – Jan 23, 2015, by Sarah Louise Jordan
http://www.professionaljeweller.com/article-15570-why-birmingham-is-boosting-the-jewellery-industry/

The New York Times – Dec 4, 2014, by Nina Siegal
http://www.nytimes.com/2014/12/05/style/international/ted-noten-jewelry-artist-brings-macabre-art-to-miami.html?_r=1

3 Art Jewelry Forum – Dec 23, 2013, by Ward Schriver
http://www.artjewelryforum.org/conference-fair-reviews/the-sieraad-fair-in-amsterdam

published by Klimt02

01/02/2015

ENVIES rouges ……… RED THREAD envy ….

Quelque chose de « vital », de VISCERAL, comme le titre bien Sébastien Carré, ça « sort des tripes », ça relate la vie, le lien … les titres sont parlants : « Viscéral », « Self portrait », « weaving my life », « Rinascita » (rebirth),

Izabella Petrut - "Blood on the ground" necklace – INNOCENT project -plastic toy, acrylic paint, copper, silk thread, varnish, 2013Izabella Petrut - « Blood on the ground » necklace – INNOCENT project -plastic toy, acrylic paint, copper, silk thread, varnish, 2013 – (In my collection)

Izabella Petrut - Innocent project - necklace – plastic toys, silk thread, resin, 2014Izabella Petrut - Innocent project – necklace – plastic toys, silk thread, resin, 2014

Ela Bauer  Necklace: Untitled, 2009 - Cotton, copper - net Ela Bauer  Necklace: Untitled, 2009 – Cotton, copper – net

Willemijn de GreefWillemijn de Greef - I ALWAYS dreamed about this neckpiece !!!
  »Weefsels » Halssieraad Rood, 2006, necklace – wool, imitation coral, thread, plastic – 1400x500x50mm

Willemijn de GreefWillemijn de Greef – detail of the neckpiece -    »Weefsels » Halssieraad Rood, 2006, necklace – wool, imitation coral, thread, plastic – 1400x500x50mm

 Gabriela Horvat,   Necklace: Selfportraits - Cocoons, 2009 Silk, copper, chaguar, wool, hand dyedGabriela Horvat,   Necklace: Selfportraits – Cocoons, 2009 Silk, copper, chaguar, wool, hand dyed

Gabriela Horvat,   Necklace: Selfportraits - Cocoons, 2009 Silk, copper, chaguar, wool, hand dyedGabriela Horvat,   Necklace: Selfportraits – Cocoons, 2009 Silk, copper, chaguar, wool, hand dyed

Valentina Caprini (Alchimia 2012) - necklace "Rinascita" -  1300 Meters of Red Thread -Valentina Caprini (Alchimia 2012) – necklace « Rinascita » (« Rebirth »)- 1300 Meters of Red Thread – 2012 – 160x27x7
(In my collection)

 VALENTINA CAPRINI - 'PURUS' COLLECTION  (Italy) Valentina Caprini - ‘PURUS’ Collection – « Roxene » necklace -2000 Meters of Red Thread, Pills 2012 23 x 23 x 7  (Alchimia 2012)

Valentina Caprini (exhibited at "Purus" Alchimia 2012)Valentina Caprini (exhibited at « Purus » Alchimia 2012) « Roxene » necklace

Sébastien Carré - Viscéral, 2013 Visceral  Collier de 7 mètres, aluminium et lin 7 meters necklace, aluminum and linenSébastien Carré - Viscéral, 2013 – Collier 7 mètres, Cotte de maille Aluminium, coton, lin, soie, cuir 7 meters Necklace, aluminum chainmail, cotton, linen, silk, leather (« + de 187000 anneaux a la main et deux semaine de broderie intensive = près de 6 mois de travail sur cette pièce » !!)

Sébastien Carré -  Viscéral, 2013  Collier de 7 mètres, aluminium et lin 7 meters necklace, aluminum and linen  photo: Lee makkamSébastien Carré -  Viscéral, 2013  Collier de 7 mètres, aluminium et lin 7 meters necklace, aluminum and linen  photo: Lee makkam

Mreia Calaf -'TEIXINT LA VIDA' collar Plata,llautó i fil- 2014Mreia Calaf -'TEIXINT LA VIDA' collar Plata,llautó i fil- 2014

Mreia Calaf -'TEIXINT LA VIDA' collar Plata,llautó i fil- 2014 - "LLIGAMS I CADENES"  Relacions complexes. Vides teixint-se. Teixit d'amor. Passions enllaçades amb sentiments de dependències i d'enveja. Amors que es poden transformar en obsessions.Mreia Calaf -'TEIXINT LA VIDA' collar Plata,llautó i fil- 2014

Mireia Calaf - TEIXINT LA VIDA’ (teixint la vida / tejiendo mi vida / weaving my life) collar Plata,llautó i fil- 2014 – « LLIGAMS I CADENES »  Relacions complexes. Vides teixint-se. Teixit d’amor. Passions enllaçades amb sentiments de dependències i d’enveja. Amors que es poden transformar en obsessions. -

LLIGAMS I CADENES. 2014 / LAZOS Y CADENAS. 2014
Relaciones complejas. Vidas tejiéndose. Tejido de amor. Pasiones enlazadas con sentimientos de dependencias y de envidia. Amores que se pueden transformar en obsesiones.

Manolya Konuk - "Penelope" - red thread necklace - distance entre 2 personnes - 1852 m de fil - 7mois de travail  Manolya Konuk - « Penelope » – red thread necklace – distance entre 2 personnes = 1852 m de fil – 7mois de travail…..

«  »penelope » hand knitting red thread – Penelope is a distance knitting on the Ottoman old fashion crochet style. Each loop is telling a hand journey across the 1 852 m between two Peoples. Photo shoot by Alejandro Olaya – « Pénélope » ou 1852 m est une distance drocheté à la main. Dans le style ancien du harem ottoman, chaque boucle raconte le voyage à travers les 1852 m qui séparent 2 personnes. »

 

02/01/2015

EXPO ‘Genesis, Life & Form Through Different Lenses’ – Klimt02 gallery, Barcelona (ES) – 3 Dec. 2014 – 15 Fevr. 2015

Ezra Satok-Wolman and Wendy McAllister:

Genesis, Life and Form Through Different Lenses

Klimt02 gallery – 3-12-2014/15-01-2015

EXTENDED to FEBR. 15 !

Genesis, Life and Form Through Different Lenses by Ezra Satok-Wolman and Wendy McAllister. -   Exhibition  /  03 Dec 2014  -  16 Jan 2015 - Klimt02 Gallery Barcelona

Genesis: Life and Form Through Different Lenses is a duo exhibition of jewelry by Ezra Satok-Wolman and Wendy McAllister at the Klimt02 Gallery. The concept was born in Barcelona in 2012 after Ezra’s trip to the Sagrada Familia, when he came to realize that Gaudi’s infamous project was the perfect archetype for the macrocosm microcosm concept with nature as the basis for its artistic concepts and many of the structural elements. After seeing Wendy’s work in person for the first time at Sieraad Art Fair in 2013, Ezra realized that they were both inspired by the same subject matter and trying to represent very similar concepts in their work. On that same note, their interpretations are vastly different and the lens paradigm began to evolve into an exhibition concept. Not only did this draw a clear parallel with the Sagrada Familia project, but their subject matter was in line with Gaudi’s artistic motivation, to demonstrate the beauty and wonder of nature’s grand design and its connection to the rest of the Universe.

Ezra Satok-Wolman Brooch: The Mathematical Fingerprint of God, 2012 791 (19k) yellow gold, 750 white gold, silk 5.8 x 5.8 x 1.7 cm Back viewEzra Satok-Wolman Brooch: The Mathematical Fingerprint of God, 2012 791 (19k) yellow gold, 750 white gold, silk 5.8 x 5.8 x 1.7 cm Back view

Ezra Satok-Wolman Necklace: Genesis, 2014 3d printed nylon, meteorite, 500 palladium, 917 white gold, silk 11 x 11 x 11 cm Unique piece On displayEzra Satok-Wolman Necklace: Genesis, 2014 3d printed nylon, meteorite, 500 palladium, 917 white gold, silk 11 x 11 x 11 cm Unique piece

Wendy McAllister Necklace: Arctic Summer, 2014 Vitreous enamel, copper, oxidized sterling silver 21.95 x 21.95 x 6.35 cmWendy McAllister Necklace: Arctic Summer, 2014 Vitreous enamel, copper, oxidized sterling silver 21.95 x 21.95 x 6.35 cm

 

Wendy McAllister Brooch: Polar Vortex Vitreous enamel, copper, oxidized sterling silver 13.3 x 12.0 x 4.5 cmWendy McAllister Brooch: Polar Vortex Vitreous enamel, copper, oxidized sterling silver 13.3 x 12.0 x 4.5cm

Ezra Satok-Wolman Necklace: Nebula, 2014 3d printed nylon, 750 white gold, silk 10 x 10x 10 cm Unique piece On displayEzra Satok-Wolman Necklace: Nebula, 2014 3d printed nylon, 750 white gold, silk 10 x 10x 10 cm Unique piece On display

Ezra Satok-Wolman Earrings: Nautilus Galaxies, 2011 750 gold, natural violet diamonds 2.7 x 2.75 x 6.0 cm Hammered, fabricatedEzra Satok-Wolman Earrings: Nautilus Galaxies, 2011 750 gold, natural violet diamonds 2.7 x 2.75 x 6.0 cm Hammered, fabricated

Wendy McAllister Brooch: Amplus Vitreous enamel, copper, oxidized sterling silver with 24k gold leaf 4.25 x 3.25 x 1.33 inches Alternative viewWendy McAllister Brooch: Amplus Vitreous enamel, copper, oxidized sterling silver with 24k gold leaf 4.25 x 3.25 x 1.33 inches Alternative view

Ezra Satok-Wolman Brooch: The Perpetual Motion of the Universe, 2013 950 Palladium, 791 (19k) yellow gold, 750 white gold, natural coloured diamonds 6 x 6 x 2 cm Awarded at: Selected finalist for the 2014 Friedrich Becker Prize Smithed, fabricated Front viewEzra Satok-Wolman Brooch: The Perpetual Motion of the Universe, 2013 950 Palladium, 791 (19k) yellow gold, 750 white gold, natural coloured diamonds 6 x 6 x 2 cm Awarded at: Selected finalist for the 2014 Friedrich Becker Prize Smithed, fabricated Front view

Ezra Satok-Wolman Brooch: Cosmos, 2014 Carbon fibre, 500 palladium, 750 gold, 917 gold, diamonds 5.6 x 5.6 x 0.9 cm Front viewEzra Satok-Wolman Brooch: Cosmos, 2014 Carbon fibre, 500 palladium, 750 gold, 917 gold, diamonds 5.6 x 5.6 x 0.9 cm Front view

Blue Trillium, 2014 Fractal image, generated with 'Blue Penta-Hydra' by Wendy McAllister, brooch 2014 Original photograph by Victor WolanskyBlue Trillium, 2014 Fractal image, generated with ‘Blue Penta-Hydra’ by Wendy McAllister, brooch 2014 Original photograph by Victor Wolansky

 

Klimt02 Gallery
Riera de Sant Miquel, 65
08006 -  Barcelona
SPAIN

tel 00 34 933687235klimt@klimt02.net

27/10/2014

SIERAAD 2014 – International Jewellery Art Fair – Amsterdam (NL) – 6-9 Nov. 2014

SIERAAD  6-9 nov 2014 – Amsterdam


List of participants 2014

sieraad 2014

 

THE 13TH EDITION OF SIERAAD ART FAIR (SAF) WILL BE THE MOST INTERNATIONAL ONE YET. SAF IS THE ONLY PLATFORM IN THE NETHERLANDS WHERE PROFESSIONAL CONTEMPORARY JEWELLERY DESIGNERS FROM HOME AND ABROAD SELL THEIR WORK DIRECTLY AND IN PERSON. TO ADD LUSTRE TO THIS EDITION OF SAF THERE WILL BE SOME SPECIAL EVENTS AND STRIKING PRESENTATIONS.

La liste des participants commence somptueusement !!! : « Erato Kouloubi, ALCHIMIA Jewellery school in Florence, Alina Carp, Andrea Coderch Valor ……. Catalina Brenes, Catalina Gibert,  …. Wu Ching-Chih, David Choi ……….. Dora Haralambaki, Edith Bellod, ……… Gabrielle Desmarais, George Giannoutsos, etc etc etc pour ne citer que mes préférés ……… la Royal Academy of Fine Arts d’Anvers … (voir la liste (lien ci-dessus)

ceramic jewellery Dora Haralambaki.ceramic jewellery Dora Haralambaki - at stand 84

George GiannoutsosGeorge Giannoutsos at stand 1

 Erato Kouloubi  -  Deconstructing the Faith Ring / Sterling Silver www.eratojewellery.comErato Kouloubi  -  Deconstructing the Faith Ring / Sterling Silver  at stand 1

Niki Stylianou presents " Vessels and Matter II: Metaphors on Courtship, Intimacy and Domesticy" Necklace - Hand cut rubber, silk thread, watercolorNiki Stylianou –  » Vessels and Matter II: Metaphors on Courtship, Intimacy and Domesticy » Necklace – Hand cut rubber, silk thread, watercolor – at stand 1

Maria Tsimpiskaki, Corruption collection, brooch, 2014Maria Tsimpiskaki, Corruption collection, brooch, 2014  at stand 1

SO, stand 1 is a « GREEK » stand, with : Maria Tsimpiskaki - Niki Stylianou Erato Kouloubi   & George Giannoutsos

Catalina Gibert | Serra_2014 NecklaceCatalina Gibert - Serra_2014 Necklace – at stand 41B

Andrea Coderch Valor - 2011. Silver, wood (bois de violet), silk.Andrea Coderch Valor - 2011. Silver, wood (bois de violet), silk.  – at stand 41A

Liisa Hashimoto -  5set Red Seed Ring - at SIERAAD 2014Liisa Hashimoto (HINGE Dept.) -  5set Red Seed Ring – at stand 48

Cécile Bertrand - SIERAAD 2014Cecile Bertrand – broche « GUN » – at stand 74
stand 74 avec la « dream team » : Cécile BertrandSylvie Jousset & Isabelle Carpentier

Sylvie Jousset -  "catch me cactus" bracelet - Argent, maillechort, vrais cactus et plantes grassesSylvie Jousset -  « catch me cactus » bracelet – Argent, maillechort, vrais cactus & plantes grasses - at stand 74

Nevin Arig brooch-simple5 - at SIERAAD 2014Nevin Arig – brooch simple5 – at stand 71

SIERAAD 2014 International Jewellery Art Fair | Gabrielle DesmaraisGabrielle Desmarais at stand 75,
sharing with Isabelle Busnel, Edith Bellod and  Eun Mi Kwon

AND

they made a collective necklace !

sieraad 2014 - collective necklace - Isabelle Busnel sharing a stand with Mia Kwon, Gabrielle Desmarais and Edith Bellod and this is our collective necklace Isabelle Busnel sharing a stand with Mia Kwon, Gabrielle Desmarais and Edith Bellod and this is our collective necklace

Eun Mi Kwon - spring on skin #07 - 2014 porcelaine Eun Mi Kwon (Mia Kwon jewellery) – spring on skin #07 – 2014 – porcelaine  at stand 75

SIERAAD 2014  International Jewellery Art Fair | Isabelle BusnelIsabelle Busnel - neckpiece – at stand 75

Edith Bellod Necklace  Kaléidoscope Necklace Bouton 3 rows - at SIERAAD 2014Edith Bellod – at stand 75

CHING CHIH WU - SIERAAD 2014Wu ching-chih- at stand 18

 Judith Bloedjes - ring precious triplet 2014 - porcelaineJudith Bloedjes – ring precious triplet 2014 – porcelaine

 

SIERAAD 14 -  Catalina BrenesCatalina Brenes  at stand 64

Alina Carp - broochAlina Carp – brooch – at stand 25Lauren Markley - SIERAAD 2014Lauren Markley -at stand 44

SIERAAD -  Raewyn Walsh (- NTJ)Raewyn Walsh Vessel pendant, 2012 NZ, silver, epoxy, silk thread

Eily O'Connell at SIERAAD 2014Eily O’Connell-  at stand 31

Han-Chieh Chuang - red brick brooch serie - silver, copper, enamel, steel wireHan-Chieh Chuang – red brick brooch serie – silver, copper, enamel, steel wire – at stand 38

Silvia Beccaria - at stand 100Silvia Beccaria - gorgiera Splendor – 2011 -  at stand 100

Jeehyun ChungJeehyun Chung

papallona - Karolina Bik -  'graphium' ring - peridot, argent oxydéKarolina Bik -  ‘graphium’ ring – peridot, argent oxydé

Linda Ezerman - Necklace with a storyLinda Ezerman - Necklace with a story

Linda Ezerman - Sea Seed Brooches - SIERAAD 2014Linda Ezerman - new work ! – Sea Seed Brooches – Balsawood, pigment(powder), laquer and stamen -
SIERAAD 2014 at stand 53

SIERAAD 2014 --Jillian-MooreJillian Moore – at stand 33

maria diana, bracciale perle, 2013  (porcelain, stoneware, gold) ph federica cioccoloniMaria Diana, bracciale perle, 2013  (porcelain, stoneware, gold) – at stand 67

Mariko Sumioka -Mariko Sumioka

Merav O. Roth JewelryMerav O. Roth Jewelry

YUNG HUEII CHAO (TAIWAN), Bracelets (2010)  Nilckel silver I   Window Series  8 X 10 X 3 cm (each)   Selected Artist ,Talente 2011Yung Huei, Chao (Taiwan). « Windows Series ». Nickel silver Bracelets (2010) 

stand of Royal Academy of Fine Arts d’Anvers, with Vincent Verstrepen, Elitsa Macheva, Annika Wirken, Elya Tettelin, Josefine Mass, Mara Gabriela Grigoriu :

Annika Wirken -  ROYAL ACADEMY OF FINE ARTS ANTWERP - Annika Wirken

  Vincent Vestrepen - ROYAL ACADEMY OF FINE ARTS ANTWERP   Vincent Vestrepen

Josefine Mass - ANTWERPJosefine Mass

stand of Alchimia Contemporary Jewellery School, (stand 101), with :
Daria Borovkova (Russia), Amani Boudargham (Lebanon), Francesco Coda (Italy), Elena Gil (Costa Rica), Sana Khalil (Lebanon),  Daniela Malev (Germany), Lilian Mattuschka (Austria), Carla Movia (Italy), Federica Sala (Italy), Maria Ignacia Walker (Cile)

Alchimia Contemporary Jewellery School - with here Federica Sala neckpieceFederica Sala neckpiece

María Ignacia WalkerMaría Ignacia Walker

Klonneplein 1,
1014DD Amsterdam
tel +31 20 586 0710

 

 

 

 

 

 

 

 

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