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29/12/2016

EXCHANGE-BIJOU 1 – Jelizaveta Suska – Beauties like asteroïds …..

Classé dans : COUP DE COEUR,EXCHANGE-BIJOU,Exposition/Exhibition,Jelizaveta SUSKA (LV/SE) — bijoucontemporain @ 23:40

Jelizaveta Suska FROZEN MOMENTS suite …..  (but now it IS time, about « frozen » …..)

« ………. My idea is to show the beauty of a moment in a landscape or stone-like abstract figures crafted in to brooches.
To make this project I crafted more than 200 hundred pieces. I selected 21 and made them into jewelry. »

This 2-4 december 2016 had an exhibition, « Jelizaveta Suska – Frozen Moment » at  Galleri Blunk (Strandveien 23, Svartlamoen, 7042 Trondheim – Norgepost@galleriblunk.com)

« ‘Frozen Moment’ pieces are a lot about feelings of nostalgia, of a moment in time. In my work I was looking for materialization of these abstract matters. I based it on associations and feelings. After a period of research I came up with my own material, that the pieces are made out of. This material has two main compounds: polymer, that is light and transparent, just like ‘a moment’ and crushed marble, that creates an illusion of a solid stone which I associate with a feeling of nostalgia.
In the beginning of crafting each piece, material is hot and dynamic but in a while it turns still. Like a metaphor of a moment becoming a memory. When looking at my works, people often are saying that they look like ice or unknown minerals.
I question traditional approaches and instead of valuable jewels I celebrate the idea behind the material. That’s why for the rear of the brooches and other supporting details I use valuable metals like gold, gold plated silver and titanium. »

Let’s go with NOSTALGIA ! in this period of end of year, it’s always my main sentiment ….. these brooches look like asteroïds, little planets in distress ….

 

Frozen Moment collection – Materials: polymer, crumbled marble, gold, titanium goldplated silver and some others.)  -HDK, University of Gothenburg

  jelizaveta suska - Frozen Moment Night edition. Brooch.   gold  crystals  amber Jelizaveta Suska - Frozen Moment Night edition. Brooch.   gold  crystals  amber

Jelizaveta Suska - Frozen Moment - Night edition Brooch backside   gold, mineralsn, titanium, color  needle  backside Jelizaveta Suska – Frozen Moment – Night edition Brooch backside   gold, mineralsn, titanium, color  needle  backside

 Jelizaveta Suska - Frozen Moment Night edition - Brooch. Front- gold titanium   minerals  stone  front - 2016  Jelizaveta Suska – Frozen Moment Night edition – Brooch. Front- gold titanium   minerals  stone front – 2016

Jelizaveta Suska Brooch: Frozen Moment 2, 2015 Polymer, crushed marble, 14 ct gold, titanium, crystal 5 x 4 x 3 cm Photo by: Jelizaveta Suska From series: Frozen Moment: Jelizaveta Suska Brooch: Frozen Moment 2, 2015 Polymer, crushed marble, 14 ct gold, titanium, crystal 5 x 4 x 3 cm Photo by: Jelizaveta Suska From series: Frozen Moment

Jelizaveta Suskaya -     This brooch from Frozen Moment collection went into National Museum of Art and Design in Stockholm.  - sept 2016 - Hurraaaay!!    frozenmoment  brooch: Jelizaveta Suskaya -  sept 2016 :   This brooch from Frozen Moment collection went into National Museum of Art and Design in Stockholm.  -  Hurraaaay!!  

CONGRATULATIONS !!!!!!

 

but let Jelizaveta have the lest words to finish this year 2016 :

« Time to make a summary of this amazing year. So many things happened to me that I actually think it has been more than one year. I have traveled to Netherlands, Germany, Poland, Italy, Spain, Finland, Danmark and Norway. WOW!!! Fells like a dream, not all of it was a good dream. Shit also happened. But lets stay on a bright side. I got a cat!
Than I got two awards: Amberif Amber prize and Herbert Hoffman Prize. My work was featured in several prints between them is The New York Times (hell yeah!!! EXCHANGE-BIJOU 1 – Jelizaveta Suska - Beauties like asteroïds ..... dans COUP DE COEUR 1f603 :D ), exhibited at Liljevalsch Springsalong, Moving Art Project, Schmuck 2016, gallery Sintra, Nääs Konsthantverk, Joya Barcelona, Konstepidemin, gallery PLATINA, gallery Blunk. My work is now at National Museum collection in Stockholm (MY Gosh!), collections of galleries Platina and Four, also in the collections of some of the most respectable and amazing collectors. I got support from several foundations, also from Swedish Arts and Grants committee.
All this puts a weight on my shoulders, gives me a kick and inspires. I still have a lot to learn and have to work hard. I look to a coming year with a hope for opportunity to work with art more than I could this year, to improve and never let down anyone.
I am so very grateful to everyone who supports me and likes what I do and believes in art jewelry. Thank you! »

 

a WOW year !!!!! again, CONGRATULATIONS !! :-) Enregistrer

26/04/2016

EXPO ‘FLOW by Anna Norrgrann’ – OHMYBLUE!, Venezia (IT) – 29 Avril-15 Mai 2016

FLOW by Anna Norrgrann     OHMYBLUE is pleased to host the solo exhibition of the Swedish artist Anna Norrgrann

April 29th 2016 – 6.00 PM

FLOW by Anna Norrgrann   April 29th 2016 - 6.00 PM  OHMYBLUE is pleased to host the solo exhibition of the Swedish artist Anna Norrgrann.:

We are glad to present « FLOW » by Anna Norrgrann.
I’m attracted to the qualities in different kinds of metal that make them perform in various ways, depending on the treatment. I see my work as collaboration between these qualities in the material and my own technical skills. Im searching for the unexpected and aiming to set up a poetic jewellery show speaking to spectators senses rather the to the intellect.
In this exhibition Anna Norrgrann will present both works from her newest project A Flow within and a Flight from a Standard Size and also from the previous and on going project, Impulse Palette.

Anna Norrgrann - Studio ViewAnna Norrgrann – Studio View

Pile of Anna Norrgrann’s A4 aluminum sheets/necklaces in her studio, photo: artistPile of Anna Norrgrann’s A4 aluminum sheets/necklaces in her studio, photo: artist

Anna Norrgrann - From series: The Flow within and the Flight from a Standard Size   Anna Norrgrann – From series: The Flow within and the Flight from a Standard Size

« The Flow within and Flight from a Standard Format, your most recent collection of work, tackles the commonplace paper size A4 [a European sheet that measures 8.27 x 11.69 inches.—ed.]. What is it about this subject that drew you in?
Anna Norrgrann: In a way, this project is a continuation of my previous work about creating spaces, the frame, and how you choose size and shape. A4 is something we take for granted, almost like something we think is given by nature, but it is also made up. As I thought more and more about this shape, its meaning grew and I discovered new intellectual aspects to it.
I think it’s interesting how thinking and doing come together: When I started to work with A4-sized sheets of metal in my hands, new thing added to my understanding of the shape and my own relationship to it. In the same way that children play to understand the grownup world, I think making may sometimes have the same influence on the understanding of a subject, even though I wouldn’t draw a strong line between craft and play; craft is work. 
I then wanted to investigate what would happen if A4 were put on the human body as a piece of jewelry, outside its natural context, if we then would look at it differently. »

Una bella intervista di Art Jewelry Forum ad Anna Norrgrann, in occasione della sua prossima mostra « FLOW » che inaugurerà prossimamente ad Ohmyblue. // So very happy to share with you this great interview by Olivia Shih for ART JEWELRY FORUM to Anna Norrgrann about her upcoming show « FLOW » at OHMYBLUE

Anna Norrgrann - From series: The Flow within and the Flight from a Standard SizeAnna Norrgrann – From series: The Flow within and the Flight from a Standard Size

« Anna Norrgrann, an emerging Swedish jewelry artist, is already making waves as the 2015 Graduate of the Year at Klimt02 and by exhibiting her collection of deceptively simple jewelry in the Netherlands, Spain, and China. In this interview, we talk about Anna’s favored medium of anodized aluminum, and transforming a mistake into a method. »

« Olivia Shih: You recently graduated from the HDK Academy of Design and Crafts, in Gothenburg, after studying with Karin Johansson. How has this education influenced the way you work and the work itself?
Anna Norrgrann: I think the education has made me more self-reliant in my work and made me trust my guts more, and this I am very grateful for. At HDK you are given a lot of freedom to explore and experiment and in many ways choose your own way to work. This freedom hasn’t always been easy to handle, especially not in the beginning, but in the long run it has had the good result and effect of helping me become a professional jewelry artist. »

Anna Norrgrann, piece from the series imPulse Palette, 2014, brooch, aluminum, 170 x 100 mm, photo: artist: Anna Norrgrann, piece from the series imPulse Palette, 2014, brooch, aluminum, 170 x 100 mm, photo: artist

 

« Anodized aluminum appears to be your favored choice of medium. What possibilities do you see in aluminum in place of traditional precious metals?
Anna Norrgrann: I started working with aluminum just as a trial and then I realized there was something intriguing and challenging in this everyday metal, not only as a sketching material, but in itself. As I worked with the metal more and more, many possibilities appeared. For example I discovered the advantage of coloring the aluminum with the anodizing technique, or how I could transform the surface of the metal to make the color appear different. The low-density process gave me the possibility to work in a bigger scale; meanwhile, the anodizing process makes the surface very strong and this also enabled me to work with thin sheets of aluminum.
Let me put it like this: I did not expect as much from aluminum as from precious metals, and I think that was something that made me curious. »

Anna Norrgrann -  Necklace: A4.3, 2015 – Aluminum – 19 x 4 x 29 cm  Photo by: Anna Norrgrann From series: The Flow within and the Flight from a Standard SizeAnna Norrgrann Necklace: A4.3, 2015 – Aluminum – 19 x 4 x 29 cm  Photo by: Anna Norrgrann
From series: The Flow within and the Flight from a Standard Size

« At times subtle and at times striking, color plays an essential role in your work and evokes a range of emotions. How did your relationship with color evolve?
Anna Norrgrann: I’m experimenting with color and because I don’t come from a painting background, I don’t have too much respect for color. I believe this is not a disadvantage. To me it’s a representation of moods, feelings, and fascination, among other things. Using the anodizing technique the way I do requires focus and quick decisions and it’s a great way to capture reflections and impulses. Sometimes when a certain color combination appears, I travel in time, remembering something I have forgotten. This process has a lot to with presence and sometimes the presence is very colorful and sometimes it’s monochrome. « 

Anna Norrgrann, piece from the series The Flow within and Flight from a Standard Size shown in the studio, 2015, necklace, 210 x 297 mm, photo: artist Anna Norrgrann, piece from the series The Flow within and Flight from a Standard Size shown in the studio, 2015, necklace, 210 x 297 mm, photo: artist

« « The color flows in the forged surface and together with the format it evokes landscape, feelings and memories. Known and unknown.
A4, in this work, is meant to be worn on the body. I let it become a piece of jewelry with simple methods, drilling a hole, threading a string, tying a knot. When something normal to us is put in a new context or wrong context, it might be the first time we actually see it. » Anna Norrgrann

Anna Norrgrann works and studied in Gothenburg, Sweden and took her master degree in jewellery art at HDK, School of Design and Crafts 2015.

 

OHMYBLUE
campo san Toma’, sestiere di San Polo 2865
Venezia, Veneto 30125
Italy
+39 041 243 5741
http://www.ohmyblue.it/

08/09/2011

EXPO ‘On Repeat’ – Flow Gallery, London (UK) – 8 Sept.-5 Nov. 2011

  »On Repeat »

This exhibition at flow features the work of eighteen international makers. The exhibition explores the creative process which at times becomes meditative; moving from the mind of the maker to an intuitive action. The process of repetition can create or even determine a form. It allows exploration of volume, decoration and pattern. Repetition creates a rhythm and a flow; it highlights difference, irregularity and the history behind surfaces. It is through repetition that you discover difference, through order and an attempt for the constant, variation is emphasized and the unexpected is found in the familiar. Using different materials and patterns; from lines, dots or looping, all the work has the process of repetition in common. The process of making can be a valuable trigger of inspiration. This is echoed in this exhibition, which aims to encourage people to see and enjoy the subtle variations created from a single repeated act.

 

Artists:
Astrid Keller, Birgit Hagmann, Charlotte Sale, Ella Robinson, Evert Nijland, Flora Vagi, Ike Junger, Iris Tsante, Momoko Kumai, Nikolay Sardamov, Noriko Takamiya, Nuala O’Donovan, Renata Francescon, Ritsuko Jinnouchi, Sidsel Hanum, Stacey Bentley, Stine Jespersen, Tsuruko Tanikawa.

https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-ash4/s720x720/307968_244095912301810_139432376101498_758441_6093888_n.jpg
Iris Tsante

Iris Tsante considers jewellery as a process of exploring ways to define the sense of « beauty » and « value » in reference to memories of significant objects and the subsequent human/social connections related to them. Tsante’s pieces provide connotations of optimism, simplicity, joy and innocence, revealing at the same time qualities such as fragility and vulnerability.

http://blog.sub-studio.com/wp-content/themes/unnamed-lite/project_submissions/post/9955/Flora%20Vagi%20waves&flames%20brch_l.jpg

Flora Vagi - waves & flames brooch

Flora Vagi creates jewelry which not only adorns the body but explores the visual language of an object. » I search discover, transform…. surprise. The materials get a ‘return ticket’ from me, and with their ‘newly dressed souls’ I send them back to the world, where they came from ».

http://www.artaurea.com/system/attachments/1350/original/Nicolay-Sardamov_Kette-Intersections.png
Nikolay Sardamov- Being the basic motif, the circle serves as a starting point: “Intersections” necklace, 2010. Blackened silver.

http://www.flowgallery.co.uk/images/59/SARDAMOV_SENSE-OF-SNOWpr.jpg
Nikolay SardamovSense of snow
Nikolay Sardamov has focused on the circle. Through repetitions and overlapping a pattern emerges. He uses the multiplied pattern to arrange figures with different types of symmetry and uses them to construct double-layered forms. The layers cast shadows that overlap and create a notion of movement, like snowflakes falling from the sky.

Momoko Kumai
Momoko Kumai
Momoko Kumai describes her work as « accessing my inner child playing with paper. It is abstract in form – the result of a free-flowing sub-conscious process of folding, twisting and rolling up any kind of paper material ».

http://www.flowgallery.co.uk/images/59/stacey-bentley.jpg
Stacey Bentley
Stacey Bentley is inspired by urban scenery, taking inspiration from its patterns and structures. Being attentive to the unexpected and unnoticed components of this industrial environment allows Bentley to discover an elegant and mysterious aesthetic. Her observations are translated into tactile, sculptural forms that play with line, gritty textures and matt finishes.

http://www.flowgallery.co.uk/images/59/Ike-Junger.jpg
Ike Junger
Ike Jünger uses a variety of materials and techniques from colourful enamel to gold casting and often incorporating found objects. Her work is organic and enigmatic.

http://www.flowgallery.co.uk/images/59/x-EVERT_1.jpg
Evert Nijland
Evert Nijland is fascinated by the way nature is visualized by artists throughout art history. His collection titled ‘Naturae’ is inspired by the many floral motives that are used in classical ornaments.

http://www.theswedishshow.com/images/francescon01.jpg
Renata Francescon (céramique, mais si beau ……)

http://www.flowgallery.co.uk/images/59/birgit-hagmann_necklace_2011.jpg

Birgit Hagmann necklace 2011

Birgit Hagmann. This work is based on drawing. Using the wire, the drawing is
transformed into a three-dimensional space. The line creates shapes and explores volume, sometimes delicately, playfully and searchingly and other times confidently, in a straight, clear and powerful way. Thus crystalline-organic structures come to life and become jewellery.

 

 

Flow Gallery
1-5 Needham Road, W11 2RP London, United Kingdom
+44 (0) 20 7243 0782
http://www.flowgallery.co.uk

02/05/2011

SCHMUCK 2011 – ‘A Pieceful Swedish Smögåsbord’ – 17-20 Mars 2011

A Pieceful Swedish Smögåsbord

A Pieceful Swedish Smörgåsbord is a project curated by Diagonal / Sanna Svedestedt &
Karin Roy Andersson.

The exhibition shows the works by 11 swedish artists :
Nina Mårtensson, Hanna Liljenberg, Malin Lövgren, Pernilla Persson, Maria Ylander, Marta Mattson, Lisa Björke, Linda Marie Karlsson, Sanna Svedestedt, Karin Roy Andersson, Ellen Jacobsen Holvik

http://1.bp.blogspot.com/-TIbyF6znax8/TX1QsmbX98I/AAAAAAAAaZc/OMfpkc3RpeI/s1600/A_pieceful.jpg

« Recently a new image of Sweden is spread internationally. Being a country, which often is seen as a rolemodel for its equality and social work, new sides to the story are becoming visible. It is a well-known fact that the suicidal rates in Sweden are unusually high, and that Sweden is one of the countries with the highest numbers of one-person households. These darker sides of the Swedish society have been put into the spotlight partly through the huge literary success of Stieg Larsson. This situation makes us wonder what the image of Sweden is like in the rest of world today.
We – the Diagonal team – have started an art jewellery project where we have invited 9 other jewellers to discuss and give their view of what Sweden in general and, more, specific Swedish woman really are like.
Roles and ideals change over time, and we find it of great importance to share these experiences. How has the image of us affected the way we see our selves? How do we confront the prejudices that we meet in international contexts? Through our jewellery we want to communicate our thoughts and contribute to the international image of Sweden.
We are are right now having meetings with the participating artists where we are discussing the theme and the work. The last meeting was two weeks ago, we came there quite tired after a long week of money-making-non-jewellery work, but we left with a lot of inspiration and motivation. Being part of a network and get other’s opinions on your work can be very stimulating, and to meet with people sharing a similar life situation is a good support in the profession we have chosen.
The participants of A Swedish Smörgåsbord are all young female jewellers  » Nina Mårtensson (Master Degree in Jewellery Art, HDK. Senior designer for Goldsmith brand Jarl Sandin, Göteborg.)

We will soon write more about this group, the project and how it develops.
Keeping you posted!
/The Swedish bikini team (! :-) )

SCHMUCK 2011 - 'A Pieceful Swedish Smögåsbord' - 17-20 Mars 2011 dans Allemagne (DE) nina%20m
Nina Mårtensson – Necklace, silver

diagonal_nov10_hanna dans Ellen JACOBSEN HOLVIK (SE)
Hanna Liljenberg:Brooch

http://www.lindakarlsson.de/wp-content/uploads/2011/03/hanna_liljenberg_brooch_untitled.jpg
Hanna Liljenberg – Brooch – paper – 2010

7 dans Exposition/Exhibition
Malin Lövgren – Brooch

surviving_little_boy_guldberyll dans Hanna LILJENBERG (SE)
Linda Marie Karlsson – Surviving Little Boy, brooch, silver, heliodor

lindamarie dans Karin Roy ANDERSSON (SE)
Linda Marie Karlsson, Brooches, 2011

diagonal_nov10_ellen dans Linda Marie KARLSSON (SE)
Ellen Jacobsen Holvik – Necklace

[PernillaPersson1_w.jpg]
Pernilla Persson: necklace, textile, iron

diagonal_nov10_lisa dans Lisa BJORKE (SE)
Lisa Björke: brooch

Fashionista
Sanna Svedestedt – Rings: Fashionista 2011 Synthetic fibers, laquer

« Making jewellery from human hair is an old Swedish crafts tradition, which now a days have very few practitioners. During the hard times in the nineteenth century this type of craft was flourishing, and young Swedish women went on business trips through Europe, to make and sell hair jewellery. Their work was a large help in getting their villages back on its feet. The hair jewellery is now out of fashion, but the spirit of the entrepreneurs is very much alive. The blonds are conquering the internet with their blogs, and starting companies with the power of social media. My jewellery is a tribute to what exist under the surface of lips gloss and curls – and a new interpretation of the old craft tradition.« 

malin dans Malin LOVGREN (SE)
Malin Lövgren, Ring, 2011, silver

 

place : 
Schwedische Kirche
Schwanthalerstraße 60
80336 München (DE)

12/02/2011

EXPO ‘Jenny Klemming’ – Galleri Hnoss, Goteborg (Suede) – 12 Fevr.-6 Mars 2011

Classé dans : Exposition/Exhibition,Gal. Hnoss (SE),Jenny KLEMMING (SE),Suede (SE) — bijoucontemporain @ 0:09

Jenny Klemming, Sverige – Land pieces

Gallery Hnoss proudly presents the Swedish jewellery artist Jenny Klemming.
Jewellery pieces have a tradition of being precious personal carriers of memory and social status. They have therefore been handled with care. I like the thought of a jewel being lost, found, re-made, inherited and worn during a lifetime – that the piece of jewellery has a life span longer and separate from mine.
Human interference or possible domination of nature is a recurring theme in Jenny Klemmings work. She wants to point out the human action but also try to build bridges and visual transitions between culture and nature. Her work is a balance between craft and experiments, chance and control.

Jenny Klemming was born and raised in Malmö, Sweden. In 2010, she received her MFA in crafts, specialization Jewellery art and Design, from HDK School of Design and Crafts in Gothenburg, Sweden. Also in that year, Jenny Klemming was awarded the Carl Larsson scholarship and Galerie Marzee´s International Graduation Prize. She is currently living and working as a Jewellery Artist in Mariestad, Sweden.

EXPO ‘Jenny Klemming’ - Galleri Hnoss, Goteborg (Suede) - 12 Fevr.-6 Mars 2011 dans Exposition/Exhibition

167695_161676973884279_100001259312201_368471_6856010_n dans Gal. Hnoss (SE)167757_161676987217611_100001259312201_368472_5643218_n dans Jenny KLEMMING (SE)
182777_161676967217613_100001259312201_368470_3280441_n dans Suede (SE)jenny_klemming
Jenny Klemming‘Cutback’, halsband (upper left) – ‘Loop’ necklace(upper right)
‘Interface’, brosch (bottom left) - ‘Aspect’, brosch (bottom right)

   

« As an artist I am searching for connections. I gather aspects and associations, hints and lore, trying to map out my area of interest. It is a balance between craft and experiments, chance and control. Jewellery is powerful objects and as a jeweller I tread an ancient path. When I use an unrefined material I cultivate it. I dominate and bend it to my will or let it go out of my control for a while before shortening the leash. Jewellery pieces have a tradition of being precious personal carriers of memory and social status. They have therefore been handled with care. I like the thought of a jewel being lost, found, re-made, inherited and worn during a life time – that the piece of jewellery has a life span longer and separate from mine.« 

Border_line_broochwebb
Jenny Klemming – brooch

 

 

Galleri Hnoss
Konstepidemins Väg 6
413 14 Göteborg, Sweden
www.konstepidemin.se
hnoss@konstepidemin.se
Phone +46 (0)31 410919
Fax +46 31 828568
Opening hours:
Wed–Thur 12–17, Fri–Sun 12–16
Öppet: ons–tors 12–17, fre–sön 12–16

16/04/2010

Contemporary Swedish Jewellery – bijoux de Suède

Parfois je vous présente des expositions dont la date est largement dépassée … mais dont le thème -et l’intérêt- dépassent largement la date !
En particulier, parmi mes « recherches italiennes », une série d’expositions « par pays » qui nous permet un tour de l’Europe des plus intéressants !

A 2005 touring exhibition showing the works in Italy of fifteen Swedish jewellery artists.
The selection of the artists was made on the basis of conceptual work that could reflect the c
ountries’ culture, nature, climate and general characteristics, representative of the Scandinavian way of interpreting life.

Contemporary Swedish Jewellery - bijoux de Suède dans Agnieszka KNAP (PL) svedesi
Sonja Ekman

« Contemporary Swedish Jewellery«  is curated by Marie-Josè van den Hout, the director of Galerie Marzee in Nijmegen Netherlands and it is touring five countries and 7 venues.
Appreciating that van den Hout considers rings small sculptures, and necklaces akin to drawings and paintings, helps us understand her curatorial decisions.
The fifteen artists selected for this exhibition can be loosely considered part of the Scandinavian ‘New Jewellery’ movement; so we see work displaying the visually provocative expression that is its hallmark. No
longer do these makers tie their inspiration exclusively to nature and geometry, they absorb and rework the multiple modes of expression that contemporary popular culture emits.
These pieces discuss perception, identity, social interaction, art theory, philosophy and sociology; consider the artistic statement of each piece asides to its wearable functionality. Van den Hout has chosen outspoken, more conceptual pieces, where we find form replaced by content. Be aware of self-referential comment on the Swedish traditions of nature and romanticism, and see this less design-orientated approach as refreshing as it is challenging.
Witness Aud Charlotte Ho Sinding‘s grand rubber jewellery, in particular her birds ‘carried’ by the wearers hand; defiantly sculptural, they question the bond between us and nature.

Aud%20Charlotte%20Ho%20Sook%20Sinding dans Anna UNSGAARD (SE)
Aud Charlotte Ho Sindingbirds ‘carried’ by the wearers hand – rubber

The relationship between us and the actual material, is provoked by Ulrika Swärd‘s sound pieces. Her work gives proof to organic source materials – such as metal and pearls – not necessarily being the only starting point. In contrast, Charlotte Skalegård and Anna Unsgaard‘s work echoes the perfectionist goldsmith techniques of past generations; in so much as their work is imbued with a real sense of artist’s labour. Although their choice of materials may be stainless steel and copper, the detailed textile techniques used reference the artistic process in a very clear way.

Ulrika%20Sward dans Aud Charlotte HO SINDING (SE)Charlotte%20Skalegard dans Castello HANSEN (SE)
Ulrika Swärd - sound pieces (euh… « coussin péteur » ??)
Charlotte Skalegård

Agnieszka Knap‘s leaf and flower shaped pendants have a porous enamel surface giving a scorched appearance; an interesting juxtaposition of the beautiful with the distressed

Agnieszka%20Knap dans Charlotte SKALEGARD (SE)
Agnieszka Knap

Dental plaster is the unexpected material involved in Ida Forss‘s work, look out for her witty teeth necklaces. This humorous theme runs to Sissi Westerberg‘s brooches and bracelets, melting as they do over pocket lips. Tobias Andersson‘s badges in various precious and semi-precious materials will make you smile too.

Ida%20Forss dans Gal. Flow (UK) Sissi%20Westerberg dans Gal. Marzee (NL)
Ida Forss                              –         Sissi Westerberg

Tobias%20Andersson dans Ida FORSS (SE)
Tobias Andersson

Karin Johansson, Mirjam Norinder and Mona Wallström are all showing necklaces, but each so different to the next, in terms of both material and content. Similarly, Castello Hansen and Tore Svensson‘s rings could not be more different and unique

Karin%20Johansson dans Karin JOHANSSON (SE)Mirjam%20Norinder dans Mirjam NORINDER (SE)Castello%20Hansen dans Miro Sazdic LOWSTEDT (SE)Tore%20Svensson dans Mona WALLSTROM (SE)
Karin JohanssonMirjam Norinder  — Castello Hansen ring –  Tore Svensson rings

Miro%20Sazdic%20Lowstedt dans Sissi WESTERBERG (SE)

Mona%20Wallstrom dans Sonja EKMAN (SE)

Miro Sazdic Lowstedt               –                     Mona Wallström

 (THANKS to Flow gallery for report & information)

Artistes présentés : Tobias Andersson — Sonja Ekman — Ida Forss — Castello Hansen — Karin Johansson — Agnieszka Knap — Miro Löwstedt — Mirjam Norinder — Aud Charlotte Ho Sook Sinding — Charlotte Skalegård — Tore Svensson — Ulrika Swärd — Anna Unsgaard — Mona Wallström — Sissi Westerberg

«  Beauty becomes complicated
Compared to the development in countries like the Netherlands, Germany and Great Britain, Swedish art jewellery was long marked by slow changes and preservation of traditional craftsmanship qualities.
The new jewellery movement gained widespread acclaim in Sweden only in the late 1980s. However, since the entry of this new and liberated approach in regards to materials, techniques and themes, its application has often been cautious.
The vulgar, grotesque and in other ways visually provocative expressions have only in recent years made its way into the Swedish jewellery scene. Today, nature and geometry are seriously trailing behind as the preferred sources of inspiration, in favour of contemporary popular culture and its wide-ranging modes of expression.
In this meaning the development in Swedish jewellery has clear parallels to movements in other artistic fields, not only in the realm of craft. As the domain expands towards discussions on perception, the making of the identity and social interaction, the relation to art theory, philosophy and sociology is becoming increasingly important.
Form is replaced by content.
There has also been a shift in working methods in the sense that the jewellers increasingly often formulate clearly defin ed thematic projects, which are left behind upon completion as they move on to the next project.
The artistry becomes a stretch of events rather than a continuous flow. This poses challenges to an audience that has become accustomed to appreciate gradual development and refinement of expressive means.
Additionally, to a growing extent many young jewellers make embodiments of examinations, events and meetings rather than concrete jewellery. This dematerialization of the art object carries clear references to the art of the 60s and 70s, along with influences from the virtual dimensions and communication patterns in contemporary society as well.
It is important to remember that the Swedish body of artists has become increasingly international. Many of the artists in the exhibition have studied abroad and several of them are born in countries other than Sweden.
Compared to most other branches of Swedish craft, the jewellery artists have been actively partaking in the international exchange arena, partly as a result of having been schooled by university teachers with foreign backgrounds and frequent participation in workshops abroad.
That the aim is shifting focus away from a nationally defined style is evident.
In this context it is worth noting that some jewellers still favour moti fs that expressively side with the famed Nordic sense of nature. Today however, this is rarely simply a result from unreflecting romanticism or tradition. Many pieces based on natural forms hold double meanings: they are not only referring to nature but also become commentaries to the tradition of nature romanticism itself.
In Sweden, this tradition may be traced back to the poetry of the 18th century, and reached its most significant form during the era of nationalist flirtation in the past centurial turn. Today, the Swedish relationship to nature is mirrored and retold through channels such as advertising and popular culture. To the artists, the nature theme lends itself as a mean to relate to questions on identity, tradition and change.
Karin Johansson may serve as an example of an artist who forwards parts of the nature-oriented tradition, but in the form of a personal world of imagery with many idea sources. In the geometrical forms that dominate her jewellery, flowers, leaf forms and other references to the natural world are often present.
However, there is an affinity to an unobtrusive and emotional sphere established here as well, where a subtle play of opposites takes place, between the concealing and the advancing, between isolation and interaction.
In many aspects however, it is the human body that has become the unifying basis to the jewellers. The fact that the object of jewellery, positioned in the interface between the individual’s body and society, offers unique access to current discussions within a number of cultural contexts is more or less a truism.
To the young Swedish jewellery artists, the subject of the body is not so much an art historical motif as it is a thematic assessment of it as a concept and social phenomena. The jewellers tend to relate to the body as a changeable quantity, shaped by the rules and values of the external world as well as by the individual’s feelings and yearning for expression.
Every once in a while, the unexpected or even unpleasant presses through the conventional beauty. Teeth, fingers and eyes may appear as motifs, with evident references to the state of interchangeability that body parts have today. Cloning in the medical sciences, as well as today’s frequently exposed fascination for plastic surgery, both form foundations for artistic themes.
That this fits well into the international trend of jewellery as well as the visual arts hardly needs mentioning.
In Aud Charlotte Ho Sook Sinding‘s sculptural rubber jewellery, with their somewhat ghostly depictions of flowers and birds, a contradictory bond between human and nature transpires. The carrier must subject to Aud Charlotte Ho Sook Sinding’s voluminous pieces of jewellery, resulting in the appearance of nature getting the upper hand.
In this sense the objects join up with the discussion on the relationship between carrier and object. Who in this relationship is the carrier of expression?
If the jewellers whose theme is the body have set beauty aside, there are others that consciously choose the beautiful as a mode of communication. Beauty can be emotionally moving and create reactions: as an object with historical ties to desire and seduction, the pretty piece of jewellery opens up to associations of power and submission.
Beauty becomes complicated in the complex process of personal interpretation and projections. The contradictions are often readily present in the artistic manifestation of the beautiful. In Agnieszka Knap‘s leaf and flower shaped pendants, the beautiful balances on the verge of a violent expression. The porous enamel surfaces can give a scorched impression, like human bodies whose keepers have burnt them in the sun for the sake of vanity.
The enamelling, a traditional goldsmith technique, becomes a paradoxical way of communication in a contemporary context. In a text about her work, Agnieszka Knap states that beauty is an instrument and that her jewellery « is about making the viewer associate with certain feelings, situations or memories. « I don’t tell concrete stories, but through the choice of colour and form I want to invoke a personal story in the viewer. »
This goal may seem vague, but is representative of a young generation of artists that are anxious to avoid locking the audience’s relationships to an interpretations of their work to established models. The emphasis is placed on the intimate relationship between the piece of jewellery and its carrier.
Perhaps a common tendency in young art is traceable here, one that aims to avoid too substantial pretences. Meetings and events – creating new contexts formed by the individual viewer’s own life experiences – is more important than the universal autonomy of the art piece.
The relationship to the materials offers another access point to the review of Swedish art jewellery in this exhibition. Over the past two decades a gradual change has occurred regarding the choice of materials. Metals, stones and pearls are no longer the obvious starting point.
Some of the pieces by Ulrika Swärd are examples of how even sound can be an element in the production. Organic and in other ways frail materials are also used by many jewellers and the characteristics of the material then itself turns into a carrier of meaning. Brittleness can be used as a metaphor for the perishability of life and a reminder of that we must take care with the most fragile and valuable of all – human relationships.
In many pieces, not only the materials emerge carriers of meaning, but the time factor as well. Some examples are Charlotte SkalegŒrd and Anna Unsgaard‘s detailed textile techniques that charge the objects with time – a true scarcity in our day.
The prosaic materials, thin wire made of stainless steel and copper respectively, are not inherently valuable, but the time that has been invested in the manufacturing process makes the pieces lavish, and therefore alluring objects. In contrast to many older and perfectionist goldsmith techniques, the traces of artist’s labour are clearly perceptible.
The artistic process and its stretch into the time dimension becomes a motif itself. In Anna Unsgaard‘s pieces the material carries obvious references to communication as well. The copper wire is recycled from old telephone lines. In the age of wireless communication, the copper wires provide a link to a recent past, yet at the same time articulate a reminder of the communicative aspect in the particular act of carrying a piece of jewellery.
 » (Love Jšnsson Craft and design critic)

Anna Unsgaard- galerie Alternatives
Anna Unsgaard

 

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