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01/03/2017

#MunichJewelleryWeek2017 – EXPO (58) – « No Expiry » – 3STATIONS, Munich (DE) – 9-12 Mars 2017

(58) No Expiry

Dimitar Stankov &  Jonathan Hens

3STATIONS   Munich

EXCHANGE-BIJOU 1 – Jonathan HENS

(58) No Expiry

ALAFRANGADimitar Stankov seeks a way to depict the sound images emerging in human mind after its interaction with certain sound or traditional Bulgarian folklore music combining craftsmanship and innovative technology. The music represents the traditional manners and it can be used to chase away evil spirits or to bring happiness and joy. This duality inspires him to materialize the sound that can be heard but cannot be felt by touch.NIGHTLIGHT SKIN: Jonathan Hens’ 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.

No Expiry by Dimitar Stankov and Jonathan Hens

*

"Alafranga" by Dimitar Stankov« Alafranga » by Dimitar Stankov

Jonathan HENS - At "No Expiry", with Dimitar Stankov and Jonathan Hens! 3STATIONS, STUDIO LOFTS Munich Jewelry Week 2017: Jonathan HENS

 

 

3STATIONS Studio Lofts,
Welserstrasse 15,
81373 Munich
09.03-12.03
Thu 15:00-19:00, Fri 10:00-18:00, Sat-Sun 10:00-14:00
(3Stations = 81373 München, Welserstr. 11 / 15 / 23 / 29-31)
 Dimitar Stankov Tel. +32 495327052 / Jonathan Hens Tel. +32 483362484

 

 

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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
***
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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23/04/2016

EXPO ‘Read and Worn: Jewelry from Books’ – RR Gallery, NY (USA) – 10 Mars-30 Avril 2016

RR Gallery -  Very excited for our next exhibit — Read and Worn: Jewelry from Books

March 10 – April 24!! (extended to April 30)

 RR Gallery - 2016

Work from Jeremy May, Flora Vagi, Shiri Avda, Kiwon Wang, and Katherine Richmond
Shown: « Four Fantastic Tales » by Jeremy May

The Gallery at Reinstein|Ross is proud to present “Read and Worn” an exhibition featuring the work of five international artists who transform the pages of books and newspapers into unique works of wearable art jewelry. These artists are storytellers, who utilize the printed word as their form of expression. Whether using publications in their entirety, or simply using a few sheets of print, these artists give new life to the printed page. In the spirit of “intellectual recycling”, discarded newspapers and old books – literature, history and news – are given a second chance as bracelets, necklaces, earrings, and rings. Paper has long been a popular material for the creation of art, with artists often hand-making their own paper. Using the pages of books, newspapers, encyclopedias, however, is a recent trend, ironically spurred by the popularity of e-readers and online publications, and thus the abandonment of the printed and bound book.

 

Flora Vagi  Rosegold Seanemone brooch: Flora Vagi paper Rosegold Seanemone brooch

Flora Vagi paper brooch - 2016: Flora Vagi paper brooch

Flora Vagi brooches at RR Gallery: Flora Vagi brooches

Hungarian artist Flora Vagi loves the smell of old books. Collecting old books, she removes the pages to create brooches inspired by marine life and floral forms. Vagi’s multilayered brooches are organic and curvilinear, just the opposite of the original structured and bound books. Vagi refers to her work as “intellectual recycling”, she enjoys knowing that these books, once found on someone’s shelf, have gone from inhabiting a private space to a public one when worn on the body. Vagi, is a celebrated art jeweler who often works with wood. In “Read and Worn” she will show her paper jewelry in the United States for the first time. 

Kiwon Wang neckpieceKiwon Wang neckpiece

Since childhood, Korean artist Kiwon Wang, has been inspired by paper. Not only is paper used freely in Korean domestic architecture, but growing up, her family always had an extensive library of books. Encouraged to “find out who she is”, while in graduate school at the Rhode Island School of design, it was obvious to Wang that paper, pearls, and metals were going to be her materials. Even now, printed paper is Wang’s material of choice. Wang chooses articles from old newspapers to create necklaces, brooches, and bracelets. Most of her pieces are adorned with pearls, the lustrous gems prized for their beauty in both Western and Eastern cultures. Wang is attracted to spherical forms, not just because this shape represents the earth but also because process of recycling is circular. 

work from Jeremy Maywork from Jeremy May

Jeremy May  paper ring: Jeremy May  paper ring

London-based artist Jeremy May purchases books from his local thrift store. After reading each one, he chooses a story that inspires him the most and turns it into a wearable sculpture.  May selects the pages that he carefully removes from the book, laminating as many as a hundred sheets together, then applies a high gloss finish before reinserting the jewelry into the excavated space within the book. Through his jewelry May hopes to give books a “new lease on life” and inspire people to fall in love with them all over again.

 Shiri Avda, “Rock Paper Scissors” Rings: Shiri Avda, “Rock Paper Scissors” Rings

Israeli native Shiri Avda in her work “The Mechanism of Reading” aspires to provoke the viewer with an experience equivalent to reading and leafing through the pages of an old book. Her objects, meant to be both worn and displayed on the wall, are carved from discarded books and embellished with an old lace pattern. Her second series, “Rock Paper Scissors” is inspired by the “world of texture and color” in the printed word. Avda does not conceal the typeface here, instead choosing to reveal the beauty of the printed pages that she takes from antique books and atlases. A fan-like shape – a flourish of paper -  is often used in her pendants, rings, and brooches.  

Katherine Richmond  Brooch: Katherine Richmond  Brooch

British artist Katherine Richmond trained as a jeweler and silversmith but her Graduate thesis at the School of Jewellery, Birmingham City University, UK prompted her to explore working with alternative materials, including books. Richmond utilizes pages from multi-volume Victorian journals and books, focusing on illustrations which she believes are rarely ever seen by the public, to create multi-layered and highly detailed brooches, necklaces, and pendants. Unlike the rest of the artists in the exhibition, Richmond’s jewelry is full of strong images by which she creates her own narrative. She “uses books as a symbol of permanence and longevity to create wearable objects with a fragility that questions traditional notions of wear-ability.” Paper, she says, is a lot more durable then people think it is.

 

REINSTEIN/ROSS gallery (RR Gallery)
30 Gansevoort Street, New York,
NY 10014   (USA)
tel 212.226.4513
Gallery@ReinsteinRoss.com

07/12/2014

Coup de coeur : Julia Maria Künnap – une beauté qui COULE de source …

Classé dans : COUP DE COEUR,Estonie (EE),Julia Maria KUNNAP (EE),pierre / stone — bijoucontemporain @ 0:07

MELTING beauty ………………

Julia Maria Künnap graduated in 2004 from the Estonian Academy of Arts, Jewellery Art Department under Prof Kadri Mälk. Before this she studied at Konstfack, Stockholm and in 2006 was the Artist in Residence at Alchimia School of Contemporary Jewellery in Florence. She has exhibited in various group exhibitions throughout Europe and in 2013 presented her first solo exhibition in the Emerging Artist Platform at Sienna Patti.

Julia Maria Künnap, Is This The Happiness, 2012, brooch, smokey quartz, gold, 35 x 35 x 20 mm, photo: artistJulia Maria Künnap, Is This The Happiness, 2012, brooch, smokey quartz, gold, 35 x 35 x 20 mm, photo: artist

“..I usually don’t regard the equipment used for accomplishing my works as important enough to talk about separately, but questions that have arisen in connection with those fusible stones show that an explanation is needed. A dealer from Munich was convinced that I’m approaching the issue in a post-modernist fashion: I purchase a cut stone and melt it down by the corners – “the melting point of quartz is said to be quite low!” That is, for better or worse, impossible. There are no hat tricks, bamboozling or conjuring in making my work. All of the stones are cut from one piece of raw material without any glue or resin.
Working with this material in this way was as if I was stepping across some invisible doorstep. I had been told, stone cutting is an “entire science in itself” that demands “extremely great skills and experience”, as well as “very expensive equipment”. Additionally, I had a certain awe for a rare natural material such as large gemstone crystals – I didn’t want to grind them aimlessly into dust. Luckily, my art-academy education encouraged me: I nonetheless started searching for solutions to execute my idea, not for accommodating it or pouring it into a more simply- and quickly-workable material.
I derive from classic cuts when constructing my own, but I redo them according to my own style. I’ve used a step cut in the case of many stones: it is an older type of cut, which gives the stone a calmer and more static reflection, and it doesn’t shine in such a crazy way. The “Nobody’s Perfect” ametrine is cut using Standard Round Brilliant in principle, but I made it 9-fold instead of the usual 8-fold mirror-image symmetry – while something akin to a notched 8-pointed cross makes up (below) half of a standard brilliant pavilion, this stone’s design has nine branches.
My faceting workshop is located in my kitchen sink. The machine, with which I cut these stones fits onto an A4-size sheet of paper and costs less than the average Estonian’s holiday trip to a warm, sunny destination. I’ve gradually rebuilt and improved the machine according to my needs: for a faceted cut, it has a faceting head, with which I can hold the stone at the correct angle. For the most part, I cut the facet part first, and then cover the entire polished area with sealing wax for safety and carve end polish the flowing forms.
It’s quite pointless to talk about the amount of time spent working the stones. Raw crystal can be observed for a week or two, a couple of years, or a dozen before cutting. After the work is complete, there is always the feeling that it could have been done better; but I suppose that is merely the blink of an eye in comparison with the age of the stone itself.”

 Julia Maria Künnap, Molten, brooch, 2010, Smokey Quartz, gold, 3 x 3.5 x 2.5 cm, private collection in ItalyJulia Maria Künnap, Molten, brooch, 2010, Smokey Quartz, gold, 3 x 3.5 x 2.5 cm, private collection in Italy

I am inspired by imperfection. It is a strong source of motivation. If I see a perfect thing—an artwork, a poem—I just breathe in and breathe out. It just comes and then goes. But if I see something that irritates me, I start analyzing. Why am I irritated? Why isn’t it perfect? Where is the ‘mistake’ made? Usually, once I have deconstructed the whole piece in my mind, I already have so many good ideas. In the end, these ideas don’t have much to do with the source of inspiration. (Sienna Patti)

Julia Maria Kunnap, Regret, brooch– obsidian, gold – at Art gallery Putti "Endless closeness" exhibitionJulia Maria Kunnap, « Regret » brooch– obsidian, gold at Art gallery Putti « Endless closeness » exhibition

read her INTERVIEW on AJF by Aaron Decker (dec. 2012) :
« Can you comment on the juxtaposition of the facets with the parts that appear melted or in liquid form?
Julia Maria Künnap: There is a large contrast in many ways. The stones cannot melt like this. The drop could not freeze like this. Even if you could melt quartz, it would be so wrong. Gems just don’t melt. Glass does. It is trying to capture a moment in something so eternal as stone. »

Julia Maria Künnap - A Half At Every Angle, (brooch), 2014. Rock crystal, gold, 2 1/2 x 1 3/4 x 3/4Julia Maria Künnap – « A Half At Every Angle » brooch, 2014. Rock crystal, gold, 7.6 × 3.1 × 1.3 cm

JULIA MARIA KÜNNAP-EE,  brooch "From the Middle of a Dream", 2010, obsidian, gold, 50 x 20 x 10 mmJulia Maria Künnap - brooch « From the Middle of a Dream », 2010, obsidian, gold, 50 x 20 x 10 mm

Julia Maria Künnap -  it-starts-rai-ning earringsJulia Maria Künnap -  it-starts-rai-ning earrings

Julia Maria Künnap -   "Nubis" brooch 2011Julia Maria Künnap – « Nubis » brooch 2011 – obsidian, gold, 6.5 x 5 x 1 cm, photo: Ulvi Tiit, Collection of Estonian Museum of Applied Arts and Design, Tallinn, Estonia

 

21/05/2014

EXPO ‘Multiple Exposures : Jewelry and Photography’ – MAD Museum, New York (USA) – 13 Mai-14 Sept. 2014

« Multiple Exposures »

exhibition at Museum of Arts and Design (MAD Museum), New York, featuring:
JANTJE FLEISCHHUTMARI ISHIKAWAJIRO KAMATA and SHARI PIERCE.

Upcoming exhibition at Museum of Arts and Design, New York, featuring:<br />JANTJE FLEISCHHUT, MARI ISHIKAWA, JIRO KAMATA and SHARI PIERCE.<br />http://madmuseum.org/exhibition/multiple-exposures
 
Multiple Exposures: Jewelry and Photography is the first museum exhibition to explore how contemporary jewelry artists transform and add new meaning to the pervasive images of this digital age.  Drawing inspiration from historic daguerreotypes to manipulated digital images, international jewelry artists explore changing views of beauty and the human body; examine social, political, and cultural issues; probe perceptions of memory and desire; and question the broader relation of jewelry to society and personal identity, issues central to the contemporary experience.
 
More than 80 renowned artists from over 20 countries are represented —including
Gijs Bakker, Wafaa Bilal, Jordan Doner, Mari Ishikawa, Jiro Kamata, Sooyeon Kim, Iris Nieuwenburg, Kara Ross, Gabriela Sanchez, Bernhard Schobinger, Bettina Speckner,
Joyce Scott, Kiff Slemmons, Andy Warhol and Noa Zilberman.
 
The connection between photography and jewelry extends back more than 150 years to the invention of the photographic process.  The exhibition will provide historical context for this evolving relationship by presenting outstanding nineteenth-century pieces, many of which have never before been exhibited. In recent years, both photography and art jewelry have changed dramatically, and the exhibition will present cutting-edge videos and installations that will provide viewers a broader perspective of contemporary jewelry now.
Organized by MAD’s Curator of Jewelry, Ursula Ilse-Neuman, Multiple Exposures: Jewelry and Photography will be on view from May 13 to September 14, 2014.
Multiple Exposures: Jewelry and Photography will be accompanied by a fully illustrated catalogue with essays by Ursula Ilse-Neuman, MAD’s Acting Chief Curator Lowery Stokes Sims, Dutch author and jewelry curator Liesbeth den Besten, photography expert Mark Durant, Curator of Decorative Arts at the Toledo Museum of Art Jutta Page, American author and Metalsmith editor Suzanne Ramljak, photography historian and critic Lyle Rexer and German author and critic Ellen Maurer Zillioli.
The exhibition will be accompanied by a full range of educational programming, including lectures and panels for adults, workshops for young visitors and families, in-house demonstrations of jewelry making, curator-led tours of the exhibition, and a variety of film screenings.
Gijs Bakker Waterman; (brooch), 1991Gijs Bakker – « Waterman » (brooch), 1991 – black & white photo, diamonds, white gold
Martin Papcύn, Ring, 1999Martin Papcun, Ring, 1999 – artist photopgraph, silver, brass
EXPO 'Multiple Exposures : Jewelry and Photography' - MAD Museum, New York (USA) - 13 Mai-14 Sept. 2014 dans Bernhard SCHOBINGER (CH) slideshow_close

 
Célio Braga  -  Golden Boys Collection/ Silver Boys Collection (strings/ colliers), 2010–11  Fragments of digital C-prints, double-sided tape, glitter  Collection of the artist  Photo by Cris Bierrenbach Braga_Celio_C_LORES.jpgCélio Braga  -  Golden Boys Collection/ Silver Boys Collection (strings/ colliers), 2010–11  Fragments of digital C-prints, double-sided tape, glitter  Collection of the artist  Photo by Cris Bierrenbach
Bernhard  Schobinger  Self-Portrait with Nose (brooch), 2010 - Digital photograph on commuter card, hologram, silver, coral  Courtesy of Gallery S O  Photo courtesy of Gallery S OBernhard  Schobinger  Self-Portrait with Nose (brooch), 2010 – Digital photograph on commuter card, hologram, silver, coral  Courtesy of Gallery S O  Photo courtesy of Gallery S O
Viktoria Munzker-Ferus__27th-Week-Brooch.jpg  27th Week (brooch) from the Secret series, 2004  Image dimensions: 640px  x  427px  Viktoria Münzker  Sonogram printed on transparent plastic-foil, silver, plastic hemispheres  Collection of the artist  Photo by Viktoria Münzker
Viktoria Munzker-Ferus -  27th Week (brooch) from the Secret series, 2004  Image dimensions: 640px  x  427px  Viktoria Münzker  Sonogram printed on transparent plastic-foil, silver, plastic hemispheres  Collection of the artist  Photo by Viktoria Münzker
Ramon Puig Cuyàs - N° 1279, Ita est (brooch) from the UTOPOS series, 2009  Internet images, enamel, acrylic resin, silver, nickel silver, onyx, shell, pearl, coral, plastic  Courtesy of a private collection  Photo by Ramon Puig CuyàsRamon Puig Cuyàs - N° 1279, Ita est (brooch) from the UTOPOS series, 2009  Internet images, enamel, acrylic resin, silver, nickel silver, onyx, shell, pearl, coral, plastic  Courtesy of a private collection  Photo by Ramon Puig Cuyàs
Sally von Bargen - Elegy (neckpiece), 2008  Digital photographs on paper, brass, paint  Collection of the artist  Photo by Sally von Bargen
Sally von Bargen – Elegy (neckpiece), 2008  Digital photographs on paper, brass, paint  Collection of the artist  Photo by Sally von Bargen
 Sooyeon Kim  - House on Benefit Street (neckpiece), 2010   Artist’s digital photographs on paper, fabric, magnets  Collection of the artist  Photo by Sooyeon Kim   Sooyeon Kim  – House on Benefit Street (neckpiece), 2010   Artist’s digital photographs on paper, fabric, magnets  Collection of the artist  Photo by Sooyeon Kim
Support for Multiple Exposures: Jewelry and Photography has been provided by Hasselblad, Kara Ross NY, Betsy Z. and Edward E. Cohen, Washington Square Hotel, the Swiss Arts Council Pro Helvetia, the Dutch Culture USA program by the Consulate General of the Netherlands in New York, Creative New Zealand, Janet Kardon, and Frame Finland. Additional support is made possible in part through the generosity of the Inner Circle, one of the Museum’s leadership support groups.
 
2 Columbus Circle
New York, NY 10019
info@madmuseum.org
212-299-7777

08/05/2013

Coup de coeur : Francesca FLYNN « Out of the BLUE »

For Out The Blue (nov 2012) Kath Libbert has chosen nine new BA and MA graduates from all over the UK:  ‘Spotting and then supporting the work of cutting edge new graduates has always been extremely central to the ethos of the gallery.  Forging a career straight out of college is really challenging. Now, more than ever, it is vital to exhibit and encourage these incredibly talented jewellers at this formative stage in their careers. In this Olympic year we think we can spot a winner….the gold medalists of the future!’

Francesca Flynn  ringsFrancesca Flynn  rings

Francesca Flynn, Glasgow School of Art, whose sparkling crystalline collection epitomizes the title of the exhibition, Out The Blue, explores the facets of natural and constructed crystals creating vibrant jewellery.

« I use a combination of metals, moulded resin, rubber coatings, wood and crystal elements. My work explores themes of fragility and impermanence which are developed into wearable objects. I am a graduate of 2012 and will be Artist in Residence at Glasgow School of Art for 2012/13 »

« My interest in the combination of art and science combined with a childhood fascination with rocks and fossils led me to experiment with crystal growth.  I used this initially as a visual source, which then developed as a method and material for creating work.  The vivid blue hue of copper sulphate crystals inspired the colour of resin for this collection.  My work explores the beauty and impermanence of crystals that I have grown and the fragility of natural crystals. I recreate these forms in resin and metal to make my own amalgamated formations which become stable, wearable objects. »

Francesca flynn - 'fusion formation' resin & silver brooch 2012Francesca Flynn – ‘fusion formation’ resin & silver brooch 2012

Francesca Flynn brooch   Silver, resinFrancesca Flynn ‘Fragmented Formation’ brooch in resin and white metal

Francesca Flynn brooch  Silver, resinFrancesca Flynn ‘Fragmented Formation’ brooch

Francesca Flynn – Rutile Shards Brooch – Structure created using balsa wood and adhesive, coated in acrylic paint with quartz point elements.Francesca Flynn– Rutile Shards Brooch – Structure created using balsa wood and adhesive, coated in acrylic paint with quartz point elements.

Multidues of Blue, Necklace  Resin, Steel - April 2013  - Francesca FlynnFrancesca Flynn – Multidues of Blue, Necklace  Resin, Steel – April 2013

Francesca Flynn (The Glasgow School of Art) "Emanating from Fragility", brooch, bronze and resin  Awarded The Peter Wylie Davidson Memorial Prize 2012  Purchased for the beginning of the memorial collectionFrancesca Flynn (The Glasgow School of Art) « Emanating from Fragility », brooch, bronze and resin  – Awarded by The Peter Wylie Davidson Memorial Prize 2012  Purchased for the beginning of the memorial collection

Francesca Flynn - New Work: Inclusions, ring, October 2012   resin, silverFrancesca Flynn -  Inclusions, ring, October 2012   resin, silver

Francesca Flynn ringsFrancesca Flynn  rings

Francesca Flynn - Rutile Ring Series    Dark Aggregate; oxidised cast silver, Apatite crystal elements    Emerging Blue; oxidised cast silver, moulded resin element    Dark Shards; oxidised cast silver, Apatite crystal elementsFrancesca Flynn – Rutile Ring Series    Dark Aggregate; oxidised cast silver, Apatite crystal elements    Emerging Blue; oxidised cast silver, moulded resin element    Dark Shards; oxidised cast silver, Apatite crystal elements

Francesca Flynn Erosion Ring Series     Sugar crystals embedded in resin, set in cast silver.  Moulds were taken of crystal growth to create both resin and silver forms.Francesca Flynn Erosion Ring Series     Sugar crystals embedded in resin, set in cast silver.  Moulds were taken of crystal growth to create both resin and silver forms.

Francesca Flynn - at New Designers 27-30th June 2012, Business Design Centre, Islington, LondonFrancesca Flynn – necklace -  at New Designers 27-30th June 2012, London

11/11/2012

EXPO ‘The Beauty Chase’ – Espace le Carré, Lille (FR) – 16 Nov. 2012-13 janv. 2013

The Beauty Chase – Parcours esthétiques du bijou contemporain

Commissariat : Valeria Accornero
En collaboration avec la Direction des Arts Visuels et des Expositions de la Ville de Lille
Exposition visible du 16.11.2012 au 13.01.2013
The_beauty_chase - Lille (FR) - nov 2012 - X
The Beauty Chase – Parcours esthétiques du bijou contemporain. Ce n’est pas Un diamant gros comme le Ritz qui rend fantastique le bijou contemporain, mais la capacité de l’artiste à créer des mondes imaginaires avec les matériaux les plus divers. Le doute et l’innovation, la recherche et l’idée sont au centre du bijou contemporain, il n’y a pas de chemin tracé à suivre. Dans le parcours de la création, le caractère précieux tient donc plus au projet et au travail qu’au matériau “brut” utilisé. Papier, bois, plastique, or ou titane, tissu ou verre : la matière choisie est déjà un mode d’expression esthétique avec l’envie d’être “autre”. C’est justement là l’aspect « fantastique » du bijou contemporain : l’envie de travestissement et de transformation qui le rend surprenant. Le plastique ne semble plus en être, la résine devient bois, l’or se transforme en se mêlant au tissu, au plexiglass, au pigment, le verre révèle sa transparence là où et quand l’artiste le veut. Très développé en Europe du Nord, peu connu par le grand public en France où la tradition de la haute joaillerie éclipse, peut être, tout le reste, le bijou contemporain expérimente, ose, provoque, crée avec des résultats poétiques, irrévérencieux ou ironiques, spectaculaires voire féériques. Et, si on veut emprunter les mots de Tzvetan Todorov, en sa présence: “on accepte le surnaturel”.
 Barbara Paganin: Brosche RAMI BLUBarbara Paganin Broche RAMI BLU
Artifizio — Giampaolo Babetto — Helen Britton — Maria Cristina Bellucci — David Bielander — Peter Chang — Jantje Fleischhut — János Gábor Varga — Francesca Gabrielli — Mirjam Hiller — Beppe Kessler — Sari Liimatta — Nel Linssen — Stefania Lucchetta — Svenja John — Lisa Juen — Iris Nieuwenburg — Barbara Paganin — Katja Prins — Jacqueline Ryan — Bettina Speckner — Fabrizio Tridenti — Tanel Veenre — Petra Zimmermann

  Svenja John - bracelet 2012  ZAMIST (EXPO The beauty Chase)Svenja John – bracelet   « ZAMIST »  2012

Barbara Paganin - collier Silenzi 2012 (EXPO The beauty Chase )Barbara Paganin – collier Silenzi 2012

Fabrizio Tridenti - 'restricted area' bague 2010 (EXPO The beauty Chase)Fabrizio Tridenti – ‘restricted area’ bague 2010

Tanel Veenre - 'Princess' 2002 - brooch (EXPO The beauty Chase)Tanel Veenre – ‘Princess’ 2002 – brooch

Angle rue de la Halle et rue des archives (Vieux Lille)
28 rue des Archives
angle de la rue de la Halle
59000 Lille
03 20 74 46 96
MER – SAM : 14:00-19:00
DIM : 10:00-13:00 et 15:00-18:00

05/09/2012

EXPO ‘Nanna Melland: Swarm’ – Galerie Spektrum, Munich (DE) – 14 Sept.-27 Oct. 2012

Classé dans : Allemagne (DE),Exposition/Exhibition,Gal. Spektrum (DE),Nanna MELLAND (NO) — bijoucontemporain @ 0:01

Nanna Melland: Swarm

Nanna Melland  Installation: Swarm 2010  Steel, aluminiumNanna Melland  Installation: Swarm 2010  Steel, aluminium

A swarm is a biological survival strategy for insects. It is a challenging strategy that constantly seeks to balance the growth and needs of the individuals in the swarm with the pressures of its natural habitat.
Approximately 10% of the world population travel by air today. That is 600 million people! This swarm of aerial travel has brought benefits and drawbacks. Material and social culture now cross borders at hundreds of kilometres per hour, and yet this has eroded cultural diversity, damaged the environment and reinforced inequalities. It is alarming that todays aviation systems operate at or near their maximum capacity, and we increasingly depend upon safe and reliable aviation traffic, with very little margin for disruptions or irregularities.
Furthermore, we board aeroplanes increasingly for pleasure rather than necessity. What is it doing to us and the society we live in, when we can travel wherever and whenever we want, to destinations that only a century ago would have taken months of risky travel to reach, if it were even possible?
Some say “to travel is to live”, but if we are unable to stop, what are the consequences for us as individuals?
The installation Swarm
Swarm consists of thousands of small flat aluminium aeroplanes suspended in a swarm formation on a large wall. The large size of the installation and its relentless repetition of an otherwise familiar form will induce in the viewer feelings of being small, vulnerable and uncomfortable, similar to the feelings when faced with a real swarm. There is beauty in the synchronized movements, but the force of the mass that is formed by thousands of tiny individuals is disturbing.

The shape and size of the aeroplanes ranging from 2.5 to 8.5 cm, are a conscious hint at the Catholic tradition of votive offerings. These are small metal or clay objects – sometimes representing an afflicted body part – that are offered at a holy site together with a prayer for healing or protection in times of illness or uncertainty. These offerings reflect faith, and also humility in the face of nature’s great and dangerous forces.
The installation Swarm is hence an opportunity and a place for the viewer, despite hectic everyday tasks and routines, to pause and contemplate.
By making a comparison between ourselves as human beings and a swarm of aeroplanes, I wish to invoke the idea that we are after all nothing more and nothing less than one swarm among many who are trying to survive. We are not lords who survey or command. As individuals we are merely small parts of a much greater whole.
Another important aspect of the Swarm is to invite the audience to interact with the installation. In practical terms this means that visitors can purchase one of the planes and pick it off the wall for themselves. They can then pin it directly onto their clothes. This transaction will take place independently of gallery staff. The visitor pays for the aeroplane by putting money into a box placed in front of the installation, where information on the costs of the different sized aeroplanes can be found.
In contrast to buying a candle in a church, however, visitors do not leave behind the offering object but rather take it with them. They walk out of the gallery wearing an aeroplane. They will wear this reminder of something bigger, as well as helping to spread Swarm from within the gallery space into the real world and the global human swarm.

EXPO 'Nanna Melland: Swarm' - Galerie Spektrum, Munich (DE) - 14 Sept.-27 Oct. 2012 dans Allemagne (DE) schwarm

 

 

 

 

 

Galerie Spektrum
Theresienstraße 46 D
80333 – Munich
Germany
Telephone: +49-(0)89 – 28 45 90

website: www.galerie-spektrum.de
mail: schmuck@galerie-spektrum.de

23/05/2011

COUP de COEUR : Carrie Mae ROSE … à COUPER….le souffle !

Classé dans : Carrie Mae ROSE (US),COUP DE COEUR,recup' / recycled,USA — bijoucontemporain @ 0:04

avec ce nom si doux de ROSE, des bijoux si ….. coupants, cinglants, menaçants ! « razor collars« , « confiscated weapons » …. lorsqu’on voit « elemental angels » on se dit ouf « sauvé » …. eh bien non ! des ailes d’anges….. faites de ciseaux ! de quoi …. fendre l’air, assurément ! :-)

 

« My wearable weapons, archetypal armor and interactive costumes awaken the power of vulnerability.
Devastating beauty that could kill. These items push the boundary of fashion to the absolute limit.

The tension between the depth of total annihilation and the heights of revelation sky. I make work with electricity, plasma, open source software, confiscated weapons, and razor blades. Integrating sacred geometry, alchemy, symmetry, ritual play and tribal mysticism.
My mission is to challenge people to feel ecstatic freedom when they embrace and surrender into the beauty of their fragility. My art explores meditation, death and beauty. »

 

« Mixing beauty and danger, the works of Carrie Mae Rose are a convergence of fine art, fashion, technology and performance. Rose is a sculptor and interactive installation artist. She builds sculptures and wearable objects out of scissors confiscated from airport security, recycled razorblades, plastic zip ties and cement. These re-purposed objects are striking transformations of the personal belongings of others.
Carrie Mae Rose’s varied artistic background includes Butoh, interactive technologies, stilt walking, jewelry making and costume design. She received her B.A. in Sculpture & Textiles from Prescott College in Arizona, where she exhibited extensively before coming east. She then received an M.F.A. in Design & Technology from Parsons, The New School for Design in New York City. She lives and works in Brooklyn, New York« .  (EXPO « Piece of Mind »)

 

CONFISCATED WEAPONS :
« project investigates how protection manifests in our current cultural epoch – sculptures and a large-scale installations are constructed with hundreds of scissors recycled from confiscated airport security procedures – recycled TSA scissors purchased from excess confiscation items from airport security lines – scissors, cement, zip ties, and staples – 3D scissors drawings in SolidWorks - read MFA Thesis – CWOMC (69 page pdf)  »

COUP de COEUR  : Carrie Mae ROSE ...  à COUPER....le souffle ! dans Carrie Mae ROSE (US) rose1
Carrie Mae Rose- Breast Plate, 2011 – black zip ties and confiscated metal scissors

10_dscn4730sharp dans COUP DE COEUR
Carrie Mae Rose-   sculpture ou bijou ?

28_fbrooftop dans recup' / recycled
Carrie Mae Rose-« elemental angels » – wearable wings made with confiscated scissors from airport security

 

 

RAZOR COLLARS : wearable and sculptural mandalas built with recycled razor blades and zip ties. photo collaboration with Jonathan Kopp

 
Carrie Mae Rose-  razor collars

39_carriemaerosecollar700 dans USA
Carrie Mae Rose- razor collar

39_collarpink1000
Carrie Mae Rose- razor collar -          c’est BEAU à COUPER …. le souffle !

 

13_maze44
devastatingly beautiful. couture collars and bracelets built with scissors, zip ties and agave leave

13_bracelethand

24/07/2010

MIAM ! des bijoux ! …… CHOCOLAT & C°…

 » While examining the psychological and sociological potency of chocolate ….. » (Anika Smulovitz)
en tout cas, si ce n’est le chocolat, qui inspire enormément (et particulièrement celui servi aux soirées de « l’Ambassadeur » ….. ;-) …..), la denrée alimentaire, détournée, inspire, et aspire à son rôle de bijou …. le stade « collier de pâtes » est largement dépassé, actuellement, un repas complet est possible, des « antipasti » au dessert ! quant ce n’est pas ce qui reste après un bon « gueuleton » qui nous est servi comme bijou … n’est ce pas Patricia Lemaire ???!!? emoticone

En tout cas, le thème a l’air d’être dans l’air du temps : voir le projet « Aesthetic Nutrition » d’Ana Cardim (juillet 2010) que je viens de trouver dans la dernière newsletter de Klimt02  : « With her project ‘Aesthetic Nutrition’, Ana Cardim seeks attention for the idea of the difference in quantity, and levels of value, between the esthetic value of gold and the value given to the basic human need for food. »

 

« I want to call attention to the power, importance, and beauty of   food. In our culture of  fast, disposable, and store-bought food, we often misunderstand our relationship to what we eat » ( Venetia Moushey Dale, in « 500 necklaces » book)

Venetia Moushey Dale - copper, BEANS necklace - 2003
Venetia Moushey Dale – copper, BEANS necklace

Mouche caramel/ caramel beauty spot   by Manolya KonukManolya Konuk- Mouche caramel/ caramel beauty spot (patch)

`Mute language` was used in the17th century by European aristocracy, as a way to talk with symbols rather than words. This beauty spot was a way to signify the intentions and dispositions of lovers.
Placing on the face or breast each have different meaning. As a finery made from caramel, the sweet jewel becomes a temptation to be eaten from the body itself. // Langague muet du XVII ème siècle, les mouches étaient le moyen de signifier ses intentions et ses dispositions. Ici de parure, le bijou sucré se fait tentation (Manolya Konuk- en vente à la Tate gallery)

  http://3.bp.blogspot.com/_u1lW7hUL1zA/S0bApUSxmSI/AAAAAAAABvA/peAoBf_4XNc/s400/Polly+Wales+and+Lina+Peterson-+made+of+Bread+and+Steel+_o.jpg
Polly WALES (UK)- bread ring  (MIAM !! YUMY !!;-) )

Marie Pendariès - BREAD giant neckpiece !!Marie Pendaries – ‘La traîne’ Collier. Pain de mie

David Bielander - Wiener & Weisswurst, 2009. Necklaces. Wood from original Thonet chair David BielanderWiener & Weisswurst, 2009. Necklaces. Wood from original Thonet chair

MIAM ! des bijoux ! ...... CHOCOLAT & C°... dans Ana CARDIM (PT)
Stephanie Hensle (DE)- ‘MEAT-LOVER’

« Meat. The word alone polarizes. For some it represents the sensuous, the erotic, life and carnal lust. For others it arouses associations of morbidity, decay and death. In its archaic and raw state it triggers aversion in many, but is welcome when served as a fragrant roast. It is peddled in discount shops and bargain counters, or traded for 200 euros per kilo.  Delving into these contrasting worlds, Stephanie Hensle explores the luxury of meat in context of adornment, indulging our lust for both on many levels. Inspired by the art of butchery, she packs resins, jewels and other traditional jewellery pieces into sausages and pâté. Throughout she redefines not only a typology for jewellery but also our relationships to creating and acquiring it. The act of slicing („100 grams of brooch, please“) defines the pedant or brooch pieces while addressing the system of value associated with jewellery. Typical sausage netting, meat hooks or skewers become fasteners attaching the pieces to the wearer. Left over pieces are wrapped like cold cuts for the purchaser‘s consumption.  A third group of pieces reflects on the human body as meat. Neck and body pieces hang like detached organs or mysterious growths. Cut open, they allow a glimpse into the skin-colored insides. And remind us, that the line between beauty and disquiet is fine yet elegant. » (Stephanie Hensle)

Emmanuel Lacoste  Ring: Chair (Flesh) 2009  22k gold, beef meat  The usual diamond is replaced with meat, as a metaphor of the human body preciousness Emmanuel Lacoste  Ring: Chair (Flesh) 2009  22k gold, beef meat  The usual diamond is replaced with meat, as a metaphor of the human body preciousness

chips-retouche_modifie-2 dans Anika SMULOVITZ (US)
Stéphane Landureau Collier “Chips’n Chic”, chips de dinette en plastique, argent, 2002 

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Margherita Marchioni - collana di pasta

40 dans Barbara UDERZO (IT)
Margherita Marchioni fruit collection

Ana Cardim Ana Cardim

402 dans Claire LAVENDHOMME (BE)
Hilde de Decker (BE) – organic rings

Hilde De Decker- veggie ring
Hilde De Decker – veggie ring

Luisa Bruni, “...e non è più occidente” Luisa Bruni - anelli « spezie » « …e non è più occidente »

 dans COUP DE COEUR dans David BIELANDER (CH/DE)
Hsiang-Ling LU – Rice piece  - rice, resin, threads

« For this assessment, I put new material and technique into my work. For fixing the fragility, I add resin with rice, for the replacement of fabric and rice sheets I made previously. I want to keep the delicate detail and the smooth texture of rice » (Hsiang-Ling LU)

5_rizcollier.jpgFanny Agnier - collier riz – argent, riz (silver & rice)
Fanny Agnier -« grenades » de riz (pour un mariage « explosif »)

frédérique Trinquese- Bracelet pelures de pommehttp://thecarrotbox.com/news/2008/0325.jpg
Frederique Trinchese- bracelet pelures de pommes (gauche)
Virginie Bois – bague en peau d’orange (droite)

http://www.designboom.com/contemporary/poorjpg/309.jpg
Leonor Hipolitowrapping foil ring & necklaceRéception chez l’ambassadeur …………….. ;-)

Le collier de la reine/ The queen necklaceManolya Konuk – ‘Le collier de la Reine’ – Here, perhaps more than in the other pieces, the material has taken up all importance. The queen necklace was the necklace of Marie Antoinette and hence can be seen as a prelude to the French Revolution. Symbol of excess and decadence, this jewel, never worn, caused the demise of the French Monarchy. Playing with words again, this chocolate abundance can provoke a ‘’crise de foi(e)’ which can be translated both as ‘‘sick by food’ as ‘‘loss of faith’.

 

kette_close_neu dans Emmanuel LACOSTE (FR)Jeannette Jansen utilise des papiers d’emballage de chocolat pour sa collection “Chocolate Eater. Réalisées à la main, on peut même lire le nombre de calories que l’on porte en bracelet, collier ou boucles d’oreilles !

http://comeunagazzaladra.files.wordpress.com/2011/01/geri_nishi.jpg
un gelato ??? collier Geri Nishi 

uderzo_chocolate.jpgBarbara Uderzo – bijoux en chocolat - ‘ruggine’ (rouille) & ‘boules’

http://static.blogo.it/designerblog/barbara-udenzo/BarbaraUdenzo.jpg

This jewellery collection is created in chocolate; necklaces, bangles and rings –designed specifically as romantic items for couples to eat together. Small, handcrafted production runs.
RUGGINE: Rusty iron in appearance, these are created using an old confectionary technique that uses cocoa powder dusting in its preparation.
BOULES: These are chocolates covered in an edible gold leaf foil effect.

http://fuorisalone.it/2007/photos/fs06fotothB243000016,391.jpg
Barbara UderzoLiquirizia e marshmallow da indossare

Barbara Uderzo - glucogioiello- candy chain 2003 - marshmallows
Barbara Uderzo – glucogioiello- candy chain 2003 – marshmallows

« …… Oltre al cioccolato, citato nel titolo, il visitatore potrà ammirare anche i “Glucogioielli”, collane e bracciali realizzati alternando caramelle scelte, quali marshmallows, liquirizia, gommosetti, fruits….come nel caso della collezione “Candy Chains”; mentre per quanto riguarda la collezione “Uno Vero” è presente un’originale accostamento della materia alimentare, in un unico elemento in pietra dura irriconoscibile alla vista.« 

Anika Smulovitz Chocolate jewelry installation Catherine Clark Gilbertson
Anika Smulovitz - Chocolate (a collaboration with artist Catherine Clark Gilbertson) -2002 – Ferrero Rocher chocolate wrappers

« This body of work explores human interaction with objects, specifically the interaction of our lips with objects. While examining the psychological and sociological potency of chocolate in the pieces entitled Love Tokens, I became aware of the sensual power of our lips. This culminated in Chocolate, a collaborative interactive installation comprised of a series of impressions made in the gold foil wrappers of Ferrero Rocher chocolates. The impressions are of puckered lips or teeth. In its use of repetition, mass quantities of « faux » gold foil, reference to chocolate and to the mouth, the installation speaks of consumption, indulgence, passion, and consumerism. » (Anika Smulovitz)

Smulovitz Anika Chocolate Jewelry
Anika Smulovitz -Love Token (wedding bands) Ferrero Rocher chocolate wrappers 2002

Anika Smulovitz Chocolate jewelry choker necklace
Anika Smulovitz -Love Token (choker) - 2002 – Ferrero Rocher chocoate wrappers, wood, brass

Anika Smulovitz Chocolate jewelry rings
Anika Smulovitz -Love Token – rings

 dans Fanny AGNIER (FR)
Tatjana Panyoczki - ‘tutti frutti in pink’, brooch, 2010
and NO, you can’t eat it !!! it is made with … pom poms … waxed !

chocolate_rings_web dans Francesca di GIAMBERARDINO (IT)
Ambre France (UK) – « Eat me », « Suck me »… rings

« Diamonds are girls best friends! But chocolate wins the second place, so this is the perfect combination: chocolate and jewels! An idea from Ambre France (UK) who creates funny rings in chocolate! Mmm, I can’t wait to taste them, ops, I mean to wear them! «  (site « JewelleryScape« )

http://www.designboom.com/cms/images/ridcue/haunt02.jpg
Ted Noten – ‘haunted by 36 women’ exhibition - ‘chocolate hooker rings’

 

«  Gioielli da mangiare! Cathy, una giovane studentessa di arte, che ama creare bijoux e li presenta nel suo blog “La prochaine fois” Tra i suoi lavori, troviamo accessori realizzati con la frutta secca, l’idea da cui sono nati è curiosa: Durante un viaggio in Francia, Cathy ha assaggiato la frutta  essiccata e in particolare ha molto apprezzato il kiwi. Ritornata a casa, ha cercato questo tipo di frutta nei negozi americani ma non ha trovato niente del genere. Ha deciso allora di acquistare un essiccatoio per realizzare da sè queste dolcezze. Prima di mangiarsele però, Cathy le fotografava e, osservando la bellezza di queste fettine di frutta, ha deciso di sperimentare qualcosa di nuovo. Nascono così anelli e collane prodotti con le mele “Granny Smith” oppure “a base” di fettine di pera o di patate dolci. (« irisjewelry.it »)

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Cathy (blog “La prochaine fois”) - dried fruit jewelry project – Granny smith apple ring

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Cathy (blog “La prochaine fois”)pear ring – necklace

« The fruit has been sealed, with either lacquer or wax. I wanted to see if these would hold up better/longer than the raw ones. However, I’m not a fan because it changes the meaning of the pieces somewhat – being sealed, they stop being about the moment and instead go into the preservation. And wax = bad because it just flakes off. I’m still on the hunt for different ways to treat the surface!« 

driednecklaces08
Cathy (blog “La prochaine fois”)Sweet potato necklace

Noémie DOGE (CH)  collier, pomme-de-terre, argent et cotonNoémie DOGE – ‘KRIELTJES’ collier, 2005, pomme de terre et argent

« Ce que je cherche à donner à mes objets, c’est ce que je ne trouve pas dans les parures des bijoutiers traditionnels: une richesse qui ne vienne pas de la préciosité des matériaux mais de la force visuelle, primitivement symbolique de l’objet. » (Noémie DOGE)

sans titre, 2008, pomme-de-terre, argent et coton by Noémie Doge, artiste plasticienne
Noémie DOGE   collier, 2008, pomme-de-terre, argent et coton

Julie Usel - Julie Usel from Geneva is doing her master degree at the Royal college of Art in London. Her work is now in Portugal at the “Steinbeiser” gallery in Lisbon until the 6th November. A collection of colored and unique jewelry made out of potatoes.   Julie Usel (CH) patates séchées et teintées

« You can bake ‘em or fry ‘em, hash ‘em or mash ‘em, and now… you can wear ‘em! Swiss jeweller Julie Usel has made the starchy tuber even more perfect with her dried and dyed potato rings. »

Helena Johansson - Feb 2010 - the potato jewelHelena Johansson - April 2010 -   The Potato Jewel has started to grow.
Helena Johansson – The Potato Jewel (Feb 2010 a then April 2010)

alimentaire- Patricia lemaire - Broche peau de  melonPatricia lemaire - Le temps des cerises- 1200 queues de cerises !
 Patricia Lemaire - Broche peau de  melon
 Patricia Lemaire - Le temps des cerises – 1200 queues de cerises !

Tanya Shin - made from organic like pomegranate seeds, passionflower,lemo, pomelo...parfum- tanya shin
Tanya SHIN (IL) – pomegranate seeds bracelet — parure de tête, oranges séchées

6 dans Frederique TRINCHESE (FR)
Claire Lavendhomme – « Le plus profond c’est la peau » 2009. Broche. Argent, photo, résine, citron

 

« Pommes de JONG » (Jacqueline de JONG, NL)

Klik op afbeelding om het venster te sluitenKlik op afbeelding om het venster te sluiten
Jacqueline de JONG, NL‘pommes de jong’ – 2009  varying sizes cm – jewelry – mixed media (gold-dipped potato skin

« For her current exhibition, de Jong has created a series of potato bijoux, « Pommes de Jong. » They consist of potatoes laid out to dry until they are totally shrivelled, and then dipped, roots and all, in a bath of molten gold, with surprising results – jewel-like objects in weird and wonderful forms.
Her interest in integrating the humble potato, which she cultivates in her garden in France, into her art, began in 2001 with her series of paintings inspired by Malevich, as the hair of The Farmer’s Wife (« Potato Hair »). This was followed in 2002 by a painted dialogue (« Harvest ») with the pioneering Russian artist.This theme continued with « Aardappeltaal’ (Potato Language), a collaboration with Jennifer Tee at the Van Abbe Museum in Eindhoven in 2003. In 2006, participated in the Biennale di Ceramica dell’arte (curated by Roberto Orth), in Albissola, Italy, with an installation of ceramic objects of « baked potatoes » for the home and garden of the Danish artist Asger Jorn (1914-1973).
« 

Francesca di Giamberardino  "la caramella" Francesca di Giamberardino  – ‘La Caramella’ – candy -yellow gold-silver- Murano glass pearls

113401 dans Geri NISHI (CA)
Yoko SHIMIZU« coffee-ring »  silver, coffee, resin (Galerie Slavik)

bon, maintenant, on se boit un petit coup ?

Katharina Ludwig - ice jewels Katharina Ludwig – ice jewels

http://irisjewelry.it/files/2010/03/gioielli-by-yoav-kotik.jpg
Yoav Kotik

513 dans Helena JOHANSSON (SE)
Mason Douglas  (US) soda can rings

aesthetic+nutrition1 dans Hilde De DECKER (BE)Aesthetic+Nutrition2 dans Hsiang-Ling LU (Taiwan)

 project ‘Aesthetic Nutrition’, Ana Cardim

« How does nutrition, on a socio-economic level and in its’ most basic form, relate to the aesthetic values of today’s society? This question can only come from Ana Cardim, who has a passion to make interactive, sociable jewelry-art. This takes shape in her recent project “Aesthetic Nutrition”.
The project consists of a video, projected on a wall, three heaps of rice, chopsticks and three bowls containing one, two and three hand-made rice grains. Each grain is made from pure gold, weighs half a gram, and has the economic value of about 15 kilos of eatable dry rice. (How many grains would that be?) In total, the project exists of three grams of gold, enough for a beautiful gold ring, and 90 kilo’s of rice, which can provide a meal for 1800 people! In the video you’ll see a girl trying to eat it all… Everyone that visited ‘Aesthetic Nutrition’ was given a cup filled with delicious rice-pudding.
With her project ‘Aesthetic Nutrition’, Ana Cardim seeks attention for the idea of the difference in quantity, and levels of value, between the esthetic value of gold and the value given to the basic human need for food.
I am glad this project touches the subject of discrepancy in value and quantity from an aesthetic point of view. The rice-colored, ceramic bowls that contain the golden grains, are shaped like up-side-down rice heaps and make a good visual contrast with the actual heaps of rice. The chopsticks both separate and connect the two, underlining the visual link. The video shown on the wall, completes the display. The action of handing out cups of rice-pudding causes the viewer to connect to the exhibit. How can you resist thinking about the subject, when looking at the serene beauty of the whole set-up, whilst eating yummie pudding!
The launch of the ‘Aesthetic Nutrition’ project happened on the 6th of July, and was commissioned by Bypass, an art magazine that invites artists to write about their work. The second magazine is due to be released in October 2010 and will contain an extensive article by Ana Cardim.
‘Aesthetic Nutrition’ was held in Appleton Square, which is a multivalent space geared towards diverse artistic manifestations and towards the sharing of multidisciplinary experiences. It was the first time that they had work on display by a jewelry designer! » (Broes van Iterson)

Image de prévisualisation YouTube

(anacardimproductions)