Paper-Plastic-Metal-Stone
#5
Artists: Emi Fukuda, Clementine Edwards, Gillian Campbell Deery, Katie Jayne Britchford
Location: super + Centercourt Gallery
Adalbertstrasse 44
Opening 10.03.2015 19:00 – 21:00
09.03.2015 – 17.03.2015
Mon-Fri 12:00 – 17:00, Sat-Sun 14:00 – 17:00
![]()
Clementine Edward, Untitled, resin, silver
Photo by Christo Crocker
In this exhibition four jewellers explore the materiality of four mediums: paper, plastic, metal, stone. Each artist, who currently identifies with one of the four specified mediums, will create four works based on the theme paper-plastic-metal-stone. They are invited to consider the social and cultural history of their chosen medium, and how the material interacts – historically, culturally and aesthetically – with the other three materials. They are not limited to their ‘assigned’ material but are expected to pursue a pathway that advocates for the ‘unreadymade’; working towards creating works of sentimental and shared values, as Joshua Simon puts it, as a means to infuse meaning in our neomaterial economy. Paper-plastic-metal-stone will comprise of approximately sixteen jewellery/art objects, around four small works by each of the participating artists. Along with Munich, they have plans to travel the exhibition to the US, Australia and New Zealand.
![]()
Emi Fukuda, Relation, paper, aluminium, pigment, steel
Photo by Mirei Takeuchi![]()
Gillian Deery, Untitled, Woven and fused sterling silver, 2014 ![]()
Katie Jayne Britchford
2015, jasper, marble, cord
photo by Christo Crocker
The gallery in which the exhibition will be held, super+CENTERCOURT is the newest project of the artist group super+: sculptor and multimedia artist Alexander Deubl, product and interior designer Konstantin Landuris and painter Christian Muscheid. The exhibition space is claiming the artist to create art including but outside their single art piece, focusing instead on unique in situ installations that articulate artistic questions, experiments or statements. super+CENTERCOURT is coordinated and curated by the art historians Rosali Wiesheu and Viktoria Wilhelmine Tiedeke.
![]()
www.centercourt.gallery
Clementine Edward, Untitled, resin, silver
Photo by Christo Crocker
In this exhibition four jewellers explore the materiality of four mediums: paper, plastic, metal, stone. Each artist, who currently identifies with one of the four specified mediums, will create four works based on the theme paper-plastic-metal-stone. They are invited to consider the social and cultural history of their chosen medium, and how the material interacts – historically, culturally and aesthetically – with the other three materials. They are not limited to their ‘assigned’ material but are expected to pursue a pathway that advocates for the ‘unreadymade’; working towards creating works of sentimental and shared values, as Joshua Simon puts it, as a means to infuse meaning in our neomaterial economy. Paper-plastic-metal-stone will comprise of approximately sixteen jewellery/art objects, around four small works by each of the participating artists. Along with Munich, they have plans to travel the exhibition to the US, Australia and New Zealand.
Emi Fukuda, Relation, paper, aluminium, pigment, steel
Photo by Mirei Takeuchi
Gillian Deery, Untitled, Woven and fused sterling silver, 2014 
Katie Jayne Britchford
2015, jasper, marble, cord
photo by Christo Crocker
The gallery in which the exhibition will be held, super+CENTERCOURT is the newest project of the artist group super+: sculptor and multimedia artist Alexander Deubl, product and interior designer Konstantin Landuris and painter Christian Muscheid. The exhibition space is claiming the artist to create art including but outside their single art piece, focusing instead on unique in situ installations that articulate artistic questions, experiments or statements. super+CENTERCOURT is coordinated and curated by the art historians Rosali Wiesheu and Viktoria Wilhelmine Tiedeke.
www.centercourt.gallery
Helen Britton presents contemporary jewellery from her series Industrial, a sequence of works that express her curiosity for raw, dynamic environments, for machines and manufacturing. Constructing layered surfaces of etched silver, sometimes painted or gleaming with plated gold or stones, the works transform her memories of large industrial spaces into wearable pieces of jewellery - at once contemporary and classic.
Nevertheless her work relies not only on the aesthetics of the architecture and landscape the steel and ship industry created, but also relates to her experience of the subcultures that eked out of their existence on the borders of her hometown in Australia.
“That I make jewellery, drawings and paper objects (…) allows me to create a very private world that accepts no compromises. To develop matter in itself, to transform it into an unpredictable way, comes from the love of materials, from the enjoyment of the simple qualities of color, texture, shape and their effect on my senses. I have always had an empathy with objects and in my practice in recent years, this specialized on collecting those awkward and sometimes ugly fragments, those hidden beauties and components that seem to be intended for a life as jewellery. I try to offer them a new opportunity, a chance to sing or to sing one last time.”
Helen Britton has received a number of prizes, her work is held in several museums in Germany, the Netherlands and the United States. In 2002 she established her workshop in Munich with David Bielander and Yutaca Minegishi.
In February and March 2015, Helen Britton exhibits her work at the Munich showroom of lighting designer Ingo Maurer. The former laundry building at 47 Kaiserstrasse in Schwabing has been Ingo Maurer’s production site since the early 1970’s. Since 2009, Ingo Maurer and his team present more than 120 different lamps, One-Offs, prototypes and photographical documentation on about 700 sqm. The spacious hall has become a destination among fans of interior design from all over the world, but is still a hidden gem in a quiet neighbourhood of Munich.
www.ingo-maurer.com
Location / DEUTSCHES JAGD- UND FISCHEREIMUSEUM
Deutsches Jagd- und Fischereimuseum is a museum exhibiting objects connected with the history of hunting and fishing in Germany or other territories which were or are part of it. Located in the pedestrian zone of the city center of Munich, Bavaria, it is a rare institution worldwide.[1] The building has been a church (Augustinerkirche) which was part of a large Augustinian monastery between the 13th century and 1803. The museum has a display area of approximately 3,000 square meters (32,000 sq. ft.).
Around 1900, with hunting being at its height of popularity, people asked for a hunting museum. In 1934, the museum was finally established. During World War II, most of the objects were saved in Schloßgut Ast near Landshut, Bavaria. All other objects were lost because of looting. After the war, there was a big discussion about the further structure of the Reichsjagdmuseum. In 1958, the year of the 800th anniversary of the founding of the city, the decision in favor of the Augustinerkirche was taken. The "Deutsches Jagdmuseum" was re-opened on Hubertustag, 3 November 1966.
In 1982, fishing was added as a field of interest. At the same time, the museum was renamed "Deutsches Jagd- und Fischereimuseum". The museum exhibits about 500 wild stuffed animals, including an Irish Elk, a Cave bear and several endemic Fresh water fish. The collection include fishing tackle, hunting weapons (esp. 15th to 19th century), and large sledges presenting a time span of several centuries. Furthermore, several so-called Wolpertinger creatures, Bavarian fictional animals, are on display.
*Wikipedia, http://en.wikipedia.org/wiki/Deutsches_Jagd-_und_Fischereimuseum
Concept / TROPHIES // IN THE REIGN OF COYOTE
The hunt is a ritual; through gathering, searching, and collecting we create amulets, myths, and trophies. The works of these jewelers are rooted in these traditions; they look to nature and translate what they see.
To hunt is to gather, to search, to collect. Through hunting, making, the weaving of stories, we are able to resist modernity’s denial of belief, and to keep our ties with the natural world. There is a primal, universal longing for myth, for an understanding of the immeasurable power of
nature, and an allure in conquering, transforming, becoming. The hunt is a ritual, a way to insert ourselves into an ages-old cycle. In hunting we take on the role of maker, turning one thing into another. In making we are shamans, translating worlds, perspectives, identity.
These jewelers distinguish themselves through their sensitive treatment of nature. Their work utilizes the material language of the trophy through the use of animal imagery and materials. The transformations they wrought, and the stories they weave, set them apart from other makers and unify them through aesthetic and conceptual application. In the Reign of Coyote references a collection of stories about the earth’s becoming, fables of animal and human relationships. The work of these artists looks back to a time when we, as humans, turned directly to nature for guidance, sustenance, and support.
For more information please contact trophiesschmuck@gmail.com
Event on Facebook: www.facebook.com/events/1407311132903160
Show your support for the exhibition catalogue on kickstarter: www.kickstarter.com/projects/2070353870/trophies-in-the-reign-of-coyote
ARTIST INFO
Cameron Andersen
Andersen's work is an intersection of art and technology. He uses software and digital fabrication for the production of art jewelry and metal craft. He builds custom digital tools that output a large range of designs based on parameters and interactions. Andersen grew up in Kansas, USA, and is an avid hunter and fisherman. His work for Trophies was inspired by metal engravings from his family’s gun collection. He received his BFA in Design: Concentration Metalsmithing and Jewelry from Kansas University in 2009 and his MFA in Metal from SUNY New Paltz in 2013.
Jane Dodd
Dodd was born in Dunedin, New Zealand. Dodd studied Jewellery at Unitec School of Design in Auckland, graduating with Diploma in 1994. She was part of Workshop 6, a shared jewellery studio in Auckland for 15 years before returning to her home town where she now lives and works. Dodd works in metal, wood, bone, shell and makes pieces that investigate storytelling and narrative. She is particularly interested in exploring a dialogue between nature and culture.
Aliyah Gold
Gold is a jeweler, and as such feels it is important to engage the history of jewelry. Animal imagery and animal-based materials have been used in jewelry dating back to the first civilizations. Gold challenges herself to create jewelry that contains the essence of an animal rather than merely a representation. Gold received her BFA in Crafts: Jewelry Concentration from the University of the Arts in Philadelphia, PA in 2006 and her MFA in Metal from SUNY New Paltz in 2010.
Steven Gordon Holman
Holman was born in Leamington, Utah. A child of farmers and hunters, he grew up in the West Desert where he developed a close relationship to the natural world. His work is invested in material and myth, both cultural and personal. Through the building of these myth he creates artifacts and amulets of The Tribe, a moniker that includes individuals who are active in the field of contemporary hunting and gathering. Holman received BA’s in Visual Arts and Architectural Studies from Brown University in 2011 and his MFA from SUNY New Paltz in Metal in 2014.
Akihiro Ikeyama
Ikeyama’s work is strongly rooted in natural systems. The structure of the natural system and its creatures charmed him long ago. He is interested in food chains, the cycles of life and death. The deer antler holds special symbolism for him, because it is regrown each year – over and over again in a new strengthened form. He believes in this symbolism, and in the natural energy held within the material. Ikeyama graduated from the Hiko Mizuno Jewelry College in Tokyo, Japan in 2008, and the Academy of Fine Arts Munich in 2013.
Lore Langendries
Langendries is a maker in the field of contemporary jewellery and objects based in Hasselt, Belgium. In 2010 she received her Master’s degree in Arts form the MAD (Media, Arts, and Design)-Faculty in Hasselt. Her research interests include the interaction between craft and industry, between unique and serial with a particular focus on (re)production, digital technology, tactility, the behaviour of materials and the subjective role of the maker. In her recent series, Hunacturing, Langendries is questioning the nature of reproduction via a combination of natural materials, mechanical treatment and the human touch.
Märta Mattsson
Mattsson sees beauty in things that other people find strange or are even repulsed by. She becomes fascinated when there is something you do not want to see and by the feeling you get when you do not want to look at something, yet you still do. Her jewellery deals with the tension that lies between attraction and repulsion. She takes seemingly inappropriate materials, making ordinary and familiar objects seem extraordinary and unfamiliar. In a world where not many new and exotic breeds are discovered she uses dead creatures in her pieces to evoke wonder. The creatures are transformed and reborn; given a new life as objects of astonishment. Mattsson received her BA in Jewelry Art from HDK-School of Design and Crafts in Gothenburg in 2008 and her MA, GSMJ Department, from the Royal College of Art in 2010.
Kerianne Quick
Quick is currently Visiting Assistant Professor at SUNY New Paltz. In Fall 2015, she will join the faculty of San Diego State University as of Assistant Professor of Jewelry and Metalwork. She received her BA in Applied Design, Metal from SDSU in 2002 and her MFA: Jewelry and Metal from University of Illinois Urbana-Champaign in 2011. She mixes traditional and digital making with ethnographic and sociological research to consider source, geography and material specificity, and is interested in craft and materiality as cultural phenomenon. In her recent work she studies human-software relations: Facial recognition software has heightened our awareness of the fuzzy border between public and private, image ownership, and new forms of camouflage. Using buckskin, I create a reverse camouflage - a dazzle camo that does not conceal the wearer/prey but confuses the viewer/hunter by physically pixelating reality, making the target's speed, distance and heading difficult to calculate.
Anna Talbot
Talbot’s jewellery is inspired by fairy tales, nursery rhymes, songs and stories. Wolves, deer, trees, forests and Little Red Riding Hood are all central elements in her universe, and they don’t necessarily stick to their traditional roles. She wants to tell a story through characters, colours and materials, and she wants people to keep inventing new tales inspired by her jewellery. She work in layers to build up a three dimensional piece. Some of her pieces are quite large, but the materials she uses still mean that they are light enough to be worn. The size makes you aware of wearing the pieces at all times, they demand both space and attention. Her jewellery can be hung on a wall or worn on a body. The piece becomes a picture you can carry with you. Talbot received her BA in Silversmithing, Jewellery, and the Allied Crafts from London Metropolitan University in the UK and her MA in Metal Art and Jewellery from the Oslo National Academy of the Arts in Norway.
Tanel Veenre
Born in Tallin, Estonia, in 1977, Veenre grew up in a family of artists and musicians. He studied at the Estonian Academy of Arts Jewelry and graduated in 2005 after having taken part in an exchange program with the Rietveld Academy in Amsterdam. Veenre's jewels take one on a journey that starts from the depths of the sea, continues on through coral reefs, past dancing sea horses and then on to the cultivation of silkworms. The voyage ends in a cosmic cloud. Veenre currently works as freelance artist, designer for his jewellery brand TVJ and a professor at the Estonian Academy of Arts. (Paola Aurucci for Vogue.it)
Mallory Weston
Weston is an artist currently living and working in Philadelphia, USA. In addition to her studio practice, she teaches in the Craft + Material Studies Department at the University of the Arts. She works with a variety of medium including metal, fiber, concrete, and spray-paint creating bold, compelling, and interactive wearable art. Currently, she is exploring snake imagery, symbolism, and serpent dichotomies within her work. Weston received her BFA in Crafts: Jewelry and Metalsmithing from the University of the Arts in Philadelphia, PA in 2009 and her MFA in Jewelry and Metalsmithing from RISD in 2013.
A little appetizer of what the students will present you at their show.
The second year students of the Royal College of Art, London are back in town and inviting everybody to come and discuss their work with them.
Come and join us for a little drink and discussion at the Opening Event on Friday the 13th of March at 15.00.
Haydee Alonso
Joanne Bowles
Nana Dawson
Kaat de Groef
Carrie Dickens
Emily Goodaker
Georgina Howling
Oya Kozacioglu
Lisa Krause
Yunjung Lee
Bo Kyeong Lee
Chai Ling Lin
Patricia Lip
Honggang Lu
Revekka Moustaki Zei
Victoria Shennan
Gwen Wei
Mengfei Zhang
Sindy Zhou
Yunsun Jang
Cherry Tainhui Jiang
www.rca.ac.uk/news-and-events/events/?period=upcoming
Epi bracelet, La Mollla
Schubert Taschen & Accessoires invites for seven days special Exhibition and sales on TZURI GUETA Paris LA MOLLLA Paris. Discover the new ERIC BEADUIN Bruxelles bags between the two jewellery Labels. The shop is located in the centre of town just a short walk away from "the Rathaus" and offers about 50 square meters of sales from international designers.
97 bracelet, La Mollla
La mollla
Molla means spring in Italian. Using this name, Tiziana has registered the mark la mollla© with three l’s that evoke graphically the spring movement. Each bracelet is composed of 97 stainless steel springs, a reference to the year of their launch on the market. The delicacy of their texture evokes silk and their lightness contrasts amazingly with their quantity.
Porc epic collier, La Mollla
Tzuri Gueta
Tzuri gueta is a designer and textile engineer. A graduate of Shenkar College in Tel Aviv, he has been based in Paris since 1996. Growing up on the shores of the Mediterranean, he was in direct contact with the elements of nature, and his work reflects his roots.
After settling in Paris, Tzuri worked at Trend Union, an agency run by Li Edelkoort, and went on to concentrate on textile design. He challenged the conventions of the trade by combining traditional handicraft with unprecedented techniques. His innovative approach gave rise to surprising materials that border on sculpture – materials that deceive the senses of sight and touch.
In the course of his quest for textile materials Gueta came upon silicone, and it soon became his signature material. This polymer, composed mostly of silica, possesses extraordinary properties of solidity and flexibility.
By combining silicone with openwork textile materials, Gueta invented a technique of blowing silicone into lace. The patent was registered in 2005. The countless facets of this combination of materials afforded him an unexpected field for exploration that began with textile design and led him to jewelry, design objects and art.
It did not take long for Gueta to intuit that lace injected with silicone could also be used to create jewelry. Since 2006, season after season, aided by jeweler Caroline Auraix, he has been designing collections that never cease to arouse curiosity.
www.tzurigueta.com, www.lamollla.com
HIDDEN BEAUTY - INNER SKINS is the result of a study about the unusual natural product of animal innards, like bladders and bowels of sheep, pigs and cows. This project is based on a thorough material research of animal innards - the inner skins. The aim was to produce leather out of the raw material. From the material procurement at the slaughterhouse to the acquisition of tanning handicraft knowledge, their profound examination of the material brought them to the point where they are now able to turn this basic product into aesthetic jewellery, which stand up to the extraordinary source material.
Fundamental thoughts - how can we change our habitual perception?
This project also is about the question, whether or not we can overcome stereotypical aesthetics and appreciate uncommon appearances of beauty.
Innards, usually being considered as unappealing and disposed as special waste, are here used to create unique and beautiful objects. If the skins are examined open-mindedly, their unprecedented form and uncommon leathery surface reveal their hidden value.
An elaborate vegetable tanning process transforms the material into leather which serves as a primary material for distinctive objects that no longer need to deny their origins.
Studio Gutedort was founded in 2014 by the two textile designers Eva Schlechte and Jennifer Hier. The concept of their work is based on rediscovering rudimental matters and shows a particular way to handle materials: An intersection of craftsmanship and design combined with an experimental position represents their design approach. The resulting objects hold a subtle beauty which try to conciliate between culture and nature.
www.gutedort.de
All photography by Philip Kottlorz
OJALÁ (hopefully)
… a jewel will surprise you, wake you up, connect you, transform you.
We think of a permeable jewellery that is artwork and bond between people; a signifier that connects and unites us.
In 2014 we organized an exhibition in a café, which made possible meeting and talking to the visitors everyday in a relaxed and informal atmosphere.
The Cafe can hold a particular and unique moment with someone, and preserve the importance to chat, work, study, plan and enjoy. Sharing can enrich us, if we are open to chance.
Ojalà (hopefully) is an Arab interjection difficult to translate. It expresses a strong desire for something to happen; a longing, not guaranteed to be fulfilled.
With the 'Ojalá' Project we want to continue the cafe conversation, crossing boundaries and creating new bonds.
At Café Clara, the argentine artists will share their work. And during the vernissage they will initiate 'Ojalá Itinerant' - a travelling project of collective creative jewellery, in which different participants will transform it and later will hand over it to another.
If meeting transforms and binds us, beyond time and space. How would it be a jewel that symbolizes this bond?
OJALA you join us!
In the 'Ojalá' exhibition each artist work with a particular concept and connects jewellery with other disciplines: paper, textile and porcelain objects.
Alejandra Koreck´s work explores the limits of words and writing, the limits of representation. It is an attempt to wander along the border between sense and nonsense, between the possible and the impossible, surrounding the void.
Alejandra Koreck, artist book and brooch. Sterling silver, book´s sheets written in Braille, brass plate to print in Braille, mixed technique
Alejandra Koreck, neckpiece. Book´s sheets written in Braille, linen thread, aluminum plate to print in Braille. 90 x 8 x 0,5 cm (opened). Construction
Alejandra Koreck, work in process
Sabina Tiemroth continues researching with the idea of the line as the main element of construction. The same line, using the remnants of fabric salvaged threads, that folds upon itself as roads, forming reliefs and volume, internal spaces and voids that lead to something new... to infinity”
Sabina Tiemroth, 2015, detail of necklace, remnants of fabric salvaged threads
Sabina Tiemroth, 2015, 'Shelter' object – hat remnants of fabric salvaged threads
Sabina Tiemroth, work in process
For Patricia Gallucci dream is a sieve through which she perceives the world. She finds the delicacy in everything that surrounds her. Color leads her to the clear and silent light. The ephemeral in nature holds everything: life, death, the passage of time; it reveals its strength and sensitivity. In the artistic process she explores the joy of transforming materials through experimentation, leading to the unpredictable.
She explores the interaction between the jewel and its wearer. Through the fragile, ethereal and vulnerable, intimacy becomes immediate and conscious: in the way they are worn, contemplated, cared, felt unique and present.
Patricia Gallucci, necklace, 'Reconstruction' Paper clay porcelain, underglaces, baby merino fibre wool. Mixed technique, 2014 From the "Broken" series
Patricia Gallucci, necklace, 'Reconstruction' Paper clay porcelain, underglaces, baby merino fibre wool. Mixed technique, 2014, From the "Broken" series
Patricia Gallucci, work in process
www.facebook.com/ojala.jewelry
www.patriciagallucci.com.ar, www.sabinatiemroth.blogspot.com, www.alejandrakoreck.com.ar
ADANSONIA DIGITATA
At some point you look in the mirror and ask:
who is this person?
What happened on the way, how did you get there? Did you grow up?
Is this still you or is this somebody else?
You look to this image from different angles,
like from somebody else’s viewpoint.
You reflect. Who do you see?
Silke Fleischer
HOLD ON 2/7
Steel, Brass, Cotton
I’ve got seven ways of going, I’ve got seven ways to be, I’ve got seven sweet disguises, I’ve got seven ways of being me …
Patti Smith - The histories of the universe lie in the sleeping sex of a woman
Number 7 has a biblical significance and it also corresponds to the days of the week, repeating themselves endlessly in a loop… - over and over and over … .
A repetition that is being reflected in the new work by Silke Fleischer, as the routine of the everyday. The presented jewellery works refer to settings and actions and are questioning a break through this daily routine.
Carine Van Landeghem
Kaleidoscope
Wood
My work offers the observer different aspects,
opinions and views on the eidos (shape, stature).
It reflects what the mind wants it to be.
Arnaud Sprimont
My Body Is A Chaotic Forest
Jesmonite, Nylon, Pigment
Using modern techniques, ranging from nano-scale imagery to satellite views, A. S. challenges the boundaries of his body and his perception of the world around him. The study of pseudomorphosisms is echoed in the perception of his own experiences. Reflecting and blending scales back and forth,the infinitely large finds meaning in the infinitely small, where an abyss of possibilities opens itself up to him.
Peter Vermandere
Protrusions & Penetrations
Aluminium
P. V. works with real matter. He is a firm believer in serendipity, he makes unforeseen discoveries while (re)searching something else. Maybe because of his name (Gr. Petros = rock) or maybe because of
childhood memories, his main inspirational starting point is stone and the various geological processes by which rocks are formed. He even tries to make his favorite metal, aluminium, look like stone.
In a small comedy theatre in central London Dialogue Collective sits attentively in rows waiting to be entertained. The film begins, it's a silent comedy from the 1970's. They start to fidget in their seats: some are smiling; some giggle; others look confused and in pain. Is this meant to be funny? Of course, it's hilarious! This year Dialogue Collective takes a serious look at comedy to celebrate the British sense of humour. Taking over the Marionettentheater Kleines Spiel, Dialogue Collective combines jewellery, objects, performance and media for an inquisitive exhibition exploring puns, rhymes, slapstick and games. Will you get the joke?
Petra Bishai, North South Divide II Bangle 
Isabelle Busnel, white silicone
Sophie Hall, Missing piece, 2015
Buddug Wyn Humphreys, white enamel and metals
Vicky King, GPS
Maarit Liukkonen, Soap rings
Rachel Terry, Laughing Gass 2015
'A little oration', Timothy Information Limited, Badge, silver, acrylic, araldite, stones, photography by Simon Armitt
Deborah Werbner, "Pest Control" 2014, Hand Carved and Cast Silver Brooch and Walnut Laser Cut Trophy 
Anet Wrobel, The Way Things Go
This exhibition is in coorperation with 84 GHz
Side event of The light side
>Glockenbachwerkstatt
LIVE! PUNK MUSIC BY SCROTUM CLAMP-JEWELLERY FROM THE DIALOGUE COLLECTIVE
Scrotum Clamp, The Dialogue Collective
Blumenstrasse 7, Munich
14.03.2015 21:00
Doors open 19:30, Entrance €6,-
www.facebook.com/events
schmuck.84ghz.de, www.dialoguecollective.co.uk
The Möbius strip or Möbius band is a surface with only one side and only one boundary component. The Möbius strip has the mathematical property of being non-orientable. It can be realized as a ruled surface. It was discovered independently by the German mathematicians August Ferdinand Möbius and Johann Benedict Listing in 1858 (source: Wikipedia). A model can easily be created by taking a paper strip and giving it a half-twist, and then joining the ends of the strip together to form a loop. There is no differentiation between upper and lower surface and there is no beginning nor an end to it.
Over time the Möbius strip has evolved from its mathematical origin. Its concept is being applied for industrial purposes, in the design and art world. One could say that the Möbius strip has enmeshed our lives.
For this year’s JEWELLERY WEEK at Micheko Gallery we have chosen the Möbius strip as a theme for jewellery artists Akiko Kurihara and Misato Seki.
Misato Seki, Lotus, 2014, ring, 60 x 60 x 60 mm, Japanese lacquer (urushi), linen, Japanese paper (washi), gold, silver, wood. The meaning of the Möbius strip is repetition, circulation and endlessness. Misato Seki’s approach to these meanings is through the Buddhist concept of reincarnation. The holy lotus flower is a symbol of reincarnation, hence of an (almost) endless circulation of life, until Nirwana is reached.
Misato Seki, Drop, 2014, earring, 90 x 90 x 20 mm, Japanese lacquer (urushi), linen, Japanese paper (washi), gold, copper, mother of pearl
The Möbius strip is aesthetically attractive, highly functional and is open to many different interpretations. It has influenced many designers and artists all over the world again and again and has generated a large variety of objects and works of art.
The new jewellery art that has been created by Akiko Kurihara and Misato Seki does not directly adopt the form of the Möbius band. The artists have created works that connect with the concept of the Möbius strip.
Akiko Kurihara, Beer, necklace, 18K gold, silver925, glass, ø 8 x H15 mm glass
The Gallery can say with confidence that this year’s „Möbius“ exhibition will be worthwile your visit.
For the opening on 11th March, 2015 they have invited Japanese drummer group TAMPOPO who will perform from 18:30h till 19:00h. Don't miss the show.
Ms Kurihara and Ms Seki will of course be present.
Bomb, earring, 18K gold, silver925, ø 11mm
www.micheko.com
Kunsthaus Maximilian shows the work of two young jewellery designers and artist from Finland. Under the alias Hatara Project, Annea Lounatvuori and Christine Jalio will present their personal visions with the title Zeichen der Zeit / Time Perception.
The exhibition is also part of their Thesis work for the Lahti Institute of Design from where they will be graduating in May 2015.
Annea Lounatvuori (30) is the creator of P O N Y jewellery, a label which combines horse hair with silver in a contemporary and minimalistic way. She is currently living in Berlin and her work has been shown in various exhibitions in Finland, Berlin and Paris.
Annea`s jewellery is a combination of handcraft and machine production. Her visual style combines references from foreign cultures as well as underground and she is inspired by history and achievements of mankind. For jewellery design and art her passion lies in storytelling, symbolism and philosophy.
www.ponyjewelry.com
P O N Y jewelry by Annea Lounatvuori 2012, photo by Liisa Valonen
35-a token for every winter I survived_cu 01-02, Christine Jalio 2013, brooch, picture Sanni Siira
Christine Jalio (36) is an artist who is extremely fascinated by the human psyche. In her work she studies the transitions and emotions of human life. She is passionate about historical objects, the impact they have on their surroundings and threfore discribes her workmethod as a search for the right combination of material and feeling. Her work has been shown in exhibitions in Finland and Berlin. At the moment she´s working on starting a recidency programme for jewellery artists in her home town in the region of South-Ostrobothnia.
A set of Tyres, Christine Jalio 2012, neck or arm piece, picture Timo Laaksonen
Looking to the past, looking to the future, Hatara project 2015, picture by Janne Lounatvuori
These two young artists came up with the idea of Hatara Project to create more dialog between two individual artists. As having different approaches to contemporary jewellery they want to encourage open mindness and transparency when it comes to design, contemporary jewellery as well as commercial jewellery.
Under Hatara project Annea and Christine will present their separate individual works with the same theme time. The theme was chosen to point out important values which both artist share artistically. The presented work has been created in between september 2014 and february 2015 and is the result of personal contemplation about the theme time; past and present not forgetting the future.
Annea`s work is based on her previous work for P O N Y jewellery collection and it combines contemporary art with commercial jewellery. She has worked in collaboration with her husband Janne Lounatvuori and created an installation which combines video with jewellery in an experimental way.
P O N Y jewelry by Annea Lounatvuori Paris exhibition poster 2014 pic by Akseli Valmunen
Christine has approached the theme by studying the human lifespan; the emotions, stages, moments and losses which are a part of every persons life. She has explored the mind, compared memories and dreams to reality and time. The contemporary jewellery she has created is very quiet, yet loud at the same time.
Past, loss, future, Christine Jalio 2015, brooch, picture Ritva Jalio
Annea and Christine have the idea to continue working on the same theme time and under the same name Zeichen der Zeit/ Time Perception in the future- it will be interesting to see how their work developes and creates a serie.
Time you enjoy wasting, was not wasted. -John Lennon
instagram.com/hataraproject, www.kunsthaus-maximilian.de
The six of us have a room with four corners.
We´ll exhibit in It!
PS: the room is very high and is situated in a park.
That´s the truth!
Alexander Blank, Ahoi Acapulco, brooch, jet (gagat), silver
Alexander Blank, Jimmy, brooch. high density foam, graphite, silver lacquer
Kiko Gianocca, Feltro, necklace, felt
Kiko Gianocca, Veneer necklace, wood veneer, balsawood, brass
Stefan Heuser, Pearl necklace, mothersmilk
Stefan Heuser, Fisherman´s ring, mothersmilk, gold
Melanie Isverding, Cavea(34), brooch, silver, enamel, chrushed hematite, glimmer, lacquer
Melanie Isverding, Cavea(35) brooch, silver, enamel, chrushed azurite, glimmer, lacquer, string
Jiro Kamata, Bi 7, necklace, silver, dichroic mirror
Jiro Kamata, Bi 8, necklace, silver, dichroic mirror
Noon Passama, Formal Research: E, year 2015, necklace, oxidized silver, ultra light plastic
Sponsored by:
Fördergesellschaft Neuer Schmuck e.V.
Kulturreferat Landeshauptstadt München
LfA Förderbank Bayern
www.kunstpavillon.org
O_1_1 - polyamid, selasto, ABS, alumide, nylon
O_1_3 - polyamid, ABS, plastic, nylon
O_1_4 - polyamid, alumide, plastic, wood(pear), nylon
O_3_1 - polyamid, alumide, selasto, wood(sycamore), nylon
O_3_2 - polyamid, selasto, plastic, aluminium, nylon
O_3_4 - polyamid, plastic (transp.), selasto, nylon 
O_4_1 - polyamid, alumide, selasto, nylon
O_4_2 - polyamid, selasto, plastic, aluminium, nylon
O_4_4 - selasto, plastic, wood(sycamore), nylon
Technique:
- selective laser sintering (SLS)
- fused deposition modeling (FDM)
- casting (vakuum)
- milling (CNC)
See more Florian's work here.
Who among us does not keep close to our body an object, whose extraordinary significance can only be known to others if we speak of it?
In his landmark piece, Techniques of the Body, French sociologist Marcel Mauss wrote that ‘the body is the first and most natural human instrument.’ If the body itself is natural, then I propose the supernatural requires some object beyond the body itself, yet in dialogue with it. The use of objects to adorn or decorate the human body is as old as humanity, a feature that distinguishes the human from other species. Objects that decorate the body play a primary role in the expression of these aesthetic preferences; objects in dialogue with the body also play an essential role in the human experience of the supernatural. The world’s religions mark out their ritual specialists with certain specific adornments whose significance is understood widely by adherents and others alike. But everyday individuals all over the world also find that they have the power to imbue any object with a potency derived from a symbol meaningful only to them. Something inherent in the dynamic between an object and the body creates the potential for accessing something greater than the object and the embodied individual; the range of possible meanings and objects is entirely unlimited. Any object can become a symbol of something beyond its own intrinsic meaning relative to itself, and I see this uniquely and characteristically human capacity to symbolize, to see greater meanings in things than what the things themselves appear to be, as the key to the universality of the human experience of the supernatural.
By supernatural I mean that which is beyond anything materially evident to our sense perceptions in the world. The same capacity with which we comprehend that an object can be something more than what it appears to be allows us to comprehend that the world, the entire order of reality, can be something more than it appears to be. Our human languages, themselves predicated on our capacity to symbolize, are key to this experience because they enable us to indicate, to describe, to name, those aspects of reality beyond the range of our sense perceptions. What is normal, what is ordinary, what is mundane, what is, in a word, natural, can be perceived by anyone: seen, heard, felt, and so on. What is supernatural, what is otherworldly, what is beyond the capacity of our senses to register, must be said, described, named, with words because there is no other way to indicate it. Why must it be indicated? So that it may be shared with others. Human societies have put unimaginable energy into managing this interface, producing the religions of the world, great, small, meek, and proud alike. But this capacity to comprehend the existence of something beyond what is evident to our senses finds expression in innumerable ways beyond human religions, down to the level of individuals and their private, idiosyncratic practices. We can trace the entire range of this phenomenon through the human relationship with objects in general and adornment in particular.
The supernatural is quite real. By its very nature, it cannot be measured empirically, it cannot be photographed, it is defined by its very fact of being beyond
the range of our sense perceptions. So it cannot be proven, managed, reliably accessed or relied upon. We perform the rituals, engage the objects, say the words alone or together, and we hope, we wait to see whether or not we have managed to reach across that barrier to the unseen forces, whatever we understand them to be. Arguments over whether such things ‘truly’ exist are foolish. We need only look to the world to see how powerful the impacts of the human quest for rapport with unseen forces are. We need only look to ourselves and those around us to see how objects of all kinds come to have meanings of their own, secret lives of talismanic power over the everyday, that guide our actions and affect our experiences. This is a part of our humanity that cannot be undone. Even as the grand historic assemblies of belief fracture across the world, we humans will always continue to take up objects, adorn ourselves with them, and transform them into instruments for accessing those recesses of reality that cannot be illuminated any other way.
Prof. Zachary T. Androus Firenze, Italia February 2015
Brooches – ‘with other eyes’This project investigates the use of photography in contemporary jewellery making. Selected photographs are transformed into small, personal objects to be adopted into the life and story of the wearer. The starting point is the collection of old pictures. I am interested in images we can relate to, frozen moments we may have lived, would have like to or one day will. The selected images all have a sense of the abstract, iconic and archetypal, that provoke collective feelings and are thus open to interpretation and appropriation. For example: A sunset, a fight, a journey, a storm, a kiss. The photographs in this particular body of work were bought on internet auction sites, a virtual jumble sale of other people’s stories, fragmented memories seen through other’s eyes.
The photographs are reproduced in their original size and format on a rigid support. Both sides of the picture are covered in resin. The side with the image has silver findings (faces the body) and is covered with a clear coating, while the back of the image (front of the brooch) is completely blackened becoming a blank, reflective canvas, a ‘void’. The project has been developed independently in my studio. It has gone through a period of rigorous technical development beginning in 2010. Futher exploration is envisaged for 2012, including different
formats, new ways of sourcing images, development of series of ‘thematic’ pieces and I am also interested in the potential of using colour on the front of the piece.
Pendants – ‘hold on’These pendants are made from the wooden handles of different sorts of brushes and tools. By cutting off it’s functional part and using only the ergonomic and simple shape of the wooden handle, I attempt to provide a ‘pure’ connection between body and object allowing thoughts and dreams to be held on to.
Rings – ‘who am I’This is an ongoing and renewing ring collection called 'who am I'. Instead of inscribing one’s initials or family insignia as a sign of belonging, I drill two little holes in these ‘signature’ rings. This way, the usually oval or round flat front of the ring suggests the archaic feature of a face. These rings celebrate the individual.
Pendants – ‘what’s left’ For this project commercial pendants were filed down to a fine gold dust leaving untouched only the ring that usually connects it to the chain or string. The gold dust is placed in a glass dome-like bottle. Its purpose is to ‘conserve’ the essence of the original pendant, the horse, the anchor, etc. What is worn is the remaining gold ring, now free from the weight of the rest of the pendant allowing the wearer the freedom of deciding for themselves day by day in what they believe.
Neckpiece – ‘what comes around’ from the collection THINGS HOLD TOGETHER In this group of neckpieces made out of hand felted wool and called ‘what goes around comes around’ I was interested to conceal found plastic balls, glass and ceramic vintage pebbles to reveal their identity only through their weight and hardness.
'Veneer' 2014Veneer is a mask, a cover up, a shield, a layer of a thin precious material applied to a cheaper support. I like to think that these pieces give the material a ‘return to life’. The thin layers of veneer don’t mask anything but are simply built up to create a three dimensional form, revealing this new identity. Each piece is given a unique shape informed by the grain of the wood. In this way the thin layer of veneer references it’s three-dimensional past as solid wood. The pieces’ irregular shapes are also partly inspired by the inkblot images used in a Rorschach test, a method of psychological evaluation. Psychologists use this test in an attempt to examine the personality of characteristics and emotional functioning of their patients. Like each of us, these works are made up of different elements, each with their own identity and uniqueness. The final works have
a shadow-like presence, representative of something belonging within.
During Milano Salone del Mobile 14-19 April Current Obsession presents The Flag installation as a part of Maastricht Academy of Fine Arts and Design ‘Slow City’ show at Ventura Lambrate, Via Privata Oslavia 17, Milan
Programme curated by CURRENT OBSESSION
Contemporary Jewellery Magazine & Platform