FORGOTTEN WORLDS 'Timeless silence. Pitch-black silhouettes of massive mountains. Songs of the wind spoken by branches. Feeling of cold, wet earth under the feet. Radiant orange points dipped in indigo blue. Time has stopped, no movement, no sound, a moment of eternity. Ornaments of smoke spinning, floating into mute darkness. Like in a deep dream, ancient creatures emerge, wandering and dancing since immemorial times, keeping all the stories of the Universe.' My method of work is a conscious exploration of unconscious. I enter in a trance-like state to allow intense, personal symbols and obscure imaginary to emerge. I exclude rational processes as much as I can. The rules of continuity dissolve into the activity itself. Thus, I discover an extended image of reality, reality which exceeds intellectual understanding. I use myself as a subject of study but I believe it can go over my singularity as an individual. Through this research, I aim to come into contact with archetypes that are common to all of us, not only as a part of mankind but as a living being in general. In the series of objects and drawings are depicted symbols of personal mythology, my unique versions of gods, totemic figures, demons and fantastic creatures. I follow the ancient belief in objects endowed with magical powers. I create a ring or an object as an amulet, a companion that supports the wearer. Ring from the series titled “Guardians”. Obsidian, smoky quartz, falcon’s eye, onyx. Stone carving. 11x4x3 cm / 169 g. 2014 Hand object from the series titled “Guardians”. Landscape jasper. Stone carving. 11x5x6 cm / 158 g. 2014 Ring from the series titled “Guardians”. Rose quartz, obsidian, falcon’s eye. Stone carving. 7x7x3 cm / 173 g. 2014 Ring from the series titled “Guardians”. Carneol. Stone carving. 6x7x4 cm / 171 g. 2014 Ring from the series titled “Guardians”. Coral jasper. Stone carving. 4x6x2 cm / 69 g. 2014 Ring from the series titled “Guardians”. Jasper. Stone carving. 3x6x3 cm / 63 g. 2014 White Opal, Grossular, Cacholong. 20 x 6 x 4cm. 2014 Moss Agate, Marble. 13 x 12 x 2cm. 2014 Hematite. 8.4 x 4 x 3cm. 2014 Agate. 17 x 14 x 3cm. 2014 Obsidian, Agate, Quartz, Rutile Quartz. 19 x 6 x 3cm. 2014 Hematite, Agate. 9.5 x 5.5 x 2.5cm. 2014 Falcon’s Eye, Obsidian. 17 x 6 x 4cm. 2014 Hematite, Pink Opal. 12 x 5 x 4cm. 2014 Lapis Lazuli. 11 x 5 x 3cm. 2014

The jewellery of this year’s Talente Award reminds Dallas-based photographer Trey Wright of surrealist artist Méret Oppenheim and her fondness of distorting items around her home - simple objects, embedded with new meaning by her clever pairings and use of texture. Trey, known for creating surreal images using cutouts from fashion magazines in combination with three-dimensional objects, similarly treated each jewellery piece like they were different characters, interacting with a set of fellow strange characters and amorphous, colored shapes. He comments: ‘Lines twist and turn like tentacles across acid green waves. Eyes roll around beads over crimson spots. Chain links dissolve into trails of golden dust.’ Jewellery by Hazel Clarrie BakerJewellery by Sébastien Carré Jewellery by Amani Bou DarghamJewellery by Pia FarrugiaJewellery by Elisa Sophia HerrmannJewellery by Youmi KimJewellery by Amy Peace-BuzzardJewellery by Esther Suárez Ruiz Jewellery by Elvira GolombosiJewellery by Koen JacobsJewellery by Jiye YunJewellery by Anna NorrgrannJewellery by Kota OkudaJewellery by Anneleen SwillenJewellery by Pei Chen TsaiJewellery by Aric Verrastro BIOGRAPHY TREY WRIGHT Trey Wright is an artist working with photography and video. He received a BFA in Photography from the University of North Texas. In 2013, he took part in Hey, Hot Shot at Jen Bekman Gallery in New York. Recently, Wright has screened his work with Videodrome Paris, an organization dedicated to presenting moving image-based artworks. In addition, Wright has collaborated with several magazines including Blink, Matte Magazine, Ain’t Bad Magazine. www.treywright.net

Hanna Hedman is a traveller. At fifteen, she left her family and moved 730 km north to be closer to the snow. After high school she moved to the mountains of Colorado, US, for two years. She then spent seven years on and off in New Zealand. Then came Mexico, Chile too. She is also an escapist, from reality mostly. Fantasy has always been present, driving her work and her need to see distant parts of the world. She is captivated by far away cultures, rituals and traditions. In fact, much of Hanna still remains anchored to the Latin American South. She is syncretistic, an amalgamation of where she’s from and where she’s been. And her jewellery is too. Tell me a bit about your background and some of your early tendencies toward ritual, religion or spirituality. I was born into an atheist family in Sweden, a country where the Christian Lutheran church is the dominant church. My parents left the church in the 1970’s because women weren’t allowed to become priests. I am not baptized and I didn’t take part in confirmation at the age of fifteen when my friends in school did. I remember a scenario as a small child in my early school years: the whole classroom is filled with singing. We are all singing a psalm. I am singing along like the other children but every time the word hallelujah comes up in the lyrics, I stay completely silent. Around this time I had also been thinking about life, death, and the afterlife. I wrote my first testament and sealed it with wax at the age of eight. I had a secret tree in the forest on which I had nailed a little handmade cross. I sat under that tree in secret and asked for help. Despite my scepticism, I have always had an interest in objects that have a strong power to its owner. I also have a strong relationship to nature. I have spent many hours by myself in the forest running or skiing. For me, the primal chaos of nature is very inspiring – those aspects of human experience, and those beyond language are as well. I also think about animism. Rocks or trees not only have physical lives, but also spirits and souls. And this connects to my thoughts about how objects are more powerful than just the value of their material. Throughout the ages, people have had a need to believe in something beyond the earthly life of toil. Faith has taken various forms in different eras, and I guess that I am no different. As our lives become more and more detached from nature and the unexplainable, I have felt a strong force to create rituals in my own life. I have always been a pondering person and for me belief is something personal and not defined or ruled by others. Faith can take various forms and for me they don’t belong to certain religious systems. But at the same time, faith and different religious traditions continue to really fascinate me. Is this perhaps why you were drawn to Latin American culture? I think I was drawn to those cultures mainly because of the reverse way that grief and death is dealt with in comparison to Sweden, and for their traditions to honour the dead. Prior to traveling to Mexico, I was working with the subject of sorrow, a type of grief that I think is too vast to be contained in a country like Sweden- a country dominated by confinement. Why do you say that? Sweden is still somewhat under the influence of its social history. People used to live in small communities with little contact with the outside world, leaving no room for changes or influences. Sticking to small social groups was really encouraged in the Swedish community, and showing aggression or sadness within that is still sometimes a taboo. Because of this, we became more introverted and we conceal emotions and opinions. I sometimes have the feeling that we have difficulty distinguishing personal opinion to personal feeling. Perhaps Swedish people are more pragmatic than they are driven by emotions. I think this is why I eventually started to touch upon the inner rooms of human experience, or places within us where emotions are stronger than reason, and feelings such as grief or anxiety can't be suppressed or kept at bay. It is also these places within us, our inner rooms, which are the closest to our primal nature. I started to connect to a place within myself that is more subconscious than conscious. So maybe this is why I looked for something that was the opposite of my own country, something that could give me what my own culture can't provide. Your first trip to Mexico City was through the ‘Walking the Grey Area’ symposium, organized by Otro Diseño Foundation, correct? What was the project exactly and what were your initial interests in participating? I was invited to the project in 2009, the year after graduating from Konstfack. The project connected 20 artists from Europe with 20 artists from Latin America through a blog, ending with an exhibition, and symposium in Mexico City six months later in 2010. I was very honoured to be asked to participate. All those participating had one thing in common: like the curators themselves, they had all been migrants; born in one place, living, working, studying in another. I decided to attend the seminar and the exhibition opening, and my fascination for Mexico began with that. I first became interested in amulets during this trip as well. You’ve mentioned to me before that you were very intensely and emotionally moved by your experience in Mexico, mainly in part to the syncretism you found between Mesoamerican indigenous and Spanish Catholic beliefs and practices. Can you talk about this intrigue? Yes, I am very interested in syncretism, a combination of elements from different historical styles or religious systems that merge into each other to create new traditions. Something that moved me quite a bit was my visit to Chamula in the state of Chiapas. I met with an anthropologist of Mayan culture who spoke Tzotzil, an indigenous Mayan language, and he took me to the church San Juan Chamula. The people there continue their traditions while adapting to a changing world. They worship in a Spanish built cathedral, but they also have kept their indigenous traditions alive by merging them with catholic traditions. For example, the church has no pews and there is no priest. Instead shamans are caretakers and worshippers light the rows of small candles while sitting on the pine-covered floors. These rituals are the epitome of syncretic practice. Going there was an amazing experience that will stay with me for the rest of my life. Were there any other experiences in Mexico that made a big impact? Stepping into a Catholic church in Mexico can be overwhelming for many reasons, one being the great amount of small charms called Milagros that hang row after row on the church walls. Each little milagro amulet represents one person’s hope and prayers. Another is the unusual brutality of the representation of Jesus. He is sometimes nailed onto a cross very violently with blood pouring out and his ribcage showing. This is very different to the Lutheran churches in Sweden where Jesus often only has a small drop of blood falling from his forehead. I was told that one reason for this might be the syncretism between Mesoamerican indigenous culture – where blood held a central place in the practicing of their rituals - and Spanish Catholic beliefs and practices. How did this first trip to Mexico influence your artwork after you returned home? I made a series of necklaces called Human Tree, inspired by this first journey to Mexico City attempting to describe my experience. The nine necklaces were inspired by the milagros, which are traditionally used for healing purposes and votive offerings. Milagro literally means miracle or surprise. In addition to their religious and ritual applications, they are also found as components in jewellery. My pieces also tried to mimic the red colours of the volcanic city, as well as the fleshy colours of the representations of Jesus inside some of the Churches I visited. The project started when I came home to my studio after Mexico and started to produce my own Milagros in metal by copying the body parts that I had found in the churches: lungs, arms, legs, kidneys, bone. The human body was the objective of this work, but also its subject. You’ve mentioned that you were also introduced to occultism and black and white magic in Mexico. What did this mean to you and how did it creep into your work? Since becoming interested in amulets and talismans, I have wanted to learn more about the rituals performed in Mexico, some of which can be considered to be black magic or occult. For example, some sorcerers perform magic by using things like human bones, dead bats, and inscriptions directly into the skin as a way of cursing enemies and unleashing evil. So if the definition of black magic is the use of evil spirits for evil purposes, I wouldn't say it has crept into my own objects. In another sense, black magic has to do with the things regarded as unacceptable in a culture, as the limits of what’s acceptable and what is not are defined by where it’s performed. What I want is to reference darkness in my work in one way or another. For me my work doesn’t become good without a more murky or sad aspect to it. Without that, it doesn’t have any depth to me, it just becomes too light. What I mean with darkness is something more than just a beautifully composed and well-made object. I want my jewellery to have something more, beyond only aesthetics. In some projects, this has come through using grief, in others decay, even eating disorders. As a motivation for many of my projects, I have worked a lot with putting emotions on the outside of the body. In some pieces, this has been in an attempt to start conversations about such difficult subjects. The aim of those pieces were to help the wearer overcome and process through making sorrow more visible. There is darkness in the Human Tree series, but it first uses beauty to lure you into the pieces. For example, what looks like a lace element in the object may be a shape built up by chopped-off fingers if you look more closely. I think the eye stops when it becomes interested in something that it finds beautiful, but I want to make work that goes beyond that beauty first seen. I want to create a paradox. You’ve said before that objects that become powerful to the owner interest you greatly, and that the history of jewellery in general carries so much mysticism. Does this explain your curiosity with amulets? How do you see jewellery participating? Amulets can be created in many forms, but as jewellery objects they have a lot of mystic qualities that protect or harm. The power of these objects are not only the materials that they are made of. It is also that they are endorsed with power and meaning that, for example, can send evil away, bring health, provide cures, and bring success. And jewellery can be many things. Jewellery to me is an art form that comes closer to a person than any other form of art. I don’t believe that a painting has that ability. A piece of jewellery sits on the body and speaks directly from the body out, or hides close to you under your clothes, and it also travels with you to places and visits you in your home. Some objects are passed on from generation to generation. Those objects encapsulate so many stories and become magical for that reason. The relative culture around amulets led you to do quite a bit of research after your return from Mexico that you then put into practice through subsequent workshops you organized, isn’t that right? Yes, in 2013 I was contacted again by Otro Diseño to participate in the Taller Viajero/Travelling Workshop program. I was asked to create a workshop in connection to my experiences with Latin America, so ‘Amulet or Talisman - the public and the private in contemporary jewellery’ was born. The workshop took place in Mexico City, Guadalajara and Santiago, Chile. This made me research deeper into amulets and talismans to find out more about their long history. Amulets have been made for millions of years; I realised I only knew about a very small portion. Followers of many different faiths and traditions have considered amulets to be direct links to the gods and the local spirits. The workshop consisted of two main focuses, the creation of one amulet and one talisman. The first section was about sharing with others, and the amulet representing the shared portion. The participants had to choose one person from the outside world, previously unknown to them. Based on strict individual interviews that highlighted personal weaknesses, they made an amulet to protect that person throughout the duration of the workshop. The second section of the workshop was about challenging the intimate and the shared, and students were asked to create a talisman using their own weaknesses and faults as a starting point. The talisman represented the private because they were made for oneself, and they were made powerful only by creating a ritual or performance that gave the talisman charge. The talisman was used to attract a particular benefit to its owner whereas the amulet was created to protect. The materials were also chosen deliberately because they were powerful to that person which gave more charge to the objects. The participants became servants of the spirits. The workshop ended with a final presentation of the talisman where the students were asked to include a traditional or non-traditional act of charging it in a manner that fit the participant’s idea and concept. Did you find the students to be already fairly connected to this kind of object-to-ritual culture? Yes. Many of the students already had daily routines and objects in their lives both for religious and nostalgic reasons. Amulets and rituals are very present in the everyday life of Mexican and Chilean. There are many risks in a large and chaotic city like Mexico City and many people look for comfort and safety in amulets. The students questioned me about my own belief in amulets, which made me ask myself why, coming from a non-religious background with few examples of superstition in my culture, am I now trying to teach them about amulets? I found it to be a very relevant critique on their part and I think I learned as much from the students as they learned from me, if not more. The purpose of the amulet and talisman workshop was also to create awareness of what materials we as artists use in our work, and responsibility for being able to justify why we use them. I also wanted to create a workshop that encouraged a collective support system. Do your own pieces ever function as amulets or talismans? It would not be correct to refer to my previous work as functioning as amulets or talismans, but they are inspired by those objects and forms. The energy and powers that I have put into my previous work is something different than what I am thinking about now. Previous work has been charged by different powers. I often use an obsessive working process where work is made intensively over a certain period with little sleep and much repetition. The state of working like that gives me a feeling of leaving myself to the ‘other’… I have the feeling that this manic way of working repetitively gives me certain sensitivity, and obvious truths that are inaccessible to reason are somehow created. I have the feeling that I don’t fully have power over what I create. I think many artists recognise this feeling of being ‘overtaken’ by a creative energy, but at the same time feel a lot of bodily presence. How does what you’re working on now differ from your previous work? Thinking more about the origin of materials is important to me right now for more reasons than one. I have a strong feeling that I want to learn more about the materials from an environmental standpoint. I haven’t previously chosen my materials because of the origin, but rather by their material properties and by how I was trained (as a silversmith). I love traditional metal techniques, and I find a lot of joy in shaping and experimenting with metal. I love to transform metal and make it become my own and I always buy recycled silver and sometimes recycled copper. But I have recently been thinking a lot about how I live and what I consume as well as what I make. I want to know where those metals are coming from. In my own amulets and talismans research the origin of the material and how it was created is very important. It’s more than where it comes from, but how the materials were made, by whom, with what tools, who it belonged to, when, where and so on… Every person that I have spoken to about amulets and talismans defines the material in the objects as one of the most important components into making them successful. Do you have your own personal amulets? Yes. I do have my own collection that offers me security and reliability. After being in Mexico and Chile, I have even more than before. One example is a contemporary amulet by Laura Alba (México City), its purpose is to protect the wearer, and to alert and enhance their awareness against addictive and compulsive consumerism. I wear this piece a lot. It’s fair to say that your work has since become a syncretistic collision of Latin American culture and your own. Your experiences down there have thus become part of your own personal culture that you speak to through jewellery. How might this collision be manifesting itself now? Even after the workshops my own work has continued to become inspired by magic. Going back to Mexico again in 2013 gave me the opportunity to travel and meet and interview people from different faiths that use both black and white magic. I visited magic markets and some other really amazing places. The plan now is to spend the next years continuing to work with the relationship between superstition and objects. I will continue to search for places in my own country and elsewhere where rituals, irrationality, and faith are a natural part of everyday life. In addition, I hope to explore the power of the object and jewellery’s social functions. I find it difficult to talk more precisely about this since I am in an early stage of planning my own research. I still don’t know the exact locations. Irrationality and faith are found in many places. In general, syncretism is one of the most important factors in the evolution of culture and can of course be found in Sweden as well. Christianity is a syncretic religion in itself and many traditions alive in Sweden today are created from the fusion of pagan religions and customs. Everyday faith is something that I also would like to look into, not only places named as magical. I am now trying to structure my ideas to go forward. And where does your new series, ‘North’ stand in reference to all this? I was invited to take part in a group exhibition in the very north of Sweden, since I spent some years of my life in this area. I decided to focus my project on materials that have an origin in this part of the country: tree burl, birch, reindeer skin and horns. It was a new confrontation, but at the same time such a freedom to travel into the countryside to start using unexplored materials and to find new techniques. I believe that this experience gave more life to my thoughts about the importance of knowing about the origin of material in order to create powerful objects. I hope it will give support to ideas and processes to come. This interview was first published in #2 Current Obsession Paper in March 2015.

Designer Anneleen Swillen is inspired by the way daily goods are consumed and (re)presented. The jewellery pieces from the collection CONTAINERS (2014) and CONTAINERS in Context (2014 – 2015) are a research for the aesthetic potential from disposable packaging and are inspired by their interesting but unnoticed design. Through their use as moulds, the negative space of the package will be made visible and materialized in plaster and resin. Challenged by this ambivalence, between waste and its aesthetic potential, Swillen’s designs and materials play with the notion of precious and worthless. Through production and reproduction she investigates the industrially manufactured and its potential applications in craft. The repetitive making process, which refers to the mechanized production of goods, offers the opportunity to produce series of work as well as to make unique pieces. The neckpieces and brooches from the CONTAINERS collections will challenge the wearer to give value to the subordinate product and will draw the attention to the intrinsic but often unnoticed qualities of things in our everyday surroundings. Photographer Elio Germani gave special consideration to the valorization of Swillen’s concept and the method lying behind her CONTAINERS series of jewels. For this shooting he decided to focus on the background, that he conceived as a structure able to welcome the extremely various shapes of each piece. The photographer’s aim was to accommodate the intrinsic coherence of the series, which reflects a soft fusion of concept and shape. He has therefore created a frame capable of welcoming every piece. The shapes of disposable plastic packaging that make up the series delicately inspire the structure. Even if the background refers to the shapes and concepts of the jewels, it also plays a complementary role: the opacity contrasts with the brightness, as vivid colors stand out from the black and white pattern. www.anneleenswillen.be www.eliogermani.com

Part 1 The Tower Ted Noten By Marina Elenskaya Sitting across the table from the renowned Dutch jeweller Ted Noten, while he drank his coffee, smoked cigarettes, and talked about how it is necessary to do unnecessary things was the adventure I got myself into a few weeks ago. We decided to sit down and talk about his upcoming projects and reflect on past ones, like his monograph [1] that came out in 2006 and the Manifesto that accompanied it. The talk, however, turned out to be more than that. The mysterious ways in which Ted works speak better than words. The projects in the making seemed to me like the perfect answers to the questions I’ve had. Ted Noten in his Amsterdam studio Ted Noten’s studio is a huge space in the centre of Amsterdam packed with decades of work, books, funny and weird collected items, posters, books and magazines. A hallway leads from the yellow door of the studio towards the kitchen. To the right, there are two large rooms: an office and a workroom. The ceilings are quite high, so loft-like half-floors have been constructed in every room, designated for jewellery bench work, more office spaces, or storage. The space is also filled with people - the team and the interns – as well as with many familiar pieces from past projects and collections. Amongst these items is a small postcard with an image of the Tower of Babel, a component of Ted’s exhibition one and a half years ago. Ted Noten holding the postcard, Credit ATN The story of the Tower of Babel and Ted Noten began in 2012 while he was preparing the show Framed by Ted Noten at the Stedelijk Museum ’s-Hertogenbosch - an exhibition as a self-portrait, through the works of others. Ted managed to amass an impressive collection of works by artists and craftsmen from various time periods and geographic locations. One piece that Ted was unable to obtain, however, was a nearly five hundred year old masterpiece by Pieter Brueghel the Elder, The Tower of Babel. This painting is an incredibly detailed work. On a canvas of sixty by seventy-four and a half centimetres, Brueghel painted a spiralling tower that appears so enormous it looks jammed into the frame. The top of the tower floats above the clouds and its base extends itself over the dry land and the seashore. Inside the tower, more then a thousand minuscule figures of men and horses are at work, constructing, hoisting materials, and climbing ladders. The painting belongs to Rotterdam’s Boijmans Van Beuningen museum, but they decided not to part with the irreplaceable piece and declined Ted’s loan request. Instead of the painting itself, Ted decided to display thousands of postcards with the image of the Tower of Babel on the front and Ted’s handwriting on the back; they were copies of the original postcard he first sent to the museum’s curator asking to borrow the painting. Visitors of the exhibition could pick up as many cards as they wanted to then post them if they so desired. The result was the Boijmans Van Beuningen museum receiving one and a half year’s worth of postcards, each one requesting to take the painting on loan. I saw another connection to the Tower in December 2014 when Ted Noten showed a work called Ted’s House during Art Basel in Miami Beach (represented by Ornamentum Gallery, Hudson, NY). The work was a kind of a time loop dealing with the past, the present, and the future. It started with the past, represented by the Homage To My Grandma, a clear little acrylic trolley-bag packed with crosses (some of which belonged to Ted’s grandma) inscribed Oh, JC, JC, won’t you dance with me. Then there was Mom - an older work - a sewing machine with a water tap that leaked out faceted stones. Conversation Table, a more recent piece made in clear acrylic, meant for a hypothetical couple in discussion where, besides other paraphernalia, a big Winchester rifle was engraved on the table by the man’s side and a little gun engraved by the woman’s side. Homage To My Grandma and Conversation Table, Credit ATN The future, according to Ted, resembles a huge bird’s-eye view photograph of a spiralling flyover highway (or skyway) in Shanghai. The intention was for the space to be open, expansive like a big window. The wide-open image of the highway is so strong it feels like the gusts of wind are blowing in your face when you look at it. It is an image of a gigantic human effort, with cars rushing up its spiral structure, just like in minuscule figures climbing up the Tower in Bruegel’s painting. The Shanghai highway represents the future and so does the Tower Of Babel. I can just imagine Ted looking over the gigantic spiral from the height of Ted’s House; he is holding a cup of tea and wearing a necklace he has made from houseplants titled Home Is Where The Heart Is, a symbol of the present. In Genesis, when the sons of men decided to join forces and instead of ‘replenishing the earth’ build a great city with a tower that would reach the heavens, God decided to obscure their language so they would no longer understand each other. As a result, humans couldn’t communicate, so they abandoned their ambitious project and scattered themselves around the Earth. This story is classically associated with how the Old Testament explains the origins of different languages. Another connotation of Tower Of Babel, however, is a symbol of going beyond human limitations. A tower is a human-made mountain, a construction rising toward the sky. Ancient pyramids and temples symbolise the world-old desire to reunite with the heavens and to connect with the Creator. The sounds of bells and prayers coming from the tops of religious temples around the world are directed at the heavens, amplifying the worship as they reach closer to the sky. The tower is also a symbol of military power: a strong, resistant fortress able to protect us from the unknown. It became a symbol of society – a safeguard and a prison in one, where the architectural structure clearly marks the social divide and the hierarchies between the high and the low, the powerful and the powerless. The tower can also be associated with the ability to distance ourselves from the havoc of the world below. The quiet isolation may allow us to foresee the future and reflect in silence. Inside the tower, thought becomes directed inwards, out of touch, isolated. [2] The story of Ted Noten and The Tower of Babel will continue this year. He plans to return to the above-mentioned museum, the Boijmans Van Beuningen, with a big solo show in June 2015. The exhibition Non Zone will coincide with the release of a new book encompassing the past ten years of Ted’s work. The exhibition will consist of three separate rooms dealing with subjects have surfaced in his recent work: the issues of authorship and originality and the point/pointlessness of an act of a human effort. In the first room, Ted plans to mock a retrospective of his own work. Instead of the actual pieces, he will be showing the exact copies of each piece he made in the past ten years 3D-printed in paper. In the second room, there will be a pile of sand. Every, Sunday an old man (but also the director of the museum/Ted himself and other volunteers) will sit in a wooden booth to remote control a small toy truck that will pick up the sand and move it from one corner of the room to the other. And once that’s done, he will start moving it back. According to Ted, sometimes it’s necessary to do unnecessary things. The third room however, will be of the most interest. Ted will be building a Tower of Babel made out of the contents of his entire studio, including furniture, equipment, works, office supplies, everything. Ted will be left alone inside his absolutely empty white studio. This blank canvas, this ‘burning the books’ act is where Ted wants to find himself and see what will happen. This self-inflicted isolation is an attempt for Ted to break out of his own boundaries. The stuff we surround ourselves with, the rituals we perform, the routines we create for ourselves often dictate the way we work and the way the work looks like. The stuff dictates our thinking. Building the Tower of Babel from his studio’s contents is the way for Ted to make an effort to overstep and go beyond these limitations. A small white box will be the only thing left in his actual studio. In it, Ted will leave notes and compositions, while a CCTV camera transmits the images back to the museum to communicate his process to the audience. Using a heavily loaded theme like the Tower of Babel, combined with a very decisive working method, signifies Ted’s balls-out approach. Many times, Ted's work has put up a mirror to the audience. In his exemplary works like the Wanna Swap Your Ring? gun, Be Nice To A Girl Buy Her A Ring or Mercedes Benz Brooches the viewer is confronted with icons of status and sexual symbols, representing greed and the construct of value. However the Tower of Babel and Ted's recent exhibit of his House seems to be a turn towards a rarer, more personal approach, in which he scrutinises his own methods and doubts before reflecting his questions back to the viewer. The Tower shows his loneliness and surrender to things he is not able to control. Apart from the festive nature of a grand retrospective, in which we celebrate the plethora of the artist’s achievement, the artist is also confronted with his undoing. The retrospective in some way ‘clears the cache’ of the statements the artist has produced in the past. For once, Ted is not showing us the mirror to our temptations and sins, but allows us an intimate look at his own vulnerability. Ted’s Tower of Babel is in a way his refusal to close the book on himself. It is similar to how we can interpret salvation from the actions of God arresting the attempt to complete the tower. He does that by dispersing all the things and all the people of the tower and gives them new direction by taking away the one reliable thing that binds them. By building his own tower of Babel, Ted renders the achievements in his career as disembodied artefacts. To become lost again, while staying true to ones acquired language is what he hopes himself and the viewer to take away from this piece. Instead of burying his work in the past, he wants to clear the path to the future, and keep it wide open, like that image of the Shanghai highway. Ted's House at the booth of Ornamentum Gallery at Design Miami/ 2014, Credit James Harris But before all his stuff is transferred to the museum and he has nothing but time to sit in the empty studio barefoot and fresh-minded, something else will happen. Ted is conspiring a new concept for an exhibition, this one taking place at contemporary jewellery gallery. At Rob Koudijs in Amsterdam, Ted will be reversing the roles of the gallerist, the artist, and the audience. He plans to infuse them with new creative meanings: a perfect answer to the thoughts expressed in the Ted Noten Manifesto first published back in 2006 and recently republished by CO. Ted keeps saying that it’s not his intention to start a revolution, but this unprecedented exhibition just might turn out to be the pebble that causes ripples in the calm and undisturbed waters of contemporary jewellery, starting irreversible and unavoidable change. [3] 1. Ted Noten: CH2=C(CH3)C(=O)OCH3 enclosures and other TNs, 0I0 Publishers (2006) 2. Archive for Research in Archetypal Symbolism, 2010. By Taschen. ‘The Book of Symbols. Reflections on archetypal Images.’ Editor-in-Chief Ami Ronnberg, Editor Kathleen Martin 3. The exhibition You And Me at Gallery Rob Koudijs was on display 18.04-23.05.2015. Current Obsession is working on the Part 2 of this article. Coming soon.

Born in France, Typhanie Le Monnier studied and taught at ArCo, Lisbon from 2007 to 2012. Currently she is completing her Master Degree at FH Trier school for Applied Science, Idar-Oberstein, Germany. Venus Study, Venus Nº1, necklace, marble, elastic band, photography by Stephie Morawetz Venus Study, Venus Nº2, necklace, marble, elastic band, photography by Stephie Morawetz Venus Study, Venus Nº3, necklace, marble, elastic band, photography by Stephie Morawetz

Anna Norrgrann/ The Flow within and Flight from a Standard Size​ Space,(borders). A4 The white expectation. Norm and construction. Possibilities and limitations. Body. Carry. Jewellery. Metal. New context. Wrong context. So we see for the first time. Confrontation. Action. By using the hammer. Beat, stretch, adapt. Reconcile and reject. Movement and change. A new era. P u l s . . . Colour. Flow. Spill. The evocation of landscape. Travel in time to emotions. Memories. Known, unknown. Sanna Wallgren/ Avtryck The body. I cogitate on my feelings about it. The fascination and the fear go hand in hand. Nakedness. Beautiful, pure and still. Or maybe exposed, outrageous, vulgar... Sofia Bankeström/ Flora Clandestina The presence of the past is the memory, the presence of the here and now is perception and the presence of the future is anticipation. I can see the past in things around me. Wear, patina, fingerprints. These are traces of activity, whether I remember it or not. Whether performed by me or someone else. It seems I have access to a past beyond myself and my memory. I want to tell you a story. About looking for something without knowing what it is. About wandering in a forest without getting scared. About embracing what you find and learning to understand it. Maria Janson/ Kaotisk illusion By a combination between the natural and artificial, I am painting my own landscape to travel through; building bridges between two worlds which together will tell us an endless story. I am creating an illusion of a stone that is trapped in an abstract body. Filled with structures, cracks and irregularity. Filled with life. A new illustrated dimension of reality, something unidentified but still recognizable. I wish to make jewelry that creates a willing to touch, which converse through both form and emotions. Create a meeting for reflection over existence and dreams. The presence of the oceans’ tender hand, crystals that shimmer in contrast to the coral's flow and the hardness of the mountain. An integration of a unit. My search is based on symbolism and value, where the true and noble allows to transform and to fall softly onto the indifferent ground. Linda Miao/ TRANSFORMATION Inorganic things have static forms. They provide a visual experience that things are not growing. Organic things are something can regenerate and show a sense of growth morphology. They provide a natural, free, uncontrolled and growing sense. Inorganic and organic forms are two completely opposite biological condition. What will happen when they meet? It will be a natural transition or a strong abrupt contrast? Is that possible to show a conversion of two different states on the same thing? Is it possible to show two forms of the collision on the same object? My work is about transformation. A state of transition... A transform of form... Sara Lailasdotter/ FRAGMENT Telling a story is searching within memories. It's retelling, recreating a whole through the fragments you know. It's about filling the gaps. To intuitively fill the blanks with words that sets a rhythm. Completing the story, making it a whole. Yet forever inconstant. The same story tomorrow is filled with new fragments. In different gaps. The emphasis of the story has changed. What was told yesterday doesn't flow today. The story adapts to its occasion, to its environment. An occasion in constant inconstancy. The making has become my therapy. A slow, lonely therapy session where the only ones listening are the objects. Loaded with personal secrets. Fragments of confidentiality. Your soul was torn in pieces so you disappeared. My soul was torn in pieces when you disappeared. Now I stand alone to mend what's broken. To tell our story. To tell yours. So that you never will die again. Jelizaveta Suska/ . In my work I am aiming to create pieces that would express solitude, moments of happiness and silence. What is silence? Is it an ambiance in itself? For me it is incarnated in stone, landscapes, winter and blur. I use a polymer material and cover it with crushed marble; similar to a layer of snow on an empty field. Silence is light and transparent like the material I use. The combination of these two components creates the illusion of a solid stone. The sparkling marble gives it a depth, whilst transparency allows seeing it on a different level. My idea is to show beauty of silence in a landscape or stone-like abstract figures. Traditional materials have a heavy historical baggage. One of the reasons for the usage precious metals in traditional jewelry is a highlighting the value of expensive stones. In my work I question traditional approach and instead of valuable jewels I celebrate the idea behind the material. Whilst using valuable metals like gold and titanium on the rear and on other minor supporting details of the jewelry pieces.

‘Can I be your intern?’ Kelsey asks me. We are both in Rome, she is a student at the Rhode Island School of Design’s European Honors program, which is where I work and have a studio. At this point, six months ago, I don’t know much about her, only that during the past summer she transformed an office building in downtown LA into a wildly successful four-room, totally immersive sensory overload installation/dining experience called Tink’s House, at the age of twenty no less. I’m impressed, so I tell her she can be my intern, though I’m wondering why this tiny blonde painting major is taking a sudden interest in making jewellery. She has no experience but she’s eager, and to show me she cleans all my anvil and hammer surfaces to a shiny, like new finish. In exchange, she tells me she wants to set her crystals. It doesn’t matter what the settings look like, they don’t have to be pretty, she says. The crystals just can’t fall out. And that’s how our friendship started. It was around the same time that Kelsey’s spirituality started to emerge and put itself together and her crystals were of total indication. September 2014 was the beginning of what would become a five-month crash course into a new spiritual practice for Kelsey. She had been to psychics in the past and had surrounded herself with people following different spiritual paths, but now she was starting to get into her own spirituality more seriously, in a way more in line with her everyday life and art practice. Through talking with fellow students similarly interested in other spiritual realms, Kelsey’s awareness of her own particular psychic tendencies grew, tendencies that she wasn’t really able to understand or identify by name until now. It all started after the spontaneous purchase of a small, tumbled quartz with which she decided to meditate. Kelsey already knew that quartz stores and amplifies energy, so she began by feeling the energy of the crystal itself. She then tried to transmit her fullest intention of the day back into it, goals of love and gratitude, in hopes that it would radiate that energy back to her afterwards. It was a nice meditation. A few hours later, she picked up the crystal during art history class and held it in her hand again but quickly became quite queasy and uncomfortable. It was as though she was getting some kind of high off of it, the sensation was too powerful. She held the crystal with her sleeve. ‘I didn’t want to be around it, and I still can’t even really hold it, but it was my first one and I kept it, even though we just don’t vibe well.’ This was Kelsey’s first personal experience with crystal energy. Wanting to understand more, she turned to her friend, Grace, for guidance. The two began meditative exercises together. ‘Realizing in my experiences with Grace, who is clairvoyant, that we were able to communicate with each other really well nonverbally, like psychically in meditation, was mind-blowing. So then I started to really want to cultivate it, this thing that I was never able to control or comprehend before. Grace and the others told me that what I was experiencing was clairsentience – a psychic feeling in different parts of my body with sensations in temperature, shape and color…’ In joint mediation, Kelsey and Grace would send messages to each other by programming certain crystals with energy, Grace working with Kelsey’s clairsentience and Kelsey working with Grace’s clairvoyance. And it worked. For example, if Grace visualized a directional, thermal movement, Kelsey would be able to feel it in certain parts of her body. She would then do the same thing with sentience through color and shape for Grace to visualize. These exercises helped Kelsey gain control of her psychic muscles. Kelsey’s newfound excitement led to certain discoveries about how in touch to the senses she already was. Before coming to Rome, Kelsey spoke of struggling with anxiety, a lot of which came from not being able to tell the difference between her own energy and that of someone else. To her, it all felt the same. ‘It’s not just empathy, but I think I didn’t really understand that I could be experiencing someone else’s emotions, apparently because I was attuned to it in a heightened way. I noticed I was feeling really emotionally out of control all the time because I couldn’t decipher what emotions were actually mine. It really hard for me to be in social situations.’ She began to acquire more quartz in hopes of using it to tailor specific experiences. But she quickly started to notice how the crystals’ influence also vastly improved the quality of her life. Whether she was meditating with them or even just being around them, she felt happier and much more positive. Black tourmaline was next for Kelsey due to its defensive qualities – ‘really feeling and knowing that it would protect me from negative energy, protect me from negative energy that’s not mine made it easier to actually interact in the world.’ Harnessing Kelsey’s clairsentience was a way to remedy anxiety and more frequent meditation with crystals began to help her navigate the fields of energy around her. She began to think about all the potential different ways to play with this newborn control. Perhaps, eventually it could even be another tool for art making. Kelsey’s previous artworks demonstrate an early tendency towards this idea, Tink’s House being sort of the restaurant version where food, the element of flavor, texture, and the temperature in food was abstractly reflected in the materials she used to build the space and its environment. ‘I’ve always been interested in this idea of sensory experience. I see now it’s because I’m clairsentient and that’s a huge part of how I experience the world… what would it be like to actually bend energy experience for people, for myself?’ And so as the autumn went on, her crystal collection grew. The energy exchange with certain crystals was now becoming a part of her daily life to the point that she felt the urge to wear them. ‘To wear a crystal then - instead of just holding quartz and using it as a tool – was totally different because I could basically curate the energetic field around me.’ Suspended on thread then tied to a string, wrapped in a rubber band or paperclip… however she could hang them didn’t matter, she just needed them around her neck. Though the necklaces looked thrown together haphazardly, they were deliberate. The crystals, usually in sets of no more than five or six, were spaced out with knots so they wouldn’t touch. ‘I didn’t want their energy to pollute each other. I need to cleanse each crystal separately in glasses of salt water, so there had to be enough space between them for that too.’ The necklaces overtime got better. They had to really, Kelsey reports losing nearly seven crystals due to the obvious flaw in her MacGyver-esque assemblage. And that’s why she came to me, because continuing to lose crystals that she had bonded with emotionally became dramatic and depressing. We made some improvements, setting certain new crystals as minimally and in the most immediate ways possible just so they could be hung. No fuss was necessary, just function. Plus, Kelsey doesn’t even really like jewellery she barely wears it. ‘The crystal necklaces came out of wanting to lay out my experiences or my energetic surroundings for the day, like giving medicine to myself. Or setting intentions, like carrying forward a meditation or being very specific about exactly the kind of energy I need that particular day.’ Though Kelsey has learned a lot about the many qualities and properties each type of crystal carries with it, the decision-making process for which crystals to acquire and wear also heavily relies on intuition; it’s enough for her to know what makes her feel amazing, like opal, for example, without necessarily knowing why. At the time of our interview, Kelsey runs me through what crystals are strung on her necklace. First, a long and slender rose quartz that radiates positive love energy. The next one, a rounded greenish-blue stone, possibly a labradorite though she’s not positive. Being the silliest one, it’s my favourite: hanging vertically on a small piece of purple vinyl thread that doesn’t quite match the stone’s girth. Then comes a piece of pink coral; ‘I really love this one especially, it’s just super Roman, it’s more symbolic for this whole experience. But it’s also a heart chakra, similar to the rose quartz.’ A citrine follows; she describes it looking like a gold and white tooth icicle. It’s one of the few stones that does not absorb negative energy whatsoever so there’s no need to clean it like the others, Kelsey explains. Then comes another mystery stone that looks like a yellow teardrop. I remember seeing it on her very first necklace iteration. ‘This one I didn’t pick with researching but I connected with it immediately, I just felt it had an amazing beautiful energy that made me feel good.’ The Buddha’s eye is the last one strung, a third eye chakra, a grounding root chakra I’m told, that has to do with confidence and connection. I ask her if she sees these necklaces as singular objects or just as a means to suspend individual entities. ‘It’s just like a template, a container, the string is the container and the crystals are their own things.’ Like a clothesline, I say. It just needs to hold up the clothes. Earlier in the day of our interview, Kelsey and I had taken a scrapped silver-wire safety pin from my bench and jimmied it around a brand new crystal. It’s by far her favourite, an Arcturian Star Berry, as she calls it. She ordered it online from a clairaudient woman (she hears psychically) in Wisconsin. She and this crystal had an instant connection. ‘I can’t explain how, honestly it just feels like a really nice completion to me when it’s around, it’s like some kind of companion.’ This is probably because Kelsey proclaims she’s lived a past life on Arcturius, a planet in our universe inhabited by peaceful and loving 5th-7th dimensional beings, a highly advanced species that use crystals as well. I won’t get too into it but she learned this about herself by going through a past life regression with Grace. I also write this with the risk of making Kelsey sound crazy, but she’s not. Kelsey decided that the Arcturian Star Berry as such deserves its own necklace. But this time there’s no thread. Instead, a substantial sterling silver chain takes its place. And that means there are no knots either, but a large steel safety pin from which the crystal hangs. It also doubles as the necklace’s clasp. These decisions are still practical but also a bit more considered than the usual thread, exalted even in comparison. ‘So now I feel much more secure. This is a more permanent thing and all metal. Metal is a conductor of energy…and I like it because it’s not too fancy and I just don’t want to look fancy.’ No fuss. As wild as this all may seem, these supernatural concoctions have purpose. As established, Kelsey is not a jewellery person in any sense of the word, but I’ll go as far to say that her necklaces are infinitely more deliberate than a large portion of the contemporary jewellery that’s floating around right now. They have to exist. What she’s doing almost seems like the opposite of what we know jewellery to be today, which at times is only a hodgepodge of compositional confusion or a shallow interpretation of feeling or experience; Kelsey’s work stays truer to jewellery’s foundations. Sincerely involving necessity, urge and personal belief (whatever that may be) into the singular objects we make isn’t an easy task, but Kelsey does it seamlessly. She also shows us something we risk losing as we chase the purely decorative, a new material lust or just what’s hot right now. And you know what else? At the end of the day and despite it all, Kelsey’s necklaces also look totally fresh. You might want to start taking notes.

Bits and Bobs Sofie Lachaert and Luc d’Hanisby Marina Elenskaya
Gallery Valerie Traan
Antwerp


At the Gallery Valerie Traan with its pristine white space and charismatic cobbled floors, I see objects scattered on the walls, I see objects sitting in small white cubes and rectangles similar in size to the puppeteer theatre stages that display singular objects or groupings. I see a series of simple everyday objects like painter’s stools or pallets covered in splashes and chunks of paint. I observe these objects for what they are and absentmindedly take them for granted… until the moment the corner of my eye catches a glimpse of a facet, a spark. It’s a momentary hint emerging from the wrinkles of solidified paint. I stop. I come closer. I look inside the piece. I realise that every clumsy bulk of colour smeared over the pallet is actually raw semi-precious stone, sunken into paint of the exact same shade as if it were melting and giving away colour the moment it touched the surface. Lapis lazuli, coral, pink quartz, turquoise - like islands of colour flowing into each other. Suddenly it occurs to me that I’m surrounded by a wealth of objects with a strong self-contained logic and mysticism. I start again.


With this exhibition, Sofie Lachaert and Luc d’Hanis use the languages of their respective disciplines – a jeweller and a visual artist – to discuss the relationship between two people working and living together. The painter’s pallet encrusted with chunky, rough stones speaks of the historical connection between jewellery and painting: grinded semi-precious stones were made into powder and used to make pigments. This piece is a conversation, representative of the limitations of both fields, building a bridge between two disciplines; a piece that could only exist as a product of two disparate artists joined at the hip.


One of the storylines in the exhibition is that of charcoal. An intriguing piece displayed on a desk is made of charcoal powder pressed in the shape of a black diamond. It’s an allusive play on the correlation of value - coal turning into diamond - and a reference to a handy everyday drawing tool. The shape of the brilliant-cut diamond fits perfectly into the clenched palm of a hand. Presented on a large sketchbook with pages filled with countless fine drawings, the piece invites the viewer to take the diamond and use it to overwrite the drawings. Yet the shape of the diamond only allows for rough, uncontrolled marks. The longer you hold it, the more your hand gets fatigued by its awkward shape. This piece is a figurative tool from to the Carbonium black room (part of the exhibition Tranches de Vie, 2014), where the walls of entire room were covered with thick black strokes of charcoal. The hand-drawn wallpaper evokes the feeling of being trapped in a contained space, like miners during a mine collapse, digging the earth entrails for its precious ore.


I walk further into the main hall of the gallery to look more carefully at the work displayed in the white cubes. On closer inspection, these white boxes are not as pristine as they first appeared. Their inner walls are covered with nervous strokes of charcoal and crayon, which correlates back to the Carbonium diamond. Various shades and intensities of strokes create specific sceneries for each object on display. As if removed from the shelves of a holistic crystal shop, large pieces or rough unpolished pink quartz, lapis lazuli and crystal rock are transformed into ordinary household items. A bowl and a series of candleholders simply created by carving or drilling into the stone’s surface appear as a simple gesture yet made with precision. The scenery taken in from a distance can be seen as a painter’s still life in which symbolism is plentiful, yet the matter-of-fact-ness of the objects and the ability to take them out of the context and use them practically introduce an interesting dimension to what we know as art and design. When the gallery worker lifts one of the candleholders up and reveals perfectly polished bottom sides of the pieces, I see another dialogue between the artist and the viewer, only meant for those who pay attention or choose to engage with the work.


A simple and rather mocking piece of pyrite hangs onto the wall in a silver ‘claw’ setting called Fools Gold. When the backside reveals a large screw used to attach it to the wall the piece turns into a sympathetic architectural brooch – jewellery for the wall. The show is presented with an immaculate sense of timing and styling; every piece gives another hint about the larger scheme of things. It is full of humour and carries multiple intimate stories about an art and jewellery discourse, as well as the life of the artists themselves.

Sofie Lachaert and Luc d’Hanis like to share parts of the making process with the audience, putting a large emphasis on the tools and materials of the trade. It is as though the artists are willing to shed some light on their individual making process while holding on to their inherent mysticism. For example, the painters stool is elevated on a trestle and encapsulated by a vitrine. This is an allusion to Brancusi's Endless Column: a stack of presentational devices, each one of them presenting the other (endlessly), turning sculpture into a common use item and vice versa. Its surface, which displays oil paint splashes mingling with sparkling faceted stones is encapsulated by the glass vitrine. Thus it celebrates the ordinary and celebrates the maker, the artist who sits on the stool.

None of the pieces on show seem to encapsulate a singular meaning. Every piece, whether it represents archetypes of 'the jeweller' or 'the visual artist' leads to a much more personal exploration of the couple's relationship; how a non-hierarchal relationship with art, craft and design has the capacity to complement and challenge each other greatly.

IAEA is a collaboration project between Studio IKKAI and Michal Avraham. The project focuses on installations and accessories. Animation is used to visualise movement and the distinctiveness of the serial accessories.

Michal Avraham is an Israeli material designer. Studio IKKAI is specialised on art-direction & communicational design. IAEA is based in Amsterdam.

Project #1 Series of ten necklaces
The first line of products is a series of ten necklaces that form a sequence. The jewellery is a result of an experimental process which creates one-off random patterns, inspired by natural wild eggs, in a small industrial production.
Photography: Daan Paans / IAEA


Project #2 Series of ten digitally printed scarves
In Project #2 IAEA has designed a series of digitally printed scarves with a narrative function. The ten scarves appear identical in the physical realm, but they transform into a moving sequence when shown virtually.
With this series, IAEA explores identity and all its components. Symbols and objects are assembled to question gender and identity. IAEA has developed an installation in which the scarves are presented as flags. This installation shows the juxtaposition between the flag as a tool for communicating identity, and the scarf as an accessory used merely to enhance beauty.
Photography: Iztok Klancar / IAEA


10 digitally printed silk scarves, with on each scarf a slightly different print. When shown in a stop motion animation, the scarves form a sequence.


10 digitally printed silk scarves, with on each scarf a slightly different print. Shown in an installation.
Installation: AAANNN

Alchimia Contemporary Jewellery School presents its annual graduation show June 18th-24th featuring six artists from six countries and six cultural backgrounds. As different as these makers are, their thought processes and skills have come together over the last year of study to create an exhibition entitled LOOPS.

A loop is a structure, series, or process, the end of which is connected to the beginning. This show involves six loops of thought working through fears, confusion, questions and intrigue. The show LOOPS is an opportunity to communicate these common circles of thought, and to organize them into cohesive, communicable bodies of work.



Brunella Alfinito
Photo by Lucy Plato Clark



Brunella Alfinito
Photo by Federico Cavicchioli


Lucy Plato Clark
Photo by Lucy Plato Clark


Lucy Plato Clark
Photo by Lucy Plato Clark


Maria Pisarevskaya
Photo by Federico Cavicchioli


Maria Pisarevskaya
Photo by Federico Cavicchioli


Segev Ben-Josef
Photo by Federico Cavicchioli


Segev Ben-Josef
Photo by Federico Cavicchioli


Evrim Turker
“Breath”
Fabric, Thread
Photo by Federico Cavicchioli


Evrim Turker
“Breath”
Fabric, Thread
Photo by Federico Cavicchioli


Evrim Turker
“Breath”
Fabric, Thread
Photo by Federico Cavicchioli


Yingyi Zhou
“Hub”
Cold enamel
2015
Photo by Federico Cavicchioli


Yingyi Zhou
Pendant
Cold enamel
Photo by Federico Cavicchioli

BA Jewellery Design at Central Saint Martins Graduation Show 2015

Degree Show Two: Design at Central Saint Martins runs from Wednesday 24 June to Friday 26 June, 12-8pm; Saturday 27 June to Sunday 28 June, 12-6pm
www.arts.ac.uk/csm/degreeshows2015

Fan Sze Fiona Li
Attachments
Combining hardware-store grit and playful eccentricity, Fiona’s work departs from the notion of decorative jewellery for women and instead explores masculine objects of function and practicality. Using braces and snap hooks, her pieces echo masculine construction tools and attire, fashioned in contrasting materials such as dusty pink suede and flashy gold metal. This transforms the concept of unfashionably dull hard labour. Details of work overalls become long shoulder brooches and carabiners are enlarged, shrunk and multiplied to form rugged or dainty bracelets and earrings.
Materials: 3D printed polyamide, 3D printed alumide, suede, gold plated brass, freshwater pearls
Photography by Marek Chorzepa
Model: James Newhouse
Model agency: nevs
www.cargocollective.com/lifansze



Iona Judd
Warlord
By emphasising, transforming and subverting elements of militaristic imagery, Iona draws attention to the political implications of self-representation. Her work explores the way that war criminals such as Liberian Charles Taylor orchestrate the staging of power as a means to establish their authority. Iona’s pieces reveal layers of meaning, as in the way that the gold glasses inlaid with red diamonds outline the disturbing correlation between bloodshed, the trafficking of natural resources and an overt display of power and wealth.
Materials: Gold plated copper, gold plated gilding metal, garnets, Swarovski Crystals, glass beads, suede
Photography by Philip Prokopiou
www.ionajudd.com



Fiona Kakei Chong
Drawing inspiration from the elaborate hairstyles on ancient Roman statues, Fiona’s collection explores the idea of self-representation. Though seemingly composed of natural materials, Fiona’s intricate hairpieces are rendered in shells made of porcelain, a deception only visible on close inspection. Juxtaposing these references the headpieces play on the idea of ornament as a way to represent societal status in a modern context.
Materials: Ceramic, brass, leather,
Photography by Currisa Cheng
Model: Lucy Feng



Holly Kate Mathewson
Memories, traditions and knowledge are not the only things to be shared between family members. Based on her personal experiences and relationships, Holly’s designs are a powerful reminder of our material heritage, which, like clothes, is passed between generations. Hand-me-down clothes are physical testimonies of our family relationships. They may not fit perfectly, but they adapt to each body, while carrying the aura of our beloved ones. They breathe in a new life, and through them, so do our relationships.
Materials: Gold plated brass, fabric



Kota Okuda
Pioneer Days
Kota’s collection explores two notions of frontier: past and future. On the one hand, the Scottish tartan prints braided into materials traditionally found in Native American jewellery reference the historical frontier that was the so-called New World and the often problematic power dynamics that resulted from this merging of boundaries between cultures. Kota believes that by learning lessons from the past, humanity can progress into the future: the space capsule-inspired pieces embody the notion of space as a contemporary frontier.
Materials: Leather, Swarovski Crystals
Photography by Takanori Okuwaki
Model: Raina
Model Agency: Supa Model
Hair: Yuko Aoi
Make up: John Maclean
Stylist: Elle Baron
www.kotaokuda.com



Lucy Parker
Classy
By observing different rituals, atmospheres and clothing, Lucy’s collection explores the contemporary British class system as it relates to style. From pearls to tracksuits, she probes the cultural significance of different symbols that articulate class in everyday wear. As styles and codes intermingle, the lines between classes become blurred. Lucy’s collection of collisions tackles this phenomenon, presenting a merger of different aesthetics that question and play on sociological assumptions.
Materials: Found materials, pearls, cotton, gold plated gilding metal, Harris Tweed, rabbit fur
www.lucyparkerdesign.com



Mayu Ren Ishii
The Little Brides of Christ
The insular world of restriction for convent girls provides the context for Ren’s collection. Sculptural cages encircle the body, suggesting the overwhelming effect of these structures that are inhabited like armour, rather than worn. Just as religious identity imprisons convent girls, so do Ren’s industrial steel structures, with their rawness juxtaposed against the girlish shapes. Exploring the subtleties of that ideal, Ren’s designs probe beneath religion’s veneer of purity and formality, hinting at the burden of protection.
Materials: Steel
www.renkurosawa.com



Puyuan Yang
Material: Brass, copper, acrylic, foam



Rosie Greener
Rosie’s pieces fit elegantly onto the body and bestow confidence on the wearer. Their elegance has an uncomplicated quality, recalling blocks of concrete suspended from cranes above London’s skyline. The industrial materials, so often overlooked, assert their aesthetic value, yet their relative weightlessness is subversive, affording the wearer a sense of tenacity, strength and presence. The hexagonal prism brings a rhythm akin to Brutalist architecture’s tessellations and geometric flirtations.
Materials: Balsa wood, Jesmonite, styrofoam, brass, polypropylene rope
Photography by Justin Gong
www.rosiegreener.portfoliobox.me



Soo Hyun Jeong
The eyes, ears, nose and mouth are essential for human perception and expression. Yet one in five women in South Korea has undergone plastic surgery to alter these natural features. Critical of a world in which beauty means conformity, Soo Hyun casts her own facial features in metal for others to wear. There is an element of irony, articulated in the transformation of syringe needles into shiny golden objects. The result is a surrealist collage on the body of the wearer, a bold statement encased in raw elegance that challenges received notions of beauty.
Materials: Gold plated copper, gold plated gilding metal, acrylic, pearls
http://shj.squarespace.com/




Yuxi Sun
Sixty Two Pendants, Sixty Two Stories
Yuxi Sun’s narrative and personal collection explores the traces that our interactions with others have on our lives. She develops unique forms based on experiences she’s shared with guests who have couch surfed with her over the last year. Using a systematic formula, each piece reveals details of the visit, the season, the person, the length of their visit. Every pendant bears witness and becomes in turn a wearable memory.
Materials: Wood

Ditte Densen


Cecilie Scoppa


Tamara Vierbergen


Laura Klinkenberg


Laila van der Oord


Katharina Maria Wienen


Installation on the stairwell


Wouter Paijmans and Juan De Porras-Isla Fernandez La Casta


Presentation of the Best Thesis Award


Johan Jensen Kjeldsen


Impressions old building
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Presentations of the VaV students

BA Fashion Jewellery at London College of Fashion Graduation Show 2015

Juefang Yang
I always get inspirations from everyday objects, and I quite enjoy the process of exploring their forms and materials and reimagining them into a fashion jewellery context and the fashion accessories artifact in the broadest sense. I believe the perception of an object can be altered when the object is redesigned, so in my point of view, anything can become a piece of jewellery or artifact. My final degree collection examines linking and connections which integrating 3D print, CNC, stone cutting, casting and plating. Drawing inspiration from contemporary manufacturing processes and everyday mass produced objects, my final project is concerned with the concept of reimagining familiar machined objects, such as manufactured tools, components and fittings, into a fine jewellery context to creates a multi-referential content and reinvests the objects with new meanings.
www.juefangyang.com
https://instagram.com/juefangyang/


Cara Duerden
Interacting relationships-
Tool + Process
Tool + Material
Tool + Body of the craftsman



Rachel Lam
http://instagram.com/rachel.rlwy



Shuangshuang Wang
Inspired by early 20th Century Freak Shows.
Photography by Annie Lai, Model Alexandra karpova
https://instagram.com/shuangshuangw/

Hochschule Trier, Idar-OberSTEIN Campus, Department of Gemstone & Jewellery 2015 Graduates

Kun Zhang(BA)
Andenken (Remembrance) – After studying as a goldsmith in Pforzheim, Kun Zhang came to Idar-­oberstein to learn about gemstone and jewellery. She wanted to step out from her original environment to look at the Chinese culture from a distance. Hair ornament was an important part in ancient China, nowadays there are not many women using traditional hair pins. The trend of modern hair clips is overshadowing the use of the traditional pins. In her work she wants to blend the traditional jewellery with contemporary context, as a reminder of the old classic China and revive the lost customs.


Hair ornament, Jade, Photo by Kun Zhang

Photo by Qi Wang

Dana Seachuga(MA)
Through you (too) - The idea of giving a gift has been a part of human behavior since people came together & created a society. Apparently it was essential to use a tangible thing to express what is intangible to one another. The very first gift we are actually told of has been given according to the Bible by the very first lady to the first man -Eve & Adam. As fundamental as this action seems, the fact that it has been researched by economists, anthropologists psychologists & philosophers, referring & explaining, questioning & proofing its different fashions & qualities, emphasize its significance & complexity. As a gift, when given & received, the object announces on a certain connection between two or more people. When referring to a jewel as a gift, it may hold a very intriguing role, due to its sociological & private meanings. Moreover, in nowadays & our society a jewel, when purchased, is a gift whether to another or to oneself.

ArmLink 9, Bracelet, aluminium, brass Iron, silver, bronze, arkansas stone. Photo by Edu Tarin

ArmLink 11, Bracelet, brass, aluminium, arkansas stone. Photo by Edu Tarin


Typhaine Le Monnier(MA)
Untitled Series n°1 and n°2


UNTITLED N°1, Necklace, Ergonomy study, Brass, Agate, Gold plating. Photo by Stephanie Morawetz, Model Levani Jishkariani


UNTITLED N°2, Necklace, Ergonomy study, Brass, Agate, Rhodium plating. Photo by Stephanie Morawetz, Model Eva Burton


Elvira Golombosi(MA)
Forgotten Worlds
www.elviragolombosi.com
Photo by Evelyn Bencicova


Obsidian, Agate, Quartz, Rutile Quartz


Ignasi Cavaller(MA)
MEMINISSE With this work I form a more reasonable connection to my family, my land and my past, relating it to my present. The fact of being far from them (my family and my roots) didn't make it easy when I started this project. I thought that maybe because I was not home, I would not be able to praise my ancestors. But then I read an interview that Eduard Punset made with Daniel Schacter (Psychologist, Hardvard University) about memory. Schacter said “Every generation reinvents the past in light of its own experience. Memory serving the needs of the present, and the past being reshaped by current knowledge, beliefs, emotions and the like.” Having the chance to see how big the possibility to is to be tricked by our own memories, I began to ask myself: How real are the stories about our ancestors, even if they were written down by someone not long after it happened? They will always be uncertain, depending of the emotional state, beliefs, and influences at the time, because it is absolutely subjective.

A pig doesn't eat sweets, silver, 18k gold, plexiglass, plastic 60's, steal. Photo by Manuel Ocaña Mascaró

Is like an oil puddle, silver, steel, limestone, lemon chrysoprase. Photo by Manuel Ocaña Mascaró


Edu Tarín(MA)
www.edutarin.com


Mold C1, Granit, silver


Mold D1 Granit, silver, Worn by Sari Räthel

Aiza Mahmood


Ring, Iron, Marble


Necklace, Iron, Basalt


Ring, Iron, Slate


Christina Erlacher (BA)

Fred fragt immer “Wer bin ich”, Necklace, donated Fur, Silver, Plastic, Hot Glue

Gorgeous George verliert immer beim Schach
Brooch, Siver, Plastic, Quartz, Wood


Saerom Kong(MA)
When people think about rice and beans, the first thing that comes to mind is food- not adornment, not gold or silver. These grains are important for our nourishment and survival. To me, they have a sort of beauty to them.
For as far as I can remember, I have been eating rice at all-important moments of my life. You can say that I have grown up with rice. And I have shared both happy and sad memories with it. The symbolic connection of rice with health, happiness and my memories, make rice, not just edible small objects but has much more value as precious material. The symbolic, labor and nutritional value of rice is enough reason for me to use as an adornment.

Black with Black, Hanji(traditional Korean paper), Rice, Obsidian, Oxidized Silver, Acrylic Paint, Lacquer


Pink Daisy, Hanji(traditional Korean Paper), Oxidized Silver, Rice, Purple Heart wood, Acrylic Paint, Nail Polish

Hochschule Düsseldorf
Die Hochschule Düsseldorf ist eine der großen Fachhochschulen in Nordrhein-Westfalen und bildet in den Fachbereichen Architektur, Design, Elektro- und Informationstechnik, Maschinenbau und Verfahrenstechnik, Medien, Sozial- und Kulturwissenshaften und Wirtschaftswissenschaften mehr als 9.000 Studierende aus.


Zum nächstmöglichen Zeitpunkt ist folgende unbefristete Professorenstelle zu besetzen:

Peter Behrens School of Arts PBSA
Fachbereich Design im Studiengang Applied Art and Design

W2- Professur
mit dem Lehr- und Forschungsgebiet
Gestaltung von Objekt und Schmuck in räumlichen, medialen und sozialen Kontexten
Kennziffer: 2/1-15


Ihre Aufgaben:
• Lehre in der gesamten gestalterischen und theoretischen Breite der Entwicklung von Objekt und Schmuck in zeitgenössischen, künstlerischen und angewandten Formaten, sowohl auf Bachelor- als auch auf Masterebene.
• Vermittlung von künstlerisch-experimentellen Entwurfsmethoden / Strategien materialbasierter Gestaltung und deren Anwendung in unterschiedlichen Maßstäben und Kontexten.
• Entwicklung zeitgenössischer Konzepte für Objekt und Schmuck in räumlichen, medialen und sozialen Kontexten (z.B. Gegenstände der Alltagskultur) durch Anwendung prozessorientierter analoger und digitaler Gestaltungs- und Fertigungsverfahren.
• Konzeptionelle Weiterentwicklung des Bachelor- und Masterstudiengangs Applied Art and Design, sowie anderer Studiengänge des Fachbereichs Design.
• Entwicklung zukunftsorientierter, angewandter und experimenteller Formate in Zusam-menarbeit mit anderen Lehrgebieten der Peter Behrens School of Arts sowie Institutionen und Unternehmen.
• Projektorientierte Ausrichtung der Lehre und Verknüpfung mit künstlerischer und / oder Designforschung.


Unsere Anforderungen:
• Künstlerisch-gestalterische Ausbildung an einschlägigen Hochschulen
• Herausragende Gestalterpersönlichkeit mit breitem Spektrum eigener Arbeiten in künstle-rischer / angewandter Gestaltung
• Erfahrung in der prozessorientierten Anwendung experimenteller Entwurfs- und Gestal-tungsverfahren
• Nachgewiesene Auseinandersetzung mit Objekt und Schmuck auf künstlerischer, gestalte-rischer und theoretischer Ebene in zeitgenössischen Kontexten.
• Belegbare Qualifikation und Reputation durch Ausstellungen, Publikationen, Präsentationen und Auszeichnungen
• Nachgewiesene Lehr- und Projekterfahrung
• Nachweis internationaler Vernetzung und Zusammenarbeit

Additional Note: The main teaching language will be German.

Die Mitarbeit in der akademischen Selbstverwaltung wird vorausgesetzt. Ebenso wird die Bereitschaft und Befähigung erwartet, die weitere Internationalisierung der Hochschule Düsseldorf durch englischsprachige Veranstaltungen zu unterstützen und aktiv die Entwicklung und Stärkung des Forschungsprofils und damit verbundene Drittmitteleinwerbungen zu verstärken.

Die Einstellungsvoraussetzungen für Professorinnen und Professoren richten sich nach § 36 Hochschulgesetz NRW, die Sie im Einzelnen auf unserer Homepage (www.hs-duesseldorf.de) nachlesen können.

Die Hochschule ist bestrebt, den Anteil von Frauen am Personal zu erhöhen und fordert deshalb qualifizierte Frauen besonders auf, sich zu bewerben.

Schwerbehinderte sowie Schwerbehinderten gleichgestellte Menschen nach § 2 Abs. 3 SGB IX werden bei gleicher Qualifikation vorrangig berücksichtigt.

Unseren Beschäftigten steht eine Vielzahl von Angeboten zur beruflichen Qualifizierung zur Verfügung und die Möglichkeit zur fachübergreifenden Projektarbeit fördert ein abwechslungsreiches Arbeitsfeld.

Ihre Bewerbung:
Wir freuen uns auf Ihre Bewerbung, die Sie bitte mit aussagekräftigen Unterlagen (Lebenslauf, Zeugnisse und Tätigkeitsnachweise) auf dem Postweg unter Angabe der Kennziffer bis zum 27.08.2015 einsenden.

Bitte reichen Sie zunächst nur Kopien Ihrer Bewerbungsunterlagen ein, da die Unterlagen nach Abschluss der Verfahren vernichtet werden. Eine Rücksendung kann nur durch Beifügen eines ausreichend frankierten Rückumschlags erfolgen. Auf elektronischem Wege übermittelte Bewerbungen können nur in Ausnahmefällen (z.B. Auslandsaufenthalt) berücksichtigt werden.


Bewerbungsanschrift:
Hochschule Düsseldorf
Team Personalservice für Lehrende und Hilfskräfte
z.Hd. Ulrike Keller
Universitätsstraße, Geb. 23.31, R. 02.63
40225 Düsseldorf

Royal College of Art London Jewellery & Metal 2015 Graduates

Yun Sun Jang
“Life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end.”[1]

Social alienation, a feeling of being partly connected to, and at the same time, alienated from our surroundings, is like floating in a spacesuit. I was inspired by the idea that such a spacesuit provides room in which you can live, breathe, and communicate, but simultaneously alienate you from the space around you. With this idea, I came up with jewellery which creates a space both around the wearer’s body and the piece itself. I imagine wearing it will create a bubble and, at the same time, a spiritual and physical space on the body, and this pure space - a halo-like protection - can help the wearer feel safe. The jewellery thus plays a central role in creating the space, that is to say, a thin line is built from the jewellery and delineates the space around the body.

Like Virginia Woolf’s ‘luminous halo’ my work covers the wearer’s body and mind, like a warm blanket. [1]Woolf, V. The Common Reader (1925), 'Modern Fiction'
ITS SWAROVSKI Award WINNER www.itsweb.org
www.yunsunjang.com



Honggang Lu
LUNAR ECLIPSE
A collection of adornment for your eyes

The way you pull your hair behind your ears;
The way you rest your face on your hands;
The way you take your magnifying glass from your breast pocket;
The way you place your wrist over your eyes...
These actions make your eyewear become the most beautiful jewellery; your eyes become the most beautiful gem.

I like to observe different ways people position their hands near their face. These observations connect the hand to the jewellery, to the eyewear, to the face. The method of wearing these eyewear pieces varies the interaction between the jewellery and the wearer; as well as offering different ways of placing hands around their face and body.
www.hongganglu.com

Photo credits
Photographer: Karolina Lebek, Stylist: Hyekun Lily Park, Model: Sandra Haydee Alonso, Xiaoxu Wu



Sandra Haydee Alonso
AD 2215
Homo sapiens no longer exist.
We were not a weak race; we simply adapted to inevitability. Technological developments pushed us to the brink of isolation. Living beings are not meant to live a life of solitude, so we regenerated into two conjoined beings. The only way we survive, is if we are one.
Darwinism ensued.
www.haydeealonso.com

Photo credits
Photos: Juuke Schoorl, Stylist: Shair Bashir, Models: Elizaveta Gnatchenko, Luli Perez




Kaat de Groef
Beads
A bead might not only be the most used shape within jewellery, it is as well so familiar that everyone can relate to it. Its simple spherical shape can be seen as a small sculpture: perfect and complete. Through the concept of beads I explore the relationship between jewellery and the wearer. By altering its surface and changing its place of contact I play with the tactile experience of wearing jewellery. The collection focuses on the bead’s touch on the skin in order to trigger a heightened awareness of the body.
www.kaatdegroef.com

Photo Credits:
Photos: John Mcgrath, Model: Angela, Hair & Make up: Siwan Hill
Materials: Bone China Porcelain, Swarovski Crystal Pearls, Silk, Sterling Silver.

Vann In-Wai Kwok is a designer from Hong Kong who is currently based in London.
Vann is interested in accessories that sit between art, product and fashion, using traditional as well as modern methods of manufacturing.

(out of) flux is a project that addresses the relationship between what occurs naturally and what is technically produced - Chance vs Choice / Control vs Chaos. Struggle between the natural and the artificial is evidenced through the process of making by employing machine (technology), using traditional craftsmanship (humanity) and applying process that involves the participation of natural environment (nature). The collection also aims at exploring relationship between time, space and body.

(out of) flux from VannKwok on Vimeo.
A film by Anafelle Ka Wah Liu, accessories by Vann Kwok.



Photography - Ting Cheng @ One and Two and Up and Down. Model - Eva @ Milk Management

ITS JEWELRY Award WINNER, in partnership with Swarovski Crystals sponsored by SWAROVSKI.
www.itsweb.org


Pictures by Rory Townsend and Jocelyn Tam.

The Galaxy Ring in collaboration with SAMSUNG for the Galaxy S6 Edge mobile device.


Pictures by Rory Townsend and Jocelyn Tam.

www.vannkwok.co.uk
instagram.com/vnkwok/

'The annual Marzee Graduate Show is a unique event offering the best new graduates from international schools and academies their first opportunity to exhibit work in world-renown gallery. With work by over 100 students from 39 schools in 20 different counties the show is truly a global event and highlights some of the most outstanding and original work by the new generation of jewellery artists.

Precious materials are notable in their absence this year and so from fish scales and cement to military pins and silk, the work weaves stories both poetic and political. It's clear that the inspirations and aspirations of these emerging artists occupy common spaces not defined by cultural and geographic borders. We see imagined worlds at the border of reality and fantasy. deeply felt reflections of the state of the world, personal narratives refracted through ritual, memory, the cycle of life and questions of location and belonging indelible traces we leave on one another. Yet despite these recurrent threads the resultant jewellery remains wonderfully diverse on its realisation.'
From exhibition release.

This year's winners are:
Aaron Decker (MFA) – Cranbrook Academy of Art, Bloomfield Hills, USA / Genevieve Howard (BA) – National College of Art & Design, Dublin, Ireland / Yojae Lee (MA) – Kookmin University, Seoul, South Korea / YiPing Li (BA) – CAFA, Beijing, China / Eiman Rezaei (MFA) – RISD, Providence, USA / Dana Seachuga (MA) – Hochschule Trier, Idar-Oberstein, Germany / Esna Su (BA) – Central St Martins, London, UK /

Florian Milker, Kunsthochschule Burg Giebichenstein, Halle Saale, Germany


Dana Seachuga, Hochschule Trier Idar Oberstein, Germany


Anna Achenbach, Akademie der Bildenden Kunste Munchen, Munich, Germany


Yingyi Zhou, Alchimia, Florence, Italy


Andrea Muribo, Oslo, Norway


Anna Norrgrann, HDK, Gothenburg, Sweden


Francesca Antonello, Birmingham City University, UK


Annie Huang, Birmingham City University, UK


Carrie Dickens, RCA, London, UK


Akiko Shinzato, CSM, London, UK


Despo Sophocleus, Akademie der Bildenden Kunste Munchen, Munich, Germany


Kun Zhang, Hochschule Trier Idar Oberstein, Germany


Edu Tarin, Hochschule Trier Idar Oberstein, Germany


Typhanie Le Monnier, Hochschule Trier Idar Oberstein, Germany


Aaron Patrick Decker, Cranbrook Academy of Art, USA


Janina Stubler, Despo Sophocleus, Akademie der Bildenden Kunste Munchen, Munich, Germany


Anna Norrgrann, HDK, Gothenburg, Sweden


Esna Su, CSM, London, UK

Hochschule Düsseldorf University of Applied Sciences 2015 Graduates

JOB ANNOUNCEMENT /// Hochschule Düsseldorf is looking for a professor department Applied Art and Design. More information see www.current-obsession.com/Hochschule-Dusseldorf

Felicia Muelbaier
Of poetry and materiality
Most of the time I try to understand nature, its‘ meaning and beauty – by observing, imitating and preserving its‘ most precious moments in objects of some sort. In my graduation project I tried to capture understand coincidence, resulting in three projects Corpora I – V (objects / steel wool), Parvus Corpus I – XV (jewelry / steel wool, silver, stainless steel) and Gedankenknospen (objects / glas and porcelain). The same amount of material undergoes the same work process – and yet, not one object resembles another. Uniqueness in diversity. The five objects of Corpora I – V are each made of 190 grams of steel wool. Forging compresses the steel wool and makes it porous. The flaming process develops a bluegray shimmer, where it gets compressed even further. The result are objects that roughly resemble each other in dimensions and shape, but differ significantly in their impression.
www.felicia-muelbaier.de

Photography by Adrian Meseck

190 grams of steel wool

Karin Heimberg
Ein Zwiegespräch
"Ein Zwiegespräch über Wertigkeit" is about original, copy and reproduction in context of the human being. The entire range of pieces is based on a collection of 20 objects found both in nature and industry and transfered to manual copies, collages, 3D-scans and translated into polyurethane. The pairs „SUPERIOR“ (first two images) are about twins being a sort of „human copies“. A confrontation of dominant and submissive characters. In „PARITER“ the original and it´s copy are interacting: the initial piece is oppose to a copy. A dialogue occurs.
www.karinheimberg.com

Steel, polyurethan, acrylic glass, polyamid, find, chalk


Franziska Behler-Pohl
www.franziska-behler.de



Karin Maisch
From plane to space - from graphic to object
My investigation during my master studies at University of Applied Science Düsseldorf focused on three certain computer graphics. In an ongoing transformation process - from plane to space - I generated computer aided graphics, which were my starting point for further transformations - from graphic to object. Details, characteristics and even whole parts of the graphic were then morphed back to wearable three dimensional objects. The translation of the plane patterns follows the two dimensional graphical elements - point, line and plane, from which a repertoire of shapes was developed. This gave me the option to combine various transformation methods in a collage-way to different types of jewelry pieces.
www.karin-maisch.de

Photography by Karin Maisch


Katharina Tannous
Ambivalenz des Fehlers
The topic “Ambivalenz des Fehlers” hints that I focused on mistakes in my collection. During a creative process you make a lot of mistakes- small and big ones. Most of them you need, because you can learn through mistakes. But first of all to make mistakes, you need a system or a structure. My collection is highly inspired on the structure of expand metal. The structure gave me full of opportunities to work with. I liked the idea following a strict structure and working in a frame. Within this frame little and somethime bigger mistakes happen and they create a more lively atmosphere.
www.ka-tannous.tumblr.com

Photography Katharina Tannous