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Saturday, 26 January 2019 11:15

Paola Mirai

Italia

Paola Mirai is a jewellery designer in Milan. She tamed Orotrasparente a new super-light transparent material that she developed after 5 years of research and experimentation; something rebellious, light as air and transparent as water. It makes who's wearing it feel as protagonist of a new era. Gold, diamonds, precious stones, japanese organza, seeds and technological components float around the body spreading pureness and a special harmony that takes place when East meets West.
The advent of the technological world, geared towards the future, the evolution, is changing our whole life and put the world in a virtual connection, going from centuries based on matter to this new millennium of immateriality. through transparency.

 

 

 

 

FLOWERS - Structure Orotrasparente | gold 24 Kt
STARDUST- Structure Orotrasparente and gold 24 Kt
HELLO! - Structure Orotrasparente, flexible keyboard circuit and clock gear
METROPOLIS-Structure Orotrasparente, flexible keyboard circuit and old radio gear
Seed Savers Project - Structure Orotrasparente, silver chain untreated, magnets, pink alcea
Seed Savers Project - Structure Orotrasparente, silver chain untreated, magnets, hibiscus
Seed Savers Project - Structure Orotrasparente, silver chain untreated, magnets, poppy
Seed Savers Project - Growing gold – Structure Orotrasparente, silver chain untreated, magnets, marigold
Structure Orotrasparente, Japanese organza
Structure Orotrasparente, gold, Japanese organza
Saturday, 12 January 2019 10:36

Silvia Beccaria

Italia

Alcuni anni fa, parallelamente alle mie opere installative, ho elaborato un progetto di rivisitazione delle gorgiere storiche affascinata dalla loro bellezza, eleganza e bizzarria, e dalla capacità di mettere in straordinario risalto l’espressività di ogni volto. Per le mie gorgiere, create filo dopo filo, la definizione di “fibra” viene estesa sino ad includere materiali industriali, anonimi, come pvc, gomma, plastica, lattice, poliuretano ai quali pare difficile conferire una qualità estetica. Comune denominatore fra tutti è la loro “tessibilità” e il loro impiego frutto di ricerche e nuove sperimentazioni . I materiali scelti per le loro caratteristiche di consistenza, elasticità, trasparenza e colore, sono imprigionati dall’ordito e, al tempo stesso, lasciati liberi di muoversi così da creare quell’effetto di tridimensionalità che è proprio delle antiche gorgiere e ne costituisce il fascino.

A few years ago, alongside my work on installations, I developed a project to revisit historical ruffs. I was charmed by their beauty, elegance and extravagance, and by how they could enhance expressiveness in any face. In my ruffs, thread after thread, I extend the definition of “fiber” to embrace industrial, anonymous materials like PVC, rubber, plastic, latex, polyurethane and so on: materials that seem hard to associate with aesthetic quality, but all share the common trait of being “weavable” – and I am able to use them as a result of my research and experimentation. I select materials for their consistency, elasticity, transparency and color, trapping them in the warp and yet leaving them free to move, creating a three-dimensional effect that is essential to the charm of classic ruffs.

 

 

Bijou à boire 2014
Bijou aux pains 2015
Armoniae 2017
Astral 2011
Bijou en fruit 2014
Futura 2009
Giada 2009
Splendor 2011
La speziale 2013
Saturday, 12 January 2019 10:22

Liana Pattihis

United Kingdom

The ritual of fusing the enamels is painstakingly precise, almost regimented. Applying the enamel freely but purposefully however, allows the material not only to decorate a piece, but to be instrumental in its creation, its appearance and its function. My designs evolve through a dialogue between my source inspiration and the creative potential of the enamel. The versatility of the material is what attracts me the most as it gives an organic feel to my work. My response to the way in which the materials fuse together is intuitive and impromptu. With each layer the enamel adds form, structure and substance to the piece. The natural fragility of the material exudes a new found strength, richness in texture and an acquired preciousness at the same time as the precious metal chain is slowly buried into obscurity. The inquisitive attention, tactile approach and numerous juxtapositions, provoke a sense of preciousness in my jewellery that is understated and enigmatic.

‘Liana’s work has both an immediate and an ancient quality. It looks effortless and elemental: both sumptuous and scabby. The processes Liana uses in making her jewellery are ones of building and burying. Layer upon layer of enamel slowly obscure the foundation of silver chains, forming a vitreous crust that is raw, crackly and uneven. The surfaces are reminiscent of rough ceramic glazes or thick oil paint, and are far from those required by traditional enamelling, which insists on thin and even layers protected by thin walls of metal. Liana’s work shows a healthy disregard for these traditions – her way is inside out, upside down, wrong way round – enamels that are fused to a seemingly unstable base, which surround the fine and delicate metal links, encapsulating them and rendering them inflexible. The natural quality of the surface gives a feel of a much earlier age, yet buried under the enamel are anonymous, potentially unattractive, silver chains of this age of mass production. The point of delight is, not only that unique, colourful and exciting pieces of jewellery are created, but that the rules of enamelling have been broken and rewritten so successfully. It has been a pleasure to watch Liana’s jewellery grow in strength and stature over the last few years.’ Caroline Broadhead

 

Side by Side Necklace 2018. Silver Chains, 2 silver plated dessert forks, Enamel
Picking Up The Pieces Necklace 2018. Porcelain pieces from a cup and saucer set, Silver Chain, Low firing Enamel. L113.5cm
La Ginestra Spoon Object, Cynara Bud Spoon Brooch and Roots Spoon Brooch, 2018. Silver Dessert Spoons, Silver Chains, Enamel, St. Steel
La Ginestra Brooch, 2018. Silver Chains, Enamel, St. Steel. L20cm x W11cm
Mendoza Brooch 01 02 03 04, 2017. Silver Chains, Enamel, St. Steel.
Verde Brooch, 2017. Silver Chains Enamel, St. Steel. L14cm x W8cm
Sicily Brooch, 2016. Silver Chain, Found Brass Objects, Enamel, Stainless Steel L16cm x W10.5cm
Mimosa Fall Necklace, 2016. Silver Cable Chain, Silver Trace Chain, Silver Cable Chain, Enamel. L92 cm
Pink Spring Necklace, 2016. Silver Chains, Enamel. L98cm
Orange Bloom Brooch 2017. Various Silver Chains, Enamel, St. Steel. L12cm x W9.5cm
Tuesday, 08 January 2019 08:17

Paola Siciliano

Italia

Creo gioielli e li realizzo completamente a mano con l’uso di tecniche artigianali tradizionali. Nel mio lavoro utilizzo spesso l’oro giallo abbinato all’argento ossidato martellato per ottenere forti contrasti di colore e di superfici sempre diverse. L’intento è quello di realizzare ornamenti piacevoli da toccare e soprattutto da indossare i miei pezzi sono di chiara ispirazione mediterranea, le mie radici sono campane… ma amo pensare che trasmettano anche qualcosa di più profondo, che provengono da un luogo ideale della mente: dalla mia passione per i viaggi traggano suggestioni che diventano materia. Il mio lavoro è quindi frutto dell’incontro tra la tradizione orafa mediterranea e le contaminazioni stilistiche contemporanee.

 

 

 

 

 

Collana scaglie madreperla con argento martellato, dorato
Bracciale con perle australiane tecnica cera persa
Bracciale linea "Disco"
Collana in Pietra Lavica
Spilla "Terra di confine"in argento fritto con idrotermale
Anello "Onda Anomala" in argento, turchese e madreperla
Thursday, 06 December 2018 10:56

Yiota Vogli

Greece

As a visual artist, my relationship with jewelry is bidirectional. My jewelry is influenced from my artistic research. Observation and painting require the engagement of all of our senses, thus, in my work I draw on memory and therefore on my senses. Addressing jewelry as micro sculpture, I refer to form, material, colors and texture to conceptualize personal memories and my view of social and cultural issues into art.

 

 

 

 

 

 

 

Birds Dancing over vineyard
Necklace, 2018, alpaca, bronze, paper pulp, pigments, hand painted silver, ruthenium
Blooming I
Necklace, 2018, alpaca, ruthenium plated bronze, paper pulp, grains, pigments, patina
Dialogue
Necklace, 2018, Ruthenium plated bronze, alpaca, paper pulp, grains, oxidations
Inside Out
Brooch, 2018, alpaca, bronze, paper pulp, pigments, grains, patina
My Shadow
Brooches, 2017, silver, alpaca, paper pulp, patina, pigments
Open
Pendant, 2017, alpaca, paper pulp, copper, oxidations
Dialogue III_The Matrix
Necklace, 2017, alpaca, bronze, paper pulp, pigments, patina, cotton
Dancing Duets
Necklace, 2018, alpaca, bronze, paper pulp, pigments, patina, hand painted silver
My Shadow
Pendant, 2017, copper, brass, patina, paper pulp

 

 

Monday, 22 October 2018 08:16

Laura Forte

Italia

I always try to find out something more about myself, my artworks are the way I talk to myself. What I feel, what I go through it goes through the metal too. I am matter , I am empty, a solid body that produces art. Artistic contamination of life.

Laura Forte was born in Copertino in 1982 and attended a goldsmith school in Lecce. She continued her studies near Vicenza, where she obtained the qualification of designer / goldsmith. In 2005 she opened a study in her hometown and she approached the world of contemporary art, a new world that inspired and made her more creative. She now defines her works as timeless, a dialogue, a contamination, a search for herself. She works mainly with gold and oxidized silver, but she can mix new 3d technologies. She has been awarded in different competitions, exposes her works in several international galleries.

 

 

 

Ring Box diamond
Gold, silver, diamond
Ring circle
Silver, pearls
Ring deep
Ring, gold, silver
Saturday, 20 October 2018 13:12

Venice Design Week

Oltre lo sguardo - Un viaggio nell'essenza del gioiello: la centralità del progetto che porta l’ispirazione a diventare forma e materia.

Il concorso è stato promosso da Venice Design Week e Associazione Gioiello Contemporaneo AGC, GioielloContemporaneo.it, Design Hotel Ca’ Pisani, OhMyBlue Gallery, Oona Gallery, Bini Gallery, Vicenza Jewellery. 
 
Giuria:  Maria Rosa Franzin (Presedente AGC), ANNA SCHETELICH (OONA Galerie, Berlino), ELENA RIZZI (OHMYBLUE Gallery, Venezia),  ROBERTO ZANON (Professore di Design all’Accademia delle Belle Arti di Venezia), VALERIA ACCORNERO (Giornalista, Curatrice, Consulente e Blogger), MARIANNA SERANDREI (Proprietaria del Design Hotel Ca’ Pisani e appassionata d’arte), LORENZA BINI (Bini Gallery).
 
Autori Esposti
Caterina Zanca, Chiara Lucato, Clizia Moradei, Elisabetta Carozzi, Francesca Antonello, Karin Heimberg – Germania, Karin Maisch – Germania, Kim Hayan – Corea del Sud, Laura Forte, Ludovica Assini e Vincenzo De Luce (WovenHand Design), Renata Manganelli, Sanna Wallgren – Svezia, Valeria Rossini, Veronica Meruzzi.
 
 
Dove: Ca’ Pisani Design Hotel primo piano
Dorsoduro 979A – Venezia Italia
orario di apertura: 14:00-18:00
Ingresso libero
Esposizione: 6 – 28 ottobre 
 
 

While the question of exhibition making occupies an ever more important place in art theory, there has never been, thus far, a publication on the subject with jewelry as its focal point. This publication aims to remedy this absence, and provide an overview of jewelry exhibition history, an understanding of the challenges inherent to showing jewelry in public spaces (whether commercial, institutional or ephemeral), and some insight into what curation can do to jewelry objects. It aims to help professional and amateur curators articulate the relative importance of selection, mediation and experience design, and question their assumptions about display conventions.

This first book-length investigation into jewelry exhibition-making covers the question of ‘exhibiting jewelry’ in three different ways: It features a series of commissioned articles on landmark exhibitions, to plot the evolution of the field, using the exhibition space as a historical marker. It includes commissioned essays by and discussions with curators on the challenges of curating craft. It incorporates a series of exhibition reviews that track some recent experimentation with display strategies. The publication, available for the first time in digitized format – ends with detailed checklist of more than 30 exhibitions (collaborators, publication, number of visitors, budget…)

Saturday, 13 October 2018 08:40

Nicola Heidemann

Germany

I DREAM JEWELLERY NICOLA HEIDEMANN

I dream of jewellery and about jewellery. I am always eager to know what is developing – what is “cooking” – in the constant dialogue I have with Nature. I do not really feel myself to be a creator in my own right. More a collector. I collect allusions, impressions, associations. A piece of wood can excite me, a shadow on a stone, or light glittering on water. It is the incomplete things that fascinate me. The as yet unfathomed mysteries. They give me and the beholders of my objects space for the imagination to start working. Ideally, those who look upon my objects will remember – as I do – a glorious day spent by a lake, a walk in the woods, or a pebble.

Tectonic plates, volcanoes and glaciers have determined the shape of our planet. The conditions for life on Earth are dependent upon these prior conditions. We have the possibility of cultivating and forming the planet Earth, and of transforming landscapes. But only to a certain extent. We should always be aware that our life is not infinite, that in the face of Earth’s geological developments we are so small and insignificant, and that Nature does not belong to us – no, we belong to Nature! When we consider how old our planet is and what fundamental changes it has undergone in the course of the millennia, then our small-minded conflicts over property, religion and power begin to appear very insignificant. With my jewellery I wish to express this feeling of closeness to Nature.

I love the tactile quality of a stone on the beach. This is the quality that I try to impart to my pieces of jewellery. So that whoever wears my jewellery can always take pleasure in stroking it, in fingering it. A tactile memory, one might say. My works always have several dimensions. A form and a surface – but also a hidden inner life. These hidden parts can only be imagined. They glister forth from the inside without immediately explaining themselves.

 


Pubblicazioni / Publications

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

 

 

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