Lost In Jewellery Magazine Rome Italy
An Online Art Jewellery Incubator & beyond
Hunter from Elsewhere - a Journey with Helen Britton featured on Lost in Jewellery Magazine
The Film
"I spent four years accompanying Helen Britton: in her workshop, across Australia, to Idar Oberstein, and to Lauscha in the Thuringian Forest. The images captured through my camera speak of searching and seeing – movements in nature, industrial ruins, collapsing culture, vanishing craftsmanship.
My attitude is a poetic one. I wanted to make a film that transports the audience into a dream, while granting the space for this to happen. It was then in the editing, with Nina Ergang, that the film found its rhythm and its form: as text and montage called for each other, back and forth. My long search for the music to support the sequences led me to such musicians as The Notwist, Driftmachine, Sasebo, Radio Citizen, and Mount Hush.
It was a long process. The final result is the film I sought to make."- Elena Alvarez Lutz
The Film
"I spent four years accompanying Helen Britton: in her workshop, across Australia, to Idar Oberstein, and to Lauscha in the Thuringian Forest. The images captured through my camera speak of searching and seeing – movements in nature, industrial ruins, collapsing culture, vanishing craftsmanship.
My attitude is a poetic one. I wanted to make a film that transports the audience into a dream, while granting the space for this to happen. It was then in the editing, with Nina Ergang, that the film found its rhythm and its form: as text and montage called for each other, back and forth. My long search for the music to support the sequences led me to such musicians as The Notwist, Driftmachine, Sasebo, Radio Citizen, and Mount Hush.
It was a long process. The final result is the film I sought to make."- Elena Alvarez Lutz
Credits:
Director and Producer: Elena Alvarez Lutz
Produced by: ochobarcos / eightboats filmproduction
Music by: Radio Citizen - Bangu (N.Greffel)
Sound Voyage - Super Molam (N.Schabel/T.Wieland)
For more information on the genesis of the whole project ( full film version 97m long ) please visit the website: ochobarcos.de
Director and Producer: Elena Alvarez Lutz
Produced by: ochobarcos / eightboats filmproduction
Music by: Radio Citizen - Bangu (N.Greffel)
Sound Voyage - Super Molam (N.Schabel/T.Wieland)
For more information on the genesis of the whole project ( full film version 97m long ) please visit the website: ochobarcos.de
Australian Artist Helen Britton is featured as 'Artist of the Month' of June 2021
Click below to Read & See more!
Check out our IGTV'S SECTION
|
Russian artis Anastasia Georgievskaya. "This is a fragment of a brooch-installation "Inner Child" with my child's portrait." 2021
Brooch, silver, fabric, embroidery. http://artgeorgievskaya.com/ |
Estonian artist Sigrid Kuusk. ADAMSON'S CROWN: 2020 Materials: Silver, brass, Keshi pearls. Earrings: Nature Morte Materials: Silver, Keshi pearls. Credits: Jewellery: Sigrid Kuusk Photo: Getter Kuusmaa Model: Liisbeth Kirss MUAH: Maret Ubaleht Style: Liisa-Chrislin.
https://www.sigridkuusk.com/ |
A new International Art jewellery showcase.
'Lost in Jewellery Magazine' is the official online magazine
of Mydaybyday Gallery in Rome, Italy.
The magazine goal, is to give International contemporary jewellery Artists & participating Galleries & Other Institutions, a 'SPOTLIGHT',
a Place where to make their 'Voices' heard.
The content will be uploaded and will change
constantly during the months, so stay connected.
A Digital & Visual Showcase, where selected artists will be featured,
in a unique new editorial format, colourful and easy to read.
All curated by me in a very personal, artistic,
graphic & thought provoking moodboard.
Come & Join our Community !
'Lost in Jewellery Magazine' is the official online magazine
of Mydaybyday Gallery in Rome, Italy.
The magazine goal, is to give International contemporary jewellery Artists & participating Galleries & Other Institutions, a 'SPOTLIGHT',
a Place where to make their 'Voices' heard.
The content will be uploaded and will change
constantly during the months, so stay connected.
A Digital & Visual Showcase, where selected artists will be featured,
in a unique new editorial format, colourful and easy to read.
All curated by me in a very personal, artistic,
graphic & thought provoking moodboard.
Come & Join our Community !
The Magazine
ONE ARTIST, ONE 'VOICE' per month on a featured page
ONE ARTIST, ONE 'VOICE' per month on a featured page
Each Month the new section of 'Artist of the Month' on Lost in Jewellery Magazine, will introduce a different visual Conversation with a selected Artist, coming from a different country around the world.
The content will be changing constantly along the months,
so please stay tuned for more to come during the year.
Follow, Subscribe, Support and Share the pages content.
Click here below to read more on our next month featured Artist......
The content will be changing constantly along the months,
so please stay tuned for more to come during the year.
Follow, Subscribe, Support and Share the pages content.
Click here below to read more on our next month featured Artist......
Follow Us On Instagram !
@lostinjewellerymagazine
Artists selected to be promoted along the year on Lost In Jewellery Magazine !
Brief Interview to Tanel Veenre
A Brief Interview by me to Tanel Veenre
1. Where is your inspiration coming from ?
It is the way to be in a dialogue with the world. I don't look for inspiration, it's there all the time.
Creative process itself is a source for ideas.
2. What are you trying to communicate with your artwork ?
I stand for the values that I believe as a human being: beauty, sensitivity, eros, faith.
3. Which material do you prefer to use and why?
Lately I have been carving a lot of reconstructed stone and ebony. They both are kind of zero materials , just the density and color and big carved semiprecious stones.
I have been tired of narrative materials, so I look for the ones I can fill with meanings.
4. How much value do you give to researching material for your creations?
I am very material based, hands on thinker. It is a dialogue between me and materia, growing together.
5. Is it more important for you the process, or the final artwork itself ?
There isn't one without the other ... But I can't deny the brief pleasure if I have a finished piece and it is smarter than I imagined.
6. Is there an artist you prefer and why?
Hmmm ... I am addicted to the colors of being and that is my inspiration. It can be amazed by the drag culture or Instagram make-up artists, it can be body sculptures by Iris van Herpen or Graig Green, it can be piano concert by Rahmaninov ...
7. Have you ever thought to collaborate with other artists, or you like to work on your own?
I have been collaborating many times with fashion designers and currently there is a big collection on the way with my partner Aldo Järvsoo where I create the fabrics and he does the cuts. It should have been launched May 5th but it's postponed for autumn - which is a luxury, there hasn't ever been more time to prepare a collection.
But usually I prefer to be independent, freedom is one of my main motors.
8. Where do you feel you are at with this last collection ?
That is a good question ... usually the real meaning reveal while looking back at the things. It might that I will move again towards more narrative and mythological art ... let's see,
I don't plan much, I listen to my inner demons and live in a moment.
9. What have you discovered of yourself, are you sattisfied ?
I am so grateful and lucky ... life couldn't be much better. Running a jewellery brand besides an art career has been a challenge but it´'s paying back, it gives me freedom to be my own boss.
I appreciate that I can fill my days only with things I love.
10. Two words to describe your last artwork collection.
Light but voluptuous.
Tanel Veenre
1. Where is your inspiration coming from ?
It is the way to be in a dialogue with the world. I don't look for inspiration, it's there all the time.
Creative process itself is a source for ideas.
2. What are you trying to communicate with your artwork ?
I stand for the values that I believe as a human being: beauty, sensitivity, eros, faith.
3. Which material do you prefer to use and why?
Lately I have been carving a lot of reconstructed stone and ebony. They both are kind of zero materials , just the density and color and big carved semiprecious stones.
I have been tired of narrative materials, so I look for the ones I can fill with meanings.
4. How much value do you give to researching material for your creations?
I am very material based, hands on thinker. It is a dialogue between me and materia, growing together.
5. Is it more important for you the process, or the final artwork itself ?
There isn't one without the other ... But I can't deny the brief pleasure if I have a finished piece and it is smarter than I imagined.
6. Is there an artist you prefer and why?
Hmmm ... I am addicted to the colors of being and that is my inspiration. It can be amazed by the drag culture or Instagram make-up artists, it can be body sculptures by Iris van Herpen or Graig Green, it can be piano concert by Rahmaninov ...
7. Have you ever thought to collaborate with other artists, or you like to work on your own?
I have been collaborating many times with fashion designers and currently there is a big collection on the way with my partner Aldo Järvsoo where I create the fabrics and he does the cuts. It should have been launched May 5th but it's postponed for autumn - which is a luxury, there hasn't ever been more time to prepare a collection.
But usually I prefer to be independent, freedom is one of my main motors.
8. Where do you feel you are at with this last collection ?
That is a good question ... usually the real meaning reveal while looking back at the things. It might that I will move again towards more narrative and mythological art ... let's see,
I don't plan much, I listen to my inner demons and live in a moment.
9. What have you discovered of yourself, are you sattisfied ?
I am so grateful and lucky ... life couldn't be much better. Running a jewellery brand besides an art career has been a challenge but it´'s paying back, it gives me freedom to be my own boss.
I appreciate that I can fill my days only with things I love.
10. Two words to describe your last artwork collection.
Light but voluptuous.
Tanel Veenre
Brief interview to silke spitzer
Interview by me to artist Silke Spitzer
1. Where is your inspiration coming from ?
The most comes from deep inside my body.
Somewhere between the rips and the guts – really !
That is where my inspiration lies. Things have just to be awakened.
It is an unlimited source of possibilities of ideas and hideaways.
Like a dwell that never dries out.
If there is one thing certain to me is that this dwell will never stop running.
2. What are you trying to communicate with your Artwork?
I am communicating my personal values, joys and sorrows. Also parts of my soul and heart. I can't hide behind my pieces. As an exchange, I am hoping that the observers open their hearts and eyes too.
3. Which material do you prefer to use and why ?
I really love to use material and also techniques that are accessible to everybody. I love the idea of creating from what I have. Starting from a pieces of scrap, some found metal or beautiful shape. I find in my daily life connects me with the world I live in.
4. How much value do you give to researching material for your creations?
Usually the material comes up to me in my daily life. Something I happen to stop on my way and I have a closer look at. Often I take found things home and collect them to maybe use them later . I value by color, texture, weight, shape, sound and smell.
5. Is it more important for you the process, or the final Artwork itself?
Between the two my heart is balanced. I am really in love with the making.
As long as the final Artworkis concerned, I find a deep peace and joy in admiring other artists work.
With my own pieces I find it harder to be in peace with.
6. Is there an artist you prefer & admire and why?
As for now I am in love with the paintings of Jerry Zeniuk. I admire the quality of intuition and intention.
The plain color , the circle shapes, being placed so beautifully, the perfection of this just touches my heart.
7. Have you ever thought to collaborate with other Artist, or do you like to work on your own.
I have to admit that I really enjoy the solitude of making jewellery. The jewellery scale and painting to me, is a very personal way to express myself, since I get easily distracted and manipulated by opinions, I realized that the quarantine of my own studio is really the best way to work. But I can easily see collaborations as an artist with bigger projects, group shows and such.
At the very moment, I am planning renovations on my house with an architect I knew before.
It is really nice to see how his architect mind and mine, maybe more playful and decorative ideas, can combine together. Hopefully we can see the results of this collaboration in a not so far future.
8. Where do you feel you are with your last Art Collection?
Very much at home and yet, at the very beginning.
9. What have you discovered about yourself as an Artist along the years?
My artwork has always been a place to hide. For any of us it is important to find a way to express.
I often find peace and reflection in my work. Even though living as a self supportive artist is challenging and uncertain, it gives me all the strength to carry on. As I keep following my intuitions, I am realizing that I find myself living the life I have always dreamed of.
As an Artist?
I don't really see myself as an Artist.
I am just the human being I am.
10. Two words to describe your last Artwork collection.
Personal icons.
1. Where is your inspiration coming from ?
The most comes from deep inside my body.
Somewhere between the rips and the guts – really !
That is where my inspiration lies. Things have just to be awakened.
It is an unlimited source of possibilities of ideas and hideaways.
Like a dwell that never dries out.
If there is one thing certain to me is that this dwell will never stop running.
2. What are you trying to communicate with your Artwork?
I am communicating my personal values, joys and sorrows. Also parts of my soul and heart. I can't hide behind my pieces. As an exchange, I am hoping that the observers open their hearts and eyes too.
3. Which material do you prefer to use and why ?
I really love to use material and also techniques that are accessible to everybody. I love the idea of creating from what I have. Starting from a pieces of scrap, some found metal or beautiful shape. I find in my daily life connects me with the world I live in.
4. How much value do you give to researching material for your creations?
Usually the material comes up to me in my daily life. Something I happen to stop on my way and I have a closer look at. Often I take found things home and collect them to maybe use them later . I value by color, texture, weight, shape, sound and smell.
5. Is it more important for you the process, or the final Artwork itself?
Between the two my heart is balanced. I am really in love with the making.
As long as the final Artworkis concerned, I find a deep peace and joy in admiring other artists work.
With my own pieces I find it harder to be in peace with.
6. Is there an artist you prefer & admire and why?
As for now I am in love with the paintings of Jerry Zeniuk. I admire the quality of intuition and intention.
The plain color , the circle shapes, being placed so beautifully, the perfection of this just touches my heart.
7. Have you ever thought to collaborate with other Artist, or do you like to work on your own.
I have to admit that I really enjoy the solitude of making jewellery. The jewellery scale and painting to me, is a very personal way to express myself, since I get easily distracted and manipulated by opinions, I realized that the quarantine of my own studio is really the best way to work. But I can easily see collaborations as an artist with bigger projects, group shows and such.
At the very moment, I am planning renovations on my house with an architect I knew before.
It is really nice to see how his architect mind and mine, maybe more playful and decorative ideas, can combine together. Hopefully we can see the results of this collaboration in a not so far future.
8. Where do you feel you are with your last Art Collection?
Very much at home and yet, at the very beginning.
9. What have you discovered about yourself as an Artist along the years?
My artwork has always been a place to hide. For any of us it is important to find a way to express.
I often find peace and reflection in my work. Even though living as a self supportive artist is challenging and uncertain, it gives me all the strength to carry on. As I keep following my intuitions, I am realizing that I find myself living the life I have always dreamed of.
As an Artist?
I don't really see myself as an Artist.
I am just the human being I am.
10. Two words to describe your last Artwork collection.
Personal icons.
brief interview to Samira goetz
A Brief Interview by me to Samira Goetz
1. Where is your inspiration coming from ?
Since I’m a visual person, my inspiration comes from the things I see. Details of a house
discovered on a walk, the way a product is boxed, shapes and colors other artists deal with,
material samples…
2. What are you trying to communicate with your Artwork?
I use most basic geometric forms to investigate ambivalent phenomena of human behavior,
such as the need for affiliation and deliminination or the seeking for shelter.
3. Which material do you prefer to use and why ?
… at the moment it’s actually getting rid of concrete – I’ve been using it for quite a while
now. I also always had a preference for flat materials (like paper, sheet metal or wooden
board), yet the goal was challenging two-dimensionality. By bending or assembling I find my
way into objects
4. How much value do you give to researching material for your creations?
One example: For my last body of work I dealt with concrete, the emblematic building
material, not necessarily made to be used in jewellery. I’ve been experimenting with
cement, later with two component materials (epoxy based, ready to use) and finally with my
own mix (epoxy resin, cement & pigment). My material research and use reflect two basic
“technical” questions in jewellery: durability (can a material endure the movements of its
wearer) and lightness (in order to be wearable in the first place). The latter was a matter of
investigating how thin I can go while still maintaining a solid and strong look.
The solution I came up with is the “hidden hollow” of my necklaces and brooches.
5. Is it more important for you the process, or the final Artwork itself?
Since I started to make jewellery I was always very determined about the final outcome
being a wearable piece. In that sense the final artwork is of great importance for me.
On the other hand the starting point of my making has never been an explicit idea or plan.
It has always been in the making, the process: the chosen material or form leads the way.
Drawing helps in understanding things. And the head, the thoughts, the words come later
along the way.
6. Is there an Artist you prefer & admire and why ?
I love Benedikt Fischer’s work for its wittiness. His shell work feels so fun and effortless, I love it.
7. Have you ever thought to collaborate with other Artists , or do you like to work on your own?
I’m a team person. I do my work on my own, but being around other creative minds means a
lot to me and nourishes my process. Also I teamed up with colleagues/friends to built really
ambitious exhibition projects, that could only be done with joint forces.
8. Where do you feel you are at with your last Art collection?
I consider myself very happy that my last body of work (Phases and Facades, DWELL) got me
a lot of attention and acknowledgement in the field. And it’s also the work I concluded my
education at the Munich Academy with. So I think it’s fair to say those pieces marked a
crucial point in my practice.
9. What have you discovered about yourself as an Artist along the years ?
Like every professional: the longer you work in a field or discipline, the better you get to
understand how you as a person work best. For me it’s trusting in good things to happen
while I try out and experiment. It’s about catching that moment and being able to process
“lucky accidents”. Also I learned not to be so hard on myself, when things do not work out or
I have a current lack of inspiration and motivation. It’s just a phase, it passes by.
10. Two words to describe your last Artwork collection.
Bold & Decorative
Samira Goetz
1. Where is your inspiration coming from ?
Since I’m a visual person, my inspiration comes from the things I see. Details of a house
discovered on a walk, the way a product is boxed, shapes and colors other artists deal with,
material samples…
2. What are you trying to communicate with your Artwork?
I use most basic geometric forms to investigate ambivalent phenomena of human behavior,
such as the need for affiliation and deliminination or the seeking for shelter.
3. Which material do you prefer to use and why ?
… at the moment it’s actually getting rid of concrete – I’ve been using it for quite a while
now. I also always had a preference for flat materials (like paper, sheet metal or wooden
board), yet the goal was challenging two-dimensionality. By bending or assembling I find my
way into objects
4. How much value do you give to researching material for your creations?
One example: For my last body of work I dealt with concrete, the emblematic building
material, not necessarily made to be used in jewellery. I’ve been experimenting with
cement, later with two component materials (epoxy based, ready to use) and finally with my
own mix (epoxy resin, cement & pigment). My material research and use reflect two basic
“technical” questions in jewellery: durability (can a material endure the movements of its
wearer) and lightness (in order to be wearable in the first place). The latter was a matter of
investigating how thin I can go while still maintaining a solid and strong look.
The solution I came up with is the “hidden hollow” of my necklaces and brooches.
5. Is it more important for you the process, or the final Artwork itself?
Since I started to make jewellery I was always very determined about the final outcome
being a wearable piece. In that sense the final artwork is of great importance for me.
On the other hand the starting point of my making has never been an explicit idea or plan.
It has always been in the making, the process: the chosen material or form leads the way.
Drawing helps in understanding things. And the head, the thoughts, the words come later
along the way.
6. Is there an Artist you prefer & admire and why ?
I love Benedikt Fischer’s work for its wittiness. His shell work feels so fun and effortless, I love it.
7. Have you ever thought to collaborate with other Artists , or do you like to work on your own?
I’m a team person. I do my work on my own, but being around other creative minds means a
lot to me and nourishes my process. Also I teamed up with colleagues/friends to built really
ambitious exhibition projects, that could only be done with joint forces.
8. Where do you feel you are at with your last Art collection?
I consider myself very happy that my last body of work (Phases and Facades, DWELL) got me
a lot of attention and acknowledgement in the field. And it’s also the work I concluded my
education at the Munich Academy with. So I think it’s fair to say those pieces marked a
crucial point in my practice.
9. What have you discovered about yourself as an Artist along the years ?
Like every professional: the longer you work in a field or discipline, the better you get to
understand how you as a person work best. For me it’s trusting in good things to happen
while I try out and experiment. It’s about catching that moment and being able to process
“lucky accidents”. Also I learned not to be so hard on myself, when things do not work out or
I have a current lack of inspiration and motivation. It’s just a phase, it passes by.
10. Two words to describe your last Artwork collection.
Bold & Decorative
Samira Goetz
brief interview to manon van kouswijk
1. Where is your inspiration coming from?
I draw inspiration from everywhere, from the world we live in, from museums, websites, the work of other artists, jewellery, fine art, folk art, design, craft, books, magazines, photography, the flea market, shop windows, traveling, going for a walk around the block. Probably not so much in nature, I am definitely more inspired by culture.
2. What are you trying to communicate with your artwork?
I look for possibilities to translate anything and everything into the language of jewellery in a way that I hope shifts or disrupts something in our thinking about what jewellery is and what it can be. As an artist who positions her practice within the field of contemporary jewellery, I am interested in iconic jewellery forms and motifs. I have reinterpreted the archetypal forms of for example the pearl chain and beaded necklace through a range of materials and processes. My jewellery practice extends to making exhibitions and publishing artist books which feature found and made photographs and drawings to trace and reimagine the presence of jewellery in private settings, in museums and in popular culture.
3. Which material do you prefer to use and why?
I don't have a preferred material. Over time I have worked across a diverse range of materials, making processes and media including paper, wood, plastic, ceramics, glass etc. I also use drawing and photography as part of my practice. It is really the idea for a specific work that determines what form the work needs to have, what it needs to be made of and
how it needs to be mediated.
4. How much value do you give to researching material for your creations?
The working process is different for each project, so it depends on the nature of the work and the idea I am working on how much time I will spend reading and researching information, material, images to support and inform the development of the work. This aspect of the work is definitely important to me. Without looking up sources and references for my work online or in my library the process would be less rich and the work less interesting. In the making of my artist books a lot of time goes into searching for images, mostly online, that for example show the basic principles of the beaded necklace as I have found it in other source material, from biology and mathematics to peas in a pod. Or images of jewellery in
different contexts, being handled, being worn, being on display.
5. Is it more important for you the process or the final artwork itself?
They are both equally important.
6. Is there an artist you prefer and admire and why?
There are so many artists I admire for different reasons I’m not quite sure where to begin..
A short list: Francis Alÿs, Gabriel Orozco, Ugo Rondinone, Sarah Lucas, Ceal Floyer, Martin Creed, Jeremy Deller, Lucy Sarneel, Camille Henrot.
I admire artists who work conceptually but in a way that is also poetic as well as political and who work across different media to express their ideas. I admire Lucy Sarneel’s jewellery work because she makes it seem so effortless, she has such
a strong authentic visual language that speaks through all her work whether they are large challenging pieces or smaller very wearable ones. She manages to avoid the tropes of jewellery, she even transcends them.
7. Have you ever thought to collaborate with other artists or do you like to work on your
own?
I like working on my own but I also collaborate with other artists regularly. My artist books are all made in a very collaborative way, working on the photography and graphic design towards the final form of the book is something I am very much involved in and enjoy a lot as a process in which other people contribute to my work so that the
outcome is something I wouldn’t be able to achieve on my own. I also work with other artists on making exhibitions, on organising conferences etc. I work partime as a University lecturer as well which I view as a process of collaboration with colleagues and students, and I have just finished a proposal for a public sculpture commission working together with a
team of architects and artists. Looking at translating my work to that scale and context with them was a very interesting process.
8. Where do you feel you are at with your last art collection?
My recent work further explores the shift that happens between a piece of jewellery being displayed in an exhibition or a domestic context, and being worn on the body. As part of this shift, something appears or disappears, as in my previous project of beaded necklaces that can be displayed in the shape of faces. When one of the necklaces is worn, its ‘face’ is no
longer visible. In my new project I extend the idea of the faces to other forms and motifs that can be worn as necklaces and that I make out of used plastic clothes hangers and plastic beads. This is very much a work in progress, I’m not quite sure where it will go and when it will be finished.
9. What have you discovered about yourself as an artist along the years?
I know that from time to time (let’s say very few years) I have to stop everything and try to find a kind of empty space, to start from scratch with something I have never done before, to try and reinvent my work in some way, otherwise I lose interest in it. I have to keep discovering new things, if I’m not managing to do that I become quite restless and
dissatisfied.
10. Two words to describe your last artwork collection?
In progress.
I draw inspiration from everywhere, from the world we live in, from museums, websites, the work of other artists, jewellery, fine art, folk art, design, craft, books, magazines, photography, the flea market, shop windows, traveling, going for a walk around the block. Probably not so much in nature, I am definitely more inspired by culture.
2. What are you trying to communicate with your artwork?
I look for possibilities to translate anything and everything into the language of jewellery in a way that I hope shifts or disrupts something in our thinking about what jewellery is and what it can be. As an artist who positions her practice within the field of contemporary jewellery, I am interested in iconic jewellery forms and motifs. I have reinterpreted the archetypal forms of for example the pearl chain and beaded necklace through a range of materials and processes. My jewellery practice extends to making exhibitions and publishing artist books which feature found and made photographs and drawings to trace and reimagine the presence of jewellery in private settings, in museums and in popular culture.
3. Which material do you prefer to use and why?
I don't have a preferred material. Over time I have worked across a diverse range of materials, making processes and media including paper, wood, plastic, ceramics, glass etc. I also use drawing and photography as part of my practice. It is really the idea for a specific work that determines what form the work needs to have, what it needs to be made of and
how it needs to be mediated.
4. How much value do you give to researching material for your creations?
The working process is different for each project, so it depends on the nature of the work and the idea I am working on how much time I will spend reading and researching information, material, images to support and inform the development of the work. This aspect of the work is definitely important to me. Without looking up sources and references for my work online or in my library the process would be less rich and the work less interesting. In the making of my artist books a lot of time goes into searching for images, mostly online, that for example show the basic principles of the beaded necklace as I have found it in other source material, from biology and mathematics to peas in a pod. Or images of jewellery in
different contexts, being handled, being worn, being on display.
5. Is it more important for you the process or the final artwork itself?
They are both equally important.
6. Is there an artist you prefer and admire and why?
There are so many artists I admire for different reasons I’m not quite sure where to begin..
A short list: Francis Alÿs, Gabriel Orozco, Ugo Rondinone, Sarah Lucas, Ceal Floyer, Martin Creed, Jeremy Deller, Lucy Sarneel, Camille Henrot.
I admire artists who work conceptually but in a way that is also poetic as well as political and who work across different media to express their ideas. I admire Lucy Sarneel’s jewellery work because she makes it seem so effortless, she has such
a strong authentic visual language that speaks through all her work whether they are large challenging pieces or smaller very wearable ones. She manages to avoid the tropes of jewellery, she even transcends them.
7. Have you ever thought to collaborate with other artists or do you like to work on your
own?
I like working on my own but I also collaborate with other artists regularly. My artist books are all made in a very collaborative way, working on the photography and graphic design towards the final form of the book is something I am very much involved in and enjoy a lot as a process in which other people contribute to my work so that the
outcome is something I wouldn’t be able to achieve on my own. I also work with other artists on making exhibitions, on organising conferences etc. I work partime as a University lecturer as well which I view as a process of collaboration with colleagues and students, and I have just finished a proposal for a public sculpture commission working together with a
team of architects and artists. Looking at translating my work to that scale and context with them was a very interesting process.
8. Where do you feel you are at with your last art collection?
My recent work further explores the shift that happens between a piece of jewellery being displayed in an exhibition or a domestic context, and being worn on the body. As part of this shift, something appears or disappears, as in my previous project of beaded necklaces that can be displayed in the shape of faces. When one of the necklaces is worn, its ‘face’ is no
longer visible. In my new project I extend the idea of the faces to other forms and motifs that can be worn as necklaces and that I make out of used plastic clothes hangers and plastic beads. This is very much a work in progress, I’m not quite sure where it will go and when it will be finished.
9. What have you discovered about yourself as an artist along the years?
I know that from time to time (let’s say very few years) I have to stop everything and try to find a kind of empty space, to start from scratch with something I have never done before, to try and reinvent my work in some way, otherwise I lose interest in it. I have to keep discovering new things, if I’m not managing to do that I become quite restless and
dissatisfied.
10. Two words to describe your last artwork collection?
In progress.
BRIEF INTERVIEW to KARIN SEUFERT
1. Where is your inspiration coming from ?
My life offers inspiration, it comes from all over but it is necessary to be open to get it.
2. What are you trying to communicate with your Artwork ?
Jewelry is important for the human beings! It adds something and it interacts while you wear
it.
3. Which material do you prefer to use and why ?
For nearly two decades I’m addicted to PVC, a material that is open for any interpretation. I
work exclusively with punched out small circles that I thread with different sewing and gluing methods,
4. How much value do you give to researching material for your creations?
Since I mainly focus on PVC, my projects develop out of the possibilities connected to this
material. Otherwise I choose the material depending on how far its properties determine the
possibilities of expression.
5. Is it more important for you the process, or the final Artwork itself?
The process, because of the transformation that happens during work surprises and offers
new possibilities, while the result is only a short moment of pleasure, before the emptiness calls for a
new project to start with, even when it feels good to hold in your hands what was in your mind
before.
6. Is there an Artist you prefer and admire and why ?
Daniel Kruger because of the surprising beauty in his work, Otto Künzli because of his
brilliant ideas combined with humor. Hella Jongerius because of her special and typical dutch
designs, Issey Miyake because of the elegancy in his textile creations, Hiroshi Sugimoto because of
his timeless and silent photography, Anish Kapoor because of his touching and often overwhelming
art etc.etc.etc.
7. Have you ever thought to collaborate with other Artists, or do you like to work on your own?
In my jewelry-work I prefer to work alone but I like to cooperate when it comes to show the
work, organize exhibitions, make contacts with galleries, find new channels to publish pieces and
come closer to the public.
8. Where do you feel you are at with your last Art collection?
Closer to where I want to be, but difficult to say where that should be. Each step I make let
me come closer, like in a big spiral where I started at the outer circle and approach the center with
each step.
9. What have you discovered about yourself as an Artist along the years ?
I discovered that I prefer the so called ‘Hand work’, more the typically women work, instead
of advanced techniques. The process of making take a big part of my time and makes me content. The
input never stops, things surprise me and I like my profession a lot.
10. Two words to describe your last Artwork collection.
Minimalistic, concentrated
My life offers inspiration, it comes from all over but it is necessary to be open to get it.
2. What are you trying to communicate with your Artwork ?
Jewelry is important for the human beings! It adds something and it interacts while you wear
it.
3. Which material do you prefer to use and why ?
For nearly two decades I’m addicted to PVC, a material that is open for any interpretation. I
work exclusively with punched out small circles that I thread with different sewing and gluing methods,
4. How much value do you give to researching material for your creations?
Since I mainly focus on PVC, my projects develop out of the possibilities connected to this
material. Otherwise I choose the material depending on how far its properties determine the
possibilities of expression.
5. Is it more important for you the process, or the final Artwork itself?
The process, because of the transformation that happens during work surprises and offers
new possibilities, while the result is only a short moment of pleasure, before the emptiness calls for a
new project to start with, even when it feels good to hold in your hands what was in your mind
before.
6. Is there an Artist you prefer and admire and why ?
Daniel Kruger because of the surprising beauty in his work, Otto Künzli because of his
brilliant ideas combined with humor. Hella Jongerius because of her special and typical dutch
designs, Issey Miyake because of the elegancy in his textile creations, Hiroshi Sugimoto because of
his timeless and silent photography, Anish Kapoor because of his touching and often overwhelming
art etc.etc.etc.
7. Have you ever thought to collaborate with other Artists, or do you like to work on your own?
In my jewelry-work I prefer to work alone but I like to cooperate when it comes to show the
work, organize exhibitions, make contacts with galleries, find new channels to publish pieces and
come closer to the public.
8. Where do you feel you are at with your last Art collection?
Closer to where I want to be, but difficult to say where that should be. Each step I make let
me come closer, like in a big spiral where I started at the outer circle and approach the center with
each step.
9. What have you discovered about yourself as an Artist along the years ?
I discovered that I prefer the so called ‘Hand work’, more the typically women work, instead
of advanced techniques. The process of making take a big part of my time and makes me content. The
input never stops, things surprise me and I like my profession a lot.
10. Two words to describe your last Artwork collection.
Minimalistic, concentrated
brief interview to Hye Jung Sin
1. Where is your inspiration coming from ? à I am inspired by nature. I like to express natural shapes, textures, and colors in various techniuqes of metal craft.
2. What are you trying to communicate with your Artwork? à I am interested in re-creating a dying nature in metal. The natural things I express in my work look soft and fragil. I create my works, agonizing over how I express their soft beauty in cold metal.
3. Which material do you prefer to use and why ? à I usually use sterling silver. Its brilliant color has wonderful charms to inspire my imagination infinitely. It is a proper material to express organic shapes of nature and its eternal beauty. In my ‘Nature of Others’ series, I used natural things directly as objets (after drying natural things, I coated them with resin, and then used them with silver). The natural things I used present a new visual beauty in harmony with silver.
4. How much value do you give to researching material for your creations? à New materials are always interesting. But what is most important in my work is if a new material is proper for me to re-create the subject I try to express newly.
5. Is it more important for you the process, or the final Artwork itself? à Usually, I work following my first sketch. But sometimes there are cases in which my pieces are made differently. I like to describe the beauty of nature, so I always stay away from artificial shapes, textures, and colors. While I make a piece, I sometimes omit or exaggerate some shape impromptu. Thus, for me, the process of making a process matters.
6. Is there an Artist you prefer & admire and why ? à Leonard Urso is a professor at R.I.T. in the US. I learned a lot from him as a student. He is my mentor who has encouraged and heartened me to develop as an artist. The subject matter of his work is the human body. He puts an outstanding sculptural beauty in his work. Most of all, his works give off a warm and beautiful human love, which is very impressive to me who is an artist who portrays nature. His poetic beauty has influenced my work.
7. Have you ever thought to collaborate with other Artists , or do you like to work on your own? à I look forward to having a chance to collaborate with artists in other genres. I think that such a chance will contribute to expanding my art world.
8. Where do you feel you are at with your last Art collection? à Winter is coming now in Korea. The changes of seasons are very important in my work. I have been recently inspired by dry living things that were found as summer changed to autumn. All natural things harbor their own unique beauty and story as they head toward death, but the beauty and story is inexplicable. I brood over how I could contain beauty and story in my jewelry work.
9. What have you discovered about yourself as an Artist along the years ? à My daily life is very ordinary, but there are times when the ordinariness is very special. The moment when the ordinariness is very special is when I am sitting at the ‘Jewelry bench,’ feeling the emotion of a heroine who is treated specially on a stage. My work seems like a stage that makes me special. I enjoy making my work, and feel blissful. When I was young, I dreamed vaguely of being an artist. I think it is a great luck that I chose the genre, contemporary jewelry, out of many art genres, and that I have created works of art in the genre so far. I hope I will continue advancing my career.
10. Two words to describe your last Artwork collection. à Nature and poetry.
BRIEF INTERVIEW TO RUUDT PETERS
1. You are a very ironic man and a great communicator, what is the human quality you appreciate the most in people around you?
I feel myself not so ironic I have a kind of humor. Who most people not understand or appreciate. I can walk in Amsterdam on the street and give comment on the way people are dressed or what they do.
My friend Karen Pontoppidan don’t understand that I can get away with this kind comments. I really can yell to someone on the other side of the street that she wears beautiful earrings. Once I feel very badly about such a comment, was in Germany Erfurt, I saw a man wearing a beautiful yellow brooch. I run to the man and say
that I love the design of his brooch, he say yes, thank you, I am blind and this brooch means the sign for that. I am quite strait forward to other people. I like to communicate if I like things or not. Even with my body language I enter a room and show if I like things yes or no. I cant hide or predict that I hate something.
I need honesty from other people I work with. Even sometimes Its difficult to hear that people don’t appreciate your work or thoughts. But you can learn from their honesty
2. When did you discover you wanted to be an artist?
I always call myself a Jeweller / Maker. As a child I was a daydreamer, never present, always in an other world. This dreaming give me a lot of insides. Thinking about the romance of Life and Death. But I understand
that my work has a great philosophical impact There are a lot of layers in my work. Where I mostly not talk about. I love that the wearer of a spectator finds new insides and meaning in my work. As I also like to find deeper layers in other mans work. I love to buy art what I don’t like at the first moment. I like to invest and trigger my brain to understand the work and the artist.
3. Do you consider yourself only a jeweller, or do you practice also other artistic forms in your life?
Yes. “I AM A JEWELLER” . and when I teach I like to educate people to become a good jeweler. I hate interdisciplinary teaching. For me its important that you learn first one profession that you become extreme
good in making jewellery. After you know how to do this, you can make steps into other disciplines. Because you know how to deal with one subject.
I know you also teach, do you enjoy teaching? Yes, I love to exchange my knowledge with people. I like to learn from younger generations. They have an other look upon the world. To influence each other is very interesting. A kind of exchange of thinking MASieraad together with the jewellers Gijs Bakker, Ted Noten, Ruudt
Peters, and Liesbeth den Besten, (arthistory), Liesbeth in ‘t Hout (fashion), Leo Versteijlen (architect).
We are working on a new educational project on jewellery as a learning method.
Look at our statements at our: https://masieraad.com or insta: masieraad
All of the members of the foundation MASieraad stand for a specific vision upon jewellery. On a very high level we question the meaning and reason of jewellery in our society and we are working on a new education model. You will hear soon from us.
4. Along the years you have met many friends in the jewellery world, who would you take a trip with and where would you go ?
I have many friends in the field, I can't give you one name, and when I start with names I can't stop. I only can tell you that I like to take the people I love, to an unbelievable special place deep in the middle of the
earth. In 2012 I have followed a leaders program given by Dirk Oelibrandt a very spiritual alchemist from Belgium. He took us with a trip to the “Grottes de Aguzou” in France. This was one of the most exiting
experience I had in my life. All of us had to wear a special suit to keep our self warm and dry, we wore a helmet with the lamp on top. We were introduced by the curator of the cave. He told us that we have to take
everything out of the cave also urine or shit, nothing could remain. Because of the very special eco system under the ground. We entered the cave and get deeper and deeper. All kind of stalactite and stalagmite, a
world of very erotic LINGAMS.
A certain moment we had to climb up 20 meters on a wobbly Iron ladder. On the end of the ladder was a enormous vagina where you had to go trough, you real had the feeling to get back in your mothers whomb.
On this platform we did a meditation session, where you feel very strong the energy of mother earth. Dirk told me, You as jeweller have to go with the curator to a special place. Don’t worry. We moved horizontally
on our belly and elbows for 20 minutes in a very narrow cavern. Suddenly the curator stopped and clicked on his light and we were in the middle of a enormous fantastic field with white transparent rock crystals.
I was in heaven in the middle of our earth.
5. Ruudt Peters do you like to travel? What inspires you? What attracts you in life? Tell us a little about your dreams and hopes.
Yes I love traveling. I have been all over the world. By traveling you start to understand your own culture better. Mostly I choose a country who I don’t like on the first hand. I like to invest and learn more about others.
But I realize also that I feel myself a cheese head walking on Chinese markets. Traveling is a mirror of your own culture. You realize more where you come from. What are your habits and difficulties to change.
Now in this corona time I feel privileged to be able to see so many parts of the world. On the other hand I feel that I am crazy I don’t want more countries/cultures on my bucket list. Now every thing comes to silence.
No Moving, No travels, No exhibitions, I love it. I see that this has changed my way of looking upon nature and environment. But I am afraid that we all together don’t learn from this Covid 19, I am afraid that people rush directly to other destinations in the world. I am happy that I have a summer studio in the South of the Netherlands. I stay there during Covid time, walking with my dog along the river, hearing the birds
and look at the blue sky, I see that my own country is so beautiful, why should I go out in the world?
6. Life is full of colors to live in, which is your color ? Which is your jewel?
I Love colors, I hate Red!!! For that reason, I did in 2000 during a traveling South East Asia an investigation in Red. Love/hate blood/violence all is inside red. But strangely enough, I come always back to BLACK.
Black has everything in it self. It’s the color of death and drama. There are thousands of black colors.
The only jewel I wear every day, is my black wedding ring.
7. One last question, I'm in love with your shirts and your eyewear.....when did you start collecting them, is this a passion of yours, or your way to perform art, or to express yourself in life? Can you share
with us a pic of you that you love ?
My mother put a seed into me, she gave me when I was 8 years old a very beautiful “Pied de poule” trousers the only problem was that all the boys at school yell at me that I was a “baker” and was “gay”.. I hated to
wear the pants, but I love the beauty of the trousers. Finally the beauty won the struggle, I start to love fashion and extreme exciting clothes. I don’t like to wear only dull jeans I always love to wear special glasses, every two year I bought new ones. When I find the bold black ones from the designer Theo from Antwerp, I fell in love with them. I bought more of the seem glasses at one time. In 2000 when I finish my teaching at the Rietveld Academy in Amsterdam. The students made fun out of my glasses, they portrayed themselves with my glasses on. From that moment I realized that my glasses are a branding of me as artist. I use from that time the glasses also to promote the brand Ruudt Peters.
8. A quote from you to say "Arrivederci" ....till the next one !
The only solution on making good work and have a good life is repetition, remake-remake-remake, do-do-do, don’t think- don’t think- make failures and learn from that- make and reflect- fall on your face - but try again.
You are never to old to learn. Every day is a new learning moment.
The sky is the limit.
Go-go-go. !
Ruudt Peters
I feel myself not so ironic I have a kind of humor. Who most people not understand or appreciate. I can walk in Amsterdam on the street and give comment on the way people are dressed or what they do.
My friend Karen Pontoppidan don’t understand that I can get away with this kind comments. I really can yell to someone on the other side of the street that she wears beautiful earrings. Once I feel very badly about such a comment, was in Germany Erfurt, I saw a man wearing a beautiful yellow brooch. I run to the man and say
that I love the design of his brooch, he say yes, thank you, I am blind and this brooch means the sign for that. I am quite strait forward to other people. I like to communicate if I like things or not. Even with my body language I enter a room and show if I like things yes or no. I cant hide or predict that I hate something.
I need honesty from other people I work with. Even sometimes Its difficult to hear that people don’t appreciate your work or thoughts. But you can learn from their honesty
2. When did you discover you wanted to be an artist?
I always call myself a Jeweller / Maker. As a child I was a daydreamer, never present, always in an other world. This dreaming give me a lot of insides. Thinking about the romance of Life and Death. But I understand
that my work has a great philosophical impact There are a lot of layers in my work. Where I mostly not talk about. I love that the wearer of a spectator finds new insides and meaning in my work. As I also like to find deeper layers in other mans work. I love to buy art what I don’t like at the first moment. I like to invest and trigger my brain to understand the work and the artist.
3. Do you consider yourself only a jeweller, or do you practice also other artistic forms in your life?
Yes. “I AM A JEWELLER” . and when I teach I like to educate people to become a good jeweler. I hate interdisciplinary teaching. For me its important that you learn first one profession that you become extreme
good in making jewellery. After you know how to do this, you can make steps into other disciplines. Because you know how to deal with one subject.
I know you also teach, do you enjoy teaching? Yes, I love to exchange my knowledge with people. I like to learn from younger generations. They have an other look upon the world. To influence each other is very interesting. A kind of exchange of thinking MASieraad together with the jewellers Gijs Bakker, Ted Noten, Ruudt
Peters, and Liesbeth den Besten, (arthistory), Liesbeth in ‘t Hout (fashion), Leo Versteijlen (architect).
We are working on a new educational project on jewellery as a learning method.
Look at our statements at our: https://masieraad.com or insta: masieraad
All of the members of the foundation MASieraad stand for a specific vision upon jewellery. On a very high level we question the meaning and reason of jewellery in our society and we are working on a new education model. You will hear soon from us.
4. Along the years you have met many friends in the jewellery world, who would you take a trip with and where would you go ?
I have many friends in the field, I can't give you one name, and when I start with names I can't stop. I only can tell you that I like to take the people I love, to an unbelievable special place deep in the middle of the
earth. In 2012 I have followed a leaders program given by Dirk Oelibrandt a very spiritual alchemist from Belgium. He took us with a trip to the “Grottes de Aguzou” in France. This was one of the most exiting
experience I had in my life. All of us had to wear a special suit to keep our self warm and dry, we wore a helmet with the lamp on top. We were introduced by the curator of the cave. He told us that we have to take
everything out of the cave also urine or shit, nothing could remain. Because of the very special eco system under the ground. We entered the cave and get deeper and deeper. All kind of stalactite and stalagmite, a
world of very erotic LINGAMS.
A certain moment we had to climb up 20 meters on a wobbly Iron ladder. On the end of the ladder was a enormous vagina where you had to go trough, you real had the feeling to get back in your mothers whomb.
On this platform we did a meditation session, where you feel very strong the energy of mother earth. Dirk told me, You as jeweller have to go with the curator to a special place. Don’t worry. We moved horizontally
on our belly and elbows for 20 minutes in a very narrow cavern. Suddenly the curator stopped and clicked on his light and we were in the middle of a enormous fantastic field with white transparent rock crystals.
I was in heaven in the middle of our earth.
5. Ruudt Peters do you like to travel? What inspires you? What attracts you in life? Tell us a little about your dreams and hopes.
Yes I love traveling. I have been all over the world. By traveling you start to understand your own culture better. Mostly I choose a country who I don’t like on the first hand. I like to invest and learn more about others.
But I realize also that I feel myself a cheese head walking on Chinese markets. Traveling is a mirror of your own culture. You realize more where you come from. What are your habits and difficulties to change.
Now in this corona time I feel privileged to be able to see so many parts of the world. On the other hand I feel that I am crazy I don’t want more countries/cultures on my bucket list. Now every thing comes to silence.
No Moving, No travels, No exhibitions, I love it. I see that this has changed my way of looking upon nature and environment. But I am afraid that we all together don’t learn from this Covid 19, I am afraid that people rush directly to other destinations in the world. I am happy that I have a summer studio in the South of the Netherlands. I stay there during Covid time, walking with my dog along the river, hearing the birds
and look at the blue sky, I see that my own country is so beautiful, why should I go out in the world?
6. Life is full of colors to live in, which is your color ? Which is your jewel?
I Love colors, I hate Red!!! For that reason, I did in 2000 during a traveling South East Asia an investigation in Red. Love/hate blood/violence all is inside red. But strangely enough, I come always back to BLACK.
Black has everything in it self. It’s the color of death and drama. There are thousands of black colors.
The only jewel I wear every day, is my black wedding ring.
7. One last question, I'm in love with your shirts and your eyewear.....when did you start collecting them, is this a passion of yours, or your way to perform art, or to express yourself in life? Can you share
with us a pic of you that you love ?
My mother put a seed into me, she gave me when I was 8 years old a very beautiful “Pied de poule” trousers the only problem was that all the boys at school yell at me that I was a “baker” and was “gay”.. I hated to
wear the pants, but I love the beauty of the trousers. Finally the beauty won the struggle, I start to love fashion and extreme exciting clothes. I don’t like to wear only dull jeans I always love to wear special glasses, every two year I bought new ones. When I find the bold black ones from the designer Theo from Antwerp, I fell in love with them. I bought more of the seem glasses at one time. In 2000 when I finish my teaching at the Rietveld Academy in Amsterdam. The students made fun out of my glasses, they portrayed themselves with my glasses on. From that moment I realized that my glasses are a branding of me as artist. I use from that time the glasses also to promote the brand Ruudt Peters.
8. A quote from you to say "Arrivederci" ....till the next one !
The only solution on making good work and have a good life is repetition, remake-remake-remake, do-do-do, don’t think- don’t think- make failures and learn from that- make and reflect- fall on your face - but try again.
You are never to old to learn. Every day is a new learning moment.
The sky is the limit.
Go-go-go. !
Ruudt Peters
brief interview to rebekah frank
Where is your inspiration coming from?
For many years, I worked within architecturally focused ateliers, where I spent a lot of time building rectangular frames. The jewelry I make is inspired by the interaction between the body and the negative space created a piece of jewelry. Most jewelry asks to be filled; bracelets, rings, necklaces all include a void that traditionally are filled by wrists, fingers, and necks. My jewelry creates flexible frames for the body and the interaction between the frame, the body, and movement is what inspires me. More intimate than the negative spaces that architecture frames and differently focused on the body, jewelry invites the body that wears it to be a part of the piece. Because of my interest in the body and movement, the work of dancers like Pina Bausch and Emma Porter are fascinating as they experiment with movement through contemporary dance.
What are you trying to communicate with your Artwork?
That space can be inhabited in different ways and there is no wrong way. That boundaries can be defined and flexible. That material, objects, and people can have multiple identities that change, morph, and shift over time.
Which material do you prefer to use and why?
My preferred material is steel. When I was 18 years old, I took an introductory welding course at a community college alongside classes in ballet, advanced mathematics, and critical thinking. I fell in love with the material transformation of welding, the physical power of wielding a torch, and the practical, solemnness of the material. Steel surrounds us. It holds up our buildings, it protects us as we hurtle through space in our vehicles, it is the backbone of our society. It is common, affordable, and accessible, no matter where I am in the world. I enjoy making such a solemn, ubiquitous material graceful and luxurious, while coaxing a playful tension as the steel interacts with the body and gravity.
How much value do you give to researching material for your creations?
Since I only use one material, I am endless researching possibilities of steel. While others are interested in variety of material and their overlap in texture, I’m able to delve deeply into understanding the quality of one. It is a lifelong obsession.
Is it more important for you the process, or the final Artwork itself?
Both!
Is there an Artist you prefer & admire and why?
Some artists I follow are Eva Hesse, Louise Bourgeois, Harmony Hammond, Sarah Lucas, Cassils, Iris Eichenberg, Torreya Cummings, and Angela Hennessey. These artists were or are trail blazers working in ways that inspire me to do more. While there are male artists I also look towards because their careers are so visible, these women and queer artists’s paths and subject matter are more recognizable and provide me hope and motivation.
Have you ever thought to collaborate with other Artists , or do you like to work on your own?
My work has a characteristic of scaffolding and lends itself well to some collaborations that recognize the signature framework of my pieces without overwhelming it. I collaborated with Iris Eichenberg for an exhibition at Galerie Louise Smit in 2011 and love the resulting work because it honors and reflects our distinct styles.
Where do you feel you are at with your last Art collection?
My last major collection was 2018’s just add flesh. It was an evolution of the previous ongoing series Rectangle Series 2012-2018. Each distinct body of work and the small groupings, like the Nostalgia Triptych and the Pacific Coast Highway necklaces, that are made in-between are part of the exploration of material and themes of my work. As each one ends, I am excited to continue the ideas that were discovered along the way. One way of thinking about collections are they are simply chapters in an ongoing book, each building on the last and leading your through until the unknown end.
What have you discovered about yourself as an Artist along the years ?
That there is more to discover! There is always more to find out about yourself and creating work is an enjoyable process of introspection, analyzation, and production.
Two words to describe your last Artwork collection.
Elegant. Playful.
brief INTERVIEW WITH BEPPE KESSLER
1. Where is your inspiration coming from ?
It is about life! It comes from the world around me, from
thoughts about things that do surprise me, or puzzle me. Concepts like <me, or space, or nothingness.
Intense concepts, difficult to grasp. Sometimes the Title of a piece is already in my mind, long before I find
the way to translate it into a work. In fact the most humble things can trigger me, both just before my feet
or high in the sky, looking at the always moving clouds in always different transparencies. Sometimes a
question is more inspiring than an answer. The only thing that counts in art is maybe that what cannot be
explained into words.
2. What are you trying to communicate with your Artwork?
That is a question I often ask myself: why are you doing what you do, what am I looking for. The answer is both simple and complex at the same time. I can’t do nothing, I love to work. Searching for a new diversity in jewellery, maybe redefine what can be jewellery? Sometimes I think I want to share beauty or at least the question what can be beauty, those
thoughts, packed in a work. But there always is more than just beauty. Maybe I am most happy when people
don’t know at first sight where they are looking at. I want to surprise them and force them to come closer and
look more careful, look twice. The whole process starts with a question, something I want to communicate.
And the wish to surprise my self. I cannot make things when I already know the result. I have to dig into the
idea and the material, to investigate. The form is like a dress for the thoughts behind the piece, but it should
fit perfectly. I try to materialize my reflections and to make it universal. I do hate explanations, the piece has
to tell its own stories.
Also in my paintings and objects I do ask myself the question what is a painting? Just like I ask my self what
is jewellery. And the process of answering these in an endless trial and error modus keeps me going. Also
here I like to redefine what can be a painting, it sounds maybe ambitious. At the same time they should be a
self-portrait of who I am. My paintings are not an illustration of an image, there even seldom is an image in it.
Painting starts with making the wooden frame before I stretch the linen over it. Every next step comes forth
of the former and calls for new questions. The tension in the canvas, is intriguing. And paint that liquid stuff,
that can stream, move and clutter, is endlessly fascinating.
There always is a strong interaction between painting and jewellery.
3. Which material do you prefer to use and why ?
In fact any material, (I am a material girl was a title of an exhibition in 1996). Humble, worthless or even banal materials. I prefer solid materials, materials that I can sculpt, scratch, paint, damage. They are still open, they haven’t a form yet and I can shape them, transform them and give them my handwriting. Material matters: every choice of material is a conscious
decision and tells its own story. The material in the piece has to be convincing, and that goes further than
mere techniques. You have to listen to the material!
For the paintings it simply is textile, wood and paint Limitation is my strength. Minimal effects with a
maximum of result. It is much more difficult to do as less as necessary as to do as much as possible. But for
the bigger objects ( whispering pieces) I am always in search of unknown, simple, daily life materials.
4. How much value do you give to researching material for your creations?
It is important but it also depends on what I want to communicate in the piece. . ..Sometimes the purely found material is enough just as it is, unembellished, pure and down to earth, sometimes I can decorate it over the top. I don’t want any material
too easy to be read. It should not be too beautiful, it simply must be convincing.
5. Is it more important for you the process, or the final Artwork itself?
Both. Creating is a way of life. On the way there are so many side roads, you ignore or you note for another day. Any process brings surprises. Never walk a straight line. If I have to choose between a canal and a river, I prefer the river, it can end up in
quite another direction. Intuition plays a role, the eye and the hand working together. Sometimes it can be
very important not to know what you do and even why you do it. If you knew beforehand, you probably
should not do it. The best things happen by mistake or accidents.
6. Is there an Artist you prefer & admire and why?
Carel Visser, Louise Bourgeois, Meret Oppenheimer,Eva Hesse, Robert Ryman, Brice Marden, to name a few.
7. Have you ever thought to collaborate with other Artists or do you like to work on your own?
I like towork on my own, in the studio. But I love to get a commission and develop a piece together with a client or
make an installation for a wall. Working together for an exhibition is always an option, I shortly also will
undertake again. Bringing different handwritings together can be very fruitful for both artists.
8. Where do you feel you are at with your last Art collection?
On the way, always on the way. With my no more flight brooches I recently made, it happend to be a statement, recognizable for many people, especially during Covid. The weather always has been my interest, and the climate, taking care of our
planet, is an issue for every body. It was good to contribute to this. The next step is still totally open, my
focus now is on painting, inspiration comes from there. We will see. There has to be an urge to make
jewellery, a necessity, not just ‘make something’. There must be a thought behind the work. After so many
years of making, you get more and more critical.
9. What have you discovered about yourself as an Artist along the years?
I am happy I had myeducation in textiles. And did not learn techniques or any do’s and don’t’s concerning jewellery or painting.
You have to develop your own rules. It makes you independent and open minded. You have to listen to
yourself, follow your heart and intuition. With the growing years I focus on the things that counts.
During the years I developed an own way of working. On invitation of the Hiko Mizuno college of jewelry in
Tokio I tried to transform that into a teaching method which was risky but worked out very well. I am proud
and happy that I could inspire a few Japanese students!
10.Two words to describe your last Artwork collection.
Heavenly blue, or better: future concern.
Beppe Kessler
Brief interview with Nadine Kuffner
1. Where is your inspiration coming from?
My inspiration is mainly coming from jewelry itself. I am interested in the function of jewelry as a social, cultural or political statement
2. What are you trying to communicate with your Artwork?
I like to question the status quo of things. What do we expect from things and why? My main tool of method is to play with normative thinking by reversing or exaggerating it. I try to stretch boarders within the concept of wearability, good craftsmanship, and material hierarchy.
3. Which material do you prefer to use and why ?
The material I choose for my work is always depending on my concept. So first there is the concept for my work and then I am looking for the ideal material which can express and translate my idea best. For the last years I have been dealing with the relationship between fine art and applied art. For this I am using casting as a method to create sculptural non-wearable jewelry in bronze. Casting also opens the possibility to shape jewelry by painting quickly in liquid metal instead of thoroughly constructing it.
4. How much value do you give to researching material for your creations?
I put a lot of effort into the research of my material. I am always looking for the best expression to communicate my idea. This means that the way of how the material transforms into shape is important, but also surface, color, tactility, smell, and weight are essential.
5. Is it more important for you the process, or the final Artwork itself?
Both are important. The process can take years of research. It has ups of fun playtime and lows of frustrating failures until the “thinking” hands have finally produced what mind and unconsciousness have been trying to tell them. The artwork should be the result of this thinking process and serves as a tool of communication.
6. Is there an Artist you prefer & admire and why ?
Right now I am a big fan of Eva Hesse, Lynda Benglis and Anish Kapur. I admire their conceptual thinking and the way how they treat material and space so a drawing becomes a sculpture and vice versa.
7. Have you ever thought to collaborate with other Artists , or do you like to work on your own?
I like to collaborate with artists by organizing exhibitions and showcases together. And, of course, it´s important to talk and discuss work with other colleagues. I am happy to share my studio with three other jewelry artists, where we can elaborate on technical solutions, aesthetic choices or life itself. But for my own work, I like to stay on my own.
8. Where do you feel you are at with your last Art collection?
I am quite content with my latest artwork. However, as an artist, you are always hungry for more. Once you reached the top of a mountain it starts to get boring and you are looking for the next challenge.
9. What have you discovered about yourself as an Artist along the years ?
I need to be more patient and trust myself until a finished idea reveals itself.
10. Two words to describe your last Artwork collection.
drawing in metal
Nadine Kuffner
My inspiration is mainly coming from jewelry itself. I am interested in the function of jewelry as a social, cultural or political statement
2. What are you trying to communicate with your Artwork?
I like to question the status quo of things. What do we expect from things and why? My main tool of method is to play with normative thinking by reversing or exaggerating it. I try to stretch boarders within the concept of wearability, good craftsmanship, and material hierarchy.
3. Which material do you prefer to use and why ?
The material I choose for my work is always depending on my concept. So first there is the concept for my work and then I am looking for the ideal material which can express and translate my idea best. For the last years I have been dealing with the relationship between fine art and applied art. For this I am using casting as a method to create sculptural non-wearable jewelry in bronze. Casting also opens the possibility to shape jewelry by painting quickly in liquid metal instead of thoroughly constructing it.
4. How much value do you give to researching material for your creations?
I put a lot of effort into the research of my material. I am always looking for the best expression to communicate my idea. This means that the way of how the material transforms into shape is important, but also surface, color, tactility, smell, and weight are essential.
5. Is it more important for you the process, or the final Artwork itself?
Both are important. The process can take years of research. It has ups of fun playtime and lows of frustrating failures until the “thinking” hands have finally produced what mind and unconsciousness have been trying to tell them. The artwork should be the result of this thinking process and serves as a tool of communication.
6. Is there an Artist you prefer & admire and why ?
Right now I am a big fan of Eva Hesse, Lynda Benglis and Anish Kapur. I admire their conceptual thinking and the way how they treat material and space so a drawing becomes a sculpture and vice versa.
7. Have you ever thought to collaborate with other Artists , or do you like to work on your own?
I like to collaborate with artists by organizing exhibitions and showcases together. And, of course, it´s important to talk and discuss work with other colleagues. I am happy to share my studio with three other jewelry artists, where we can elaborate on technical solutions, aesthetic choices or life itself. But for my own work, I like to stay on my own.
8. Where do you feel you are at with your last Art collection?
I am quite content with my latest artwork. However, as an artist, you are always hungry for more. Once you reached the top of a mountain it starts to get boring and you are looking for the next challenge.
9. What have you discovered about yourself as an Artist along the years ?
I need to be more patient and trust myself until a finished idea reveals itself.
10. Two words to describe your last Artwork collection.
drawing in metal
Nadine Kuffner
BRIEF INTERVIEW WITH peter bauhuis
Interview with Peter Bauhuis
1. Where is your inspiration coming from ?
Anything can be. Both art or natural museums, music, walking in cities or on mountains, all kind of information found in newspapers or the internet that raise my curiosity, the work of other artists, books, nature or culture, not translated 1:1 into work, but forming a rhizomatic network from which eventually new ideas emerge.
2. What are you trying to communicate with your Artwork ?
My work are investigations on beauty and human behaviour. How do we see art, how do we react, what makes us believe in values? What is the role of objects and their stories in perceiving the world? I achieve this with my three-dimensional artworks as well as with exhibitions and publications, which I see as autonomous works of art.
3. Which material do you prefer to use and why ?
Almost all of my work is metal cast in the lost wax technique. In casting, the archaic nature of working with liquid metal is appealing - but it is also the preliminary work in wax that allows a rapidity and directness that cannot be achieved when working directly in metal. Three-dimensional sketches can thus be transformed into metal. But the process too gives its commentary.
4. How much value do you give to researching material for your creations?
I am often called an alchemist because researching and experimenting with metals is an essential part of my work. At first I was not thrilled with this classification, but if it means that I take apart the elements of the world and then put them back together with an unexpected result, I feel quite comfortable with it.
5. Is it more important for you the process, or the final Artwork itself?
There is no process if there is not the goal to have a finished work. There is no work if there is no process.
6. Is there an Artist you prefer and admire and why ?
William Kentridge, Lukas Cranach, Tino Sehgal, Fischli&Weiss, Michael Sailsdorfer, … Obsessive artworkers who are not satisfied with simple solutions. (And when I am jealous of their ideas…
7. Have you ever thought to collaborate with other Artists, or do you like to work on your own?
Even though most creative processes need the solitude of the studio, there had always been collaborations:
A long time correspondence with Andi Gut, exhibtions with Manon van Kouswijk, book projects with Gabi Veit and more.
With Larissa Cluzet, Julia Walter and Andi Gut I am working on a project on fictions and stories for the next meltingpoint in Valencia.
8. Where do you feel you are at with your last Art collection?
The last essential work was an intervention in an archeological museum: The Venus of Z. – An Assumption
I presented objects as a baroque forgery of a prehistoric treasure-trove claiming that they had a powerful impact on my own (“contemporary“) work. All this was embedded in the fictitious story of a scientist of the early enlightenment period, using also a lot of genuine texts, images and thoughts from that time.
I really enjoyed this game with so many levels that even I get confused sometimes. The upcoming work Flies seens much more simple. But still there are many levels to it…
9. What have you discovered about yourself as an Artist along the years ?
Telling stories through things is what fascinates me increasingly. Finding and inventing both the tales and their objects for a new publication is what will keep me busy for the coming time.
10. Two words to describe your last Artwork collection.
Flies fly.
Peter Bauhuis
1. Where is your inspiration coming from ?
Anything can be. Both art or natural museums, music, walking in cities or on mountains, all kind of information found in newspapers or the internet that raise my curiosity, the work of other artists, books, nature or culture, not translated 1:1 into work, but forming a rhizomatic network from which eventually new ideas emerge.
2. What are you trying to communicate with your Artwork ?
My work are investigations on beauty and human behaviour. How do we see art, how do we react, what makes us believe in values? What is the role of objects and their stories in perceiving the world? I achieve this with my three-dimensional artworks as well as with exhibitions and publications, which I see as autonomous works of art.
3. Which material do you prefer to use and why ?
Almost all of my work is metal cast in the lost wax technique. In casting, the archaic nature of working with liquid metal is appealing - but it is also the preliminary work in wax that allows a rapidity and directness that cannot be achieved when working directly in metal. Three-dimensional sketches can thus be transformed into metal. But the process too gives its commentary.
4. How much value do you give to researching material for your creations?
I am often called an alchemist because researching and experimenting with metals is an essential part of my work. At first I was not thrilled with this classification, but if it means that I take apart the elements of the world and then put them back together with an unexpected result, I feel quite comfortable with it.
5. Is it more important for you the process, or the final Artwork itself?
There is no process if there is not the goal to have a finished work. There is no work if there is no process.
6. Is there an Artist you prefer and admire and why ?
William Kentridge, Lukas Cranach, Tino Sehgal, Fischli&Weiss, Michael Sailsdorfer, … Obsessive artworkers who are not satisfied with simple solutions. (And when I am jealous of their ideas…
7. Have you ever thought to collaborate with other Artists, or do you like to work on your own?
Even though most creative processes need the solitude of the studio, there had always been collaborations:
A long time correspondence with Andi Gut, exhibtions with Manon van Kouswijk, book projects with Gabi Veit and more.
With Larissa Cluzet, Julia Walter and Andi Gut I am working on a project on fictions and stories for the next meltingpoint in Valencia.
8. Where do you feel you are at with your last Art collection?
The last essential work was an intervention in an archeological museum: The Venus of Z. – An Assumption
I presented objects as a baroque forgery of a prehistoric treasure-trove claiming that they had a powerful impact on my own (“contemporary“) work. All this was embedded in the fictitious story of a scientist of the early enlightenment period, using also a lot of genuine texts, images and thoughts from that time.
I really enjoyed this game with so many levels that even I get confused sometimes. The upcoming work Flies seens much more simple. But still there are many levels to it…
9. What have you discovered about yourself as an Artist along the years ?
Telling stories through things is what fascinates me increasingly. Finding and inventing both the tales and their objects for a new publication is what will keep me busy for the coming time.
10. Two words to describe your last Artwork collection.
Flies fly.
Peter Bauhuis
brief interview with artist julie blyfield
.1. Where is your inspiration coming from ?
I draw inspiration from many sources including my family, history, museums and the landscape, but particularly from plants and nature. I enjoy gardening as did my father and past generations of my family. My great grandfather worked for Suttons and Sons Seeds in the UK and my grandmother was an avid gardener, so I guess it’s in my genes. I also enjoy researching botanical collections and have spent time working with pressed specimens in The State Herbarium in Adelaide where I live and also in the Natural History Museum in London and Cambridge Herbarium, UK. I always try and create new work with inspiration from ‘real life’ as it keeps me inspired and motivated, otherwise I feel my work would become repetitive and stale.
2. What are you trying to communicate with your Artwork?
I try and communicate a passion and love of the hand made, where the crafting skills in jewellery and objects and the making process is just as meaningful to the piece as the source from which it was derived. I am interested in the symbolism of
plants and flowers - how they are used as metaphors in both life and death. The transformation from something natural and ephemeral to a permanent precious material is significant in the design and creation of my jewellery and small scale objects.
3. Which material do you prefer to use and why ?
I enjoy working with silver as it has the ability to receive the marks of the hammer and ‘chasing’ textures I create using small steel tools which are worked over the annealed (softened) metal surface. Using silver I can keep the weight of the piece
thinner and much lighter , and, as I work the textures over the surface the silver work hardens and ‘shifts’ in unpredictable ways, creating unexpected outcomes. Silver has the ability to be transformed through colour and texture.
4. How much value do you give to researching material for your creations?
I absolutely love researching new material - it keeps me motivated and my work fresh. It’s so important to continually
try new approaches or new ways of working to sustain a long and healthy career. Researching new ideas usually means meeting new people, visiting different locations such as the desert or the coast, or seeking out new collections in a museum. So I give researching a great deal of value, as a commitment to new beginnings which is always positive and inspiring!
5. Is it more important for you the process, or the final Artwork itself?
Both are important - there is something about starting anew, a clean preparation and design bench waiting for ideas to evolve for a brand new body of work. That process is both ‘excitement and fear ‘all at the same time. I love the focus and intent of making new work, the thinking process that comes with new designs, the ideas and of course the immediacy of it too. I intend for the outcome to be well crafted and for jewellery pieces to be functional and ‘sit well 'on the body or objects to be considered in a three dimensional way.
6. Is there an Artist you prefer & admire and why ?
I love many artists works…its difficult to say just one , but I love Karl Fritsch’s work for his freshness, boldness and humour , it makes me smile! He seems to embrace the world of making rings with an endless passion.
7. Have you ever thought to collaborate with other Artists , or do you like to work on your own?
In 2017 I collaborated with a friend and ceramist - Kirsten Coelho and we made a collection of jewellery and objects together using porcelain and metal. The exhibition - ‘ Ormolu’ was inspired by Australian history and visiting an historic copper mining town in the north of South Australia (Moonta Mines Museum) and viewing the archaeological ‘finds’ from the original dump site in Adelaide, South Australia. I like to work in different ways but I think once I’m ‘in the making zone’ it’s great to work
alone. For 23 years I worked at Gray Street Workshop ( jewellery collective in Adelaide) which was inspiring and I worked alongside many jewellers over the years. Now I enjoy working from my garden studio where I can see the plants , experience the seasons in the garden and hear the birds.
8. Where do you feel you are at with your last Art collection?
The last collection I made was shown just
as Covid - 19 hit , after working for 18 months on developing this new group of jewellery and objects
which was based around visiting the spectacular landscape in the north east of Western Australia
called ‘ The Bungle Bungles’ in the World Heritage listed Purnululu National Park- the land of the
Traditional Aboriginal owners the Jaru and Gidja peoples who are its custodians. I called this
exhibition ‘ Embrace’ . The jewellery work sat within the landscape of upturned objects - hand raised
copper forms echoing the colours and forms of the landscape I had witnessed. I intended for the
work to be viewed / experienced as a an intimate, sculptural landscape.
9. What have you discovered about yourself as an Artist along the years ?
I have discovered that I still love making jewellery and objects after nearly 40 years. I enjoy helping younger jewellers and I often
mentor them to assist and pass on ‘tips and skills’ if I can. I relish look ing at their ideas and designs as well. As I get older I am driven - in a more relaxed way , by my work and I am greatly committed to my practice. It’s my life force …and recently I sadly lost my lifetime partner - Chris and , through my work I am slowly coming through my grief, ….it’s given me so much purpose in life.
1. Two words to describe your last Artwork collection.
Emotion and Awe
I draw inspiration from many sources including my family, history, museums and the landscape, but particularly from plants and nature. I enjoy gardening as did my father and past generations of my family. My great grandfather worked for Suttons and Sons Seeds in the UK and my grandmother was an avid gardener, so I guess it’s in my genes. I also enjoy researching botanical collections and have spent time working with pressed specimens in The State Herbarium in Adelaide where I live and also in the Natural History Museum in London and Cambridge Herbarium, UK. I always try and create new work with inspiration from ‘real life’ as it keeps me inspired and motivated, otherwise I feel my work would become repetitive and stale.
2. What are you trying to communicate with your Artwork?
I try and communicate a passion and love of the hand made, where the crafting skills in jewellery and objects and the making process is just as meaningful to the piece as the source from which it was derived. I am interested in the symbolism of
plants and flowers - how they are used as metaphors in both life and death. The transformation from something natural and ephemeral to a permanent precious material is significant in the design and creation of my jewellery and small scale objects.
3. Which material do you prefer to use and why ?
I enjoy working with silver as it has the ability to receive the marks of the hammer and ‘chasing’ textures I create using small steel tools which are worked over the annealed (softened) metal surface. Using silver I can keep the weight of the piece
thinner and much lighter , and, as I work the textures over the surface the silver work hardens and ‘shifts’ in unpredictable ways, creating unexpected outcomes. Silver has the ability to be transformed through colour and texture.
4. How much value do you give to researching material for your creations?
I absolutely love researching new material - it keeps me motivated and my work fresh. It’s so important to continually
try new approaches or new ways of working to sustain a long and healthy career. Researching new ideas usually means meeting new people, visiting different locations such as the desert or the coast, or seeking out new collections in a museum. So I give researching a great deal of value, as a commitment to new beginnings which is always positive and inspiring!
5. Is it more important for you the process, or the final Artwork itself?
Both are important - there is something about starting anew, a clean preparation and design bench waiting for ideas to evolve for a brand new body of work. That process is both ‘excitement and fear ‘all at the same time. I love the focus and intent of making new work, the thinking process that comes with new designs, the ideas and of course the immediacy of it too. I intend for the outcome to be well crafted and for jewellery pieces to be functional and ‘sit well 'on the body or objects to be considered in a three dimensional way.
6. Is there an Artist you prefer & admire and why ?
I love many artists works…its difficult to say just one , but I love Karl Fritsch’s work for his freshness, boldness and humour , it makes me smile! He seems to embrace the world of making rings with an endless passion.
7. Have you ever thought to collaborate with other Artists , or do you like to work on your own?
In 2017 I collaborated with a friend and ceramist - Kirsten Coelho and we made a collection of jewellery and objects together using porcelain and metal. The exhibition - ‘ Ormolu’ was inspired by Australian history and visiting an historic copper mining town in the north of South Australia (Moonta Mines Museum) and viewing the archaeological ‘finds’ from the original dump site in Adelaide, South Australia. I like to work in different ways but I think once I’m ‘in the making zone’ it’s great to work
alone. For 23 years I worked at Gray Street Workshop ( jewellery collective in Adelaide) which was inspiring and I worked alongside many jewellers over the years. Now I enjoy working from my garden studio where I can see the plants , experience the seasons in the garden and hear the birds.
8. Where do you feel you are at with your last Art collection?
The last collection I made was shown just
as Covid - 19 hit , after working for 18 months on developing this new group of jewellery and objects
which was based around visiting the spectacular landscape in the north east of Western Australia
called ‘ The Bungle Bungles’ in the World Heritage listed Purnululu National Park- the land of the
Traditional Aboriginal owners the Jaru and Gidja peoples who are its custodians. I called this
exhibition ‘ Embrace’ . The jewellery work sat within the landscape of upturned objects - hand raised
copper forms echoing the colours and forms of the landscape I had witnessed. I intended for the
work to be viewed / experienced as a an intimate, sculptural landscape.
9. What have you discovered about yourself as an Artist along the years ?
I have discovered that I still love making jewellery and objects after nearly 40 years. I enjoy helping younger jewellers and I often
mentor them to assist and pass on ‘tips and skills’ if I can. I relish look ing at their ideas and designs as well. As I get older I am driven - in a more relaxed way , by my work and I am greatly committed to my practice. It’s my life force …and recently I sadly lost my lifetime partner - Chris and , through my work I am slowly coming through my grief, ….it’s given me so much purpose in life.
1. Two words to describe your last Artwork collection.
Emotion and Awe
BRIEF INTERVIEW WITH ARTIST Helen Britton
Where is your inspiration coming from ?
The life I live
What are you trying to communicate with your Artwork?
My experiences
Which material do you prefer to use and why ?
The material most appropriate for the experience I am trying to communicate
How much value do you give to researching material for your creations?
Very valuable – because we are all part of the material world it is very important to understand the language of the material we connect with – their history the consequence of working with them – what they have to say in their raw form – where they have come from, where they are going – this is essential understanding – my work is a dialogue about my place in the material world and all our histories intra-connected
Is it more important for you the process, or the final Artwork itself?
I don’t make a hierarchy here – the conversation with the materials, the work in the studio is very important, but equally so that the work can independently communicate over time without me
Is there an Artist you prefer & admire and why ?
Phyllida Barlow and Luc Tuymans – they are very inspiring for the many levels of communication they generate with their work
Have you ever thought to collaborate with other Artists , or do you like to work on your own?
I collaborate for over 20 years with Justine McKnight in Australia – we have made many great bodies of work together and are currently working on a major new group of pieces that we will exhibit in 2023
Where do you feel you are at with your last Art collection?
The Exhibition at Antonella Villanova is very balanced – I could show my practice in its entirety in a beautiful and considered way.
The life I live
What are you trying to communicate with your Artwork?
My experiences
Which material do you prefer to use and why ?
The material most appropriate for the experience I am trying to communicate
How much value do you give to researching material for your creations?
Very valuable – because we are all part of the material world it is very important to understand the language of the material we connect with – their history the consequence of working with them – what they have to say in their raw form – where they have come from, where they are going – this is essential understanding – my work is a dialogue about my place in the material world and all our histories intra-connected
Is it more important for you the process, or the final Artwork itself?
I don’t make a hierarchy here – the conversation with the materials, the work in the studio is very important, but equally so that the work can independently communicate over time without me
Is there an Artist you prefer & admire and why ?
Phyllida Barlow and Luc Tuymans – they are very inspiring for the many levels of communication they generate with their work
Have you ever thought to collaborate with other Artists , or do you like to work on your own?
I collaborate for over 20 years with Justine McKnight in Australia – we have made many great bodies of work together and are currently working on a major new group of pieces that we will exhibit in 2023
Where do you feel you are at with your last Art collection?
The Exhibition at Antonella Villanova is very balanced – I could show my practice in its entirety in a beautiful and considered way.
'A Room with a View'
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contact us to submit your candidature via e mail!
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There is a Creative Moodboard in Your Life !
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Author Laura Helena Aureli
Author Laura Helena Aureli
