Lost In Jewellery Magazine Rome Italy
An Online Art Jewellery Incubator & beyond
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
ONE ARTIST, ONE 'VOICE' per month
Each Month 'Voices', the new section 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 month,
so please stay tuned for more to come.
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 month,
so please stay tuned for more to come.
Follow, Subscribe, Support and Share the pages content.
Click here below to read more on our next month featured Artist......
" I pay attention to the fact that nature is a language of humankind
that is absolutely free from the borders of regions and cultures,
and that its mysterious beauty is the most charming of
subjects, which cannot be removed from human art."
Hye Jung Sin
that is absolutely free from the borders of regions and cultures,
and that its mysterious beauty is the most charming of
subjects, which cannot be removed from human art."
Hye Jung Sin
'I believe that nature is a playground full of pleasure and the base of infinite imagination.
When I feel and observe nature, having left my busy daily life behind,
its beauty and wonder, always give me a newly creative inspiration.'
When I feel and observe nature, having left my busy daily life behind,
its beauty and wonder, always give me a newly creative inspiration.'
Korean artist Hye Jung Sin
Korean artist Hye Jung Sin
Hye Jung Sin
|
Hye Jung Sin
|
Artists selected to be promoted along the year on Lost In Jewellery Magazine pages!
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.
'A Room with a View'
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Author Laura Helena Aureli
Author Laura Helena Aureli
