Mostro Marino - 2015 (Photo: Aleksandra Atanasovski)
For quite some time now, I work on making prints of the human skin and body. It is an immense source of inspiration and a way of expressing various discourses that take place in society nowadays.
In the era of egotism, we find ourselves alienated from the self. We are far from seeing our real needs. Having that in mind, I tried to make jewellery that works as a reminder and brings you back home. I think this happens, when you wear the print of your skin in the form of a jewel. You could actually perceive your body as a jewel that fulfills your wishes.
I mostly work with custom made jewellery, so that the wearer can have his or her own exclusive piece: her own skin print or maybe the print of somebody dear to him...
The process in which the "Precious Human" jewellery is made, is an important part of the jewel itself. The porcelain and silver series, WHERE IS ME, mixes two materials with opposing qualities and seeks for the self in different places.
O.T. (Photo: Petra Bole)
STATEMENT or my MANIFESTO in 6 sentences (First Part):
1. Believe in a power of jewellery.
2.Tell real life stories not fairy tales.
3.Make a clear message.
4.Cross the (art) borders.
5.No man is an island.
6.Let's have some fun.
Saccharomyces (Photo: Georg Eichinger)
Passing by, from the corner of my eye
I'm getting caught on something,
a twinkle of prettiness,
prominence in small things,
often ephemeral, fugacious, hardly visible,
at the edge of perceptibility.
processes become peculiar,
then I'm looking for a way
to transcribe them into my jewellery
Averting Artemis (Parts Of A New Artemis) - 2017 (Photo: Panagiotis Skouloukas)
In my work I strive to establish the connection between ornament and nature. I believe that nature is a part of us and we are a part of it.
Growing up in a Greek island I had the chance to discover its beauty, wildness and laws, but also the cruelty of humans in destroying that beauty. Devoted and caring as the goddess Artemis, I try to protest for all the burned forests and murdered deer in my island, by transforming my work to a means of raising my voice to defend their rights.
In my new series, I reflect upon a young "Punk Artemis who fights for her environment and use mostly natural materials and edgy forms to create statement jewelry.
Metascultura - 2017 (Photo: Renata Manganelli)
This project is the result of the desire to enhance the sculptural essence of the Oxymoron jewelry collection, with the idea to give these sculptural jewels a life and an identity beyond the body.
On one hand there is a sculpture, a part of which you can wear. On the other hand you have a jewel, with its beauty, harmony and wearability that, once removed from our skin, becomes part of a sculpture, completely loosing its jewelry identity and getting a new life.
I see it as a metamorphosis of the jewel itself, a way to see it under a different light, with a different perspective and getting a new perception of its artistic value.
Metasculpture, is a bridge from my past as a sculptor and set designer and my present career as a Jeweler, in fact is an expression of my whole artistic journey. Metasculpture is protected by copyright and in constant development and I will be bringing in Munich my new experimentations.
Oops - 2017 (Photo: Aya Wind)
After a few collections dealing with repetitive patterns, order and structure and making very delicate pieces, I got sick of it all. I felt like destroying, burning, tearing jewelry apart.
In my work I tried to preserve the exact moment between designed deformed – Still distinctly relating to my previous collections but less inhibited, more unplanned maybe even reckless.
The process involved taking jewelry already made from previous collections and then applying all sorts of material manipulations on them allowing me to simultaneously preserving some part of the old object while disfiguring other parts.
I Don't Feel So Well Today - 2016 (Photo: Jürgen Baumann)
"It is hard to leave no trace in the snow."
O.T. - 2016 (Photo: Karoline Schneider)
I cast jewellery and objects
in steel, silver, bronze and aluminium.
It fascinates me that the pieces disappear,
not to be seen again.
They have undergone a process,
and this process has left traces.
Winter Nest - 2015 (Photo: C. M. Pretorius)
In all my work I try to convey some of the magic I feel in nature. Whether it’s the wind blowing wildly in tall grasses or the graceful hovering of birds against the bright blue sky. I wish to capture these emotions and share them on an intimate level with the wearer.
My jewellery pieces are often asymmetrical, reflecting the uniqueness of natural elements. No two leaves are the same, seed pods all differ and even the colour of the light each morning reveals the landscape’s new personality for that day. The shadows cast by the trees are frozen for a fraction of a second before moving on.
Transforming the landscape into unique jewellery pieces is for me the natural internalisation of the environment. Quietly, each piece tells its creative story in its own voice. Inspiration moves through time to find completion in a jewellery landscape. As the landscape continues to evolve, it changes while accompanying the wearer through new landscapes and situations. Natural landscape and urban landscape merge, becoming richer, filled with emotion and meaning.
I experiment with different materials and combinations, working in silver, enamel and beads or found objects.
Princess Masako of Japan - 2017, Trash Royal Series (Photo: Christoph Ziegler)
Loukia Richards takes her material from gossip magazines; she embroiders the portraits directly on paper turning the populus' s hunger for glamour and class to an expressive crescendo. Her lifestyle icons depict curiosity, admiration, voyeurism and envy.
Richards distorts the faces to grimaces to express how it feels to be a role model for the "deplorables".
Bells - 2015 (Photo: Rian Verweijmeren)
The series " pearls", the silicon beads with pearl mother pigment are made with a wink to real pearls and old jewellery traditions where pearls are important precious parts in jewellery. The soft silicon beads allow for a strange sensation when you touch and wear it.
Since this soft material, transparent or colored, does not refer to regular jewellery materials, it appeals to your imagination. You would be enchanted by its appearance. The idea is to create your own atmosphere with form and material.
You will be surprised by how light and easy to wear the pieces are. The semi transparency makes the wearer shine through the material and unite with it, become one.
The Sea! The Sea! - 2016 (Photo: Vladimir Svetlov)
As one of my major objectives I see the embodiment of the ancient principles of simplicity and elegance, filling the old techniques with modern vibration.
Engraved texts on the gems create a unique semantic fullness of each item so that any jewellery holder can feel like a guardian of a secret message, a participant in the interchange of epochs, to find one’s own reference point, support and acknowledgment.
Red Flower Neck Piece (Wearable Paint) - 2017 (Photo: Xenia Walschikow)
The aim of my work is to extract details from traditional Russian decorative art and transform them into wearable contemporary art jewellery.
In the history of decorative arts, painting objects was often deemed as a female craft and a peasant art. Yet without the decorative motifs, the objects have no identity. My work intends not only to preserve the beauty of a disappearing Russian craft but to re-establish my connection to the country of my birth.
I want to embrace the traditional craft by transforming the brush strokes into wearable acrylic paint jewellery. Decorating the body with a Russian inspired craft, allows me to connect with my heritage and connect to my lost identity.
Frank's Funky Disco Swirl - 2017 (Photo: Christoph Ziegler)
Christoph Ziegler’s „Broom Brooches" are wearable collages made of household objects and plastic pieces the artist collects at the beach or purchases at gipsy „trash" markets in Greece. The broom bristles are an essential part of the brooches as they adopt a "magic" function: they associate Ziegler's jewellery to his object performances he calls "Moebling".
The concentric trash objects make allusions to the shine and glamour of precious jewellery and make fun of the genres of popular culture such as Punk, Pop, Comic and Sci-Fi.