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The Beauty of Clay

Exhibition  /  Joya 2016  /  09 Sep 2016  -  05 Nov 2016
Published: 14.09.2016
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© By the author. Read Klimt02.net Copyright.

Intro
DTerra gallery will be hosting the exhibition: The Beauty of Clay in Sant Cugat del Vallès as its contribution to the 47th Congress of the International Academy of Ceramics: Barcelona 2016.

This event is part of the 8th edition of JOYA Barcelona Art Jewellery Fair. The fair extends the range of artistic jewellery to the public. For this reason, it has created a jewelry exhibition OFF JOYA circuit in the best galleries and cultural spaces of the city of Barcelona.

Artist list

Imma Batalla, Aline Berdichevsky, Gabriela Cohn, Trinidad Contreras, Pilar Cotter, Roberta Ferreira, Tanja Fontane, Alicia Giraldez, Eva Girbes, Lola Gratacós, Laura Jener, Judy McCaig, Núria Soley, Blanca Torá
The Beauty of Clay is a project that combines ceramics with modern jewellery. It invites 14 artists to create a piece of jewellery with clay as its defining element.

Our aim is to show the plastic and creative possibilities of clay as a medium for modern jewellery. Photographer Pep Àvila has been invited to create a series of portraits which show the relationship between these creations and the body. / DTerra Gallery
 

Hours

Tuesday to Friday, 10.00h to 14.00h and 17.00h to 20.00h
Saturday 10.00h to 14.00h

Opening

Opening: 9 September, 20.30h
Re-Opening: 2 October, 12:30h
Alicia Giráldez. Brooch: Bubbles, 2016. Glazed porcelain and rusted nickel silver.. 8.5 x 5.5 x 0.5 cm. Photo by: Pep Ávila. My invitation to create for The Beauty of Clay has made me realise why I spent so much time on ceramics, some time ago, before immersing myself in the engrossing work of jewellery.
. The nexus, without doubt, is glaze. Liquid sand over earth or metal. Working with glazes at high temperatures is relatively complicated: it’s a long, slow, slog against an unknown outcome.
. But I have found again the subtle, delicate forms and the infinite possibilities that are offered by earth and fire: overwhelming. I sense that I have found a new road for my expression: a road full of landscapes; a walk that finds something new at every turn.
. And I have dreamed of the possibility if using the beauty of ceramics to augmen the expressive register of my palette.
.  . Alicia Giráldez
Brooch: Bubbles, 2016
Glazed porcelain and rusted nickel silver.
8.5 x 5.5 x 0.5 cm
Photo by: Pep Ávila
My invitation to create for The Beauty of Clay has made me realise why I spent so much time on ceramics, some time ago, before immersing myself in the engrossing work of jewellery.
The nexus, without doubt, is glaze. Liquid sand over earth or metal. Working with glazes at high temperatures is relatively complicated: it’s a long, slow, slog against an unknown outcome.
But I have found again the subtle, delicate forms and the infinite possibilities that are offered by earth and fire: overwhelming. I sense that I have found a new road for my expression: a road full of landscapes; a walk that finds something new at every turn.
And I have dreamed of the possibility if using the beauty of ceramics to augmen the expressive register of my palette.

 
© By the author. Read Klimt02.net Copyright.
Aline Berdichevsky. Necklace: In the Wind, 2016. Colored and glazed Limoges porcelain, silk thread.. Ø 29 cm. Photo by: Pep Ávila. When you ignore the time that your watch might tell, you allow play to come to the fore.
. Overwhelmed by the freshness of my daughter, I create globular forms which I discard, I find others which sign the path towards beauty. I transform them to porcelain and they gain in wonder, lightness and purity. Hands in clay, clay on hands. I search for the rhythm transmitted by the waves and birds in flight. I leave a memory of its origin in each repetition, I cut it, and in some cases bring out the colours which speak to me of loved ones far away and yet so close. The beauty of the process is breathtaking, reflected in the pauses when two gazes connect for an instant.
. This collection of moments cannot be lost and one by one they are tied to the wind.
.  . Aline Berdichevsky
Necklace: In the Wind, 2016
Colored and glazed Limoges porcelain, silk thread.
Ø 29 cm
Photo by: Pep Ávila
When you ignore the time that your watch might tell, you allow play to come to the fore.
Overwhelmed by the freshness of my daughter, I create globular forms which I discard, I find others which sign the path towards beauty. I transform them to porcelain and they gain in wonder, lightness and purity. Hands in clay, clay on hands. I search for the rhythm transmitted by the waves and birds in flight. I leave a memory of its origin in each repetition, I cut it, and in some cases bring out the colours which speak to me of loved ones far away and yet so close. The beauty of the process is breathtaking, reflected in the pauses when two gazes connect for an instant.
This collection of moments cannot be lost and one by one they are tied to the wind.

 
© By the author. Read Klimt02.net Copyright.
Blanca Torá. Brooch: And then came the form, 2016. Glazed stoneware, brass, color, silver.. 6.8 x 2.5 cm. Photo by: Pep Ávila. My hands find their place between earth and water, which slip through the lines and folds of my skin. Pores are filled with the clay, the incessant turning of the wheel puts me into a state of wonderful transition, the same as the waves of the sea. My hands embrace and move to the rhythm of the piece. This makes me feel very much like when I solder: my mind alert, calm and in the present.
. 
. Working clay is working with the beauty of detail, tactile, the presence of my hands on the skin of the earth.
.  . Blanca Torá
Brooch: And then came the form, 2016
Glazed stoneware, brass, color, silver.
6.8 x 2.5 cm
Photo by: Pep Ávila
My hands find their place between earth and water, which slip through the lines and folds of my skin. Pores are filled with the clay, the incessant turning of the wheel puts me into a state of wonderful transition, the same as the waves of the sea. My hands embrace and move to the rhythm of the piece. This makes me feel very much like when I solder: my mind alert, calm and in the present.

Working clay is working with the beauty of detail, tactile, the presence of my hands on the skin of the earth.

 
© By the author. Read Klimt02.net Copyright.
Eva Girbes. Necklace: Connections, 2016. Porcelain, silver and boxwood.. 20 x 20 x 2.5 cm. Photo by: Pep Ávila. Connections narrates a dialogue between the created and the found. Starting from the theme of the beauty of clay, aspects such as harmony, equilibrium and the tactile are the base of this piece.
. A family game where the blocks connect different origins, moments and encounters to form bonds in a language all its own. Thus recreating a new life, a sensorial story, dancing a soft ballad with its body. A story that leads to a point where you can begin your own Once Upon a Time...
.  . Eva Girbes
Necklace: Connections, 2016
Porcelain, silver and boxwood.
20 x 20 x 2.5 cm
Photo by: Pep Ávila
Connections narrates a dialogue between the created and the found. Starting from the theme of the beauty of clay, aspects such as harmony, equilibrium and the tactile are the base of this piece.
A family game where the blocks connect different origins, moments and encounters to form bonds in a language all its own. Thus recreating a new life, a sensorial story, dancing a soft ballad with its body. A story that leads to a point where you can begin your own Once Upon a Time...

 
© By the author. Read Klimt02.net Copyright.
Gabriela Cohn. Necklace: Tatzia, 2016. Porcelain, silk.. 50 cm long. Photo by: Pep Ávila. Fragility is a life condition. As inspiration and guide I take these principles while working in an art piece. My art pieces are infused with symbolic elements. Emotions are one of the ephemeral qualities I chose to work with. Working with parts of the wholeness from where they belong, showing some and hiding the rest.
.  . Gabriela Cohn
Necklace: Tatzia, 2016
Porcelain, silk.
50 cm long
Photo by: Pep Ávila
Fragility is a life condition. As inspiration and guide I take these principles while working in an art piece. My art pieces are infused with symbolic elements. Emotions are one of the ephemeral qualities I chose to work with. Working with parts of the wholeness from where they belong, showing some and hiding the rest.
 
© By the author. Read Klimt02.net Copyright.
Imma Batalla. Brooch: Precious Lands, 2016. Clay, resin, vinyl, paint, steel and silver.. Ø 8. 5 cm. Photo by: Pep Ávila. I have tried to reflect on the beauty of clay with these brooches which I have called “Precious lands”. Antagonist of both gold and silver which are inherent in jewellery, clay resists beauty and beautification. Its aesthetic qualities have more to do with a mass in search of form. With its ability to suggest the idea of an origin, an idea which resonates to myths of clay as the primordial matter from which the world is mad to appear in the most primitive and simple gestures. From water and earth I have created a series of circular pieces. Each clay surface shows subtle textures and an irregular silhouette inspired by an informalism that contrasts with the minimalism brought to the piece by the metallic colors of the coat of acrylic paint.
.  . Imma Batalla
Brooch: Precious Lands, 2016
Clay, resin, vinyl, paint, steel and silver.
Ø 8. 5 cm
Photo by: Pep Ávila
I have tried to reflect on the beauty of clay with these brooches which I have called “Precious lands”. Antagonist of both gold and silver which are inherent in jewellery, clay resists beauty and beautification. Its aesthetic qualities have more to do with a mass in search of form. With its ability to suggest the idea of an origin, an idea which resonates to myths of clay as the primordial matter from which the world is mad to appear in the most primitive and simple gestures. From water and earth I have created a series of circular pieces. Each clay surface shows subtle textures and an irregular silhouette inspired by an informalism that contrasts with the minimalism brought to the piece by the metallic colors of the coat of acrylic paint.
 
© By the author. Read Klimt02.net Copyright.
Judy McCaig. Brooch: Laguna, 2016. Steel, nickel silver, brass, ceramic fragments.. 9 x 6 cm. Photo by: Pep Ávila. New materials are a constant source of inspiration, not only the actual discoveries but also the process of the search and investigation. With clay and ceramic on my mind I began to find fragments, parts broken, pieces separated from their initial objects… worn by the waves of the sea, aged by nature and by time. Using the same tools, I worked these as I would work a precious stone, cutting, sanding and shaping each element. Working with clay and ceramic has left me with the wonderful sensation that the possibilities are infinite.
.  . Judy McCaig
Brooch: Laguna, 2016
Steel, nickel silver, brass, ceramic fragments.
9 x 6 cm
Photo by: Pep Ávila
New materials are a constant source of inspiration, not only the actual discoveries but also the process of the search and investigation. With clay and ceramic on my mind I began to find fragments, parts broken, pieces separated from their initial objects… worn by the waves of the sea, aged by nature and by time. Using the same tools, I worked these as I would work a precious stone, cutting, sanding and shaping each element. Working with clay and ceramic has left me with the wonderful sensation that the possibilities are infinite.
 
© By the author. Read Klimt02.net Copyright.
Laura Jener. Necklace: Cave amulet, 2016. Stoneware painted with iron oxide, oxidized silver.. 8 x 6 x 70 cm. Photo by: Pep Ávila. Working with clay is a challenge for me, it offers infinite possibilities, which makes the decision of what to create so difficult. When I began working with clay I was taken back to childhood memories where small balls of clay, made with my own hands, were treasures that could never be broken. Containers of feelings or of moments in time, receptacles or caves which return to the primitive and the ancestral. Our forebears adorned their bodies with figures and amulets of clay. The first jewels. They too understood the beauty of clay.
.  . Laura Jener
Necklace: Cave amulet, 2016
Stoneware painted with iron oxide, oxidized silver.
8 x 6 x 70 cm
Photo by: Pep Ávila
Working with clay is a challenge for me, it offers infinite possibilities, which makes the decision of what to create so difficult. When I began working with clay I was taken back to childhood memories where small balls of clay, made with my own hands, were treasures that could never be broken. Containers of feelings or of moments in time, receptacles or caves which return to the primitive and the ancestral. Our forebears adorned their bodies with figures and amulets of clay. The first jewels. They too understood the beauty of clay.
 
© By the author. Read Klimt02.net Copyright.
Lola Gratacós. Brooch: Sea, 2016. Porcelain, lapislazuli, nickel silver.. 12 x 4.5 cm. Photo by: Pep Ávila. This piece is the result of a study of ceramic pastes. Mixing minerals created the sea. This is the magic of ceramics. However technical the work may seem there is always an unknown to make the result surprise and seduce.
. 
.  . Lola Gratacós
Brooch: Sea, 2016
Porcelain, lapislazuli, nickel silver.
12 x 4.5 cm
Photo by: Pep Ávila
This piece is the result of a study of ceramic pastes. Mixing minerals created the sea. This is the magic of ceramics. However technical the work may seem there is always an unknown to make the result surprise and seduce.

 
© By the author. Read Klimt02.net Copyright.
Núria Soley. Pin: Wind Baskets, 2016. Porcelain, engraved silver, steel wire.. 2.5 x 3 x 3.5 cm. Photo by: Pep Ávila. The air which fills the piece itself, the air that moves the trees that are etched, the tail of a comet which finishes the piece is moved by the air as well. Even the layout of the limbs of the body, always different, refer to the idea of air. Wind Baskets starts from a random exercise in design in which the resulting form allows posterior reflection. This idea had been gathering dust for some time, until a puff of wind drew it from its hiding place.
.  . Núria Soley
Pin: Wind Baskets, 2016
Porcelain, engraved silver, steel wire.
2.5 x 3 x 3.5 cm
Photo by: Pep Ávila
The air which fills the piece itself, the air that moves the trees that are etched, the tail of a comet which finishes the piece is moved by the air as well. Even the layout of the limbs of the body, always different, refer to the idea of air. Wind Baskets starts from a random exercise in design in which the resulting form allows posterior reflection. This idea had been gathering dust for some time, until a puff of wind drew it from its hiding place.
 
© By the author. Read Klimt02.net Copyright.
Pilar Cotter. Brooch: Re-encounters, 2016. Porcelain, oxidized silver.. 9 x 9 cm. Photo by: Pep Ávila. For years I told a lie, a game where the eye suspects nothing, but what it sees is not true, the means to this deception was making ceramics seem like textiles. I have spent years studying the use of porcelain, a material whose complexity and comprehension makes its pieces worthier and valuable.
. Re-encounters was a celebration, a return to my roots. The textiles used to make this work combining paper clay belong to the typical regional dresses of The Canaries, my land.
.  . Pilar Cotter
Brooch: Re-encounters, 2016
Porcelain, oxidized silver.
9 x 9 cm
Photo by: Pep Ávila
For years I told a lie, a game where the eye suspects nothing, but what it sees is not true, the means to this deception was making ceramics seem like textiles. I have spent years studying the use of porcelain, a material whose complexity and comprehension makes its pieces worthier and valuable.
Re-encounters was a celebration, a return to my roots. The textiles used to make this work combining paper clay belong to the typical regional dresses of The Canaries, my land.
 
© By the author. Read Klimt02.net Copyright.
Roberta Ferreira. Necklace: Clay skin, 2016. 7 types of clay, steel wire and nylon.. 125 cm long. Photo by: Pep Ávila. Clay enchants me with its nakedness, its touch, its primitive essence. I allow myself to fall for the sensorial attraction and my hands form beads again and again. I piece together a necklace, composing a landscape both evolving and cyclical where the end generates an origin. Fired earth, the palette of the depths of rivers and seas. The sensuality of the piece travels the body and its contact allows my skin to feel the beauty of clay.
.  . Roberta Ferreira
Necklace: Clay skin, 2016
7 types of clay, steel wire and nylon.
125 cm long
Photo by: Pep Ávila
Clay enchants me with its nakedness, its touch, its primitive essence. I allow myself to fall for the sensorial attraction and my hands form beads again and again. I piece together a necklace, composing a landscape both evolving and cyclical where the end generates an origin. Fired earth, the palette of the depths of rivers and seas. The sensuality of the piece travels the body and its contact allows my skin to feel the beauty of clay.
 
© By the author. Read Klimt02.net Copyright.
Tanja Fontane. Ring: White, 2016. Silver, re-used porcelain.. 4.7 x 1.9 cm / Ø 16 mm. Photo by: Pep Ávila. To incorporate porcelain into a piece of jewellery was a challenge for me: it's known as a "fragile yet heavy material. I have given battle with a delicate material: silver thread. I used it on the only jewellery that actively resists the use of porcelain: a ring. And it worked. By using pieces which had had other unknown uses and whose past is uncertain I can now see them in a more personal light. These old pieces have distinctive shapes and my favorite color: white.
.  . Tanja Fontane
Ring: White, 2016
Silver, re-used porcelain.
4.7 x 1.9 cm / Ø 16 mm
Photo by: Pep Ávila
To incorporate porcelain into a piece of jewellery was a challenge for me: it's known as a "fragile yet heavy material. I have given battle with a delicate material: silver thread. I used it on the only jewellery that actively resists the use of porcelain: a ring. And it worked. By using pieces which had had other unknown uses and whose past is uncertain I can now see them in a more personal light. These old pieces have distinctive shapes and my favorite color: white.
 
© By the author. Read Klimt02.net Copyright.
Trinidad Contreras. Brooch: Intro, 2016. Porcelain, silver, leather, nickel silver screws, steel.. 8.5 x 8.5 x 3 cm. Photo by: Pep Ávila. Working with porcelain is to want to consciously exercise "self-observation", to find moments for reflection, to enjoy and learn from chosen solitude. I wanted to listen to silence and discover its forms... Half jewel, half organ! Three principles: spirituality, science and art. A project that stems from introspection. The result is a complex device, like an artificial headphone which (basically) combines two main materials: porcelain and leather, as well as tiny silver sensors which connect to the wearer's interior and whose volume can be adjusted by the wearer.
.  . Trinidad Contreras
Brooch: Intro, 2016
Porcelain, silver, leather, nickel silver screws, steel.
8.5 x 8.5 x 3 cm
Photo by: Pep Ávila
Working with porcelain is to want to consciously exercise "self-observation", to find moments for reflection, to enjoy and learn from chosen solitude. I wanted to listen to silence and discover its forms... Half jewel, half organ! Three principles: spirituality, science and art. A project that stems from introspection. The result is a complex device, like an artificial headphone which (basically) combines two main materials: porcelain and leather, as well as tiny silver sensors which connect to the wearer's interior and whose volume can be adjusted by the wearer.
 
© By the author. Read Klimt02.net Copyright.
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