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Interview with Jasmin Matzakow

Interview  /  ArtistsMaking
Published: 03.11.2015
Interview with Jasmin Matzakow.
Author:
Klimt02
Edited at:
Barcelona
Edited on:
2015

Intro
I become increasingly aware of the connections that jewellery has to all the different elements in the world. It does not exist in a bubble, but it acts and is being acted upon in a complex network. In order to make these elements more explicit, I search for connections between the jewellery and its local surrounding, for example the body, and its broader actants, for example societal norms.
 
Do you think that jewellery is being standardized?
I am not sure if jewellery is being standardised more than what I would consider normal. Normal is a suggestive word choice here, and I guess that I can follow that trail: I wish for more jewellery to be norm-critical.

What is there of local and universal in your artistic work?
I become increasingly aware of the connections that jewellery has to all the different elements in the world. It does not exist in a bubble, but it acts and is being acted upon in a complex network. In order to make these elements more explicit, I search for connections between the jewellery and its local surrounding, for example the body, and its broader actants, for example societal norms.

What do you expect when exposing your work to the public (for example with an exhibition)?
I hope for lively discussions around my work on the one hand, and on the other I hope to create a space in which the visitor can simply be with the work, without any goal - a state I believe is not experienced enough in western, contemporary society. Also I hope that people will want to wear the jewellery or relate to it in some way, because only with the body is the work complete.

Are other areas besides the jewellery, present in your work?
I draw from many areas other than jewellery to inform and educate myself. I am very invested in reading Deleuze and Guattari’s A Thousand Plateaus together with a reading group. Other theories that I am currently educating myself about are actor-network theory, new materialism, ecological philosophy, feminist theories. In architecture it is common to include many different theories and fields into the discourse for many years now. I am wondering how I and the jewellery field I am active in, can learn from them in a way that includes not making the same mistakes?

The last work, book, film, city that has moved me was…
Jonas Dahlberg presented his work Diorama recently in Stockholm, and I was moved to tears. The work showed a very calm, powerful, deep beauty that I was happy to be reminded of. The photos of birds and nature created a space where I could simply be without a goal, as I mentioned above.

A place, space, country whose creativity surprises me…
Sweden. I moved here over two years ago. As I had not been to Sweden before I did not really know what to expect. I enjoy the Swedish way of life and work balance. I have learned that I can be productive, busy and creative without being so tense. Another thing that I have learned here during my Master studies at Ädellab, and that really sparked my creativity, is group work. In the schuster-nicole-schuster-nicole-beginning-2016-2016 it was hard for me to let go of my singularity. I am still a loud person when it comes to opinions. But I really try to let go more and to observe how a project changes into something that none of the individual people involved would have come up with. It is a magical process to me.

Is there any designer, jeweller, artist, you appreciate a lot?
So many! On the one hand there is the appreciation that I have as a viewer when I look at art, jewellery or design, and on the other hand there is the appreciation that I have for the people I work with that strongly influences me. The connections and discussions with my former classmates and teachers have become very deep and intense. I appreciate strong-minded people around me who challenge me and vice versa.

What piece or work has given you the most satisfaction?
There is a moment of enlightenment that is very satisfying when I see pieces from my colleagues that I do not understand in the schuster-nicole-schuster-nicole-beginning-2016-2016, and I continue to follow them in their process. I learn what the piece is, and what it means as they progress and deepen their topic. It is an honour to be allowed to follow someone closely in their work. From my own pieces, I have recognised a special relationship to a first piece of a series. Every time I see the piece again I can still feel the satisfaction and happiness about the breakthrough that came along with a way to express my topic.

Memories of healing 1, 2015
Burned and sliced lime wood, shibuichi silver
40 x 30 x 4 cm
Photo: Georgios Kokolatos



Do you read Jewellery Magazines? What is your source to get information?
I read art jewellery magazines, including online platforms, to follow the ongoing debates and because I make and wear jewellery. This is the field that I work in. As a source of information for the development of my work and also for me as a
person, I research and discuss my colleagues work, philosophical theories, and I visit art exhibitions and lectures. In the end, most of what I do is a potential source of information for my work, like a shopping tour or my yoga practice. I never know when something interesting pops up.

Do you discuss your work with other jewellery artists or any other person?
Yes! My network of trusted and beloved colleagues is one of my most precious resources. It is important to actively cultivate and nurture trust and to deal with competitive feelings in a productive way. My reading group, The Pack with the other co-founders Rebecca Deans and Ela Celary, is one of these networks that help me a lot, as well as Tobias Alm with whom I share a studio.

What is your first thought when you hear the word Future?, What do you expect for?
I just returned from a lecture on Posthumanism, and I jotted down the thought that permaculture-thinking could be a good method to work with in the future and for the future. How can I think in the ways of permaculture when I make jewellery?
 
Jasmin Matzakow. Necklace: Memories of healing 5, 2015. Burned and tattooed lime wood, dyed intestines. 60 x 30 x 3 cm. Photo by: Georgios Kokolatos. Detail view. Jasmin Matzakow
Necklace: Memories of healing 5, 2015
Burned and tattooed lime wood, dyed intestines
60 x 30 x 3 cm
Photo by: Georgios Kokolatos

Detail view

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