Interview with Sébastien Carré

Interview  /  Artists
Published: 27.04.2015
Interview with Sébastien Carré.
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I went from a figurative shape to an abstract one in order to stay out of any codifications and focus on the interactivity of the jewellery and the sensations they provide.
Do you think that jewellery is being standardized? What is there of local and universal in your artistic work?
I think we are living in a society where it is getting more important to find a meaning in all the things surrounding us. This global search is going to make the Contemporary Jewellery more relevant in the mainstream culture. It is interesting to see how more and more people are wearing big pieces of jewellery in their everyday life. Now the main goal of the field remains to find new ways to express itself and to be understood by everyone. To follow that goal, I went from a figurative shape to an abstract one in order to stay out of any codifications and focus on the interactivity of the jewellery and the sensations they provide.

What do you expect when exposing your work to the public (for example with an exhibition)?
Ideally, I expect an interaction between the viewer and the jewellery. by speaking to them and sometimes I even ask the public to touch it. I really think interactivity is one key to improve our life, our communication and our acceptance of others. The exchange often comes from both sides and it enriches my practice.

Are other areas besides the jewellery, present in your work?
I project a reflection of the evolution of my body into my work. Not so much emotionally, but more physically. A lot of my jewellery  is a projection of my organs, my anatomy and its changes throughout the evolution of my disease ( eg: chrones ). I also work with Japanese Lacquer on both jewellery and sculpture. I have already created a few installations and sculptures using textile techniques. But working with jewellery turns out to be the best way to be productive with the constraints of my disease.

The last work, book, film, city that has moved me was...
In the last month I discovered the documentary / movie “Earthlings” by Shaun Monson. I was really depressed after viewing this movie, but it also strikes me that mankind has to start thinking differently in order to stop destroying our world and our health. The movie began with a quote from Léon Tolstoï, “As long as there are slaughterhouses, there will be battlefields” and that sentence seemed so current in our society…

A place, space, country whose creativity surprises me...
I loved the experience of living in Barcelona during my Erasmus exchange at Escola Massana. This place is so beautiful and the mix of the people coming from all over the world brings to the city an amazing energy. This town is also really important in the field of Contemporary jewellery with good galleries, the “Joya” Fair and some really good study cycles. It is always a great pleasure to go back there.

Is there any designer, jeweller, artist, you appreciate a lot?
I find a lot of inspiration in Gaudi’s work in Barcelona and lots of connections with my way of creating volume. I love the obsession of Yayoi Kusama for the point (the round shape is also very important for me). In the jewellery field (even if I really like a lot of different kind of work) the one of Tanel Venree is really catching my attention because of the modular process I see in it and I also find quite interesting the use of sea horses and insect as part of the composition.

What piece or work has given you the most satisfaction?
Visceral was the strongest project I worked on. I started to make this piece just after the diagnosis of my disease (EG: Chrones). It took 6 months for the treatment to work and during this time I had to focus my attention on something else than pain. I also had to deal with the lack of strength and not being able to stay seated for long. So I started looking for materials which would aloud me to work outside of the studio (even in my bed). Aluminium was an easy one to deal with, to make rings and create a chainmail. But without being able to solder the rings I decided to use the textile as a way to hold them together. It took me 6 months of work and 187 000 Handmade rings. With this particular piece I started to consider and view a therapeutic value in my practice of jewellery.

Do you read Jewellery Magazines? What is your source to get information?
I read Autor and Current Obsession or I find information in books. But my most active research is on the Internet, on websites such as Klimt02, AGC or AJF but also some really good blogs as the one of Marianne Gassier or Montserrat Lacomba. And finally there is Facebook to discuss and share and it is really starting to become a new stage for the Field.

Do you discuss your work with other jewellery artists or any other person?
I play by ear, sometimes I do if I am feeling an interest or a connection with the person in front of me.
And I’m sure those discussions affect my work somehow or at least the perspective of it.

What is your first thought when you hear the word Future?, What do you expect?
Ll Edelkoort says in her “Anti-Fashion” manifesto that Fashion is dying because of the lack of meaning and Contemporary Jewellery seems to appear for a lot of people as the new answer. In a near future, I see Contemporary jewellery becoming a jewellery understood and worn by everyone. So I think that the best is yet to come…

Sébastien Carré. Necklace: Visceral, 2013. Aluminum chainmail, cotton, linen, wool, leather. Ø 3 x 700 cm. Photo by: Milo Lee Photography. From series: My Sweet Disease. Sébastien Carré
Necklace: Visceral, 2013
Aluminum chainmail, cotton, linen, wool, leather
Ø 3 x 700 cm
Photo by: Milo Lee Photography
From series: My Sweet Disease
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