- klimt02, Carolin Denter
- Edited by:
- Edited at:
- Edited on:
Sometimes it takes very long time to find them but I know that it will come one day and often it comes suddenly. If I meet with a correct material then I fall in love and try everything to know about it. At this moment, I find already the value of the material for myself.
You are known for your goldsmith works, but in the newest collection “Border” you are not using metal in a prominent way. Did you change your way of working?
No, I didn't change my way and still behind of the Border Brooch you can see my hand trace. I am always curious to use new materials. When I used Corian first time for the Palette brooch, the combination with Dichroic mirror and Corian became so good together in one and it was no question for me to combine them.
Once you said that you are always looking for new materials with which you try to connect. How does this look like and how important is its value?
Finding a new material is like a love story for me. It doesn't always come when I wish it. Sometimes it takes very long time to find them but I know that it will come one day and often it comes suddenly. If I meet with a correct material then I fall in love and try everything to know about it. At this moment, I find already the value of the material for myself.
You were artist in residence in Idar-Oberstein during the last 2 months; how was the experience?
The goal for this AiR was to find the way with stone for my next step. People in Idar Oberstein said to me that stone takes time and it was true. 2 month was not enough time to finish the piece but at least I had a great opportunity to visit different stone studios, dealers and company and I met wonderful stone cutting masters. All this contacts that I got there will help for my next body of work.
What is first the material or the concept when you start working on new pieces?
The starting point of my work is always encountering the materials but at the same time I find the connection or relationship with my personal experience with it.
Light and its movement seem to be present in all your works. What is fascinating for you about light?
The fascination of the light and its reflection is that they are changing all the time. You can never capture them.
And of course light and reflection have strong connection with jewellery.
What have you learned about your own work since you are teaching? What’s the best piece of advice you’ve been given?
I worked for 6 and half years as an artistic assistant at Munich Academy. Through this experience I learned a lot of things but maybe the best thing that I learned from students and professors was the passion with jewellery. Without passion you can’t create anything. This is the most primitive thing but also the most important thing to make piece of jewellery.
Which artist or work in the art world (not jewelry) interests you?
Noriyuki Haraguchi, James Turrell, Luis Barragan, Shiro Kuramata, Henri Cartier-Bresson, Meiwa Denki, Olafur Eliason, Msayuki Kurokawa.
In the jewelry scene what are the proposals, artist or works you find interesting?
Florian Milker, Lore Langendries, Patricia Domingues, Jing He, Akihiro Ikeyama, Typhaine le Monnier, Junwon Jung, Alessa Joosten.
Viktoria Münzker interviewed by Klimt0205Dec2016
Zhou Yiyan interviewed by Klimt0228Oct2016
Sara Malm interviewed by Klimt0227Oct2016
Christine Jalio interviewed by Klimt0225Oct2016
Big Dreams in Small Packages. An interview with Kadri Mälk and Tanel Veenre24Oct2016
Tal Efraim interviewed by Klimt0224Oct2016
Claire Kahn interviewed by Patina Gallery about her new exhibition Peaceable Kingdom14Oct2016
Nicola Heidemann interviewed by Klimt0212Oct2016
Maja Houtman interviewed by Klimt0211Oct2016
Sari Liimatta interviewed by klimt0207Oct2016
Karen Lester interviewed by Klimt0230Sep2016
Kathleen Dustin interviewed by Klimt0230Sep2016
Jelizaveta Suska interviewed by Klimt0227Sep2016
Ariel Lavian interviewed by Klimt0223Sep2016
Elwy Schutten interviewed by Klimt0220Sep2016