- Edited by:
- Edited at:
- Edited on:
Since I spent my five past years in school I have had the great opportunity to discuss my work and also reflect on other students work a lot. I think it took a while to learn how to receive critics and make it into something useful.
Do you think that jewellery is being standardized?
As long as you rely on your work process and your skill, I think each jewelry artist has a strong and unique expression. The moment you stop trusting your hands or your craft knowledge it can easily cause a distraction. Then I believe it's easy to start creating something that you think will fit into the frame. Something that isn't you.
What is there of local and universal in your artistic work?
One of the most amazing things about jewelry is that you don’t have to speak a special language to understand it. It’s fascinating that I could make a piece of jewelry with my accent and then when it leaves my studio and goes further on into the world it creates its own language. I have no clue were it will end up, which conversations will occur around it and how it will be received. The only thing I know is that I made a starting point for someone somehow. I think it's an exciting perspective.
What do you expect when exposing your work to the public (for example with an exhibition)?
I hope they get to experience a playful atmosphere, a scent of curiosity for the craft and that they are impressed of course!
Are other areas besides the jewellery, present in your work?
Since the body is so central in jewelry making I also feel an attraction to explore clothing, eyewear, shoes and bags. All the things we carry and have close to the body. I’ve done some shoes, bags and glasses before and would love to go deeper in that area again some day. Curious to discover what I can contribute to the area with my craftsmanship.
And of course If I look upon my working day, I wish I could spend more time sitting in my studio making jewelry. But theres always other stuff like answering the emails, searching for scholarships, taking photographs, editing, feed my Instagram, build the webpage, looking for materials, planning exhibitions, visiting exhibitions and so on.
The last work, book, film, city that has moved me was…
Triadisches Ballett by Oskar Schlemmer.
And also I dream a lot about Tokyo. Need to go back soon…
A place, space, country whose creativity surprises me…
I like to check out construction sites. All the colorful marks, signs and lines that makes borders and lines in the nature. The builders in the yellow outfits. The contrasts changing from one day to the other. Makes my brain connect to the body and the jewelry somehow.
Is there any designer, jeweller, artist, you appreciate a lot?
Yes of course, there are so many. It often depends on my mood of the day. In the jewelry world I appreciate the following: Emmy van Leersum, Gijs Bakker, Marc Monzó, Nhat Vu Dang, Benedikt Fischer and Lucy Sarneel.
What piece or work has given you the most satisfaction?
In generell I think that its always my most recent work that matters the most. So at the moment I have to say my work IN LINE WITH.
Sara Malm. Necklace: Untitled, 2016. Leather, plywood, silver, blue paint. 40 x 18 x 3 cm
Photo by: Emanuel Cederqvist. From series: In Line With
Do you read Jewellery Magazines? What is your source to get information?
I swipe around Instagram and Pinterest a lot. So my sources are quite digital. Like to check out furniture making, traffic signs, airports, connections in locks and minimalistic art. I also listen a lot to Swedish radio P1, they deliver cultural and philosophical programs with good quality.
Do you discuss your work with other jewellery artists or any other person?
Since I spent my five past years in school I have had the great opportunity to discuss my work and also reflect on other students work a lot. I think it took a while to learn how to receive critics and make it into something useful. Nowadays I have great colleagues to discuss with.
What is your first thought when you hear the word Future? What do you expect for?
Bring it on. No time to waste negative energy focusing on what might could go wrong.
Mona Wallström interviewed by Klimt0209Dec2016
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