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Sari Liimatta interviewed by klimt02

Interview  /  Artists
Published: 07.10.2016
Sari Liimatta Sari Liimatta
Author:
klimt02
Edited by:
Klimt02
Edited at:
Barcelona
Edited on:
2016
Photo by Suvi Tiainen.
Photo by Suvi Tiainen

© By the author. Read Klimt02.net Copyright.

Intro
Most of my pieces have an attachment mechanism to connect it to user´s body. Or the connection is formed via form of the piece. I think that function of an object as jewelry, is quite universal jewellery feature in my work.

Do you think that jewellery is being standardized?
No, I don´t think so. Some groups have tried to do so for their own benefits, but this field of art (jewellery in general) is so wide and old, that it is quite absurd and ridiculous to start to define it into one so called officially approved mold. Different styles and modes have existed, and probably will exist, even on contemporary jewellery field. It doesn´t rule out individual paths.
 

What is there of local and universal in your artistic work?
Most of my pieces have an attachment mechanism to connect it to user´s body. Or the connection is formed via form of the piece. I think that function of an object as jewelry, is quite universal jewellery feature in my work. But not always. My jewellery sculptures have no physical connection to bodies. They study the function of the jewellery as an idea.
I have studied also about how universal is the concept of different colors, beyond physical colors.
Or the symbolism of animal narratives.
 

What do you expect when exposing your work to the public (for example with an exhibition)?
I don´t expect it, but I hope to take the attention of public to those issues which I have noticed in the environment. Animal rights and environmental problems.
 

Are other areas besides the jewellery, present in your work?
Sculpture. But doesn´t it in any object? Similarly I see many similarities in jewellery and music. Making jewellery and playing music/composing. In my life they kind of work together. Via playing keyboard I often find the right tone and timeing compilation to define the atmosphere. And that compilation shows itself to me as a color. I can find and play the so called melody for an hour or two, but then I just simply become bored, and start to study it again with my jewellery piece. But sometimes the mental image of a new piece is so ready in my mind, that I don´t use music any other way, than hearing on the background (played by others).
Also photography has a lot to do with the expression of my work. Public often see just a photo of the work, not the piece as a real object.
 

The last work, book, film, city that has moved me was...
(album) Dave Gahan & Soulsavers: Angels & Ghosts, (book) Sami Karjalainen: Suomen sudenkorennot, (film) Jean-Jacques Annaud: Two Brothers, (city) Lappeenranta.

 
A place, space, country whose creativity surprises me…
The Forest, The Sky, The Surface of The Water…
 

Is there any designer, jeweller, artist, you appreciate a lot?

Mark Rothko (painter), Osmo Rauhala (painter), Dave Gahan (singer)…
 

What piece or work has given you the most satisfaction?
Impossible to choose.
 

Do you read Jewellery Magazines? What is your source to get information?
Most news come via Klimt02, or people send info straight by emails. Internet in general. But I have to say, that I am not so keen follower of jewellery field, for I try to have as much time to work as possible. All other work related side things come then somewhere, if I have time/interest. Too much focusing on field in general could get me turning my back on whole jewellery, for days, which I can´t do because the stories of animals need to be told.
 

Do you discuss your work with other jewellery artists or any other person?
Sometimes with my sister.
 

What is your first thought when you hear the word Future?, What do you expect for?
Continuation of working via jewellery and with animals. Nature.
 
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