Claude Schmitz: Together

Artist list

Claude Schmitz

It is in the nature of things that that which is self-evident does not attract attention, and it is a long time since that which has evolved out of culture last perceived all of its own forms or changes in form, or that of others. We thus move on a daily basis within a framework in which one either positions oneself or is positioned. The artist seeks, or investigates, the correlations, the conditionalities of form and thereby also society, in all phases of coexistence. Whoever is unwilling to question the proximity to the subject will certainly be frustrated. For as long as I have consciously dedicated myself to art, the world of jewellery has always fascinated me due to its proximity to the subject and the relativity of subject and object. The differing definitions of surfaces, borders - in the German-speaking world: bearing one's destiny, displaying one's concern, etc. - make their contribution to jewellery art being of archetypal significance. Proximity to performance, but also the claims arising from the early artistic deliberations of the 20th century, from the whole concept surrounding the avant-garde - the temporary appreciation in the acceptance of artwork, also bring jewellery into contemporary discussion and produce equilibrium among artists for the first time.

Developments, artistic projects, can generally only be considered as such in hindsight, and I see two fundamental strands in Claude Schmitz's work. In the earlier works conceptual conflict moves into the foreground, combined with groundbreaking technique. Witty and suggestive word combinations partly condition the artistic production and are lent form with an ease and naturalness. Wearability as a central theme is re-examined for each individual object and compiled in the sketchbook in a dense network of new images and forms. The term sketchbook is perhaps too out-of-date, however; one should rather refer to an instruction manual, one in which specific things are achieved in different chapters. These books are full of ideas and not meant for their recipients. They provide information regarding an extremely self-critical conflict with the objects. The intention was never the continuation of a Sixties art form, the declared aim was always to reconcile concept and form in a professionally executed manner. Conditionalities must be created, until a hard and fast self-definition is obtained.


The materials used have always been what one can genuinely define as traditional. Classic materials in a context of value and significance which Claude Schmitz specifically applies to and reflects on in his works. In more recent works apparently playful and lightly naturalistic elements are arranged in a rigorous form, patination and varnish move across the same levels of meaning. Through simple geometries he highlights the adjusted form, although driving them into a new network of relationships, in a condition of self-reflection free from decoration. All of his works are of the highest quality finish; those with a freer form, rather misleading the onlooker in their "playfulness", bear the stamp of the tight roll rings, of the elaborate necklace, stone and coral structures. These are not arbitrary conglomerates whose design principle is governed by chance, however, rather the sophisticated result of a defined working context. With their emotionalised form the earlier works can be described as striking, if one thinks of the various large discs which at first swim seemingly happily around three stone flowers, tilting towards one another across the surface, and then challenge the recipients provocatively, almost photographically still.

Just as one clearly senses the presence of Claude Schmitz personally, he also manages to transfer it into his work, which then also makes it fittingly "harmonious" for us.


Dietmar Tanterl , Artist (Munich)