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Hochschule Trier. BFA and MFA Degree Show 2021

Exhibition  /  NewTalentsByKlimt02   OnlineOnly  /  22 Nov 2021  -  22 Dec 2021
Published: 19.11.2021
Silvia Bellia. Necklace: Hybrid, 2021. Pink quartz, silver, gold plated silver, PVC. 12.5 x 4 x 20 cm. Photo by: Silvia Bellia. 
. Technology is an essential aspect of human nature. (…) It now allows us to extend not only human physical and mental faculties, but also it extends the material world, interactions, and physical places. Inevitably, technology influences and reshapes our relationship with the world.
. My source of inspiration is the hybrid reality we live in, where our daily experiences are partly digital and partly analog. All my works are the result of a combination of the ancient art of stone carving and the use of 3D modeling software. Through a dynamic process, I brought my works to life in the digital world and materialized them in the tangible world, establishing a dialogue between the two realities.
.  . Silvia Bellia
Necklace: Hybrid, 2021
Pink quartz, silver, gold plated silver, PVC
12.5 x 4 x 20 cm
Photo by: Silvia Bellia

Technology is an essential aspect of human nature. (…) It now allows us to extend not only human physical and mental faculties, but also it extends the material world, interactions, and physical places. Inevitably, technology influences and reshapes our relationship with the world.
My source of inspiration is the hybrid reality we live in, where our daily experiences are partly digital and partly analog. All my works are the result of a combination of the ancient art of stone carving and the use of 3D modeling software. Through a dynamic process, I brought my works to life in the digital world and materialized them in the tangible world, establishing a dialogue between the two realities.

 
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Intro
Trier University of Applied Sciences, Department of Gemstones and Jewellery, presents 12 graduates in 2021, including 6 BFA and 6 MFA. The students dealt with a wide range of topics, from political to sociological to poetic, from denouncing current grievances to delight the wearer. For most graduates this year, the focus is clearly on stone as a material.

Artist list

Silvia Bellia, Jose Martin Carreño Mendoza, Nga Ching Ko, Susie Heuberger, Zekun Jin, Nikita Kavryzhkin, Jasmin Schlesiger, Birigt Thalau, Oles Tsura, Luisa Werner, Oscar Wippermann
The interdisciplinary debate that has been going on in many places for decades, about what jewellery is, crafts, design or art? has significantly contributed to sharpening the profile of our department within the framework of the Bologna process. The re-thinking of the task of jewellery, as we interpret and understand it today, leads to a focussing position, which is defined i.a. by an investigation of the relationships to neighboring areas:

Jewellery is not Craft. Although there is an intersection with the central position of masterly skill there, the contemporary jewellery focus is different.

Jewellery is not Design. There is an intersection with the central position of a fashionable aestheticization and its successful marketing - the contemporary jewellery focus is different.

Jewellery is not Free Art. Although there is an intersection with the central position of "existence out of oneself" - the contemporary jewellery focus is different.

However, our aim is not to draw lines of demarcation or to sharpen them, and thus to rethink the question of the identity of jewellery makers only in the context of already existing but not sufficient catalogues of criteria in other fields. Because, as in jewellery, handicraft and art, extensive specialization harbors the danger of inner failure:
In an interview in the "Zeit"  from March 2008, Philippe Starck states:

"Everything I've designed is absolutely unnecessary. Structurally, design is completely useless. Design is nothing. I tried to give my products some sense and energy. Even though I did my best, it was useless."

With the above quote, Starck not only questions his entire work; Design as a source of objects and products that are free of any possible meaning and therefore no real contribution to this world, he rejects the raison d'être. This point of view is easily applicable to contemporary perceptions in the various areas of jewellery in which, in the last 40 years, there has been a total removal of societal, identity-creating meaning in both jewellery, fashion, and artist or so-called author jewellery.

The aim is therefore to formulate an approach that leads, even in the context of the recently increased demand for interdisciplinarity, to an independent approach to an extended spectrum of possibilities.


Guiding teachers:
Theo Smeets, Eva-Maria Kollischan, Ute Eitzenhöfer, Julia Wild, Levan Jishkariani, Felicia Mülbaier


 
Jose Martin Carreño Mendoza. Necklace: Coyuntura, 2021. Basalt, shibuichi. 4.5 x 22 x 22 cm. Photo by: Jose Martin Correño Mendoza. 
. The armed conflict in Colombia, protracted and ruthless, has transcended generations, crossing its inhabitants’ bodies and memories. Violence has become so ordinary that it merges with oblivion. (…) This series attempts an act of human objectification, allowing body parts and the reminiscence of them, to tell the story of a specific kind of violence that is transgressing human limits. (…) Repeatedly breaking, abrading, and reconstructing enduring stone. Like this, the passage of time is recorded. This research is a claim for recognition. Reflecting on the portrait of war that political art offers, which can reveal the mirror of memory to discover a national identity.
.  . Jose Martin Carreño Mendoza
Necklace: Coyuntura, 2021
Basalt, shibuichi
4.5 x 22 x 22 cm
Photo by: Jose Martin Correño Mendoza

The armed conflict in Colombia, protracted and ruthless, has transcended generations, crossing its inhabitants’ bodies and memories. Violence has become so ordinary that it merges with oblivion. (…) This series attempts an act of human objectification, allowing body parts and the reminiscence of them, to tell the story of a specific kind of violence that is transgressing human limits. (…) Repeatedly breaking, abrading, and reconstructing enduring stone. Like this, the passage of time is recorded. This research is a claim for recognition. Reflecting on the portrait of war that political art offers, which can reveal the mirror of memory to discover a national identity.
 
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Susie Heuberger. Necklace: Hermanas, 2021. Rope, silk, cashmere, red coral, reconstructed coral. 66 x 26 x 5 cm. Photo by: Susie Heuberger, Constanza Salinas. From series: Mictlan. 
. Mexico is one of the most dangerous countries to be a woman. Women of all ages are murdered for the simple fact of being a woman. Most crimes against women are not solved and end up being forgotten by the authorities. In 2020 alone, 3723 violent deaths of women were recorded in Mexico, of which 940 were investigated as femicides. This piece is a tribute to all the women who have been murdered in Mexico. They have not been forgotten.
.  . Susie Heuberger
Necklace: Hermanas, 2021
Rope, silk, cashmere, red coral, reconstructed coral
66 x 26 x 5 cm
Photo by: Susie Heuberger, Constanza Salinas
From series: Mictlan

Mexico is one of the most dangerous countries to be a woman. Women of all ages are murdered for the simple fact of being a woman. Most crimes against women are not solved and end up being forgotten by the authorities. In 2020 alone, 3723 violent deaths of women were recorded in Mexico, of which 940 were investigated as femicides. This piece is a tribute to all the women who have been murdered in Mexico. They have not been forgotten.
 
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Zekun Jin. Necklace: Hide, appear, 2021. Lemon chrysoprase, bamboo, oxidised silver. Photo by: Zekun Jin. 
. Character and emotion enable individuals to interact with the external environment. (...) The diversity that people show is determined by their different personalities. (...) Under the influence of various outer factors, our original personality and emotions cannot express our inner self.
. 
. It is difficult to understand others, but it is even more difficult to understand ourselves. (...) We need a mirror to find ourselves. It is more difficult to accept the judgment of others. (...) We need to look at ourselves slowly like spectators, to grasp our own emotions, (...) to see ourselves in the eyes of others (...) Everything can be a mirror, but you can never describe yourself in all mirrors. 
.  . Zekun Jin
Necklace: Hide, appear, 2021
Lemon chrysoprase, bamboo, oxidised silver
Photo by: Zekun Jin

Character and emotion enable individuals to interact with the external environment. (...) The diversity that people show is determined by their different personalities. (...) Under the influence of various outer factors, our original personality and emotions cannot express our inner self.

It is difficult to understand others, but it is even more difficult to understand ourselves. (...) We need a mirror to find ourselves. It is more difficult to accept the judgment of others. (...) We need to look at ourselves slowly like spectators, to grasp our own emotions, (...) to see ourselves in the eyes of others (...) Everything can be a mirror, but you can never describe yourself in all mirrors. 
 
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Nikita Kavryzhkin. Necklace: Over The VOID #3, 2021. Onyx, rubber cord, stainless steel, titanium. 21.5 x 35 x 5 cm. Photo by: Nikita Kavryzhkin. From series: Over The VOID. 
. VOID series explores the concept of atmospheres and aura (Walter Benjamin) as well as the ability of jewelry to generate them. (…) Perception of the church atmosphere, namely the atmosphere of sublime, has much in common with the effect evoked by the most touching works of art. Monochromatic stones without articulated patterns and symmetrical composition were used in this series. The center of the pieces is the void itself. All these artistic methods emphasize the brutalist yet sensual nature of the pieces.
.  . Nikita Kavryzhkin
Necklace: Over The VOID #3, 2021
Onyx, rubber cord, stainless steel, titanium
21.5 x 35 x 5 cm
Photo by: Nikita Kavryzhkin
From series: Over The VOID

VOID series explores the concept of atmospheres and aura (Walter Benjamin) as well as the ability of jewelry to generate them. (…) Perception of the church atmosphere, namely the atmosphere of sublime, has much in common with the effect evoked by the most touching works of art. Monochromatic stones without articulated patterns and symmetrical composition were used in this series. The center of the pieces is the void itself. All these artistic methods emphasize the brutalist yet sensual nature of the pieces.
 
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Nga Ching Ko. Brooch: I love China 04, 2021. Padauk wood, hot glue, enamel paint, stainless steel . 54.5 x 11.2 x 14 cm. Photo by: Nga Ching Ko. From series: I love China. 
. We, humans, often follow the public popular opinion to believe and behave, even if the idea is a preconception, we can believe it (…) or force ourselves to believe it.
. My works are showing the process of me making compromises, the emotion of resistance, struggle or anger. (…) As an inclusion in Hong Kong, the preconception of the words “Chinese” and “China” leads one's national identity to a political position (…). Some people emphasise their love for China from time to time in order to be safe. This kind of manifestation is an empty speech to me. (…)I made the sentences in my pieces in a superficial and meaningless way, (…) repeat(ing them) endlessly like brainwashing.
.  . Nga Ching Ko
Brooch: I love China 04, 2021
Padauk wood, hot glue, enamel paint, stainless steel 
54.5 x 11.2 x 14 cm
Photo by: Nga Ching Ko
From series: I love China

We, humans, often follow the public popular opinion to believe and behave, even if the idea is a preconception, we can believe it (…) or force ourselves to believe it.
My works are showing the process of me making compromises, the emotion of resistance, struggle or anger. (…) As an inclusion in Hong Kong, the preconception of the words “Chinese” and “China” leads one's national identity to a political position (…). Some people emphasise their love for China from time to time in order to be safe. This kind of manifestation is an empty speech to me. (…)I made the sentences in my pieces in a superficial and meaningless way, (…) repeat(ing them) endlessly like brainwashing.

 
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Jasmin Schlesiger. Body piece: Korpus_Kontur II, 2021. Lime wood, stainless steel. 21 x 31 x 5.5 cm. Photo by: Jasmin Schlesiger, Joachim Rudolph. 
. Spatial perception occupies every human being. Without perception there is no existence...
. Jewelry can be considered as a medium for sharpening our senses regarding spatial perception. Most important here is movement, made possible by the presence of space. Both, the work and the viewer being in motion, a more flexible perspective is created. Space between parts of the pieces seemingly varies, just as the space between viewer, wearer and piece.
.  
. Not only the real space between the jewelry piece and the carrier but also non-existent space can require intensification of perception. What happens when a geometric body seems to invade the organic human body, which in contrast to the geometric space seems very indefinable, unstable, and vulnerable?
.  . Jasmin Schlesiger
Body piece: Korpus_Kontur II, 2021
Lime wood, stainless steel
21 x 31 x 5.5 cm
Photo by: Jasmin Schlesiger, Joachim Rudolph

Spatial perception occupies every human being. Without perception there is no existence...
Jewelry can be considered as a medium for sharpening our senses regarding spatial perception. Most important here is movement, made possible by the presence of space. Both, the work and the viewer being in motion, a more flexible perspective is created. Space between parts of the pieces seemingly varies, just as the space between viewer, wearer and piece.
 
Not only the real space between the jewelry piece and the carrier but also non-existent space can require intensification of perception. What happens when a geometric body seems to invade the organic human body, which in contrast to the geometric space seems very indefinable, unstable, and vulnerable?
 
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Birgit Thalau. Necklace: varied lot, 2021. Aluminum, silver, copper, gold. 5.5 x 1.3 x 8 cm. Photo by: Birgit Thalau. From series: Embracing the echo. 
. All of my thesis pieces relate to jewellery I created earlier. By using reproduction methods, I craft an echo from the past. Looking at those pieces, I feel that I let their initial materiality and meaning disappear. Silence has fallen over the objects, like a moment of hesitation between the authentic and the repeated object. I seek to embrace this void and to fill the need for more depth. By repeating the making process several times, I may adapt, discard and transform the reproductions again. Like this, my anterior works get covered over and over with further material, emotions and concepts. Embodied as one in the solidified matter, past and present, presence and absence, positive and negative become part of my practice and the new sense.
.  . Birgit Thalau
Necklace: varied lot, 2021
Aluminum, silver, copper, gold
5.5 x 1.3 x 8 cm
Photo by: Birgit Thalau
From series: Embracing the echo

All of my thesis pieces relate to jewellery I created earlier. By using reproduction methods, I craft an echo from the past. Looking at those pieces, I feel that I let their initial materiality and meaning disappear. Silence has fallen over the objects, like a moment of hesitation between the authentic and the repeated object. I seek to embrace this void and to fill the need for more depth. By repeating the making process several times, I may adapt, discard and transform the reproductions again. Like this, my anterior works get covered over and over with further material, emotions and concepts. Embodied as one in the solidified matter, past and present, presence and absence, positive and negative become part of my practice and the new sense.
 
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Oles Tsura. Brooch: Human Hook II, 2021. Aquamarine, wood, woodstain. 6.8 x 13.2 x 3.7 cm. Photo by: Constanza Salinas. From series: Human Hooks. 
. I consider my jewellery like a lure that tricks and seduces, similar to the situation in angling where the fish encounters the bait. The notion of curiosity inspired me, as it is part of human beings who like to be tempted and apply tools to “hook up” with someone. 
. Each of my pieces represents a metaphorical reflection based on these ideas. My jewellery and objects are created from different materials and shapes, with smooth surfaces, so that people want to touch and feel them.
.  . Oles Tsura
Brooch: Human Hook II, 2021
Aquamarine, wood, woodstain
6.8 x 13.2 x 3.7 cm
Photo by: Constanza Salinas
From series: Human Hooks

I consider my jewellery like a lure that tricks and seduces, similar to the situation in angling where the fish encounters the bait. The notion of curiosity inspired me, as it is part of human beings who like to be tempted and apply tools to “hook up” with someone. 
Each of my pieces represents a metaphorical reflection based on these ideas. My jewellery and objects are created from different materials and shapes, with smooth surfaces, so that people want to touch and feel them.

 
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Luisa Werner. Necklace: mémoire décousue, 2021. Pink aventurine, mixed textiles. 31.5 x 7 x 1 cm. Photo by: Martin Carreño. From series: Au-delà du palpable. 
. Made out of stone and textile, the pieces go beyond their pure materiality. They seem slightly vague without being undefined. In this vagueness, there is space for wandering thoughts and arising memories, that allows one to take one’s own path to explore.
. Experiencing the tangible while feeling the intangible; allowing another dimension to emerge – barely there but still present. Capturing the ephemeral. 
. – 
. Au-delà du palpable. Beyond the palpable. 
.  . Luisa Werner
Necklace: mémoire décousue, 2021
Pink aventurine, mixed textiles
31.5 x 7 x 1 cm
Photo by: Martin Carreño
From series: Au-delà du palpable

Made out of stone and textile, the pieces go beyond their pure materiality. They seem slightly vague without being undefined. In this vagueness, there is space for wandering thoughts and arising memories, that allows one to take one’s own path to explore.
Experiencing the tangible while feeling the intangible; allowing another dimension to emerge – barely there but still present. Capturing the ephemeral. 
– 
Au-delà du palpable. Beyond the palpable. 
 
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Oscar Wippermann. Necklace: The crocodile does not have feathers, 2021. Bone, grenadill, vegetable net, silk, superglue. 21 x 17 x 2.5 cm. Photo by: Constanza Salinas. 
. When reading fairy tales, many questions come to my mind, of which very few are answered in the story. (…) Why do crocodiles not have feathers? Are they simply not close enough related to birds? Or are feathers too uncomfortable underwater? Penguins have them too! I reformulate questions like these into titles for my pieces. (…) I hope that the interplay of material, colour, form and title will give rise to amusing questions for the viewer and make (them) smile. Perhaps the image of a naked crocodile appears before the inner eye. It is the only one in its swimming group that has no feathers and therefore wears swimming trunks.
.  . Oscar Wippermann
Necklace: The crocodile does not have feathers, 2021
Bone, grenadill, vegetable net, silk, superglue
21 x 17 x 2.5 cm
Photo by: Constanza Salinas

When reading fairy tales, many questions come to my mind, of which very few are answered in the story. (…) Why do crocodiles not have feathers? Are they simply not close enough related to birds? Or are feathers too uncomfortable underwater? Penguins have them too! I reformulate questions like these into titles for my pieces. (…) I hope that the interplay of material, colour, form and title will give rise to amusing questions for the viewer and make (them) smile. Perhaps the image of a naked crocodile appears before the inner eye. It is the only one in its swimming group that has no feathers and therefore wears swimming trunks.
 
© By the author. Read Klimt02.net Copyright.
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