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INSPIRATIONS at Sieraad art fair

Exhibition  /  04 Nov 2010  -  07 Nov 2010
Published: 17.11.2010
WesterGasfabriek
Management:
Astrid Berens & Maarten Bodt EMB & B Art Events
.

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Intro
(...) New this year is a presentation of Dutch top talent under the name ‘INSPIRATIONS’. Every year will see a presentation by a number of renowned artists in the field of ‘auteursieraden’, which will focus on how each artist has broadened and developed his art within a specific theme. (...)
New this year is a presentation of Dutch top talent under the name ‘INSPIRATIONS’. Every year will see a presentation by a number of renowned artists in the field of ‘auteursieraden’, which will focus on how each artist has broadened and developed his art within a specific theme.
Much more than trends, the authentic imagery of each artist forms a detailed vision which is translated into a piece of jewellery. For some the impact of human intervention in nature plays a central role, for others the inexhaustible wealth of representation of the ornament, the power of memories and the past that is gone. Such as Evert Nijland, Willemijn de Greef, Hilde De Decker, Terhi Tolvanen...
SIERAAD Art Fair invites you to view the expressive power of the works of art and to meet the nominees and winners of the biennial design contest New Traditional Jewellery will also be present on the first day of the fair. 
Terhi Tolvanen. Brooch: Océanne, 2009. oysters | polyester | cherrie wood | paint | cotton. length 20 cm. Terhi Tolvanen
Brooch: Océanne, 2009
oysters | polyester | cherrie wood | paint | cotton
length 20 cm
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Hilde de Decker. Brooch: Salamanders, 2010. Metal. I don't aim to please or to shock people. I am exploring the limits of traditional jewelry, escaping unvolontary conventions and conformities. Interacting with other di techniques, desecrating materials, copying abandoned or banal bjects... it all happ ens purely intuitively. My jewelry refers rather to human nature, to the fragility of life and all the defic iencies and imbecilities we encounter. The banality of every day life and all the sm show up in the middle of this banality, strikes me. Because of this reference to every day life, my work doesn't need extravagance or exuberance in his form of expression. My only aim is to make the imperfection possible.
. 
. photo: Bart Vermaercke. Hilde de Decker
Brooch: Salamanders, 2010
Metal
I don't aim to please or to shock people. I am exploring the limits of traditional jewelry, escaping unvolontary conventions and conformities. Interacting with other di techniques, desecrating materials, copying abandoned or banal bjects... it all happ ens purely intuitively. My jewelry refers rather to human nature, to the fragility of life and all the defic iencies and imbecilities we encounter. The banality of every day life and all the sm show up in the middle of this banality, strikes me. Because of this reference to every day life, my work doesn't need extravagance or exuberance in his form of expression. My only aim is to make the imperfection possible.

photo: Bart Vermaercke

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Erik Kuiper. Brooch: Mismalva, 2010. Mixed media. MONO;
. With the loss of paradise, man lost his elementary orientation. It left him compelled to create his own 
. environment using artificial orientation points.
. 
. photo: Erik Kuiper . Erik Kuiper
Brooch: Mismalva, 2010
Mixed media
MONO;
With the loss of paradise, man lost his elementary orientation. It left him compelled to create his own
environment using artificial orientation points.

photo: Erik Kuiper

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Willemijn de Greef. Collier: Spakenburg, 2009. Ceramics, Hennep rope. Sailors & landlubbers 
. My work is based on the cultural history of the Netherlands, mainly on traditions, crafts and traditional costumes. I take recognizable elements and subsequently translate them to my own contemporary context. I enlarge the components which are important to me so they become autonomous. I translate the jewellery worn in traditional costumes as well as elements out of the costumes. Next to that I also use more universal images from our cultural history, for example the handmade rope and brick red ceramics. For the competition “True colours” I used the “Zeeuwse knoop” as a starting point. The necklace “Zeeuwse knopen” refers to the landscape of Zeeland. The beauty of the deep black/ brown colours of the fatty Dutch clay when it’s ploughed. I grew up in this scenery. The Zeeuwse knoop is worn in different ways in the traditional costumes from the south of the Netherlands, Zeeland (Sealand). Such as neckpieces, buttons and hairpins.
. 
. photo: Frans Cup. Willemijn de Greef
Collier: Spakenburg, 2009
Ceramics, Hennep rope
Sailors & landlubbers
My work is based on the cultural history of the Netherlands, mainly on traditions, crafts and traditional costumes. I take recognizable elements and subsequently translate them to my own contemporary context. I enlarge the components which are important to me so they become autonomous. I translate the jewellery worn in traditional costumes as well as elements out of the costumes. Next to that I also use more universal images from our cultural history, for example the handmade rope and brick red ceramics. For the competition “True colours” I used the “Zeeuwse knoop” as a starting point. The necklace “Zeeuwse knopen” refers to the landscape of Zeeland. The beauty of the deep black/ brown colours of the fatty Dutch clay when it’s ploughed. I grew up in this scenery. The Zeeuwse knoop is worn in different ways in the traditional costumes from the south of the Netherlands, Zeeland (Sealand). Such as neckpieces, buttons and hairpins.

photo: Frans Cup

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Ruudt Peters. Brooch: Anima Angy, 2009. Silver, gold electroformed. Anima
. For a considerable time now I have been exploring the feminine subconscious in the male (the ANIMA) as a guiding principle for my design. Over the past year I have been drawing blind, in order to achieve more freedom in my thinking. These drawings give expression to an unknown terrain in my visual language. I can not direct them. My principle in them is, the less you control the design, the more freedom and room in the ultimate product. As a continuation of this technique, I have also been drawing with wax underwater. This action generates an unfamiliar language. It is movement that solidifies what arises from the unconscious. A fluid line is caught in coagulated form. This process produces a totally different sort of design with regard to freedom, thought and expression. The works are gracile, delicate and fragile. 
. 
. photo: Rob Versluis. Ruudt Peters
Brooch: Anima Angy, 2009
Silver, gold electroformed
Anima
For a considerable time now I have been exploring the feminine subconscious in the male (the ANIMA) as a guiding principle for my design. Over the past year I have been drawing blind, in order to achieve more freedom in my thinking. These drawings give expression to an unknown terrain in my visual language. I can not direct them. My principle in them is, the less you control the design, the more freedom and room in the ultimate product. As a continuation of this technique, I have also been drawing with wax underwater. This action generates an unfamiliar language. It is movement that solidifies what arises from the unconscious. A fluid line is caught in coagulated form. This process produces a totally different sort of design with regard to freedom, thought and expression. The works are gracile, delicate and fragile. 

photo: Rob Versluis

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Tarja Tuupanen. Brooch: Untitled, 2010. Cachlong, silver. 14,5 x 7 x 5 cm. ABOUT WHITE
. White is waiting, it is silent, quiet and calm, it is clear and comforting, and frighteningly empty. Can a blanco portrait tell more than a photo? Is there something more to look at in a white scenery than in the view from your balcony? The white cacholong fascinates me. In a natural material all the white shades you can think of. This stone has the perfect atmosphere, it is minimalistic and quiet, stagnant but not boring, quite noble even. It looks soft and gentle, but it is not the truth. When you look its whiteness long enough, you start to see some colors. I do love northern winter, when everything is covered with snow. It is silent, quiet and calm. Clear and comforting and frighteningly empty.
. 
. photo: Kimmo Heikkilä. Tarja Tuupanen
Brooch: Untitled, 2010
Cachlong, silver
14,5 x 7 x 5 cm
ABOUT WHITE
White is waiting, it is silent, quiet and calm, it is clear and comforting, and frighteningly empty. Can a blanco portrait tell more than a photo? Is there something more to look at in a white scenery than in the view from your balcony? The white cacholong fascinates me. In a natural material all the white shades you can think of. This stone has the perfect atmosphere, it is minimalistic and quiet, stagnant but not boring, quite noble even. It looks soft and gentle, but it is not the truth. When you look its whiteness long enough, you start to see some colors. I do love northern winter, when everything is covered with snow. It is silent, quiet and calm. Clear and comforting and frighteningly empty.

photo: Kimmo Heikkilä

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Evert Nijland. Necklace: Rococo, 2009. Porcelain, handwoven linen. 15 cm diameter. ORNAMENTEN
. Evert Nijland’s jewelry has its roots in images from Art-history, in particular he has focused on the Renaissance and Baroque- periods. However he is not copying the items in the paintings or sculptures but he translates these images into his own contemporary context. He is fascinated by the way nature is visualized by artists out of the art history. His latest work is called ‘Naturae’ from 2009 and is inspired by the many floral motives that are used in classical ornaments.
. 
. photo: Eddo Hartmann. Evert Nijland
Necklace: Rococo, 2009
Porcelain, handwoven linen
15 cm diameter
ORNAMENTEN
Evert Nijland’s jewelry has its roots in images from Art-history, in particular he has focused on the Renaissance and Baroque- periods. However he is not copying the items in the paintings or sculptures but he translates these images into his own contemporary context. He is fascinated by the way nature is visualized by artists out of the art history. His latest work is called ‘Naturae’ from 2009 and is inspired by the many floral motives that are used in classical ornaments.

photo: Eddo Hartmann

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Chequita Nahar. Necklace: Untitled. Mixed media. Chequita, NaharNecklace: UntitledMixed mediaERFENIS
. In de foto van deze dame in haar KotoMisi herken ik het pure, de bezieling, het mysterieuze van deze kleding en alles wat erbij hoort. Mijn Oma heeft mij een aantal jaren geleden de Bruids kotomisi's van mijn over over grootmoeder gegeven. De Kotomisi's waren prachtig en ik kon het niet weerstaan om ze te passen en volgens de traditie te complementeren met de bijhorende sieraden. Het bracht mij terug in de tijd en deed mij denken aan de rituelen en de gebruiken die gepaard gingen met het dragen van deze ' klederdracht'. Dit heeft mij geïnspireerd om terug te gaan naar sommige rituelen en gebruiken en die te gebruiken als basis voor mijn sieraden.. Chequita Nahar
Necklace: Untitled
Mixed media


Chequita, Nahar
Necklace: Untitled
Mixed media
ERFENIS
In de foto van deze dame in haar KotoMisi herken ik het pure, de bezieling, het mysterieuze van deze kleding en alles wat erbij hoort. Mijn Oma heeft mij een aantal jaren geleden de Bruids kotomisi's van mijn over over grootmoeder gegeven. De Kotomisi's waren prachtig en ik kon het niet weerstaan om ze te passen en volgens de traditie te complementeren met de bijhorende sieraden. Het bracht mij terug in de tijd en deed mij denken aan de rituelen en de gebruiken die gepaard gingen met het dragen van deze ' klederdracht'. Dit heeft mij geïnspireerd om terug te gaan naar sommige rituelen en gebruiken en die te gebruiken als basis voor mijn sieraden.

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Hanneke van Hage. Piece: Fist, 2010. Metal. ‘Fist & Mask’ 
. Het contrast tussen positieve en negatieve gevoelens als creativiteit en intuïtie enerzijds en depressie en isolatie anderzijds inspireerde Hanneke van Hage tot fragiele werken, die veraf staan van het sieraad als draagbaar object maar vooral blijk geven van een autonome, zeer persoonlijke aanpak. Naar aanleiding van een serie tekeningen legde ze verzamelingen van gevonden voorwerpen aan, die ze met elkaar combineerde tot (soms minieme) objecten en collages. (Items nr. 5, 2005)
. 
. photo: Bart Vermaercke. Hanneke van Hage
Piece: Fist, 2010
Metal
‘Fist & Mask’
Het contrast tussen positieve en negatieve gevoelens als creativiteit en intuïtie enerzijds en depressie en isolatie anderzijds inspireerde Hanneke van Hage tot fragiele werken, die veraf staan van het sieraad als draagbaar object maar vooral blijk geven van een autonome, zeer persoonlijke aanpak. Naar aanleiding van een serie tekeningen legde ze verzamelingen van gevonden voorwerpen aan, die ze met elkaar combineerde tot (soms minieme) objecten en collages. (Items nr. 5, 2005)

photo: Bart Vermaercke

© By the author. Read Klimt02.net Copyright.
Appreciate APPRECIATE