MA by Kaori Juzu and Per Suntum
Exhibition
/
08 Sep 2019
-
12 Jan 2020
Published: 18.11.2019
bornholms-kunstmuseum.dkPiece: 108, 2019
Enamel, glass, copper, 18kt gold, bi-colour metal, silver.
Photo by: MindGap
From series: 108
Earrings or Pins.
© By the author. Read Klimt02.net Copyright.
Per Suntum and Kaori Juzu have since 2002 lived and worked on the island of Bornholm, where individually but in a fruitful collaboration, each has developed their own distinctive expression. Per Suntum in subtle works, wherein form and noble materials he captures a state of soul and expresses deep tales of the interaction between man and the earth on which we live.
Artist list
Kaori Juzu, Per Suntum
Kaori Juzu was an apprentice of Per Suntum before she developed her complex jewellery with refined enamel work, almost always composed works that playfully recalls memories of fragments of items that could have been found and stored as special treasures, the concept she also prefers to apply to her jewellery. They are both represented in museums and private collections around the world and are now showing for the first time at the Bornholm Art Museum a major presentation of their work.
Thanks to the support of the Danish Arts Foundation and Brødrene E., S. & A. Larsens Legat, Per Suntum and Kaori Juzu have been selected alongside Danish artists and designers to participate in a 3 months' crafts residency in Japan, 2018. During their stay, the two artists went to meet Japanese craftsmen, to catch the spirit of their know-how and the philosophy that governs their approach of the material and discipline. At the end of this journey, both artists came up with a personal project, aiming to explore the Japanese concept of MA through their works.
But what does MA refer to? This Japanese concept is indeed as popular as obscure and seems to be as difficult to define as to translate. Written with a character composed of a sun framed by the two leaves of a door, the word MA can be translated as interval or distance, in both spatial and temporal sense.
However, it was not until the turn of the 20th century, and particularly in Masakazu Nakai's writings from 1929 on, that this rather common term from the Japanese language became a concept in the critical and aesthetic discourse, precisely through intellectual exchanges between East and West. The generic notion of MA - this distance that both separates and connects - is thus regularly convened since the 60s and 70s by multiple artistic disciplines, to approach the concept of space and interval in the light of the specificity of Japan.
But just as the notions of interstice and void have not waited for the emergence of the concept of MA to fuel the Japanese thought and aesthetics, the works of Per Suntum and Kaori Juzu also seem to have somewhat always been guided by this principle.
Through an unsettling mirror game, both artists have at a certain time of their existence chosen to experience the distance between them and foreign culture, by crossing this path between East and West as a way to discover themselves. In their specific case, the MA could thus be interpreted as an initiatory path to gain access to self-knowledge, as an artist, in the confrontation with the irreducible difference of the Other.
/ Text credit to Céline Robin, Galerie LA Joaillerie par Mazlo.
Opening hours: November - January Thursday & Friday 1 - 5pm; Saturday & Sunday 10 am - 5 pm.
Thanks to the support of the Danish Arts Foundation and Brødrene E., S. & A. Larsens Legat, Per Suntum and Kaori Juzu have been selected alongside Danish artists and designers to participate in a 3 months' crafts residency in Japan, 2018. During their stay, the two artists went to meet Japanese craftsmen, to catch the spirit of their know-how and the philosophy that governs their approach of the material and discipline. At the end of this journey, both artists came up with a personal project, aiming to explore the Japanese concept of MA through their works.
But what does MA refer to? This Japanese concept is indeed as popular as obscure and seems to be as difficult to define as to translate. Written with a character composed of a sun framed by the two leaves of a door, the word MA can be translated as interval or distance, in both spatial and temporal sense.
However, it was not until the turn of the 20th century, and particularly in Masakazu Nakai's writings from 1929 on, that this rather common term from the Japanese language became a concept in the critical and aesthetic discourse, precisely through intellectual exchanges between East and West. The generic notion of MA - this distance that both separates and connects - is thus regularly convened since the 60s and 70s by multiple artistic disciplines, to approach the concept of space and interval in the light of the specificity of Japan.
But just as the notions of interstice and void have not waited for the emergence of the concept of MA to fuel the Japanese thought and aesthetics, the works of Per Suntum and Kaori Juzu also seem to have somewhat always been guided by this principle.
Through an unsettling mirror game, both artists have at a certain time of their existence chosen to experience the distance between them and foreign culture, by crossing this path between East and West as a way to discover themselves. In their specific case, the MA could thus be interpreted as an initiatory path to gain access to self-knowledge, as an artist, in the confrontation with the irreducible difference of the Other.
/ Text credit to Céline Robin, Galerie LA Joaillerie par Mazlo.
Opening hours: November - January Thursday & Friday 1 - 5pm; Saturday & Sunday 10 am - 5 pm.
Kaori Juzu
Piece: Moon gazing from Geppa - Ro#1(brooch); #1, #2, #3, #4 (rings), 2019
Brooch: silver, 22kt gold, 18kt gold, diamond; Rings: enamel, glass, copper, 18kt gold, bi-colour metal, patinated shakudo.
Photo by: MindGap
© By the author. Read Klimt02.net Copyright.
Kaori Juzu
Brooch: Untitled, 2019
Mixed media
Photo by: MindGap
© By the author. Read Klimt02.net Copyright.
Brooch: As Such II - Orison/Benison #1, 2019
Enamel, glass, copper, 18kt gold, bi-colour metal, silver.
5.6 x 7 x 2.5 cm
Photo by: MindGap
© By the author. Read Klimt02.net Copyright.
Brooch: As Such II - Orison/Benison #2, 2019
Enamel, copper, 18kt gold, silver.
7 x 6.1 x 1.1 cm
Photo by: MindGap
From series: As Such II - Orison/Benison
© By the author. Read Klimt02.net Copyright.
Brooch: More Grounded Than Centred, 2019
Enamel, copper, silver.
5.9 x 5.9 x 2.5 cm
Photo by: MindGap
Part of: Collection of Bornholm Art Museum
© By the author. Read Klimt02.net Copyright.
Brooch: RockVision III #5, 2014
Enamel, glass, copper, silver.
8.8 x 6.2 x 31 cm
Photo by: Mindgap
Part of: Collection of Bornholm Art Museum
From series: RockVision III
© By the author. Read Klimt02.net Copyright.
Brooch: Rubedo - Phoenix # 2, 2019
Reconstructed coral, 18kt gold, silver.
Photo by: MindGap
© By the author. Read Klimt02.net Copyright.
Brooch: Ubi Signum - Sign of no Thing I, II, III, IV, 2019
(Left to right) Reconstructed coral, 18kt gold; 21kt gold and 18kt gold; geological material, silver, steel, 18kt gold; silver, 18kt gold, palladium, reconstructed stone.
4 x 4 x 1.3 cm; 5.6 x 5.4 x 1.6 cm; 4.1 x 7 x 1.1 cm; 5.1 x 5.3 x 1.2 cm
Photo by: MindGap
From series: Ubi Signum - Sign of no Thing
© By the author. Read Klimt02.net Copyright.
Brooch: Nigredo - Raven, 2018
Silver, palladium, niello, urushi, 18kt white gold.
Photo by: MindGap
Part of: Collection of Bornholm Art Museum
© By the author. Read Klimt02.net Copyright.
Brooch: Albedo - Swan, 2018
Silver.
Photo by: MindGap
Part of: Collection of Bornholm Art Museum
© By the author. Read Klimt02.net Copyright.
MA by Kaori Juzu and Per Suntum in Bornholm
Per Suntum
Kaori Juzu
2019
© By the author. Read Klimt02.net Copyright.
Per Suntum
Kaori Juzu
2019
© By the author. Read Klimt02.net Copyright.
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