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PXL - MAD School of Arts. MA Degree Show 2019

Exhibition  /  SchoolsDegreeShow2019   EmergingValues  /  21 Jun 2019  -  23 Jun 2019
Published: 31.05.2019
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© By the author. Read Klimt02.net Copyright.

Intro
EXIT / 19 brings together the graduation projects of the master students of PXL-MAD School of Arts Hasselt, LUCA School of Arts Campus C-mine Genk and the Faculty of Architecture & Art of Hasselt University.

Artist list

Robin Driessen, Anna Sophie Fink, Annabel Goris, Loes Indekeu, Anouck Kuyckx, Louise Quartin, Eva Schrooten, Sofie Van Belle
Each individual project bears witness to the constant interaction between education and research and to the personal and creative development of the student.
The setting for EXIT / 19 is Thor Central, the main building of the former coal mine of Genk-Waterschei. Thor Central is an impressive and energetic location that does justice to the projects.

Hours

22nd, 23rd of June, Saturday and Sunday, 10 am - 6 pm.

Opening

21st of June, Friday, 8 pm.
Lasma Ansone. Necklace: Touch 9, 2019. Milliput (two part epoxy putty), silver, stabilized wood.. 29 x 20 x 3.5 cm. From series: Touch. 
. Touch is a powerful tool to gain ‘little pleasures of life’ even though we are mostly not aware of this activity itself. However, most people today experience a shortage of tactile stimulation and this trend only intensifies. Interaction with objects around us gives the feeling of being in contact with the world: it calms down and gives satisfaction. My aim when working with touch is to enable the wearer to follow the form of the piece of jewellery with the hand and use touch as a means of aesthetic appreciation and exploration. 
. In my master collection, I distinguish two different approaches on how to deal with tactility in jewellery. The focus is either on the hand pieces that give a different pleasant sensation when touching them. The dominant element in another group of pieces is the chain where hand-modelled elements still contain visual-tactile marks from the making process. . Lasma Ansone
Necklace: Touch 9, 2019
Milliput (two part epoxy putty), silver, stabilized wood.
29 x 20 x 3.5 cm
From series: Touch

Touch is a powerful tool to gain ‘little pleasures of life’ even though we are mostly not aware of this activity itself. However, most people today experience a shortage of tactile stimulation and this trend only intensifies. Interaction with objects around us gives the feeling of being in contact with the world: it calms down and gives satisfaction. My aim when working with touch is to enable the wearer to follow the form of the piece of jewellery with the hand and use touch as a means of aesthetic appreciation and exploration.
In my master collection, I distinguish two different approaches on how to deal with tactility in jewellery. The focus is either on the hand pieces that give a different pleasant sensation when touching them. The dominant element in another group of pieces is the chain where hand-modelled elements still contain visual-tactile marks from the making process.

© By the author. Read Klimt02.net Copyright.
Marth Audenaert. Ring: Reflect Upon Yourself, 2019. Gold plated brass.. 9.6 x 7 x 3 cm. From series: Reflect Upon Yourself. 
. We live in an era where individuality and ego, the central part of someone’s personality, are being prioritised. This evolution where self-glorification and self-promotion come first can often stand in the way of caring for others. On the other hand, having the property of vanity and self-love is very much needed. It causes us to do good in life, it provokes ambition, it basically creates progression. Playing with this contradiction I implemented elements which we almost automatically associate with vanity such as oval shapes, mirrors and reflection into the jewellery. While wearing the pieces, you’re (in)directly reminded of your own vanity. The neckpieces and rings aren’t chosen randomly: ever in your own reach, you can find your reflection. . Marth Audenaert
Ring: Reflect Upon Yourself, 2019
Gold plated brass.
9.6 x 7 x 3 cm
From series: Reflect Upon Yourself

We live in an era where individuality and ego, the central part of someone’s personality, are being prioritised. This evolution where self-glorification and self-promotion come first can often stand in the way of caring for others. On the other hand, having the property of vanity and self-love is very much needed. It causes us to do good in life, it provokes ambition, it basically creates progression. Playing with this contradiction I implemented elements which we almost automatically associate with vanity such as oval shapes, mirrors and reflection into the jewellery. While wearing the pieces, you’re (in)directly reminded of your own vanity. The neckpieces and rings aren’t chosen randomly: ever in your own reach, you can find your reflection.

© By the author. Read Klimt02.net Copyright.
Elisa Cazzaniga. Object: Belongings, 2019. Lead. 45 x 30 x 15 cm. From series: No one chooses to be a refugee. 
. This project aims to represent, in a metaphorical form, some of the aspects that migrants are forced to live on their journey to a safer place. With the aim of triggering empathy in our society, which is increasingly used to think of the worst of everything without getting informed first.
. The body of work, through the use of objects, symbols, and jewellery, is an attempt to identify with people who are often rejected by society; it is, by interacting, and wearing the pieces on the body, to find out how migrants and refugees might feel and how we should behave accordingly. 
. The piece in the photo in particular, using a common symbol like the classic mountain backpack, describes the weight that refugees carry on their shoulders: the escape from their home due to a war, the duration of a trip that has not been chosen, the hostility found along the road and at the destination, the battle for a life that is not protected by anyone.. Elisa Cazzaniga
Object: Belongings, 2019
Lead
45 x 30 x 15 cm
From series: No one chooses to be a refugee

This project aims to represent, in a metaphorical form, some of the aspects that migrants are forced to live on their journey to a safer place. With the aim of triggering empathy in our society, which is increasingly used to think of the worst of everything without getting informed first.
The body of work, through the use of objects, symbols, and jewellery, is an attempt to identify with people who are often rejected by society; it is, by interacting, and wearing the pieces on the body, to find out how migrants and refugees might feel and how we should behave accordingly.
The piece in the photo in particular, using a common symbol like the classic mountain backpack, describes the weight that refugees carry on their shoulders: the escape from their home due to a war, the duration of a trip that has not been chosen, the hostility found along the road and at the destination, the battle for a life that is not protected by anyone.

© By the author. Read Klimt02.net Copyright.
Hester Daems. Brooch: ver-anti-lichaamt, 2019. Gold plated brass, bone.. 3 x 7 x 10 cm. From series: ver-anti-lichaamt. 
. With the project ver-anti-lichaamt, Hester Daems proposes an innovative look at the formal language of the skeleton to expose the beauty of matter and its sculptural qualities. The macabre image of the skeleton fades and new aesthetic values are brought to light. All objects created within this project, jewellery and ceramic tableware, have a functional application, just like the skeleton when it was still in the body.
. In the jewellery collection, she shows the shapes of the inside of the body: the bone here is no longer the grip of the body but is the jewellery piece itself and needs the body to be worn. In the ceramic dinnerware, the bone becomes a tool for the body to get the necessary food.. Hester Daems
Brooch: ver-anti-lichaamt, 2019
Gold plated brass, bone.

3 x 7 x 10 cm
From series: ver-anti-lichaamt

With the project ver-anti-lichaamt, Hester Daems proposes an innovative look at the formal language of the skeleton to expose the beauty of matter and its sculptural qualities. The macabre image of the skeleton fades and new aesthetic values are brought to light. All objects created within this project, jewellery and ceramic tableware, have a functional application, just like the skeleton when it was still in the body.
In the jewellery collection, she shows the shapes of the inside of the body: the bone here is no longer the grip of the body but is the jewellery piece itself and needs the body to be worn. In the ceramic dinnerware, the bone becomes a tool for the body to get the necessary food.

© By the author. Read Klimt02.net Copyright.
Robin Driessen. Installation: Perception Out Of Balance, 2019. Silver, alpaca, rubber, paint, plexiglass, mirror.. 45 x 45 x 20 cm. From series: Perception Out Of Balance. Ring in installation
. 
. An object without support will eventually fall. No one can go against the laws of physics, which makes trying it an extreme challenge for the intelligent being. These principles are used in this project. By not filling in the obvious expectations, a visual tension arises. An object that is at the tipping point between falling and standing is more exciting than an object that is in the balance because it does not follow the rules that we know. To achieve this visual tension, there is a use of the meta-stable equilibrium, magnetism and mirrors that refer to the illusionary world. The result of this project is a collection that consists of jewellery and objects that are assembled together to create an illusion, but still, have their own function. A visual tension stays present in all the pieces separately, but their combination enhances a sense of astonishment in the viewer, who will doubt whether there’s jewellery, a sculpture or an object in front of it. . Robin Driessen
Installation: Perception Out Of Balance, 2019
Silver, alpaca, rubber, paint, plexiglass, mirror.
45 x 45 x 20 cm
From series: Perception Out Of Balance
Ring in installation

An object without support will eventually fall. No one can go against the laws of physics, which makes trying it an extreme challenge for the intelligent being. These principles are used in this project. By not filling in the obvious expectations, a visual tension arises. An object that is at the tipping point between falling and standing is more exciting than an object that is in the balance because it does not follow the rules that we know. To achieve this visual tension, there is a use of the meta-stable equilibrium, magnetism and mirrors that refer to the illusionary world. The result of this project is a collection that consists of jewellery and objects that are assembled together to create an illusion, but still, have their own function. A visual tension stays present in all the pieces separately, but their combination enhances a sense of astonishment in the viewer, who will doubt whether there’s jewellery, a sculpture or an object in front of it.

© By the author. Read Klimt02.net Copyright.
Anna Sophie Fink. Brooch: Nostalgic Pavements, 2019. Copper, tin, resin, ink.. 7.5 x 7 x 0.8 cm. From series: Nostalgic Pavements. 
. Nostalgic Pavements is a travel in time, an investigation on the mellow intertwining of objects and memories. Inspired by the untold stories behind secretive ambassadors of lived past Anna Sophie Fink went on a journey through personal belongings and bearers of material culture – objects that are most often surrounded by an invisible aura of loss and desire.
. 
. The result is an interplay between the past and today, between materials and reminiscence. In a quiet wordless language, Nostalgic Pavements in the form of objects and jewellery tell of bygone times and invite their wearer and beholder to be immersed into their own past or catch a glimpse into another history.. Anna Sophie Fink
Brooch: Nostalgic Pavements, 2019
Copper, tin, resin, ink.
7.5 x 7 x 0.8 cm
From series: Nostalgic Pavements

Nostalgic Pavements is a travel in time, an investigation on the mellow intertwining of objects and memories. Inspired by the untold stories behind secretive ambassadors of lived past Anna Sophie Fink went on a journey through personal belongings and bearers of material culture – objects that are most often surrounded by an invisible aura of loss and desire.
The result is an interplay between the past and today, between materials and reminiscence. In a quiet wordless language, Nostalgic Pavements in the form of objects and jewellery tell of bygone times and invite their wearer and beholder to be immersed into their own past or catch a glimpse into another history.

© By the author. Read Klimt02.net Copyright.
Annabel Goris. Pendant: 5X, 2019. Plexiglass, silver.. 15.5 x 10 x 1 cm. From series: Odd Fellas. 
. With Odd Fellas, Annabel Goris launches the first collection of her brand called LEBANNA. 
. In this collection, she explores the limitations of serial production like reproducibility, use of time, branding, etc. Her formal language is in part controlled by the technique/system she uses to transform her shapes into jewellery. This aspect is highlighted in the statement pieces. As a material, she combines silver and gold plated silver with plexi. Traditional goldsmith techniques are mixed with new technologies such as laser cut. 
. Geometric shapes are combined in a playful manner, subtle figurative references are added and there is a richness in colour and texture. The functional element becomes an important esthetic component. She creates a small universe of peculiar looking figures that excites the imagination. 
. The designs reflect her joyful perspective on life.
. Catch a glimpse!. Annabel Goris
Pendant: 5X, 2019
Plexiglass, silver.

15.5 x 10 x 1 cm
From series: Odd Fellas

With Odd Fellas, Annabel Goris launches the first collection of her brand called LEBANNA.
In this collection, she explores the limitations of serial production like reproducibility, use of time, branding, etc. Her formal language is in part controlled by the technique/system she uses to transform her shapes into jewellery. This aspect is highlighted in the statement pieces. As a material, she combines silver and gold plated silver with plexi. Traditional goldsmith techniques are mixed with new technologies such as laser cut.
Geometric shapes are combined in a playful manner, subtle figurative references are added and there is a richness in colour and texture. The functional element becomes an important esthetic component. She creates a small universe of peculiar looking figures that excites the imagination.
The designs reflect her joyful perspective on life.
Catch a glimpse!

© By the author. Read Klimt02.net Copyright.
Loes Indekeu. Object: The Vase as a Metaphor for the Flower, 2019. Gold plated brass, plexiglass.. 30 x 16 x 11 cm. From series: The Vase as a Metaphor for the Flower. 
. Loes Indekeu developed a series of twelve objects where the vase becomes a metaphor for the flower. Minimalism is the main element that returns in every piece. Within this, series have developed in different ways, through the interpretation of the flower and the vase, the material, shape, size and proportion. Flowers radiate beauty, grace and life, on the other hand, they are very fragile and careful. These elements are each time processed in a different way into these art objects. By combining materials such as metal and plexi, she creates an atmosphere that magnifies the tenderness of the flowers through the vase with which they are united.. Loes Indekeu
Object: The Vase as a Metaphor for the Flower, 2019
Gold plated brass, plexiglass.

30 x 16 x 11 cm
From series: The Vase as a Metaphor for the Flower

Loes Indekeu developed a series of twelve objects where the vase becomes a metaphor for the flower. Minimalism is the main element that returns in every piece. Within this, series have developed in different ways, through the interpretation of the flower and the vase, the material, shape, size and proportion. Flowers radiate beauty, grace and life, on the other hand, they are very fragile and careful. These elements are each time processed in a different way into these art objects. By combining materials such as metal and plexi, she creates an atmosphere that magnifies the tenderness of the flowers through the vase with which they are united.

© By the author. Read Klimt02.net Copyright.
Anouck Kuyckx. Bag: Z.W. 485/1680 GR, 2019. Leather. 30 (70 cm with handle) x 24 cm. From series: Z.W.1680 GR. 
. Around the world, there are large amounts of waste produced day in, day out, which have a harmful impact on the climate. This amount is closely linked to our consumption and production patterns. Z.W.1680 GR is a practice-oriented research about the possibilities and limitations of zero waste within the design and production process of a handbag. By cutting and pleating techniques the vegetable tanned leather is transformed into a three-dimensional functional form. By keeping the material as intact as possible, it can be easily disassembled and reused after its life cycle. Simple systems, aesthetics and minimalism form the basis for a collection of zero waste handbags.. Anouck Kuyckx
Bag: Z.W. 485/1680 GR, 2019
Leather
30 (70 cm with handle) x 24 cm
From series: Z.W.1680 GR

Around the world, there are large amounts of waste produced day in, day out, which have a harmful impact on the climate. This amount is closely linked to our consumption and production patterns. Z.W.1680 GR is a practice-oriented research about the possibilities and limitations of zero waste within the design and production process of a handbag. By cutting and pleating techniques the vegetable tanned leather is transformed into a three-dimensional functional form. By keeping the material as intact as possible, it can be easily disassembled and reused after its life cycle. Simple systems, aesthetics and minimalism form the basis for a collection of zero waste handbags.

© By the author. Read Klimt02.net Copyright.
Louise Quartin. Ring: Anti Gravity Fingertips, 2019. Silver, silver plated alpacca.. From series: Space Tourist. 
. Humans have always looked up into the night sky and dreamed about space. There’s a desire to go beyond the boundaries we know that pushes us to go further into space exploration and let us achieve what was once thought to be impossible. Staring at the moon triggers the imagination and those childhood dreams that have faded away, slowly seem to come back with the news that the first touristic trip to the moon will be happening in 2023. By trying to foresee the future, imagine a utopian scenario where flying to space is as accessible as a trip to another country. What do we need to bring along with us to space? By understanding better what essentials are required for space travelling, Luísa Quartin created her own wearable Space Pack for a person's well-being during this long trip. With a technological aesthetic, the kit presents solutions for extreme conditions through different gadgets: some can help in an anti-gravity situation and others work as holographic mementoes.. Louise Quartin
Ring: Anti Gravity Fingertips, 2019
Silver, silver plated alpacca.

From series: Space Tourist

Humans have always looked up into the night sky and dreamed about space. There’s a desire to go beyond the boundaries we know that pushes us to go further into space exploration and let us achieve what was once thought to be impossible. Staring at the moon triggers the imagination and those childhood dreams that have faded away, slowly seem to come back with the news that the first touristic trip to the moon will be happening in 2023. By trying to foresee the future, imagine a utopian scenario where flying to space is as accessible as a trip to another country. What do we need to bring along with us to space? By understanding better what essentials are required for space travelling, Luísa Quartin created her own wearable Space Pack for a person's well-being during this long trip. With a technological aesthetic, the kit presents solutions for extreme conditions through different gadgets: some can help in an anti-gravity situation and others work as holographic mementoes.

© By the author. Read Klimt02.net Copyright.
Eva Schrooten. Brooch: Scan 14, 2019. Ceramics, porcelain, steel, silver.. 9 x 9 x 0.3 cm. From series: Technology Between Ceramics and Jewellery Design. 
. Both in our contemporary society and in the art world, cross-overs between different disciplines are indispensable. From a personal interest in the world of ceramics and the use of technology in the arts, the project Technology between ceramics and jewellery design arose.
. The result is a technical/artistic investigation into the possibilities of engraving ceramics with the laser beam of a laser cutter in order to apply decorations by locally heating clay and glaze. The authentic way of making ceramics is compared to the new technology of the laser cutter.
. As a result of the project, all tests are shown in an installation to give an overview of the complete research process. A number of tests were selected from this and converted into jewellery. These represent the research into what needs to be added or modified to make a ceramic item a wearable piece of jewellery.. Eva Schrooten
Brooch: Scan 14, 2019
Ceramics, porcelain, steel, silver.

9 x 9 x 0.3 cm
From series: Technology Between Ceramics and Jewellery Design

Both in our contemporary society and in the art world, cross-overs between different disciplines are indispensable. From a personal interest in the world of ceramics and the use of technology in the arts, the project Technology between ceramics and jewellery design arose.
The result is a technical/artistic investigation into the possibilities of engraving ceramics with the laser beam of a laser cutter in order to apply decorations by locally heating clay and glaze. The authentic way of making ceramics is compared to the new technology of the laser cutter.
As a result of the project, all tests are shown in an installation to give an overview of the complete research process. A number of tests were selected from this and converted into jewellery. These represent the research into what needs to be added or modified to make a ceramic item a wearable piece of jewellery.

© By the author. Read Klimt02.net Copyright.
Sofie Van Belle. Brooch: White Noise #1, 2019. Wood, resin, alpaca, silver, rubber coating.. 10 x 18 cm. From series: A Search for Order in Chaos. 
. From my background as a visual artist and with my knowledge of techniques and materials, my own visual language arose which is processed within the project A Search for Order in Chaos and translated into jewellery.
. A conscious compositional thinking and a pronounced choice of the oval shape or frame form the basis for the jewellery pieces.
. Both within and outside this framework, I not only want to conduct research into order and chaos, but I want to try to make this banal, abstract given tangible and give it a value for life.
. My work initially starts with rational thinking, but as the process progresses, intuition and feeling play an increasingly important role. The properties and limitations of the material also influence the end result.. Sofie Van Belle
Brooch: White Noise #1, 2019
Wood, resin, alpaca, silver, rubber coating.

10 x 18 cm
From series: A Search for Order in Chaos

From my background as a visual artist and with my knowledge of techniques and materials, my own visual language arose which is processed within the project A Search for Order in Chaos and translated into jewellery.
A conscious compositional thinking and a pronounced choice of the oval shape or frame form the basis for the jewellery pieces.
Both within and outside this framework, I not only want to conduct research into order and chaos, but I want to try to make this banal, abstract given tangible and give it a value for life.
My work initially starts with rational thinking, but as the process progresses, intuition and feeling play an increasingly important role. The properties and limitations of the material also influence the end result.

© By the author. Read Klimt02.net Copyright.
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