PXL-MAD School of Arts. MA Degree Show 2020

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Yann Ceuleers
Bracelet: Toolbox, 2020
Plexiglass, brass.
From series: Movement by hinges

Statement: Movement can be interpreted in many ways. It’s possible to make anything movable or create the illusion that it is. My work explores what makes movement possible and in this regard the hinge has been my main inspiration. Through a series of jewellery pieces and objects, the hinge has been reinterpreted in multiple ways. Besides physical movement, movement can also be suggested in a static form. In this body of work physical and suggested movement have each been investigated and played with to search for the true value of movement.
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Charlot Claessens
Object: Debby & Fonske, 2020
Porcelain, sterling silver.
Debby : 11 x 9 x 7 cm; Fonske : 7.5 x 5 cm
From series: Nonliving Creatures

Statement: Now and then we get a kind of feeling when we look at an object, it feels familiar... this feeling is hard to describe. We can sometimes recognize human qualities in non-human things. When this happens, we are dealing with anthropomorphism. This project, which started from this specific familiarity in a form wants to emphasise the human qualities present in objects and give them a character. With this, my work means to evoke a deeper connection between the viewer and the object itself. Essentially it's about giving life to the nonliving
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Annika Ingelaere Sulfurous
Necklace: Sulfurous, 2020
Fine silver, enamel, glass beads, silver chain.
13 x 55 cm
Photo by: Annika Ingelaere Sulfurous
From series: Zooming in, zooming out

Statement: When you compare landscapes in relation to a zoomed-in image of a seed, certain similarities are significant. For example, the polygon and the organic surface occurs similarly in both the landscape and the microscopic seed. When observing the zoomed-out images of some of man’s polluted landscapes a certain aesthetic beauty can be seen. As ironic as it may be, the pollution shows its true form in the colours and rough formations that have spread across the land. The silver jewellery in this project is an investigation into form, colour and the structure found in both nature and pollution.
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Maria Konschake
Object: 19°26'05.8"N 99°07'52.9"W, 2020
Marble, steel.
10 x 8.5 x 3.5 cm
Photo by: Maria Konschake
From series: Vergessen

Statement: “About space and identity“ is a visualization of European cultural identity within the field of jewellery. It deals with the rooms, areas, zones and districts of European history and scrutinizes the connection between jewellery and cultural identity. 5 points of view show not only the plurality of the cultural memory, but also the European struggle between unity and diversity. “Vergessen” is a series of unwearable marble brooch objects that remind us of the things we lost. “Prägung" is a single pendant that relates to the things that shaped us. “Abgrund" is the abyss. The object refers to the lowest point we have ever reached in European history. “Abbild" is our portrait. The row of rings and the wall object visualize the permanence of the building as an observer of time. “Hoffnung" is hope. The cup series refers to the positive, shared vision of a European future.
 
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Sophia le Roux
Pendant: Ashoka Tano and Robocop talking about something, 2020
Reclaimed ceramic, porcelain paint, porcelain marker, sterling silver, freshwater pearls.
8 x 10 x 2 cm

Statement: In this body of work, I compose visual narratives, inspired by science fiction films from the past century, on traditional, second-hand ceramic ware which are then fragmented and transformed into jewellery. Through interfering with the traditional images and patterns on the ceramic, new narratives are constructed and new meanings created. My work engages with the fluid way in which all identity formative narratives are constructed and perpetually adapted to account for changes in our views and world. I mean to expose the dialectical relationship of mutual transformation and transference of meaning between past, present and future, as well as between us and our material culture. Making jewellery from these narrative artefacts is a celebration of the process of narrative construction and its potential to keep up with changing times and perspectives while accounting for a past that keeps on informing our present.
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Simón Mazuera
Brooch: Dull Sex, 2020
Glass, copper, steel.
7 x 5 x 2.5 cm
Photo by: Simón Mazuera
From series: Floating Steps

Statement: Floating Steps has the intention to generate a spark within us so that we question ourselves and explore in our unconscious what our true fears are. Also, to get to know us better, starting with the negative aspects in order to make all the positive things inside ourselves flourish. These pieces are a reminder that we are vulnerable humans, where we constantly strive to be superheroes that we will never be. The idea of each brooch is to show how fear is inside us. Where we can only discover it with an action or decision we make. In this case, the decision is to be able to seek the unknown fear and identify it, hidden inside.
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Katho Nulens
Object: Wearable Spaces, 2020
Paper.
30 x 15 x 15 cm
Photo by: Katho Nulens

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Charlotte Vanhoubroeck
Brooch: N° 16 - (S. A. R. La princesse Charlotte) Une broche en or, forme de nœud, ayant pour pendant un cœur en or, enrichi de pierres précieuses; ce cœur qui s’ouvre contient l’œil du Roi peint en miniature., 2020
Sterling silver, cold enamel.
16 x 5 cm
From series: Stilled Sentiments

Statement: In 1850 our first Belgian queen Louise-Marie d’Orléans died. Her Estate Inventory, a document kept in the State Archives of Belgium, describes and values the 300 jewellery items she owned at the time of her death. More than a hundred of those are so-called sentimental jewellery pieces. They are carriers of memories and sentiments, which were incorporated as miniature portraits, human locks of hair, engraved messages, and so on. Since almost all of Louise’s jewellery has gone lost, the Inventory functions as an exclusive carrier of the pieces, just as the pieces were carriers of sentiments. Based on the descriptions, Louise’s sentimental jewellery, which was on the verge of oblivion, is reactivated from a contemporary point of view. The newly created objects construct an alternative version of the myth around Louise-Marie d’Orléans and will bring this somehow forgotten queen closer to today’s audience.
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Madeli Viljoen
Set: Avesinformis parure, 2020
Sterling silver, borosilicate glass.
Approx. 4 x 3 x 9 cm
Photo by: Madeli Viljoen
From series: Avesinformis

Statement: My contemporary cabinet of curiosities was born out of the nostalgia for my home country South Africa’s diminishing natural wildlife. The fragmented memories of observing them as a child in the rural landscape, inspired the symbolic metamorphosis of collected animal bones and remnants of skin, transformed into abject specimens. Aiming to preserve the delicate details and sense of wonder I encountered upon finding these remnants in nature, I portray them as cherished artefacts. Through a fusion of bio-morphic abstracted forms in the glass with replicated organic remnants in metal, I seek to create a form of visual fiction that delivers a moment of introspection, attraction and repulsion.  There is a strong symbiosis between the artificial and the natural, representing human interference with nature. The jewellery depicts curious specimens of exaggerated mutations, envisaging what could happen to fauna in the future if humans continue with practices that pollute and alter the environment.
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