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Royal Academy of Fine Arts Antwerp. BA Degree Show 2019

Exhibition  /  SchoolsDegreeShow2019   EmergingValues  /  19 Jun 2019  -  23 Jun 2019
Published: 06.06.2019
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© By the author. Read Klimt02.net Copyright.

Intro
AD Gallery in Antwerp introduces for the first time the BA graduation projects from the Jewellery department of the Royal Academy of Fine Arts Antwerp. The gallery is located in the historic center of Antwerp nearby the Academy.

Artist list

Yuyeong Choi, Adelina Cioanca, Nina Faivre, Maria Gulavskaya, Katla Karlsdóttir, Liuhong Li, Valeria Naumova, Gille Peeters, Luca Sági
This year nine BA students are graduated and they proudly exhibit their work in the AD gallery.
This is a great opportunity for the graduates to show their projects in a challenging environment and come across professionals and potential buyers and collectors.

Hours

19th of June, 10 am - 9 pm.
20th - 23th of June, 10 am - 6 pm.

Opening

18th of June, Tuesday, 7 pm.
Yuyeong Choi. Piece: Untitled, 2019. Plexiglass, brass.. 25 x 25 x 25 cm. From series: My Developed Sence of Self. BA 2019.
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. By moving to Antwerp from Gwangju I was required to blend into another culture…. this displacement requires a period of adaptation.
. My collection addresses stages of such a transition with a series of face accessories that function as tools for deflection with which i can hide. But also, and eventually, the collection reveals a more relaxed sense of acceptance and of self.. Yuyeong Choi
Piece: Untitled, 2019
Plexiglass, brass.
25 x 25 x 25 cm
From series: My Developed Sence of Self
BA 2019.

By moving to Antwerp from Gwangju I was required to blend into another culture…. this displacement requires a period of adaptation.
My collection addresses stages of such a transition with a series of face accessories that function as tools for deflection with which i can hide. But also, and eventually, the collection reveals a more relaxed sense of acceptance and of self.

© By the author. Read Klimt02.net Copyright.
Adelina Cioancã. Brooch: Frozen memories but melting fast, 2019. Foam, silver 925, fine silver, stainless steel, resin.. Photo by: Kaat Somers. From series: Frozen Memories (melting fast!). BA 2019.
. 
. Playing on sugar sweet childhood memories of long summer vacations, I have developed a visual and material language with the intention of triggering ideas of flavour, fun and joy.
. My jewellery explores anti-aesthetics as a wearable, made to look naughty, sticky, messy and delicious. I want my jewellery as a medium to carry all of the above associations. . Adelina Cioancã
Brooch: Frozen memories but melting fast, 2019
Foam, silver 925, fine silver, stainless steel, resin.
Photo by: Kaat Somers
From series: Frozen Memories (melting fast!)
BA 2019.

Playing on sugar sweet childhood memories of long summer vacations, I have developed a visual and material language with the intention of triggering ideas of flavour, fun and joy.
My jewellery explores anti-aesthetics as a wearable, made to look naughty, sticky, messy and delicious. I want my jewellery as a medium to carry all of the above associations. 

© By the author. Read Klimt02.net Copyright.
Nina Faivre. Brooch: Falling Petals, 2019. Silver, shell.. 30 cm. Photo by: Miia Kota. From series: Illustration of Amnesia. BA 2019.
. 
. We all build an understanding of life based on our experience of events, persons, moments, that define a sense of ourselves and link us to the world. 
. However, in the case of Amnesia the information we gather through life declines, fades and disappears.
. In my work I translate this process through illustration to describe the feeling of fragility, and loneliness of those who suffer the malady. I take details from my drawings to create shapes and components and construct necklaces and other jewellery to continue this sense of a disappearing memory, a fading chain a fragile life.. Nina Faivre
Brooch: Falling Petals, 2019
Silver, shell.
30 cm
Photo by: Miia Kota
From series: Illustration of Amnesia
BA 2019.

We all build an understanding of life based on our experience of events, persons, moments, that define a sense of ourselves and link us to the world. 
However, in the case of Amnesia the information we gather through life declines, fades and disappears.
In my work I translate this process through illustration to describe the feeling of fragility, and loneliness of those who suffer the malady. I take details from my drawings to create shapes and components and construct necklaces and other jewellery to continue this sense of a disappearing memory, a fading chain a fragile life.

© By the author. Read Klimt02.net Copyright.
Maria Gulavskaya. Bracelet: Bent Knee, 2019. Cardboard, wood.. 12.8 x 3.2 x 9.1 cm. Photo by: Jelle Sluyts. From series: Body Map. BA 2019.
. 
. This work presents my research into the relationship between a circle and a human body, specifically my body. I work with the circle to frame a defined space between the circle circumference and the outer surface of my body: the elbow, knee, ankle and wrist. I scan these framed locations to map the shape and silhouette of myself. The scans are sliced on the computer and then cut into layers of Plexiglas and card.  The results manifest as two mini-series: one being objects that wear the shape of the body and the second series being wearables that propose the body is the jewel to wear. ​. Maria Gulavskaya
Bracelet: Bent Knee, 2019
Cardboard, wood.
12.8 x 3.2 x 9.1 cm
Photo by: Jelle Sluyts
From series: Body Map
BA 2019.

This work presents my research into the relationship between a circle and a human body, specifically my body. I work with the circle to frame a defined space between the circle circumference and the outer surface of my body: the elbow, knee, ankle and wrist. I scan these framed locations to map the shape and silhouette of myself. The scans are sliced on the computer and then cut into layers of Plexiglas and card.  The results manifest as two mini-series: one being objects that wear the shape of the body and the second series being wearables that propose the body is the jewel to wear. ​

© By the author. Read Klimt02.net Copyright.
Katla Karlsdottir. Earrings: Half round Crystals, 2019. Silver, telephone screens, brass.. From series: What happens to all the broken screens?. BA 2019.
. 
. Smartphones contain a high amount of precious materials - copper, gold, silver and even more high tech materials such as sapphire glass and iron-bathed glass, to make them durable. But how durable are they?
. …not much, compared to the life-span of jewellery and the raw materials listed above.
. I have built a collection of jewellery by manipulating phone screens with heat and pressure to achieve new textures and surfaces that mimic the properties of precious minerals. Lustre, iridescence and facets have been forced from the flat screens to create new impressions.. Katla Karlsdottir
Earrings: Half round Crystals, 2019
Silver, telephone screens, brass.
From series: What happens to all the broken screens?
BA 2019.

Smartphones contain a high amount of precious materials - copper, gold, silver and even more high tech materials such as sapphire glass and iron-bathed glass, to make them durable. But how durable are they?
…not much, compared to the life-span of jewellery and the raw materials listed above.
I have built a collection of jewellery by manipulating phone screens with heat and pressure to achieve new textures and surfaces that mimic the properties of precious minerals. Lustre, iridescence and facets have been forced from the flat screens to create new impressions.

© By the author. Read Klimt02.net Copyright.
Liuhong Li. Earrings: Do Son, 2019. Silver, mother of pearl.. 9 x 4.5 x 0.4 cm. From series: Wearing/Seeing Perfume. BA 2019.
. 
. How does a perfume feel?
. What does a perfume look like?
. These are the questions I asked myself at the start of this project.
. My impressions of a scent create a scene in my mind, and the aim of my jewellery collection is to translate details of that scene.
. I select materials to represent the ingredients that form the notes and structure of the perfume, and I illustrate them too, with graphic motifs and delicate fluid lines.
. Wearing my jewellery = wearing my perfume.​. Liuhong Li
Earrings: Do Son, 2019
Silver, mother of pearl.
9 x 4.5 x 0.4 cm
From series: Wearing/Seeing Perfume
BA 2019.

How does a perfume feel?
What does a perfume look like?
These are the questions I asked myself at the start of this project.
My impressions of a scent create a scene in my mind, and the aim of my jewellery collection is to translate details of that scene.
I select materials to represent the ingredients that form the notes and structure of the perfume, and I illustrate them too, with graphic motifs and delicate fluid lines.
Wearing my jewellery = wearing my perfume.​

© By the author. Read Klimt02.net Copyright.
Valeria Naumova. Ring: Sensuality, 2019. Silver, modeling compounds.. 9 x 7 cm. From series: Sensuality. BA 2019.
. 
. The spiralled columns of the temple of Solomon offer an important beginning and meaning to my collection. A twisting formation brings a variety of meanings across different cultures, but my interpretation of this symbol is dynamism, creation and becoming.
. In my work, I aim to capture the sensual curved forms inspired by the body to create a series of accessories that wrap and intertwine with the wearer. Using a combination of hard and soft, precious and non-precious materials I offer a dynamic and powerful unity between the work and wearer.​. Valeria Naumova
Ring: Sensuality, 2019
Silver, modeling compounds.
9 x 7 cm
From series: Sensuality
BA 2019.

The spiralled columns of the temple of Solomon offer an important beginning and meaning to my collection. A twisting formation brings a variety of meanings across different cultures, but my interpretation of this symbol is dynamism, creation and becoming.
In my work, I aim to capture the sensual curved forms inspired by the body to create a series of accessories that wrap and intertwine with the wearer. Using a combination of hard and soft, precious and non-precious materials I offer a dynamic and powerful unity between the work and wearer.​

© By the author. Read Klimt02.net Copyright.
Luca Sági. Brooch: Pink surprise, 2019. Slate, brass, paper foil, steel.. 8 x 1.5 x 6 cm. Photo by: Aron Viszlo. From series: My Antwerp Streetscapes. BA 2019.
. 
. I photograph details of the streets that grab my attention when I walk along my daily routes to the academy and around town. These images capture combinations rich in texture, colour and material contrast. In response to these I made a series of brooches with materials collected from these streets, the workshops and garden. My brooches offer wearable extracts from my perspective of the city. . Luca Sági
Brooch: Pink surprise, 2019
Slate, brass, paper foil, steel.
8 x 1.5 x 6 cm
Photo by: Aron Viszlo
From series: My Antwerp Streetscapes
BA 2019.

I photograph details of the streets that grab my attention when I walk along my daily routes to the academy and around town. These images capture combinations rich in texture, colour and material contrast. In response to these I made a series of brooches with materials collected from these streets, the workshops and garden. My brooches offer wearable extracts from my perspective of the city.

© By the author. Read Klimt02.net Copyright.
Gille Peeters. Head Piece: Eye Mask, 2019. Plexiglass, brass, aluminium, lenses.. 14.1 x 18.7 cm. Photo by: Lars Moereels. From series: Glitched expression. BA 2019
. 
. When I think of robots the first thing I picture is a tin shaped figure that talks with an autonomous voice, that has legs arms and a head, that all move mechanically, with a face showing no emotion. In fact, we are surrounded by robots every day, in the form of smart gadgets, and other software, but we just don’t always see them.
. For us humans, there is an important and integral separation between us and the robots which is our ability to feel, express and articulate instinctive emotion. However sometimes I don’t want to be read, and most of the time I don’t want to be monitored by technology and robots. 
. As a reaction I have made a collection of jewellery that functions as defence tools by hiding, disguising and restricting our gestures and facial expressions.. Gille Peeters
Head Piece: Eye Mask, 2019
Plexiglass, brass, aluminium, lenses.
14.1 x 18.7 cm
Photo by: Lars Moereels
From series: Glitched expression
BA 2019

When I think of robots the first thing I picture is a tin shaped figure that talks with an autonomous voice, that has legs arms and a head, that all move mechanically, with a face showing no emotion. In fact, we are surrounded by robots every day, in the form of smart gadgets, and other software, but we just don’t always see them.
For us humans, there is an important and integral separation between us and the robots which is our ability to feel, express and articulate instinctive emotion. However sometimes I don’t want to be read, and most of the time I don’t want to be monitored by technology and robots. 
As a reaction I have made a collection of jewellery that functions as defence tools by hiding, disguising and restricting our gestures and facial expressions.

© By the author. Read Klimt02.net Copyright.
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