Royal Academy of Fine Arts Antwerp. BA Degree Show 2024

Exhibition / NewTalentsByKlimt02 / 14 Jun 2024 - 23 Jun 2024

Published: 29.07.2024

News!

Part of New Talents Award 2024

Royal Academy of Fine Arts Antwerp. BA Degree Show 2024.

Royal Academy of Fine Arts Antwerp. Artesis Plantijn University College

: Raapstraat 12
2000 - Antwerp
BELGIUM

: Website Royal Academy of Fine Arts Antwerp; Facebook Royal Academy of Fine Arts Antwerp; Instagram Royal Academy of Fine Arts Antwerp

Mail:: academieap.be; jewelleryantwerpacademyoutlook.com

Phone:: 0032 3 2137100

Poster design Roeland Heirbaut

Yanzhu Lin. Brooch: Shades of Blue, 2024. Polyjet, copper, acrylic paint, varnish, 925 silver. 9 x 11.7 x 2 cm. From series: The Past Within Now. In the era of social media, where digital imagery reigns supreme, I'd like to explore the possibilities of merging the digital and tangible within the post-internet landscape. This project aims to discuss the beauty of mundane moments captured through the lens of analog cameras.
.
. It's a collection of imitation gemstones produced by Polyjet, one of the most advanced 3D printing technologies today. The design was inspired by a common technique in gemstone treatments: foiling. Instead of using a sheet of foil, I chose to use photography. The deliberate choice of analog photography as the medium for capturing these moments is intentional, representing a departure from the instant gratification and perfectionism often associated with digital imagery.
.
. Through this project, I seek to challenge the notion of what constitutes valuable memory in a society increasingly obsessed with the digital ephemeral. By immortalising these analog photographs within wearable art, I aim to bridge the gap between the tangible and the digital, inviting contemplation on the nature of memory and its preservation in an everchanging technological landscape. .

Anneleen Heirbaut. Earrings: Untitled, 2024. Silverplated messing, steel wire, feathers, husk, rubber. 40 x 10 x 10 cm. Photo by: Bas Verrept. I show works that invite to touch.
. Which, at the same time, could become unfriendly if you get too close.
. Soft materials, sometimes shimmering elements, the use of green and pink tones, shaped into various jewels give a seductive impression, but don't want to challenge physical contact.
. You may think I look pretty,
. But that doesn't make you have the authority to touch me.
. With this project I want to show how it is to be a woman in this world. Created from my own (often not so good) experiences, I raise the question "Do you have permission to touch me?"
. Often, I get catcalled, harassed, or even touched without giving permission, the same goes for my pieces.
. Think before you act. .

Florian Waeyaert. Necklace: Appearing Paterns, 2024. Plasticrete, copper. I invite you into my inner world. I convey experiences that I have had in meditation, with and without psychedelics, and transform them into objects and jewelry. These pieces are an attempt to understand my subconscious, and more broadly, to reflect on the subconscious by trying to visualize it.
.
. I cannot visually capture what I felt there, but I can use and incorporate the shapes and colors that attracted me during those meditations. With my pieces, I want to convey a pure moment, an experience I have when I am in meditation, as this is a moment that strongly inspires me and always brings me back into balance..

Judith de Keyser. Necklace: Ode aan mijn tijd, 2024. Silk paper. 30 x 60 cm. Value is not only determined by the shiny surface or the price attached to it but also by the time, effort, skills, and love invested by the maker in materials. It is precisely this investment that makes a raw material valuable.
.
. My work with tissue paper and my effort to transform it through dedication and craftsmanship aims to highlight these contrasts. I measure, cut, and twist my tissue paper into threads as thin as sewing thread to thick cords. These threads, colourful or white, are used to perform techniques. I want to return to traditional techniques where an enormous amount of time is invested, time that we usually do not want to spend on this material.
.
. It is an invitation to think about what is truly valuable in our consumer society and how we can reconnect with materials and products in a more authentic and conscious way..

Marthe Wauters. Necklace: Leg je neer, 2024. Thread, textile. 38 x 41 cm. Photo by: Marthe Wauters. Before starting my jewellery studies at the Academy, I studied interior design, which is not far from jewellery, if you think about it.
. An interior expresses your identity and can provide support and comfort. Jewellery does the same for me.
.
. One wears the body, the other is worn by the body. In your interior you live, in a fixed place; with jewellery, thanks to wearing it, you take just that (along) with you. Furniture may be bigger, but a jewel is always present.
.
. In this project, I looked for the formal connections between the two worlds. The chair embraces my neck, the armrests are supported by my ears, the carpet finds a place on my chest, the lamp rests on my arms. With my works, I explore the boundaries between carrying and being carried. I begin to become part of my interior myself?
.
. Your interior reflects your identity and can offer you support and comfort. For me, it is important to be able to take these feelings with you, so that the jewellery becomes an extension of your sense of home..

Maya Stengårds Jonsson. Object: Storklockan, 2024. Tin, bronze, meranti wood, brass. 25 x 12 x 25 cm. Photo by: Maya Stengårds Jonsson. From series: Vessel with a Voice. The work I make relates to history and tales.
. The material takes a direction, my hand is bringing it there.
. I formulate my words through the metal.
. With my hands we tell stories together.
.
. What is life, is what interests me.
. What is there behind that story that is being told.
. What does a potato look like when its collecting mold.
. What is the hole there, on your shirt.
.
. History and its people, nature and its silence.
. Devotion and endurance.
. Heritage and dirt.
.
. This is history and its people, nature and its silence.
. You are devotion and endurance.
. I am heritage and dirt..

Kiona Henderyck. Bracelet: I, 2024. Silver, plexiglass. From something 2D to something 3D. It is something that has occupied me since I was 14, when I started studying architecture in secondary school. Make a model from a flat plan. The steps towards it and the making of the construction itself. For this project I am using a font that I designed during my Visual Design studies in Ghent.
.
. I look at how I can create a 3D shape from these flat, combined shapes, which make up this font. I initially do this using sketches. In this font, each letter consists of positive shapes and negative residual spaces. What happens if I give the same attention to both the positive shapes and residual spaces in my translation into the three-dimensional image?
.
. Following the sketches, I develop technical drawings and computer renders. From there, the fonts are shaped with plate and wire. The aim is to build constructions, just as architectural models can be created from a floor plan in architecture. Each letter becomes like a house..

Yanzhu Lin
Brooch: Shades of Blue, 2024
Polyjet, copper, acrylic paint, varnish, 925 silver
9 x 11.7 x 2 cm
From series: The Past Within Now

In the era of social media, where digital imagery reigns supreme, I'd like to explore the possibilities of merging the digital and tangible within the post-internet landscape. This project aims to discuss the beauty of mundane moments captured through the lens of analog cameras.

It's a collection of imitation gemstones produced by Polyjet, one of the most advanced 3D printing technologies today. The design was inspired by a common technique in gemstone treatments: foiling. Instead of using a sheet of foil, I chose to use photography. The deliberate choice of analog photography as the medium for capturing these moments is intentional, representing a departure from the instant gratification and perfectionism often associated with digital imagery.

Through this project, I seek to challenge the notion of what constitutes valuable memory in a society increasingly obsessed with the digital ephemeral. By immortalising these analog photographs within wearable art, I aim to bridge the gap between the tangible and the digital, inviting contemplation on the nature of memory and its preservation in an everchanging technological landscape.

Anneleen Heirbaut
Earrings: Untitled, 2024
Silverplated messing, steel wire, feathers, husk, rubber
40 x 10 x 10 cm
Photo by: Bas Verrept

I show works that invite to touch.
Which, at the same time, could become unfriendly if you get too close.
Soft materials, sometimes shimmering elements, the use of green and pink tones, shaped into various jewels give a seductive impression, but don't want to challenge physical contact.
You may think I look pretty,
But that doesn't make you have the authority to touch me.
With this project I want to show how it is to be a woman in this world. Created from my own (often not so good) experiences, I raise the question "Do you have permission to touch me?"
Often, I get catcalled, harassed, or even touched without giving permission, the same goes for my pieces.
Think before you act.

Florian Waeyaert
Necklace: Appearing Paterns, 2024
Plasticrete, copper

I invite you into my inner world. I convey experiences that I have had in meditation, with and without psychedelics, and transform them into objects and jewelry. These pieces are an attempt to understand my subconscious, and more broadly, to reflect on the subconscious by trying to visualize it.

I cannot visually capture what I felt there, but I can use and incorporate the shapes and colors that attracted me during those meditations. With my pieces, I want to convey a pure moment, an experience I have when I am in meditation, as this is a moment that strongly inspires me and always brings me back into balance.

Judith de Keyser
Necklace: Ode aan mijn tijd, 2024
Silk paper
30 x 60 cm

Value is not only determined by the shiny surface or the price attached to it but also by the time, effort, skills, and love invested by the maker in materials. It is precisely this investment that makes a raw material valuable.

My work with tissue paper and my effort to transform it through dedication and craftsmanship aims to highlight these contrasts. I measure, cut, and twist my tissue paper into threads as thin as sewing thread to thick cords. These threads, colourful or white, are used to perform techniques. I want to return to traditional techniques where an enormous amount of time is invested, time that we usually do not want to spend on this material.

It is an invitation to think about what is truly valuable in our consumer society and how we can reconnect with materials and products in a more authentic and conscious way.

Marthe Wauters
Necklace: Leg je neer, 2024
Thread, textile
38 x 41 cm
Photo by: Marthe Wauters

Before starting my jewellery studies at the Academy, I studied interior design, which is not far from jewellery, if you think about it.
An interior expresses your identity and can provide support and comfort. Jewellery does the same for me.

One wears the body, the other is worn by the body. In your interior you live, in a fixed place; with jewellery, thanks to wearing it, you take just that (along) with you. Furniture may be bigger, but a jewel is always present.

In this project, I looked for the formal connections between the two worlds. The chair embraces my neck, the armrests are supported by my ears, the carpet finds a place on my chest, the lamp rests on my arms. With my works, I explore the boundaries between carrying and being carried. I begin to become part of my interior myself?

Your interior reflects your identity and can offer you support and comfort. For me, it is important to be able to take these feelings with you, so that the jewellery becomes an extension of your sense of home.

Maya Stengårds Jonsson
Object: Storklockan, 2024
Tin, bronze, meranti wood, brass
25 x 12 x 25 cm
Photo by: Maya Stengårds Jonsson
From series: Vessel with a Voice

The work I make relates to history and tales.
The material takes a direction, my hand is bringing it there.
I formulate my words through the metal.
With my hands we tell stories together.

What is life, is what interests me.
What is there behind that story that is being told.
What does a potato look like when its collecting mold.
What is the hole there, on your shirt.

History and its people, nature and its silence.
Devotion and endurance.
Heritage and dirt.

This is history and its people, nature and its silence.
You are devotion and endurance.
I am heritage and dirt.

Kiona Henderyck
Bracelet: I, 2024
Silver, plexiglass

From something 2D to something 3D. It is something that has occupied me since I was 14, when I started studying architecture in secondary school. Make a model from a flat plan. The steps towards it and the making of the construction itself. For this project I am using a font that I designed during my Visual Design studies in Ghent.

I look at how I can create a 3D shape from these flat, combined shapes, which make up this font. I initially do this using sketches. In this font, each letter consists of positive shapes and negative residual spaces. What happens if I give the same attention to both the positive shapes and residual spaces in my translation into the three-dimensional image?

Following the sketches, I develop technical drawings and computer renders. From there, the fonts are shaped with plate and wire. The aim is to build constructions, just as architectural models can be created from a floor plan in architecture. Each letter becomes like a house.

3BA Jewellery Design Graduation Show

Artist list

Judith De Keyser, Anneleen Heirbaut, Kiona Henderyckx, Maya Stengårds Jonsson, Florian Waeyaert, Marthe Wauters, Lin Yanzhu

The projects of the students are the culmination of their 3 years of BA Jewellery Design, and presents the opportunity for them to develop a more personal design language. This brief is written by the student and is a self-motivated project during the last semester of the academy year.

Royal Academy of Fine Arts Antwerp. MA Degree Show 2024.

News!

Part of New Talents Award 2024

Royal Academy of Fine Arts Antwerp. Artesis Plantijn University College

: Raapstraat 12
2000 - Antwerp
BELGIUM

: Website Royal Academy of Fine Arts Antwerp; Facebook Royal Academy of Fine Arts Antwerp; Instagram Royal Academy of Fine Arts Antwerp

Mail:: academieap.be; jewelleryantwerpacademyoutlook.com

Phone:: 0032 3 2137100

Royal Academy of Fine Arts Antwerp. BA Degree Show 2024

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Kitchen Culture. From the First Fitted Kitchen to the Individually Configured Kitchen

Die Knochigen by Otto Künzli

Maestria

Mystesch

Bring me Art! Pop-Up Art Store

Earrings Galore by Heidi Lowe Gallery in NYCJW

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Alegría (Joy), jewels

Tincal lab Challenge 2024. Jewelry and Freedom

Manufaktour Pop Up Areal Böhler

like WATER… by Mari Ishikawa

Arnoldsche Weekend Art Gallery # 16. Daniel Kruger Ceramics, Gina Nadine Müller Jewelry and Lifu Zhou Jewelry