Ruudt Peters at Design Miami/Basel

Exhibition  /  15 Jun 2010  -  19 Jun 2010
Published: 10.05.2010

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As the first contemporary art jewelry gallery showing at Design Miami/Basel Caroline Van Hoek Contemporary Art Jewelry is proud to present new work by Ruudt Peters.

Artist list

Ruudt Peters
Alchemy has always been an inspiration for my jewellery series. My atelier is a laboratory in which all sorts of different prosaic materials can be transmuted into poetry. My recent work in the Sefiroth, Lingam and Anima series are the result of a quest for a symbolic visual language for expressing my own life experiences. I am constantly investigating the balance between West and East, between the conscious and the unconscious, between my left brain and right brain, between structure and chaos. My jewellery are rather communicative objects, and their beauty lies as much in their inner qualities as in their outward effects.
Reenchantment is a tendency in contemporary art. It is a process of giving the world a new spiritual and holistic significance in which, among other things, there is more room for emotion, appetites, dreams and mysticism. My work would seem to fit into this. I want to show that jewellery can also fulfil one of the most important tasks of art: to make what is otherwise unseen visible.

ANIMA (2008/2010)
According to Carl Gustav Jung, Anima is the feminine in a human being. According to him, a person is both male and female. As a result of upbringing the one is developed, and the other not. Consequently a man generally develops his male side more than his female side. If the Anima in a man is underdeveloped, this hinders the man's functioning. Qualities ascribed to the Anima include: the Magna Mater (“Great Mother”), the source of life, Eros, goddess of love, seductive, beautiful, irrational, dreamy, begetter of illusions, constrained, natural, receptive, servant, prophetess, bringer of wisdom, and incorporeal.

After the Sefiroth series, which was strongly rooted in my personal experiences translated into the visual language of the Tree of Life, and the Lingam series that dealt with the male side of the brain, I have gone in search of the female subconscious (the ANIMA) as a guide for my designing. Since 2008 I have engaged in drawing blind, in order to obtain more freedom in my thinking. These drawings give form to an unfamiliar terrain in my visual language. I can not direct it. My dream was to be able to make work that refers to the subconscious in the same way as the blind drawing. This would produce a totally different sort of design, in terms of freedom, thinking and expression.

“If you grasp at things desirously, the beauty retreats” Augustine of Hippo
During this period in my work I have made it my goal to produce work that is not directed by reason. I let the work happen out of the subconscious, in the same way as the blind drawings. At first this was an impossible task. You want freedom, but because you are trying too hard for freedom you clench up. Initially I tried to transpose the freedom of the line technique in the blind drawing into the object. At a certain point I gave up on this because it was a disastrous course. Then by chance I poured wax into water. The wax solidified immediately in the water. The freedom of the visual language that this creates is impossible to control. It demands great meditative concentration to pour the wax into the water at precisely the right moment, and with that to also make a drawing at the same moment. You get what it is. It is a record of a second, a congealed moment in time. Each working day yields a different image. The weather and my state of mind influence the outcome, but I cannot influence the outcome as an artist. It is a movement that solidifies from the subconscious. The act generates an unknown language, a flowing line captured in solidified form. 

As a consequence, it has become a quest of making and letting go, accepting what is there as opposed to what you want. Hundreds of works have been made. The atelier is full of them. Out of these some works drifted to the top which were pregnant with the story of serenity and uncontrollability. Ultimately I have been able to call these works my own. These works are then used as the basis for my jewellery. I have converted the wax forms into a different material. The wax was silver plated, plated in aluminium and cast in silver. The resulting works are delicate, vulnerable and fragile. I have also discovered that the final work displays similarities with the auricular style of the early 17th century. Adam van Vianen made fantastic silver cups with a comparable free expression. Nothing arises from nothing. I believe in work that is borne by the past. Thus when I again saw the Adam van Vianen cups in the Rijksmuseum, I realised my work had come home. 

I always show my work in an installation that connects with the content of my work and places the work in a spatial context. For my installation I have chosen the mirror, first of all because it is an attribute of the feminine, of Venus. The mirror is however more than that. A reflection is also elusive, like that of Narcissus in the water, like the wax that solidifies in the water. With this, for me things come full circle. In MIAMI BASEL DESIGN INSTALLATION 15 round mirrors hang randomly in space on long steel rods. The jewellery is mounted on the mirrors. The reflections among them produce a bewildering and poetic image.

Ruudt Peters, 1 March, 2010

Caroline Van Hoek Contemporary Art Jewelry is proud to announce being the first contemporary art jewelry gallery showing at Design Miami/Basel. 

We will be presenting at Design/On Site new works by Ruudt Peters called ‘Platina’. ‘Platina’ is a series of 17 pieces specially commissioned for Design Miami/Basel.
Ruudt Peters. Brooch: from the Platina series, 2010. Photo by Rob Versluys. Ruudt Peters
Brooch: from the Platina series, 2010
Photo by Rob Versluys
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