Selected Artists JOYA Barcelona Art Jewellery Fair 2016

JOYA Barcelona Art Jewellery Fair is the main event of art jewellery in Spain. Since 2009 dedicated to promote contemporary jewellery and placed in the cultural space Arts Santa Mónica gathering the most renowned national and international artists, galleries, collectives, schools, conferences and parallel events.

JOYA has become a business platform between artists and galleries, private collectors and cultural elite, with a full schedule of events, exhibitions, conferences, and supported by important publications and mass media on and off line.

This 8th edition, JOYA will be held from September 29th, 30th and October 1st and will relate art jewellery with other fields of CONTEMPORARY ART, combining both artistic expressions.

Jury:
Dakis Joannou, Nicosia, Cyprus 1939
Carlos Urroz Arancibia, Madrid, Spain 1966
Liesbeth den Besten, Amsterdam
Jeemin Jamie Chung, South Korea, 1983
Piotr Rybaczek, Poland, 1980
Paulo Ribeiro, Brazil, 1978
Anthony Chevallier, France, 1977


Artist List:
Alice Yujing Yan, Amira Jalet, Ana Elisabeth Nadjar Schirado, Andrea Velázquez Calleja, Anna Krol, Anne-SophieVallée, Artemis Valsamaki, Christine Ritva Jalio, Daniela Saraya, Devon Anne Thom, Elin Flognman, Florence Croisier, Georgia Gremouti, Gigi Mariani, Gili Doliner, Helmi Lindblom, Ignasi Cavaller, Irene Palomar, Iro Kaskani, Isabelle Busnel, Jenny Edlund, Kalina Filcheva, Lorenzo Alessandro Pepe, Malene Kastalje, Maria Tsimpiskaki, Marie Eve Castonguay, Melina Lindroos, Mengnan Zi, Michelle Kraemer, Magali Thibault Gobeil, Myung Urso, Nicole Schuster, Nora Rochel, Patricio Parada, Senay Akin, Snem Yildirim, Susanna Baldacci, Valentina Rosenthal, Vania Ruiz, Velislava Bozhinova, Viktoria Münzker, Yafit Ben Meshulam, Yannick Mur, Ye-Jee Lee, Yeseul Seo, Yiota Vogli.



Alice Yujing Yan, 1988  China
My work is inspired by modern architecture and, in particular, minimalism. I form each shape out of flat sheet of copper, and fabricate them together. It allows me to explore form that is both representative of architectural elements that I love and my inner most emotional feelings. The use of color is prevalent in my work for its symbolic meaning and emotive qualities. I mainly use power coating and enamelling technique to apply colors on the piece, and it will gives a very different texture looking. I create jewellery that is very personal and emotional, and I believe that there must be connections between the artist and the viewer through the art production.
www. aliceyujingyan.com
 

Amira Jalet, 1972 Costa Rica
"Inferno" which arises from the ashes ... defends the bowels of force, the rebirth of the almost lost, as the last roar of a material that is not only ruin, is adorned with his transformation of the almost completely consumed from within ... to re-emerge as a masterpiece detonating its magnificent and admirable attributes to immortalize.
www.amirajalet.com
 

Ana Elisabeth Nadjar Schirado, 1966  Chile
All within the context of the Second Chance, use and give another meaning to a found object, use objects independent of their actual function, thinking: in its color, texture, in its unique characteristics, allow me to attach it to another element, to give life to a new thing, mutant is like a jewel, everything changes, and being different, their meaning too.
Riding cooking them, screwing, barreling objects.

 
Andrea Velázquez Calleja, 1978  Spain
My current obsession: tubes. I am amazed by the fact that something alive can come out of them. I explore their depth, their darkness to finally open myself.
www.tiny-lab.com
 
 
Anna Król, 1983 Poland
I have no clearly defined motto of creativity. I feel it gives me freedom in the creation process. I spontaneously follow the impulses, observe the occurrences which are close to me and sometimes I feel like the inspirations and ideas are looking for me - I just need to read them and introduce into my work.
www.decoecho.pl/anna_krol
 
 
Anne-SophieVallée, 1983  Canada
My work explores the notion of play as an aesthetic concept. The pieces of jewellery I create invite the wearer to participate in the form and function of the work through spontaneous response to the tactile character of the piece. Because playing carries the potential to communicate an experience in a sensitive way, I make jewellery that initiate a context to connect at the non-rational level, placing the emphasis on imagination and freedom to escape the ordinariness of everyday life.
 
 
Artemis Valsamaki, 1978  Greece
My inspiration is dealing with ideas myths, concerns, dreams that is either connected to the real world or an imaginary one.
Each piece narrates its own story with the intention of communicating the state of mind  and the feeling at the time of creation.
www.artemisvalsamaki.com
 
 
Christine Ritva Jalio, 1978 Finland
In the new ”Loss”- collection I have been concentrating on personal loss, sadness, and  loneliness; on what happens after you loose someone you love. I have gone even deeper into the emotional turmoil of an individual person and tried hard to capture these feelings in my work. The pieces have a sense of comfort and safety to them and look very heavy, but are actually really light. Like a person who carries great sadness within, I wanted my pieces to be very quiet and scream very loud at the same time.

 
Kalina Filcheva, 1985, Bulgaria.
Each piece in the collection represents a mini universe which stores emotions and dreams in color and form. The materials used in the collection – ropes, rubber, natural stones and steel are taken out of their context and converge in mini parallel universes, which invite us to see the invisible, to wake our imagination and to dream in a different reality.
www.kalinafilcheva.com

 
Daniela Saraya, 1988  Israel
The exposure to changes adds patterns and habits to the human being's life, but reductions and exposures create an empty void through his deeper layers.
As the technique relies on creating layers of materials and then peeling them of, so is the soul. That the intention in The name of the project- re- cover -The only way to recover is to complete and understand the Changes, And redefining a new Complete every time, with all his faults.
www.daniella-saraya.com
 

Devon Anne Thom, 1985  Canada
Geometry serves as a constant source of inspiration for my practice. This on going body of work is influenced by the geometry of crystalline structures. I appreciate how seemingly random and disorganized rough gem material appears to be, but on a microscopic level crystals are built of repeating molecules that arrange into perfect geometric configurations. With this series I challenge myself to present form in an abstract way – juxtaposing outwardly complex rough gemstones against simple geometric compositions.
 
 
Elin Flognman, 1974  Sweden
My work is inspired by the everyday and the ordinary. I strive to find the point of intersection between the familiar and the extraordinary. Like when you say your  name over and over again it starts sound  strange. I listen to the objects of the everyday until they reveal  therir magic. Jewellery allows me to materialize the dichotomy, and to make everyday matter.
elinflognman.com
 

Florence Croisier, 1965  Switzerland 
Virginia creeper is a plant which is clinging itself onto walls, creating a vegetable ornament. With that piece inspired by virginia creeper, I wanted to show a free sculpture which can be hanging in many different ways, which is changing its aspects. I have represented bellow 4 views of this sculpture, but there are many others. Even when the sculture is hanging, by turning around it , it gives a very attractive image, like every sculpture, but here, the space empty inside lines seems to let appear a drawing in movement.

 
Georgia Gremouti, 1965 Greece
In “Corpus Colonies” silk pieces of fabric are folded, twisted, refolded again. The flat material is uncut, manipulated to create three-dimensional surfaces, exploring the material’s possibilities and techniques.
I am fascinated by the microcosm of our bodies and the way cells multiply, expand, grow and repeat.
This is a familiar and unknown territory, the relationships of humans to their own bodies.
My forms share many qualities with the live organisms and structures they mimic but they are developing, maturing and set free by this process of transformation.
 
 
Gigi Mariani, 1957 Italy
My work is based on spontaneity and instinct. I try to transfer everyday emotions into my jewellery in an impulsive way. This method allows me to develop works that are unique and sculptural. I endeavor to use the same sort of approach as I do when painting and often treat the surface of the metal as a canvas. This instinctive approach is counteracted by the precise, geometric forms that I use, whereby everything seems to be brought back into place.

 
Gili Doliner, 1983 Israel
There is a place I specially love, a forest full of magic.
Every time I come by it looks a bit different to me and I can never know what will I find there
but I always know it will be beautiful.
The forest is full of hidden places, tiny animals, colors and sounds.
I find myself there whenever I feel the need to be free.
This forest is in me.
www.gilidoliner.com
 
 
Helmi Lindblom, 1989 Finland
Fruitfully yours started from my glue-technique I used with the squeezable Tule-series. This time I coated balloons with hot glue. I felt that the result was a bit too pretty, clean and similar with my previous work so I turned the balloon inside out and found a shape with a soul. I associate this form with pomegranates and fertility. Inner glue drops reminded me of eggs or egg cells. Maybe because it wasn´t so long ago when some add from social media asked me weather I would like them to count my egg cells, my days of fruitfulness.
 

Ignasi Cavaller Triay, 1982 Spain
I am obsessed with memories. I fear to forget who I am and where I come from, my roots. I do not want to deny the evolution of my self, but I also want to keep my origins as close as possible.
I try to trigger my memories through the materials I use, looking for connections with my past and my ancestors. Asking my self if what I remember is true or is just another random creation of my subconscious.
I based my collection on a simple but meaningful jewelry object, the locket, creating physically useless containers to give my self the feeling that I am keeping my intangible memories in it.
ignasicavaller.com
 
 
Irene Palomar, 1952  Argentina
Modules are developed spatially and make new parts ...
Exploring new ways, continue working plastic tubular transformed by heat (thermoforming) and obtain modules that are combined with other materials .Thus are added in some parts: pipes in metal, already used in previous collections and wood as new element is added alternately.
www.joyeriadeautor.com.ar
 
 
Iro Kaskani, 1966 Cyprus
I aim on building “flesh” around a metal frame and having an original “skin” surface.
I would like to create forms which give evidence of their structural elements: an internal support, core or system of axis, a body growing around it and finally an external surface, the skin.
www.irokaskani.com
 
 
Isabelle Busnel, 1965 France
Rhinestones and pearls set in grey and black silicone: this is my new investigation of classical jewellery. Victorian necklaces, stomachers, Berlin iron jewellery…the past is full of treasures. This new collection is about revisiting them with a twist in materials, shapes and colours.
www.isabellebusnel.co.uk
 

Jenny Edlund, 1959  Sweden
“Building” is a series of rings, bracelets and necklaces, where I work with wire to build constructions that are three-dimensional. I copy different building techniques used in old stock houses or fences. The structures are hollow, transparent, and still strong.
 
 
Lorenzo Alessandro Pepe, 1969  Italy
They are a series of pieces in bronze, silver and gold. Imaginary animals, microscopic fragments of life modeled in polyurethane foam.
They are characterized by rough jewels and rough "raw", "live", "real". Carry over is feeling them, remember them and be aware of their presence. There are rings and necklaces and tiny sculpture desktop to keep you company next to the keyboard on the desk or bedside on the nightstand.
 
 
Magali Thibault Gobeil, 1985 Canada
Lost in my imaginary world where everything is so delightful.  That little place inside myself where everything is calm, joyful and pretty. Where my mind go when everything is so hard outside, in the real world. These crazy forms of nature made from artificial materials are the result of that retirement in that special world that protect myself not to go crazy in the real world.
www.magalithibaultgobeil.com
 

Malene Kastalje, 1968  Denmark
I invent techniques in order to manipulate the silicone to get a connection to the foreign and not so easily understood. I use for example unique casting, brush on technique, leaving the pieces on different surfaces to cure and mixing in different materials such as soil and pigments. My pieces aim to communicate emotionally with a high level of tactility and to have a reminiscence of something uncomfortable and imperfect as well as a feeling of preciousness.
malenekastalje.blogspot.dk
 
 
Maria Tsimpiskaki, 1956  Greece
What is left when being ends? The Earth is heavy with the armatures of the creatures that once walked it and with the traces of their many histories, mainly shadows impressed on countless memories, behaviors, new lives. The leaf becomes here an eloquent symbol of that duality: a delicate residual structure bearing the visible remnants of the living flesh it supported, itself eaten away in a labor intensive process the involves etching and piercing through the metal; in the background, its shadow, dark, flickering, a single being's fleeting imprint on Life's everlasting flow. Dotted here and there are the found fossilized bodies of sea anemones, another fragile and exquisite trace of past vitality.
www.tsimpiskakimaria.com
 
 
Marie Eve Castonguay, 1988  Canada
Gardens are common spaces of everyday life, enclosed areas in which men can control and organize nature. The enclosed space offers protection from the outside, making gardens intimate and reassuring spaces, havens of peace. With this collection, I create wearable gardens, using laser-cut paper and pigments. Each paper tab, or petal, is hand assembled to a backing, either through sewing or tension fitting. The random position and subtle motion of the paper pieces recall the movement of flowers or plants being blown by the wind. Inside a fabricated metal structure composed of juxtaposed cells, like the various zones of a garden, I create enclosed spaces in which all things possible may happen.
  
 
Melina Lindroos, 1991  Finland
My series Hiding places are small spaces of calmness. The series consists of brooches and rings, which are made through a slow meditative process in a comforting space surrounded by good feelings. Before I start to work I carefully select a spot that will be my nest for the hours to come, after that I start the process of making. My technique is to attach cotton thread on top of dried avocado skin, until the surface is fully covered with frequent lines. It’s a repetitive process with a repetitive movement. It’s slow and quiet, leaving a lot of space for my thoughts. With my way of doing I want to insert solace and safety to the pieces
 
 
Mengnan Zi, 1989  China
In my work, I explore the process of the transformation of the ordinary to the extraordinary though the process of embellishment, elevating the status of PVC plastic. PVC is used as it is a softer and more malleable plastic and is also relatively inexpensive. Three dimensional shapes provide different perspectives from various angles as well as allowing for different layers when decorated by embroidery, its life is extended and its value elevated. The embroidery used is steeped in historical craft and requires much time and care in its handmade production. This adds value to the plastic material reinventing it as something to be cared for and valued.
zimengnan.wordpress.com
 

Michelle Kraemer, 1982  Luxembourg
The material, for me, is inspiration and challenge at the same time. It is transformed  in such a way that it changes completely, until it becomes something else entirely, until it becomes jewellery...
In my new collection I'm moving away from the clouds, even higher into space, where time began, where  there is everything that exists, everything that has existed and everything that will exist. An exploration into galaxies, stars, nebulas, ... and how to make them mine.
 
 
Myung Urso, 1960  South Korea
It is always intriguing to see how my personal imagination and inspiration embody to become an actual object. The working process is more open towards momentary happenings rather than manipulated by preset intention, which brings unexpected value.
I mainly use fiber as a primary material for my jewelry.  It includes fabric, paper, yarn, wood, etc.  I also enjoy adopting found objects around my life environment.  My major techniques are sewing  or stitching in fabric and hand-sculpting in Hanji(Korean mulberry paper) with fundamental metal technique. 
www.myungurso.com
 
 
Nicole Schuster, 1981  Germany
My inspiration lies in the relation of nature and culture, as an opposite, as an addition, as a process.  
I explore and play with the beauty and cruelty of growth and change: the cycle of birth, development, decay and the formation of something new, as an endless process. Fragile but powerful, inexorable and infinite.  
Swayed by these worlds and thoughts my wearable sculptures appear like poetic places, abstract landscapes or organisms from another time.
www.nicoleschuster.com


Nora Rochel, 1979  Germany
Nora Rochel explores the world of flowers and organic growth as visual form­giving and expressiveness. While flowers generally are considered a bit sentimental, she was inspired by the full spectrum of their complexity and variegation. Characteristic features are hidden details like small flowers on the inside or the use of different metals in one piece.


Patricio Parada, 1971  Chile
My research focuses on the lightness of the forms, I look ethereal draw frames and sinuous lines, so as to transform metals in arabesques and light laces.
My inspiration is the light, and my materials are gold, silver, copper, bronze, aluminum and natural stones.
www.patricioparada.com 


Senay Akin, 1979 Turkey
My newest collection “In there” represents the secret realm that I used to travel to quite often in my childhood. A place where the gemstones would shine in ravishing colours and goodhearted fairies would reveal many secrets to the friendly visitor. It had a simple entrance that was hidden to common eyes.
In time, the entrance to this realm became barely perceptible to me. Yet the feeling of it remained alive. When I make jewellery I love to use precious materials like gemstones, gold and silver. I imagine they are the vocabulary that allows me to narrate this naive, funny world of enchanted creatures. I sense there are many others like me, in search of precious memories. My jewellery is for those people.
 
 
Snem Yildirim, 1984  Turkey 
I create by taking inspiration from the cultural texture and the geography i live in. The diversities and the contrasts of this geography are the colors of my universe & works. I experience the materials and production techniques by blending the contrasts such as the east and the west, the local and the global, the traditional and the modern, the geometric and the organic…
www.studio-zigzag.com
 
 
Susanna Baldacci, 1967  Italy
I think that a piece of jewellery should be, above all, something that leads you in a different direction, a bit like a sudden journey, something that simultaneously relieves and astonishes (amazes) you with a shape that brings you happily somewere else compared to where you were sure you were going,or that delights you with unespected irony. I have always worked with silver, gold, wood, pearls, and in more recent years, I havemixed(moulded) these materials with coloured resins. I love free spaces wich allow thougt toroam freely that wrop around you; chromatic contrasts and contrasts in shapes, material surface, shadows that are created and wich change according to view points and light. Often the number “two” recurs in the jewels I create: “two” as in relationship between two different elements but each exishing because the other exists.
 
 
Valentina Rosenthal, 1984 Chile 
La colección Endemic esta inspirada en la búsqueda del origen del mar Pacifico y la flora y fauna que ahí habitan. La materialidad ocupada en esta colección esta compuesta en su gran mayoría de un alga típica de la costa Chilena llamada Cochayuyo. Tras un riguroso estudio del comportamiento de esta alga y sus propiedades  se fueron dando estas piezas que reflejan la riqueza de este material. El nombre de la colección Endemic hace referencia a lo que es propio y totalmente originario de mi país que lo hace único y irrepetible.  Las piedras utilizadas son Chilenas de nuestra cordillera de los andes, se utilizaron trozos encontrados de madera, corteza de roble y esmaltes epoxicos, latón y acrílicos.


Vania Ruiz, 1977, Chile
Mi trabajo se caracteriza por trabajar la resina a partir de una técnica propia, que la utiliza como si se tratase de pintura, para crear así, pequeñas atmósferas submarinas. Volúmenes de color trabajados en varias capas construyen profundidades y degradaciones. Las criaturas adheridas, por otra parte, utilizan técnicas de pintura sobre metal o vaciados a partir de copias de formaciones naturales.
 
 
Velislava Bozhinova, 1988  Bulgaria
 “Taming” is a research for the protective reactions of plants, animals and human beings. Self- preservation ensures the survival of an organism. Pain and Fear are parts of this mechanism. There is a contrast between the fragile, glossy ceramic and the strong, mat steel. The use of leather symbolize the taming of the wild.  Taming my own creatures, safety aggressive, wild and domesticated, black and white, strong and fragile. Taming my emotions I am taming myself.
 
 
Viktoria Münzker, 1978  Austria
At the beginning, all is empty and dark. It looks like a never-ending sphere. The darkness is strong and heavy. Only a small grain from the destroyed world remains. It's floating and collecting positive energy from the space. In the right moment, at the proper place, it explodes at the speed of light. From one moment to another, the universe is full. Blending, full of light, waiting for you. Make a wish. Create the new world of light, gravid in possibilities.
To give birth to something new, something old must die.
By focusing on the essentials we reach the blurred lines between natural and artificial. These relationships are the jewel in the composition of freedom and individual expression.
 
  
Yafit Ben Meshulam, 1987 Israel
Does the technology affect the value of design; If it's hand Crafted or if it's made by Machine? And can we tell the differences now when the boundaries become blurred?
The collection started with very soft and organic jewelry that express  birth and creation of something new. To these emotional shapes I added strong metal outline that symbolize the over power of  new technologies on the crafts.
  
 
Yannick Mur, 1963  France
His creations reflect his search for meaning requirement, so that beyond the beautiful, each work is a fruitful encounter between the story of matter and its search for innovation. Guided by the fluidity of movement, she is developing a compressed wire embroidery technique of weaving gold and silver volumes letting light.


Ye-Jee Lee, 1984  South Korea
Main idea of my work is pressing leather or metal (or together), using useless retro metal molds in a different way of typical use. I used to think that shaping materials using a press was done in the industrial process or that it was suitable for only manufacturing the uniform and boring goods. However the more I experiment it the more I could find out different ways to use it for creation.
In most of my works, pieces are connected by press, using hardness of after pressing and to develop my own way of treating leather, I patterned the leather by press and dyed myself.
 
  
Yeseul Seo, South Korea
My works contain the meaning that let us between the human and the animal as a part of these efforts. I directly and indirectly criticize the human’s mistakes through some symbolic expressions, and sometimes appeal to the human sincerely from the position of animal. However my work focuses on the ‘empathy’ made by the description of animal’s behavior patterns gotten from observing and caring for them, rather than not pursuing to send a strong, social message. The general purpose of these works is to allow wearers and the appreciators to feel the message of the ‘empathy’ together.
 
 
Yiota Vogli, 1958  Greece
Shadows is the embodiment of a fantasy world populated with shadows, exotic birds, grotesque demons and fairies, an exploration of the aesthetic and literary values of such creatures and the real and symbolic nature of the shadow as an image and a figure. Thoughts like birds will always hover high in the sky but is our responsibility to prevent the ‘birds’ from landing in our minds. Those creatures become symbolic statements and represent obsessions, our ideas and fears or projections of our subconscious. Based on this approach, they are merely symbolic representations of human psychological states.
www.yiotavogli.com -2016-2016