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Goldmuseum Taipei - Metal Crafts Competition 2018.
RISD.
Cranbrook.

Selected Artists JOYA Barcelona Art Jewellery Fair 2017

Exhibition  /  JOYA 2017  /  05 Oct 2017  -  07 Oct 2017
Published: 13.07.2017
Selected Artists JOYA Barcelona Art Jewellery Fair 2017.
Santa Monica Arts Centre
Management:
Paulo Ribeiro, Anthony Chevallier
.

© By the author. Read Klimt02.net Copyright.

Intro
49 international artists jury selected will be showing their works at JOYA Barcelona Jewellery 2017 edition. The fair is the main international event in Spain that aims to present excellence in art jewellery from around the world and 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.

Artist list

Senay Akin, Miki Asai, Daniela Boni, Myriam Botazzi, Isabelle Busnel, Cedric Chevalley, Jeemin Jamie Chung, Angela Ciobanu, Cleopatra Cosulet, Nirit Dekel, Aggelika Dipilari, Maria Eife, Tami Eshed, Angela Estenson, Laritza Garia, Elizabeth Habig, Yasuyo Hida, Elina Honkanen, Yu-Chu Huang, Amira Jalet, Satomi Kawai, Anastasia Khazyrbekava, Alex Kinsley, Heejin Lee, Wanshu Li, Nina Lima, Ioli Livada, Orsolya Losonczy, Jillian Moore, Julika Müller, Irene Palomar, Wiebke Pandikow, Jounghye Park, Antria Prasinou, Christian Quiceno, Marian Ripoll, Daniella Saraya, Nicole Schuster, Sara Shahak, Stefania Sioufa, Agapi Smpokou, Niki Stylianou, Inai Tsubasa, Marcin Tyminski, Artemis Valsamaki, Ana Viñuela, Yiota Vogli, Rebecca Wilson, Snem Yildirim

JOYA, in its 9th edition prepares to present excellence and innovation in art jewellery relating with other fields of art, this year is the turn of Gastronomy.
 
The event goes beyond being an exhibition space for students and artists to present their latest work.  JOYA, aimed towards professionals in the field as well as the general public, is also a platform of national and international exposure that enjoys a large number of media partners and collaborations with galleries and other events of the field.
 
Its goal is to promote national and international artists through exhibition and communication, support jewellery and help open up an artistic market that has remained under exploited until now. Moreover, JOYA is a platform for artists to interact and share experiences and discuss their common issues, an opportunity for artists, press, distributors and interested audience to come into contact.
 
JOYA 2017 will take place on the October 05th , 06th  and 07th  2017 at Arts Santa Mónica, Spain.


Jury Members 2017 Edition
Robin Antar (New York, USA)
Gésine Hackenberg (Amsterdam, Netherlands)
Eliana Negroni (Milan, Italy)
Liana Pattihis (London, UK)
Piotr Rybaczek (Poland)
Paulo Ribeiro (Brazil)
Anthony Chevallier (France)
 
Agapi Smpokou. Greece, 1987. Necklace: Porcelain.
. 
. www.as-gallery.gr
.  
. What is jewellery? The customer is choosing the diamond regarding the value. Diamonds have value because of their durability, clarity and strength. These qualities imply the human need to overcome the fear of dead. I question the durability and the value of diamonds by working with them in porcelain. It is presented in 3d form and in linear shape on my work. The repentance is the need of being immortal the vanity of owning it.
.  .
Agapi Smpokou. Greece, 1987. Necklace: Porcelain.

www.as-gallery.gr
 
What is jewellery? The customer is choosing the diamond regarding the value. Diamonds have value because of their durability, clarity and strength. These qualities imply the human need to overcome the fear of dead. I question the durability and the value of diamonds by working with them in porcelain. It is presented in 3d form and in linear shape on my work. The repentance is the need of being immortal the vanity of owning it.
 

© By the author. Read Klimt02.net Copyright.
Aggelika Dipilari. Greece, 1960. Necklace: Wood, silver, stainless steel, acrylic pigments.
.  
. I select driftwood. I study its organic materiality and diachronic multifaceted narratives. My need is to continue their complex stories, reviving history through my alterations and illustrations. I simulate life of its absence, cancelling the warped weight of time by crystallizing the wood's surface. Reflecting my feelings of the present, I find and imagine - portray the unknown effects on experiences of tomorrow.
.  .
Aggelika Dipilari. Greece, 1960. Necklace: Wood, silver, stainless steel, acrylic pigments.
 
I select driftwood. I study its organic materiality and diachronic multifaceted narratives. My need is to continue their complex stories, reviving history through my alterations and illustrations. I simulate life of its absence, cancelling the warped weight of time by crystallizing the wood's surface. Reflecting my feelings of the present, I find and imagine - portray the unknown effects on experiences of tomorrow.
 

© By the author. Read Klimt02.net Copyright.
Alex Kinsley. Canada, 1990. Brooch: Steel.
. 
. www.alexkinsley.com
. 
. This body of work is a way for me to reconnect with my hometown. I was born and raised in a city that was driven by steel production. This version of the city has been disappearing over time and I want to explore its changing nature through my work by using its defining material; steel. Hand fabrication is used to create all the pieces with each frame made for its specific collection of forms.
.  .
Alex Kinsley. Canada, 1990. Brooch: Steel.

www.alexkinsley.com

This body of work is a way for me to reconnect with my hometown. I was born and raised in a city that was driven by steel production. This version of the city has been disappearing over time and I want to explore its changing nature through my work by using its defining material; steel. Hand fabrication is used to create all the pieces with each frame made for its specific collection of forms.
 

© By the author. Read Klimt02.net Copyright.
Amira Jalet. Costa Rica, 1972. Brooch: Cement, putty, mortar, wood, acrylic, glass and resin.
. 
. www.amirajalet.com
. 
. Just as the collection "The Essence of the Other" perceived the interior of architecture to be made in jewellery, "The Face of the Other" as a successor study, discover the outline of masterpieces, and from its external form plays with pure materials showing the essence of their own beauty.
.  .
Amira Jalet. Costa Rica, 1972. Brooch: Cement, putty, mortar, wood, acrylic, glass and resin.

www.amirajalet.com

Just as the collection "The Essence of the Other" perceived the interior of architecture to be made in jewellery, "The Face of the Other" as a successor study, discover the outline of masterpieces, and from its external form plays with pure materials showing the essence of their own beauty.
 

© By the author. Read Klimt02.net Copyright.
Ana Viñuela. Spain, 1964. Brooch: Stone, sand, wood, silver.
. 
. www.analorenzovinuela.es
. 
. The curiosity and the human need to create, as well as the different cultures and nature, influence my works, made of stones, wood and sand. Ancestors leave their mark with these materials in symbols and dreams, offerings to honour gods and spirits, protectors for one and adornments for others. Materials that are transmuted from their origin to transform the man.
.  .
Ana Viñuela. Spain, 1964. Brooch: Stone, sand, wood, silver.

www.analorenzovinuela.es

The curiosity and the human need to create, as well as the different cultures and nature, influence my works, made of stones, wood and sand. Ancestors leave their mark with these materials in symbols and dreams, offerings to honour gods and spirits, protectors for one and adornments for others. Materials that are transmuted from their origin to transform the man.
 

© By the author. Read Klimt02.net Copyright.
Anastasia Khazyrbekava. Belarus, 1982. Bracelet: Perspex, polymer clay, brass and gold.
. 
. www.instagram.com/anastasia_khazyrbekava
. 
. Working on the jewellery collection “Thirst for life”, I was inspired by nature and insects. The weather conditions in Israel (where I live now) are very difficult, most of the year it's drought and heat, but no matter what, every tree and every flower struggles for life, their roots cling for stones, use every drop of water to live and to bloom, bloom vigorously and brightly, bloom all year round despite everything.
.  .
Anastasia Khazyrbekava. Belarus, 1982. Bracelet: Perspex, polymer clay, brass and gold.

www.instagram.com/anastasia_khazyrbekava

Working on the jewellery collection “Thirst for life”, I was inspired by nature and insects. The weather conditions in Israel (where I live now) are very difficult, most of the year it's drought and heat, but no matter what, every tree and every flower struggles for life, their roots cling for stones, use every drop of water to live and to bloom, bloom vigorously and brightly, bloom all year round despite everything.
 

© By the author. Read Klimt02.net Copyright.
Angela Ciobanu. Romania, 1984. Brooch: Gold, silk paper, ink, steel syringe needles.
.  
. www.angelaciobanu.ro
. 
. “Hollow”. A lie story. I walk through deep corridors and voided chambers of my mind. I am hollow, carved, yet my dreams are sparkles and my worlds are sweet. And they both deceive. I float among worlds beyond worlds and the further I go, the smaller your world appears. Will you come closer?
.  .
Angela Ciobanu. Romania, 1984. Brooch: Gold, silk paper, ink, steel syringe needles.
 
www.angelaciobanu.ro

“Hollow”. A lie story. I walk through deep corridors and voided chambers of my mind. I am hollow, carved, yet my dreams are sparkles and my worlds are sweet. And they both deceive. I float among worlds beyond worlds and the further I go, the smaller your world appears. Will you come closer?
 

© By the author. Read Klimt02.net Copyright.
Angela Estenson. Spain, 1981. Bracelet: Copper, wool.
.  
. www.angelaestenson.wixsite.com/joyas
.  
. Mi joyería combina la impresión 3D y el mundo textil, conectándose mediante el uso de la perla cultivada.
El uso de materiales orgánicos y técnicas ancestrales como el fieltrado y el teñido natural de la lana combinado con las técnicas de fabricación más actuales, generan una serie de relaciones y contrastes que conforman el motor de mi exploración plástica.
.  .
Angela Estenson. Spain, 1981. Bracelet: Copper, wool.
 
www.angelaestenson.wixsite.com/joyas
 
Mi joyería combina la impresión 3D y el mundo textil, conectándose mediante el uso de la perla cultivada.
El uso de materiales orgánicos y técnicas ancestrales como el fieltrado y el teñido natural de la lana combinado con las técnicas de fabricación más actuales, generan una serie de relaciones y contrastes que conforman el motor de mi exploración plástica.
 

© By the author. Read Klimt02.net Copyright.
Antria Prasinou. Greece, 1981. Brooch: Paper, cotton, silver.
. 
.  www.antriaprasinou.com
. 
. “Burning the knowledge”.
. This collection is based on a metaphor; the destruction of knowledge that transports us thought the memory of the past… to nowadays. This “unstable” balance is expressed through the fragility of the material. I use paper to capture and then illustrate the shadows that attempt, through their movement, to outline the essence of true identity.
.  .
Antria Prasinou. Greece, 1981. Brooch: Paper, cotton, silver.

 www.antriaprasinou.com

“Burning the knowledge”.
This collection is based on a metaphor; the destruction of knowledge that transports us thought the memory of the past… to nowadays. This “unstable” balance is expressed through the fragility of the material. I use paper to capture and then illustrate the shadows that attempt, through their movement, to outline the essence of true identity.
 

© By the author. Read Klimt02.net Copyright.
Artemis Valsamaki. Greece, 1978. Brooch, Copper, silver, acrylic paint.
. 
. www.artemisvalsamaki.com
. 
. The field of jewellery is for me a medium to manifest my thoughts and concerns as well as express my feelings. I draw my inspiration from human relationship, dreams, Greek mythology reality and fantasy and whatever hides an emotional power. Each time my intention is to create a visual, narrative story to be worn.
.  .
Artemis Valsamaki. Greece, 1978. Brooch, Copper, silver, acrylic paint.

www.artemisvalsamaki.com

The field of jewellery is for me a medium to manifest my thoughts and concerns as well as express my feelings. I draw my inspiration from human relationship, dreams, Greek mythology reality and fantasy and whatever hides an emotional power. Each time my intention is to create a visual, narrative story to be worn.
 

© By the author. Read Klimt02.net Copyright.
Cedric Chevalley. Switzerland, 1972. Bracelet: Skateboard wood.
. 
. www.cedrichevalley.com
. 
. Cedric Chevalley, swiss designer and addicted to ride. This, combined with design, drove him to create jewellery made of upcycled skates. “– Skateboarding is fun and freedom, I can enjoy it every single day. It’s also learning to stand and rise above fear and barriers, it’s fails and trials again and again and again … no fear, no pain, no gain.” I’m also very excited about giving a new life to used materials, the wood of the skateboards is nice, warm and colourful.
.  .
Cedric Chevalley. Switzerland, 1972. Bracelet: Skateboard wood.

www.cedrichevalley.com

Cedric Chevalley, swiss designer and addicted to ride. This, combined with design, drove him to create jewellery made of upcycled skates. “– Skateboarding is fun and freedom, I can enjoy it every single day. It’s also learning to stand and rise above fear and barriers, it’s fails and trials again and again and again … no fear, no pain, no gain.” I’m also very excited about giving a new life to used materials, the wood of the skateboards is nice, warm and colourful.
 

© By the author. Read Klimt02.net Copyright.
Christian Quiceno. Colombia, 1975. Ring: Silver, copper, cement, pigments, acrylic.
. 
. Me planteo problematizar lo efímero y el formato del grafiti, pero también su inmovilidad, lo que me conduce a la idea de desarrollar un extracto de ciudad portable. Las materializaciones de mis ideas perduran como un ancla de identidad en quien exhiba las piezas de esta colección.
.  .
Christian Quiceno. Colombia, 1975. Ring: Silver, copper, cement, pigments, acrylic.

Me planteo problematizar lo efímero y el formato del grafiti, pero también su inmovilidad, lo que me conduce a la idea de desarrollar un extracto de ciudad portable. Las materializaciones de mis ideas perduran como un ancla de identidad en quien exhiba las piezas de esta colección.
 

© By the author. Read Klimt02.net Copyright.
Cleopatra Cosulet. Romania, 1973. Brooch: Avocado seed, resin, silver, steel.
. 
. www.cleopatracosulet.ro
. 
. The step who turned me from a jewellery wearer into a jewellery creator was coincidental, but those who followed were made consciously, determined and committed. Each piece is a concrete expression of a fugitive thought and sets an intimate connection with its wearer. Cotton’s naturalness, the suppleness of fabrics, the tremendous potential of recyclables, the apparent coldness of the metal and resin are factors that triggers the creative process.
.  .
Cleopatra Cosulet. Romania, 1973. Brooch: Avocado seed, resin, silver, steel.

www.cleopatracosulet.ro

The step who turned me from a jewellery wearer into a jewellery creator was coincidental, but those who followed were made consciously, determined and committed. Each piece is a concrete expression of a fugitive thought and sets an intimate connection with its wearer. Cotton’s naturalness, the suppleness of fabrics, the tremendous potential of recyclables, the apparent coldness of the metal and resin are factors that triggers the creative process.
 

© By the author. Read Klimt02.net Copyright.
Daniela Boni. Argentina, 1965. Necklace: Leather, agate.
. 
. www.danielaboni.me
. 
. Mother Nature and its generative force, a force that embodies a certain rawness but also the primal sense of Beauty. ORIGO is the basic principle for which something originates, the beginning of life, the start of the Universe, the Source. Origins is the leitmotif of the whole Collection, inspired from Mother Nature’s most intense and essential form.
.  .
Daniela Boni. Argentina, 1965. Necklace: Leather, agate.

www.danielaboni.me

Mother Nature and its generative force, a force that embodies a certain rawness but also the primal sense of Beauty. ORIGO is the basic principle for which something originates, the beginning of life, the start of the Universe, the Source. Origins is the leitmotif of the whole Collection, inspired from Mother Nature’s most intense and essential form.
 

© By the author. Read Klimt02.net Copyright.
Daniella Saraya. Israel, 1988. Necklace: Silver, plastic, marble.
. 
. www.daniella-saraya.com
. 
.  “Under all”.
. This project is a continuation of my project -RE-COVE- Which combines emotional work and a research motivation – the observation of nature to understand the different processes it undergoes in time, together with a material examination of how to achieve a result, which would be between controlled and coincidental, one that would illustrate those processes in the jewellery.
.  .
Daniella Saraya. Israel, 1988. Necklace: Silver, plastic, marble.

www.daniella-saraya.com

 “Under all”.
This project is a continuation of my project -RE-COVE- Which combines emotional work and a research motivation – the observation of nature to understand the different processes it undergoes in time, together with a material examination of how to achieve a result, which would be between controlled and coincidental, one that would illustrate those processes in the jewellery.
 

© By the author. Read Klimt02.net Copyright.
Elina Honkanen. Finland, 1984. Brooch: Calcium, pigment, resin, steel.
. 
. These five jewellery pieces are a part of my series Keep it away. This series is highly personal and intimate to me and it talks about taboos, feelings and opinions that are not supposed be expressed out loud. Things that happen to us and the forbidden feelings we have. In our society, many things are to be kept away. Nobody can really say that your feelings are not right or that you don ́t have the permission to feel this way.
.  .
Elina Honkanen. Finland, 1984. Brooch: Calcium, pigment, resin, steel.

These five jewellery pieces are a part of my series Keep it away. This series is highly personal and intimate to me and it talks about taboos, feelings and opinions that are not supposed be expressed out loud. Things that happen to us and the forbidden feelings we have. In our society, many things are to be kept away. Nobody can really say that your feelings are not right or that you don ́t have the permission to feel this way.
 

© By the author. Read Klimt02.net Copyright.
Elizabeth Habig. Austria, 1989. Brooch: Parchment, gold.
. 
. www.elisabethhabig.com
. 
. For the series “The course of time” I choose materials, which are rich in contrast. The moveable parchment which capture a lost moment meets rigid gold which stands for eternity and visualize the aging process and transience of every moment.
.  .
Elizabeth Habig. Austria, 1989. Brooch: Parchment, gold.

www.elisabethhabig.com

For the series “The course of time” I choose materials, which are rich in contrast. The moveable parchment which capture a lost moment meets rigid gold which stands for eternity and visualize the aging process and transience of every moment.
 

© By the author. Read Klimt02.net Copyright.
Heejin Lee. South Korea, 1985. Necklace: Silver.
.  
. I express the uniqueness of figurative characteristics of wildflowers into jewellery. The wildflowers have bright and soft colours. These colours fit well with nature. To express the colour of wildflowers well harmonizing with nature, I used silver as a material in most of my works and tried to bring out a distinctive colour of silver. I was to describe a scene from nature, rather than highlighting the respective elements.
.  .
Heejin Lee. South Korea, 1985. Necklace: Silver.
 
I express the uniqueness of figurative characteristics of wildflowers into jewellery. The wildflowers have bright and soft colours. These colours fit well with nature. To express the colour of wildflowers well harmonizing with nature, I used silver as a material in most of my works and tried to bring out a distinctive colour of silver. I was to describe a scene from nature, rather than highlighting the respective elements.
 

© By the author. Read Klimt02.net Copyright.
Inai Tsubasa. Japan, 1990. Ring: Acrylic, nylon cord, mirror film.
. 
. www.iic09018ti.wixsite.com/tsubasainai
.  
. I believe that jewelleries have a possibility to present not only the beauty of shapes but also the enjoyment in wearing a certain space or depth and some interesting phenomenon with various perspective. This time I tried to rediscover the relationship between light and space, which affects to our perspective, through my creation with jewels.
.  .
Inai Tsubasa. Japan, 1990. Ring: Acrylic, nylon cord, mirror film.

www.iic09018ti.wixsite.com/tsubasainai
 
I believe that jewelleries have a possibility to present not only the beauty of shapes but also the enjoyment in wearing a certain space or depth and some interesting phenomenon with various perspective. This time I tried to rediscover the relationship between light and space, which affects to our perspective, through my creation with jewels.
 

© By the author. Read Klimt02.net Copyright.
Ioli Livada. Cyprus, 1968. Brooch: Aubergine peel, corn leaf, silver, steel.
. 
. www.ioliartworks.com
. 
. Inspired by a delicate flower, my work is based on the frail nature of things. I try working with materiality, using mostly natural materials such as aubergine peel and corn leaves and trying to explore their limitations without losing the feeling of a fragile piece. That’s how I create flowers which take shape in the landscapes of my dream world. Can an aubergine be transformed into a piece of jewel?
.  .
Ioli Livada. Cyprus, 1968. Brooch: Aubergine peel, corn leaf, silver, steel.

www.ioliartworks.com

Inspired by a delicate flower, my work is based on the frail nature of things. I try working with materiality, using mostly natural materials such as aubergine peel and corn leaves and trying to explore their limitations without losing the feeling of a fragile piece. That’s how I create flowers which take shape in the landscapes of my dream world. Can an aubergine be transformed into a piece of jewel?
 

© By the author. Read Klimt02.net Copyright.
Irene Palomar. Argentina, 1952. Necklace, Silver, plastic.
. 
. www.joyeriadeautor.com.ar
. 
. En esta colección los módulos plásticos termo formados en algunas piezas son intervenidos espacialmente por planos imaginarios que provocan cortes y permiten ver nuevas figuras lineales que materializan el corte.
.  .
Irene Palomar. Argentina, 1952. Necklace, Silver, plastic.

www.joyeriadeautor.com.ar

En esta colección los módulos plásticos termo formados en algunas piezas son intervenidos espacialmente por planos imaginarios que provocan cortes y permiten ver nuevas figuras lineales que materializan el corte.
 

© By the author. Read Klimt02.net Copyright.
Isabelle Busnel. France, 1965. Brooch: Gold leaf, Silicone.
. 
. www.isabellebusnel.co.uk
. 
. In this new collection, I unleash my fascination for Baroque. Brooches and necklaces are made of gold, silver and cooper leaves embedded in white and translucent silicone, giving a contemporary twist to this exuberant and grandiloquent style.
.  .
Isabelle Busnel. France, 1965. Brooch: Gold leaf, Silicone.

www.isabellebusnel.co.uk

In this new collection, I unleash my fascination for Baroque. Brooches and necklaces are made of gold, silver and cooper leaves embedded in white and translucent silicone, giving a contemporary twist to this exuberant and grandiloquent style.
 

© By the author. Read Klimt02.net Copyright.
Jeemin Jamie Chung. South Korea, 1983. Brooch: Brass, silver, pigments.
. 
. www.lisanjamie.com
. 
. One day, an idea had made me curious, curious about the existence of the non-existent. The non-existent form that can be translated into my own way by giving boundaries to irregular changes. I was fascinated by the existence of the invisibleness. It clearly does not show the existence itself, but it reveals through other forms. The works I wanted to present reflects myself partly revealing the moments of my life.
.  .
Jeemin Jamie Chung. South Korea, 1983. Brooch: Brass, silver, pigments.

www.lisanjamie.com

One day, an idea had made me curious, curious about the existence of the non-existent. The non-existent form that can be translated into my own way by giving boundaries to irregular changes. I was fascinated by the existence of the invisibleness. It clearly does not show the existence itself, but it reveals through other forms. The works I wanted to present reflects myself partly revealing the moments of my life.
 

© By the author. Read Klimt02.net Copyright.
Jillian Moore. USA, 1981. Necklace: Foam, resins, polymer clay, paint, rubber, felt.
. 
. www.jillianmoore.net
. 
. Our natural tendency to seek out patterns results in a sensitivity to the congruities in biological forms.  Deliberate exploitation of these phenomena results in objects that are both ambiguous and evocative.  I choose materials and techniques that are transformative, resulting in objects that do not readily reveal the processes of their making. 
.  .
Jillian Moore. USA, 1981. Necklace: Foam, resins, polymer clay, paint, rubber, felt.

www.jillianmoore.net

Our natural tendency to seek out patterns results in a sensitivity to the congruities in biological forms.  Deliberate exploitation of these phenomena results in objects that are both ambiguous and evocative.  I choose materials and techniques that are transformative, resulting in objects that do not readily reveal the processes of their making. 
 

© By the author. Read Klimt02.net Copyright.
Jounghye Park. South Korea, 1972. Brooch: Silk, silver.
.  
. I break the plants down to represent specific part. The elements of the plant, such as thorns of plants, tangled plants, roots and bushes, which all depend on each other, are all beautiful and mysterious. My jewellery is more vital by representing the colour of nature through hand dyeing.
.  .
Jounghye Park. South Korea, 1972. Brooch: Silk, silver.
 
I break the plants down to represent specific part. The elements of the plant, such as thorns of plants, tangled plants, roots and bushes, which all depend on each other, are all beautiful and mysterious. My jewellery is more vital by representing the colour of nature through hand dyeing.
 

© By the author. Read Klimt02.net Copyright.
Julika Müller. Germany, 1966. Brooch: Paper, wax, plants.
. 
. www.nstp.de/bojen.htm
. 
. I cast jewellery and objects
in steel and silver.
It fascinates me that the pieces disappear, not to be seen again. They have undergone a process, independently
and this process has left traces.
.  .
Julika Müller. Germany, 1966. Brooch: Paper, wax, plants.

www.nstp.de/bojen.htm

I cast jewellery and objects
in steel and silver.
It fascinates me that the pieces disappear, not to be seen again. They have undergone a process, independently
and this process has left traces.
 

© By the author. Read Klimt02.net Copyright.
Laritza Garia. USA, 1982. Necklace: Brass, powder coat, silver.   
. 
. www.laritzagarcia.com
. 
. The collection is reflective upon natural aspects that are often modified or distorted by human intervention. The static jewellery compositions appear in full bloom, linked to parallel perceptions of what is natural and what is artificial in our surroundings. Each piece is made from hand pierced brass sheets. The surfaces are then powder coated with layers of bold urban colours.
.  .
Laritza Garia. USA, 1982. Necklace: Brass, powder coat, silver.   

www.laritzagarcia.com

The collection is reflective upon natural aspects that are often modified or distorted by human intervention. The static jewellery compositions appear in full bloom, linked to parallel perceptions of what is natural and what is artificial in our surroundings. Each piece is made from hand pierced brass sheets. The surfaces are then powder coated with layers of bold urban colours.
 

© By the author. Read Klimt02.net Copyright.
Marcin Tyminski. Poland, 1972. Brooch: Epoxy resin, plastic, plexi, steel, gold and silver.
. 
. www.tyminski.art.pl
. 
. My life-long interest in art, architecture and designing led me to creating little forms. Those forms have characteristics of jewellery, yet they are little artistic sculptures, that is how I perceive them. Each of my work contains a subject; in each one, you can find my inspiration. The most important is the form that is expressed by different materials.
.  .
Marcin Tyminski. Poland, 1972. Brooch: Epoxy resin, plastic, plexi, steel, gold and silver.

www.tyminski.art.pl

My life-long interest in art, architecture and designing led me to creating little forms. Those forms have characteristics of jewellery, yet they are little artistic sculptures, that is how I perceive them. Each of my work contains a subject; in each one, you can find my inspiration. The most important is the form that is expressed by different materials.
 

© By the author. Read Klimt02.net Copyright.
Maria Eife. United States, 1977. Necklace: Nylon, rubber.
. 
. www.mariaeife.com
. 
. Using new technologies combined with traditional craft skill and values, I create jewellery that is an exploration of materials and processes. My forms are inspired by structure of all kinds, from architecture to plant life to fibbers and fabrics. I use CAD software to build virtual forms, the output varies and might be cast in precious metals, dyed or combined with other materials to create the final object. I aim to create elegant, playful and complex adornments that complement the wearer and engage the viewer.
.  .
Maria Eife. United States, 1977. Necklace: Nylon, rubber.

www.mariaeife.com

Using new technologies combined with traditional craft skill and values, I create jewellery that is an exploration of materials and processes. My forms are inspired by structure of all kinds, from architecture to plant life to fibbers and fabrics. I use CAD software to build virtual forms, the output varies and might be cast in precious metals, dyed or combined with other materials to create the final object. I aim to create elegant, playful and complex adornments that complement the wearer and engage the viewer.
 

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Marian Ripoll. Spain, 1976. Pendant: Silver.
. 
. www.marianripoll.com
. 
. The current collection “Balla” is a meditation on movement, a spatial mapping of bodies engaged in dance. Observing dancers, tracing their paths through space, translating the repetition and circular motion into jewellery. Simple circle forms in gold and silver wire are combined to produce more complex objects which hold within them the energy and geometry of contemporary dance. As the pieces are handled and worn, a choreography of light interacting with the wire framework is performed and new aspects emerge.
.  .
Marian Ripoll. Spain, 1976. Pendant: Silver.

www.marianripoll.com

The current collection “Balla” is a meditation on movement, a spatial mapping of bodies engaged in dance. Observing dancers, tracing their paths through space, translating the repetition and circular motion into jewellery. Simple circle forms in gold and silver wire are combined to produce more complex objects which hold within them the energy and geometry of contemporary dance. As the pieces are handled and worn, a choreography of light interacting with the wire framework is performed and new aspects emerge.
 

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Miki Asai. Japan, 1988. Brooch: Paper, Japanese lacquer, eggshell, seashell, silver, steel wire.
. 
. www.mikiasai.com
. 
. Miki Asai jewellery is inspired by things without solid shapes as phenomenon like reflections in puddles, haze and so on. Those fleeting and changeable phenomenon portrays the nature of everything of the world. Her aesthetics and concept is strongly based on Japanese aesthetic that finds beauty in impermanence, imperfection, transience and ephemerality.
.  .
Miki Asai. Japan, 1988. Brooch: Paper, Japanese lacquer, eggshell, seashell, silver, steel wire.

www.mikiasai.com

Miki Asai jewellery is inspired by things without solid shapes as phenomenon like reflections in puddles, haze and so on. Those fleeting and changeable phenomenon portrays the nature of everything of the world. Her aesthetics and concept is strongly based on Japanese aesthetic that finds beauty in impermanence, imperfection, transience and ephemerality.
 

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Myriam Botazzi. Italy, 1963. Necklace: Coral, red sequins, quartz stone, silk, iron wire.
. 
. www.myriamb.it
.  
. “Aspecifiche Paillettes”
. The beauty in the representation of apparent fragility. The volume is in the lightness of geometries composed of imperfect circles and squares, and repeated, to build in the imagination different forms of nature. Accurate and organic necklaces and earrings are inspired by corals, peach trees in bloom, roses and ice crystals.
.  .
Myriam Botazzi. Italy, 1963. Necklace: Coral, red sequins, quartz stone, silk, iron wire.

www.myriamb.it
 
“Aspecifiche Paillettes”
The beauty in the representation of apparent fragility. The volume is in the lightness of geometries composed of imperfect circles and squares, and repeated, to build in the imagination different forms of nature. Accurate and organic necklaces and earrings are inspired by corals, peach trees in bloom, roses and ice crystals.
 

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Nicole Schuster. Germany, 1981. Ring, Silver.
. 
. www.nicoleschuster.com
. 
. Illustrated on two opposites: rational construction and the natural world, the pieces describe various moments of the interaction between two elements, that lie between integration, adaption and suppression. It is a journey from the beginning of life to the triumph of the other: a give and take.
.  .
Nicole Schuster. Germany, 1981. Ring, Silver.

www.nicoleschuster.com

Illustrated on two opposites: rational construction and the natural world, the pieces describe various moments of the interaction between two elements, that lie between integration, adaption and suppression. It is a journey from the beginning of life to the triumph of the other: a give and take.
 

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Niki Stylianou. Greece, 1968. Necklace: Copper, bronze, pigments, patinas.
.  
. www.nikistylianoujewelry.com
. 
. Inside Out, Outside In, Upside Down, Piercing Trough, Collapsing into a Trace.
. Fugitive, elusive ideas on growth, space, absence and memory which attempt to manifest themselves into physical objects.
.  .
Niki Stylianou. Greece, 1968. Necklace: Copper, bronze, pigments, patinas.
 
www.nikistylianoujewelry.com

Inside Out, Outside In, Upside Down, Piercing Trough, Collapsing into a Trace.
Fugitive, elusive ideas on growth, space, absence and memory which attempt to manifest themselves into physical objects.
 

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Nina Lima. Brasil, 1969. Necklace: Latex, rubber.
. 
. I have as inspiration the perception of the facts and my position in relation to what bothers me in some way; the planet, the human being, their relationships, their degradation and what we can do about it. I’m interested in developing a job that has a posture of positioning myself with relation to the world I live in.
.  .
Nina Lima. Brasil, 1969. Necklace: Latex, rubber.

I have as inspiration the perception of the facts and my position in relation to what bothers me in some way; the planet, the human being, their relationships, their degradation and what we can do about it. I’m interested in developing a job that has a posture of positioning myself with relation to the world I live in.
 

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Nirit Dekel. Israel, 1970. Necklace: Glass, gold leaf, Metal chain, silver.
. 
. www.niritdekel.com
. 
. Dekel's wearable art jewellery, shows creative thinking as well as correspondence with a long-respected tradition in glass. This current collection focusses on a transparency theme in organic structures and the appearance of water in nature. By choosing and combining multiple glass pieces, Nirit emphasizes fluently strength.
.  .
Nirit Dekel. Israel, 1970. Necklace: Glass, gold leaf, Metal chain, silver.

www.niritdekel.com

Dekel's wearable art jewellery, shows creative thinking as well as correspondence with a long-respected tradition in glass. This current collection focusses on a transparency theme in organic structures and the appearance of water in nature. By choosing and combining multiple glass pieces, Nirit emphasizes fluently strength.
 

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Orsolya Losonczy. Hungary, 1986. Brooch: Muscovite, fine silver, acrylic paint.
. 
. Minerals can take me into a fantasy world. They remind me on blooming buds, phenomena trying to erupt from earth. These works evoke my childhood memories. Mica brings back the lightness, colour and shine what plants and flowers have meant to me. The atmosphere what is my own garden of Wonder.
.  .
Orsolya Losonczy. Hungary, 1986. Brooch: Muscovite, fine silver, acrylic paint.

Minerals can take me into a fantasy world. They remind me on blooming buds, phenomena trying to erupt from earth. These works evoke my childhood memories. Mica brings back the lightness, colour and shine what plants and flowers have meant to me. The atmosphere what is my own garden of Wonder.
 

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Rebecca Wilson. United Kingdom, 1982. Brooch: Silver, porcelain.
. 
. www.rebeccawilsonceramics.com
. 
. Rebecca makes jewellery that combines luxurious porcelain with precious metals and semi-precious stones. Her deliciously irreverent jewellery glamorises the little pleasures in life, drawing inspiration from cakes, candies and biscuits, and from their packaging. She removes the formality of the materials so they drip with the desire of momentary self-indulgence, and turns everyday items into a collage of pleasurable extravagance.
.  .
Rebecca Wilson. United Kingdom, 1982. Brooch: Silver, porcelain.

www.rebeccawilsonceramics.com

Rebecca makes jewellery that combines luxurious porcelain with precious metals and semi-precious stones. Her deliciously irreverent jewellery glamorises the little pleasures in life, drawing inspiration from cakes, candies and biscuits, and from their packaging. She removes the formality of the materials so they drip with the desire of momentary self-indulgence, and turns everyday items into a collage of pleasurable extravagance.
 

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Sara Shahak. Israel, 1954. Brooch: Silver
. 
. www.sara-shahak.com
. 
. The “Sharp Nature” collection emerged from my experiments to explore different possibilities of transforming materials and shapes, into something new and powerful. Metals and traditional silversmith processes have always inspired my work and influenced my creations. All my creations are originated from contours of life and silhouettes of structures. The movements and patterns in nature, in objects and urban life, inspire me while I design.
.  .
Sara Shahak. Israel, 1954. Brooch: Silver

www.sara-shahak.com

The “Sharp Nature” collection emerged from my experiments to explore different possibilities of transforming materials and shapes, into something new and powerful. Metals and traditional silversmith processes have always inspired my work and influenced my creations. All my creations are originated from contours of life and silhouettes of structures. The movements and patterns in nature, in objects and urban life, inspire me while I design.
 

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Satomi Kawai. Japan, 1959. Ring:  Silver, horse bone, resin.
. 
. www.satomikawai.com
. 
. As a contemporary jewellery artist, I explore life and nature. I am a transplanted woman: Japan to America. This is how “Place for Myself” series was born; moving to a new place, settling, growing and blooming. I employ simple metalsmithing techniques: cutting, forming, and soldering. Then I combine horse bones and tree branches to make a functional object.
.  .
Satomi Kawai. Japan, 1959. Ring:  Silver, horse bone, resin.

www.satomikawai.com

As a contemporary jewellery artist, I explore life and nature. I am a transplanted woman: Japan to America. This is how “Place for Myself” series was born; moving to a new place, settling, growing and blooming. I employ simple metalsmithing techniques: cutting, forming, and soldering. Then I combine horse bones and tree branches to make a functional object.
 

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Senay Akin. Turkey, 1976. Brooch:  Silver, gold.
. 
. www.senayakin.com
. 
. My work represents the secret realm where I used to travel quite often in my childhood. It had a simple entrance that was hidden to the common eye. Now, I can barely perceive the entrance to this realm, yet the feeling of it remained alive. I use precious metals and gemstones. I imagine them as the perfect vocabulary that allows me to narrate my stories.
.  .
Senay Akin. Turkey, 1976. Brooch:  Silver, gold.

www.senayakin.com

My work represents the secret realm where I used to travel quite often in my childhood. It had a simple entrance that was hidden to the common eye. Now, I can barely perceive the entrance to this realm, yet the feeling of it remained alive. I use precious metals and gemstones. I imagine them as the perfect vocabulary that allows me to narrate my stories.
 

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Snem Yildrim. Turkey, 1984. Brooch: Nylon Wire, Powder Coated, Brass, Silver, Wood, Paint, Cotton, Steel.
. 
. www.snemyildirim.com
. 
. I create by taking inspiration from the cultural texture and the geography I live in. 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.
.  .
Snem Yildrim. Turkey, 1984. Brooch: Nylon Wire, Powder Coated, Brass, Silver, Wood, Paint, Cotton, Steel.

www.snemyildirim.com

I create by taking inspiration from the cultural texture and the geography I live in. 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.
 

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Stefania Sioufa. Greece, 1978. Brooch: Silver, pigments, cement, brass sheets, resin, sand, plaster, mixed media.
. 
. “Transformation” means the inner change, the work I do with myself and my soul. It is the best version of me, coming from the "dialogue with myself". Through silence, meditation and observation of my thoughts, comes the understanding and my need for change and internal transformation. It means the transition from negative to positive status, my self-improvement, the change of course, the opening of new roads.
.  .
Stefania Sioufa. Greece, 1978. Brooch: Silver, pigments, cement, brass sheets, resin, sand, plaster, mixed media.

“Transformation” means the inner change, the work I do with myself and my soul. It is the best version of me, coming from the "dialogue with myself". Through silence, meditation and observation of my thoughts, comes the understanding and my need for change and internal transformation. It means the transition from negative to positive status, my self-improvement, the change of course, the opening of new roads.
 

© By the author. Read Klimt02.net Copyright.
Tami Eshed. Israel, 1983. Ring: Silver, gold, pebbles, quartz.
.  
. www.t-squared.info
.  
. "Free balance"
. The debate of life keeps me going every day. The demand of me introspective. Last summer, while traveling in Cyprus, I saw the natural stones on the beach and I was theirs. I picked up some rocks, and then I knew that one day I would like to design a jewel. Natural stones. I wanted to put both forms into play and "play" with easy and liver. Balance or imbalance in many cases is the mystery that followed me through this time.
.  .
Tami Eshed. Israel, 1983. Ring: Silver, gold, pebbles, quartz.
 
www.t-squared.info
 
"Free balance"
The debate of life keeps me going every day. The demand of me introspective. Last summer, while traveling in Cyprus, I saw the natural stones on the beach and I was theirs. I picked up some rocks, and then I knew that one day I would like to design a jewel. Natural stones. I wanted to put both forms into play and "play" with easy and liver. Balance or imbalance in many cases is the mystery that followed me through this time.
 

© By the author. Read Klimt02.net Copyright.
Wanshu Li. China, 1990. Brooch: Acrylic, silver, glass beads, sequins, nylon wire.
. 
. www.liwanshu.co
. 
. “Go with the Glow” is about exploring the multisensory experience and making tactile luminous wearable pieces. This series includes brooches, bangles and rings which have an almost maritime appearance. By experimenting with acrylic, moving beads, ultraviolet reactive materials and fluorescent paints led to the works which not only offers visual enjoyment but also special tactile and auditory possibilities for perception.
.  .
Wanshu Li. China, 1990. Brooch: Acrylic, silver, glass beads, sequins, nylon wire.

www.liwanshu.co

Go with the Glow is about exploring the multisensory experience and making tactile luminous wearable pieces. This series includes brooches, bangles and rings which have an almost maritime appearance. By experimenting with acrylic, moving beads, ultraviolet reactive materials and fluorescent paints led to the works which not only offers visual enjoyment but also special tactile and auditory possibilities for perception.
 

© By the author. Read Klimt02.net Copyright.
Wiebke Pandikow. Germany, 1986. Brooch: plastic, gravel, wood.
. 
. www.silver-crane.com
. 
. While my background is based in traditional craftsmanship, I have been working with a non-traditional material, plastic bags, since 2014. In mindless consumerism, we throw them away without thought, but they end up accumulating back on our shores, always. Using this material in my pieces I strive to remind people of the impact this material has on our world.
.  .
Wiebke Pandikow. Germany, 1986. Brooch: plastic, gravel, wood.

www.silver-crane.com

While my background is based in traditional craftsmanship, I have been working with a non-traditional material, plastic bags, since 2014. In mindless consumerism, we throw them away without thought, but they end up accumulating back on our shores, always. Using this material in my pieces I strive to remind people of the impact this material has on our world.
 

© By the author. Read Klimt02.net Copyright.
Yasuyo Hida. Japan, 1984. Brooch: Balloon, paper, silver, stainless steel.
. 
. www.mwp.berta.me
. 
. My approaches for work through material experimentation. In this case with balloon. I make many layers with balloons and cut it with a knife. By manipulating unorthodox components, I allow the unexpected to develop, creating a new vocabulary of contemporary aesthetics.
.  .
Yasuyo Hida. Japan, 1984. Brooch: Balloon, paper, silver, stainless steel.

www.mwp.berta.me

My approaches for work through material experimentation. In this case with balloon. I make many layers with balloons and cut it with a knife. By manipulating unorthodox components, I allow the unexpected to develop, creating a new vocabulary of contemporary aesthetics.
 

© By the author. Read Klimt02.net Copyright.
Yiota Vogli. Greece, 1958. Pendant: Paper, wood, acrylic, varnishes, silver, alpaca, copper, brass, steel.
. 
. www.yiotavogli.wix.com/vogli-jewelry
. 
. Shadow is a psychological term for everything we can’t see in ourselves. From our early age we adjust our behavior to gratify our needs and learn to adapt to the external world. As we grow up we condition ourselves to keep all the unaccepted parts of us outside our conscious awareness, though, we drag them ‘behind us’ all the time in our subconscious.
.  .
Yiota Vogli. Greece, 1958. Pendant: Paper, wood, acrylic, varnishes, silver, alpaca, copper, brass, steel.

www.yiotavogli.wix.com/vogli-jewelry

Shadow is a psychological term for everything we can’t see in ourselves. From our early age we adjust our behavior to gratify our needs and learn to adapt to the external world. As we grow up we condition ourselves to keep all the unaccepted parts of us outside our conscious awareness, though, we drag them ‘behind us’ all the time in our subconscious.
 

© By the author. Read Klimt02.net Copyright.
Yu-Chu Huang. Taiwan, 1989. Ring: Silicone rubber.
. 
. My inspiration has come from the quality of contact lenses as they are made of silicone rubber, which is a non-precious material. My hope is to change its value by the changing its function. I believe that everyone wears their own lenses and views the world differently according to their gender, country, religion, family and background. People’s values are formed by their experiences and these factors contribute to their construction of the world.
.  .
Yu-Chu Huang. Taiwan, 1989. Ring: Silicone rubber.

My inspiration has come from the quality of contact lenses as they are made of silicone rubber, which is a non-precious material. My hope is to change its value by the changing its function. I believe that everyone wears their own lenses and views the world differently according to their gender, country, religion, family and background. People’s values are formed by their experiences and these factors contribute to their construction of the world.
 

© By the author. Read Klimt02.net Copyright.
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