Tiptoe on Clouds by Melanie Isverding

Artist list

Melanie Isverding

There is something about the jewellery pieces of Melanie Isverding. They pose many questions. Are the big, clear-cut shapes only referring to themselves, or to something beyond the piece itself, like some sort of scale models? Does the familiar vernacular of the goldsmith still have any eloquence nowadays? What remains of the trditional concept of value in contemporary jewellery: the precious stones and pearls used in Isverding's work have been pulverized, they retain their colours and sparkle, but lose their conventional shape and economic value. And perhaps the most important question of all: why would you wear such a piece of jewellery?

Even though you're not instantly aware of it, Isverding touches in her work upon many fundamental issues. The only aspect that is beyond discussion is the level of perfection she strives for. Her work is made with the utmost care: all surfaces, every connection, each joint, both front- and backside: all details get the same meticulous attention. This is what craft can mean in this day and age, without referring to classic models or shrinking from the use of computer drawings or the occasional application - when beneficial - of industrial methods like lasercutting.

Every piece in the exhibition has the same title: Cavea (followed by a consecutive number). So still more questions, for it is a elusive notion. The word refers to a hollow space: perhaps best described in this case as the receptor of our imagination; but there must be more to it. Is this Cavea based on seedpods, or is it a kind of cage or a show-box? And then, what might be the intention behind the element that the perforated parts are connected to or hanging from? Is the work about inside or outside, protecting or exposing, observing or being watched, theater or intimacy?

That Isverding's pieces are so convincing is for a substancial part due to the fact that they remain an enigma. It is also the reason why it is rewarding to relate to them and to wear them: it is challenging work. Made up from straight forward, univocal shapes, every piece seems a paragon of rationality and lucidity. Yet, there are always seeds of doubt, due to the juxtaposition of the elements, their reciprocal proportions, and seemingly irrational additions. It's a justified doubt, for Isverding considers her work to be a place filled with longing, expectations and memories. She invites you to conscientiously enter an elusive world; as if you're allowed to walk tiptoe on the clouds...

Ward Schrijver
(© Galerie Rob Koudijs)