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University of Applied Sciences, Peter Behrens School of Arts, New Craft Object Design. Degree Show 2021

Exhibition  /  NewTalentsByKlimt02   OnlineOnly  /  30 Nov 2021  -  30 Dec 2021
Published: 30.11.2021
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Intro
Driven by discovery, questioning and creation, the seven graduates developed reflective and significant new products. Extensive research and interpretations of traditional forms of jewelry, new innovative approaches or connections between jewelry, object and art are the base of their individual design process.

Artist list

Tegshtuya Gandugar, Dajana Goldberg, Eva Pehar, Magdalena Schweizer, Eva Marie Sänger
In this year's online exhibition “Werkschau” at the Düsseldorf University of Applied Sciences, all graduates of the design department show their works on a digital platform, including the seven bachelor and master students in New Craft Object Design. Driven by discovery, questioning and creation, the seven graduates developed reflective and significant new products. Extensive research and interpretations of traditional forms of jewelry, new innovative approaches or connections between jewelry, object and art are the base of their individual design process. Through Corona regulations within the university, all graduates have organized various exhibition spaces in Düsseldorf to show their work in public. 
 
Under the supervision of Prof. Holger Jacobs, Jakub Dudczak and Lukas Milkereit, students of the Communication Design Department of our faculty, are developing the general corporate design for this year's digital graduate show. Alexander Trifterer, a student of the New Craft Object Design Department takes over the font developed by Jakub and Lukas to create the medals that all graduates receive at the end of the program. Alexander developed a kind of code made of black and white elements that stand for the bachelor's or master's degree as well as the different courses of their study.


Guiding teachers:
Prof. Jantje Fleischhut , Dipl. Des. Jochen Zäh, Dipl. Des. Moritz Putzier, Prof. Christian Jendreiko, Maryvonne Wellen 


 
Dajana Goldberg. Set: Satisfying Synaesthetic - The Creative Potential of Sensory Stimuli, 2021. Glass, ceramic. Plate: Diameter 20 cm, Spoon: Length 12 cm. Dajana Goldberg
Set: Satisfying Synaesthetic - The Creative Potential of Sensory Stimuli, 2021
Glass, ceramic
Plate: Diameter 20 cm, Spoon: Length 12 cm
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Dajana Goldberg. Set: Satisfying Synaesthetic - The Creative Potential of Sensory Stimuli, 2021. Glass, ceramic. Plate: Diameter 20 cm, Spoon: Length 12 cm. Alternative view. Dajana Goldberg
Set: Satisfying Synaesthetic - The Creative Potential of Sensory Stimuli, 2021
Glass, ceramic
Plate: Diameter 20 cm, Spoon: Length 12 cm

Alternative view

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Dajana Goldberg. Object: Satisfying Synaesthetic - The Creative Potential of Sensory Stimuli, 2021. Glass. 20 x 8 x 2 cm. 
. Chance and surprise, creativity and design, emotions, and feelings. How would our reality change if we were able to shape it through our perception? To what extent can sensory stimuli be used in design to control our feelings and vice versa? 
. Dajana Goldberg dedicates her master's thesis to the diversity of our sensory system. It is a research path with the background of the question to find a guideline with which emotions can be consciously addressed. Sensations are put in the foreground and the focus is on the possibilities of our consciousness. The unlimited palette of our sensory system offers sensory possibilities whose potential we do not use to the full. This journey into our perceptual system appeals to our intuition, the ability to observe things, to classify what we experience individually and to never lose the curiosity to question what we discover.
.  . Dajana Goldberg
Object: Satisfying Synaesthetic - The Creative Potential of Sensory Stimuli, 2021
Glass
20 x 8 x 2 cm

Chance and surprise, creativity and design, emotions, and feelings. How would our reality change if we were able to shape it through our perception? To what extent can sensory stimuli be used in design to control our feelings and vice versa? 
Dajana Goldberg dedicates her master's thesis to the diversity of our sensory system. It is a research path with the background of the question to find a guideline with which emotions can be consciously addressed. Sensations are put in the foreground and the focus is on the possibilities of our consciousness. The unlimited palette of our sensory system offers sensory possibilities whose potential we do not use to the full. This journey into our perceptual system appeals to our intuition, the ability to observe things, to classify what we experience individually and to never lose the curiosity to question what we discover.
 
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Eva Marie Sänger. Brooch: Transformation of perception into wearable forms, 2021. Ceramic, silver. 4 x 4 - 8 x 8 cm. Eva Marie Sänger
Brooch: Transformation of perception into wearable forms, 2021
Ceramic, silver
4 x 4 - 8 x 8 cm
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Eva Marie Sänger. Pendant: Transformation of perception into wearable forms, 2021. Steel. 1 x 8 cm. 
. Eva Marie Sänger explores the individual limits of visual perception with her jewellery collection "Elusive". Her research shows that active perception is basically promoted and trained by magnifying a detail. She wants to draw the viewer's attention to details and uses a reduced geometric language of forms in her jewellery. The concentration is on the visual perception with fine nuances of the material, the color and the surfaces. She uses various methods to train and direct the eye. She intends to invite the viewer to take time and still perceive the increasingly hectic everyday life sensitively.
.  . Eva Marie Sänger
Pendant: Transformation of perception into wearable forms, 2021
Steel
1 x 8 cm

Eva Marie Sänger explores the individual limits of visual perception with her jewellery collection "Elusive". Her research shows that active perception is basically promoted and trained by magnifying a detail. She wants to draw the viewer's attention to details and uses a reduced geometric language of forms in her jewellery. The concentration is on the visual perception with fine nuances of the material, the color and the surfaces. She uses various methods to train and direct the eye. She intends to invite the viewer to take time and still perceive the increasingly hectic everyday life sensitively.
 
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Eva Pehar. Installation: As A Destination the Longing for Things - Intuition as a Path of Creative Development, 2021. Umbrella wires, paintings, wood & photography. Eva Pehar
Installation: As A Destination the Longing for Things - Intuition as a Path of Creative Development, 2021
Umbrella wires, paintings, wood & photography
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Eva Pehar. Installation: As A Destination the Longing for Things - Intuition as a Path of Creative Development, 2021. Umbrella wires, paintings, wood & photography. Eva Pehar
Installation: As A Destination the Longing for Things - Intuition as a Path of Creative Development, 2021
Umbrella wires, paintings, wood & photography
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Eva Pehar. Installation: As A Destination the Longing for Things - Intuition as a Path of Creative Development, 2021. Umbrella wires. Eva Pehar
Installation: As A Destination the Longing for Things - Intuition as a Path of Creative Development, 2021
Umbrella wires
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Eva Pehar
Video: As A Destination the Longing for Things - Intuition as a Path of Creative Development
Umbrella wires


They can be found everywhere, deranged but active. A coexistence of misery and pleasure. Introverted in their invitation, ready for new union or linkage. It, the material brings itself in freely. Fragment becomes vivid realities through imagination and courage. Reincarnating, stimulating associations. Albert Einstein describes the intuitive mind as a sacred gift. 
Eva Pehar’s intention in her Master's Thesis is to follow her intuition as far as possible and exclusively. She experiences how difficult this is in creative action in the treatise on her artistic work. The result is a convincing installation of various works, from photographs, collages, small objects to a ceiling installation. All communicate with each other and invite the visitor to interact.
 

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Magdalena Schweizer. Hand Piece: The visible and the invisible, 2021. Silicone. 25 x 10 x 3 cm. Magdalena Schweizer
Hand Piece: The visible and the invisible, 2021
Silicone
25 x 10 x 3 cm
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Magdalena Schweizer. Hand Piece: The visible and the invisible, 2021. Silicone. 20 x 7 x 4 cm. Magdalena Schweizer
Hand Piece: The visible and the invisible, 2021
Silicone
20 x 7 x 4 cm
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Magdalena Schweizer. Necklace: The visible and the invisible, 2021. Silicone, plastic. 25 x 10 x 3 cm. Magdalena Schweizer
Necklace: The visible and the invisible, 2021
Silicone, plastic
25 x 10 x 3 cm
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Magdalena Schweizer. Textile: The visible and the invisible, 2021. Textile. 
. Magdalena Schweizer's is all about body positivity. Her focus is on the human skin as an aesthetically beautiful and important organ; the outermost layer of the human body. Most of the time, however, this is covered by clothing and other adornments. These added layers make our skin largely invisible. Magdalena Schweitzer's ambition is to make the skin shine again. From a distance, all skin looks smooth. Zooming in on different skin surfaces shows the viewer details, very fine and stronger structures. The detailed, as well as enlarged representation of the skin on different materials, is intended to create awareness, acceptance and positive appreciation of wrinkles and three-dimensional structures of human skin. Her transparent works as well as printed cloths direct the viewer's eye and highlight the invisible.
.  . Magdalena Schweizer
Textile: The visible and the invisible, 2021
Textile

Magdalena Schweizer's is all about body positivity. Her focus is on the human skin as an aesthetically beautiful and important organ; the outermost layer of the human body. Most of the time, however, this is covered by clothing and other adornments. These added layers make our skin largely invisible. Magdalena Schweitzer's ambition is to make the skin shine again. From a distance, all skin looks smooth. Zooming in on different skin surfaces shows the viewer details, very fine and stronger structures. The detailed, as well as enlarged representation of the skin on different materials, is intended to create awareness, acceptance and positive appreciation of wrinkles and three-dimensional structures of human skin. Her transparent works as well as printed cloths direct the viewer's eye and highlight the invisible.
 
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Tegshtuya Gandugar. Earrings: Embrace A Piece Of The Moment, 2021. Glass, silver. Length: 15 cm. Tegshtuya Gandugar
Earrings: Embrace A Piece Of The Moment, 2021
Glass, silver
Length: 15 cm
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Tegshtuya Gandugar. Earrings: Embrace A Piece Of The Moment, 2021. Silver. Length: 15 cm. On body. Tegshtuya Gandugar
Earrings: Embrace A Piece Of The Moment, 2021
Silver
Length: 15 cm

On body

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Tegshtuya Gandugar. Brooch: Embrace A Piece Of The Moment, 2021. Glas, silver. Length: 25 cm. For Tegshtuya Gandugar, drawing is a kind of meditation. She visually captures intense sensations and moods in the form of countless lines. These lines are very personal reflections of the moment, and each line stands for individual special perceived moments. They are large format drawings with delicate line work in grey pencil. Tegshtuya Gandugar translates these moments captured in two-dimensional drawing into three-dimensional space. The materials are transparent glass rods and porcelain paper in off-white; wearable pieces of jewellery are created alongside larger wall installations.  The transformation into space opens a different sensory perception for the viewer. The moment becomes tangible. The material is sensitive and calls for sensitive interaction. The moment depicted gives the viewer a moment of self-perception or perception of what is happening. It is a time-space-moment awareness.. Tegshtuya Gandugar
Brooch: Embrace A Piece Of The Moment, 2021
Glas, silver
Length: 25 cm

For Tegshtuya Gandugar, drawing is a kind of meditation. She visually captures intense sensations and moods in the form of countless lines. These lines are very personal reflections of the moment, and each line stands for individual special perceived moments. They are large format drawings with delicate line work in grey pencil. Tegshtuya Gandugar translates these moments captured in two-dimensional drawing into three-dimensional space. The materials are transparent glass rods and porcelain paper in off-white; wearable pieces of jewellery are created alongside larger wall installations.  The transformation into space opens a different sensory perception for the viewer. The moment becomes tangible. The material is sensitive and calls for sensitive interaction. The moment depicted gives the viewer a moment of self-perception or perception of what is happening. It is a time-space-moment awareness.

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