Vertical Jewellery Garden by Liana Pattihis and Sofia Björkman at Collect Open 2020
Exhibition
/
27 Feb 2020
-
01 Mar 2020
Published: 21.02.2020
Somerset House
- Mail:
- lianapattihis
aol.com
- sofia
platina.se
- Phone:
- +44 7831 265 943
- +46 73 980 59 06

Gardens have an enchanting quality that has inspired artists of all kinds, as they combine both the poetic and the mysterious. They represent spaces, which are so much more than just cultivated plots of land. They promote healing and learning, create romantic bonds and can even send one into magical realms. Even from Victorian times, the garden was an important space where everyone could interact, as it fundamentally represented inclusion and community.
Artist list
Sofia Björkman, Liana Pattihis
Gardening itself also carries symbolic meaning, as being one with nature, not only nourishes the soul but also nourishes the earth. This promotes a sense of cooperation and even co-dependence. As Voltaire famously wrote, We must cultivate our garden, a symbolic parallel for one’s personal growth.
Liana Pattihis previously worked on a project inspired by images of flora and fauna, choosing images for their visual composition or aesthetic elements. Through the creative process, Pattihis gave these images a three-dimensional chained interpretation, thus converting them into wearable pieces of jewellery. Fellow Jewellery Artist Sofia Björkman, who also draws inspiration from the wilderness and cultivated landscapes, agrees that the poetic, as well as the symbolic meanings of gardens and gardening, can also be referenced in the jewellery field as a whole, where cooperation, inclusion, diversity and community are very important in promoting creativity and personal growth. Using the garden as their inspiration for a collaborative project, therefore, was a perfect choice.
Pattihis and Björkman’s collaboration, which is an installation inspired by images of vertical wall gardens, aims to create a vertical jewellery garden with a collection of 3D drawings and enamelled chain jewellery. Both their techniques are pushing boundaries and are far from traditional. Bjorkman has embraced the technology of 3D hand drawings, creating pieces which are instantly recognizable and unique to her. Enamelling on a movable base like the chain has been Pattihis’ trademark method of working with enamels for the past 12 years, a unique method in creating one-off organic wearable pieces.
As the garden is their source of inspiration, Pattihis has taken it a step further by exploring the very English tradition of afternoon tea and drinks in the garden and incorporated broken pieces of old English porcelain cups and saucers, dessert spoons and fragments of wine glasses into her work.
Björkman, on the other hand, has taken this opportunity to expand the palette in her work by incorporating more colour. Contrasting itself to the beauty and traditions of the garden, Björkman, through her chosen material, questions our effect on the course of nature, biodiversity and how we as humans deal with climate and ecosystem changes, which she considers one of the greatest challenges of our time. The new technology and materials Björkman use, in combination with and in juxtaposition to Pattihis’ technique of reusing broken porcelain cups, reinventing them, giving them a new identity and function, add a new dimension to their concept. Their jewellery wall garden, comprising large installation pieces as well as portable, wearable jewellery, is their own micro/macro jewellery cosmos, which they hope will captivate the audience and like a garden offer a visual explosion of colours and textures.
Meet Liana and Sofia and their work at Stand E3a, East Wing.
Liana Pattihis previously worked on a project inspired by images of flora and fauna, choosing images for their visual composition or aesthetic elements. Through the creative process, Pattihis gave these images a three-dimensional chained interpretation, thus converting them into wearable pieces of jewellery. Fellow Jewellery Artist Sofia Björkman, who also draws inspiration from the wilderness and cultivated landscapes, agrees that the poetic, as well as the symbolic meanings of gardens and gardening, can also be referenced in the jewellery field as a whole, where cooperation, inclusion, diversity and community are very important in promoting creativity and personal growth. Using the garden as their inspiration for a collaborative project, therefore, was a perfect choice.
Pattihis and Björkman’s collaboration, which is an installation inspired by images of vertical wall gardens, aims to create a vertical jewellery garden with a collection of 3D drawings and enamelled chain jewellery. Both their techniques are pushing boundaries and are far from traditional. Bjorkman has embraced the technology of 3D hand drawings, creating pieces which are instantly recognizable and unique to her. Enamelling on a movable base like the chain has been Pattihis’ trademark method of working with enamels for the past 12 years, a unique method in creating one-off organic wearable pieces.
As the garden is their source of inspiration, Pattihis has taken it a step further by exploring the very English tradition of afternoon tea and drinks in the garden and incorporated broken pieces of old English porcelain cups and saucers, dessert spoons and fragments of wine glasses into her work.
Björkman, on the other hand, has taken this opportunity to expand the palette in her work by incorporating more colour. Contrasting itself to the beauty and traditions of the garden, Björkman, through her chosen material, questions our effect on the course of nature, biodiversity and how we as humans deal with climate and ecosystem changes, which she considers one of the greatest challenges of our time. The new technology and materials Björkman use, in combination with and in juxtaposition to Pattihis’ technique of reusing broken porcelain cups, reinventing them, giving them a new identity and function, add a new dimension to their concept. Their jewellery wall garden, comprising large installation pieces as well as portable, wearable jewellery, is their own micro/macro jewellery cosmos, which they hope will captivate the audience and like a garden offer a visual explosion of colours and textures.
Meet Liana and Sofia and their work at Stand E3a, East Wing.
Brooch: Picking up the pieces 03, 2020
Porcelain pieces from a Japanese dessert plate, oxidized silver chains, stainless steel, fixing agent.
13 x 11.5 x 4.5 cm
Photo by: Liana Pattihis
From series: To Mend my Broken Heart
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2019
PLA, steel, paint.
28 x 15 x 3 cm
Photo by: Urban Jörén
From series: Garden
© By the author. Read Klimt02.net Copyright.
Ring: Royal Albert Tranquility, 2019
Porcelain handle from a damaged Royal Albert Tranquility teapot/coffee pot lid, 12c gold filled curb chain, fixing agent.
7 x 6 x 4.2 cm, detachable chain: 105 cm
Photo by: Liana Pattihis
From series: To Mend my Broken Heart
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2020
PLA, steel, paint.
48 x 26 x 6 cm
Photo by: Sofia Björkman
From series: Garden
© By the author. Read Klimt02.net Copyright.
Brooch: Annata, 2019
The glass base and fragments from two wine glasses, silver, oxidized silver chain, enameled, ball chain, stainless steel, fixing agent.
Base: ø 5.6 cm, 10 x 7.5 x 2.5 cm
Photo by: Liana Pattihis
Part of: Gioielli in Fermento Award 2019 9th edition
From series: To Mend my Broken Heart
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2020
PLA, steel, paint.
59 x 35 x 2 cm
Photo by: Sofia Björkman
From series: Garden
© By the author. Read Klimt02.net Copyright.
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