Form Fitters by Katie Kameen. A Future Classic in Contemporary Jewellery
Published: 14.01.2026
- Author:
- Jennifer Altmann
- Edited by:
- Klimt02
- Edited at:
- Barcelona
- Edited on:
- 2026
Ring: My Form Fitter Rings, 2024
Secondhand plastics: original toys, tube plastics (highlighters and hair curlers), and flat plastics (plates), hollow constructed
14 x 14 x 14 cm. Each ring approx: 1 x 5 x 4 cm
Work made between 2022 and 2024
© By the author. Read Klimt02.net Copyright.

Kameen’s choice of material conveys her meaning: Our society produces too much waste. Reusing discarded items gives them a second life.
With this series, Klimt02 invite professionals and researchers in contemporary jewellery and art history to reflect on what, in their view, makes a piece a classic. Our intention is to gather insights, almost like collecting data in an ongoing study, so that patterns, resonances, and shared intuitions may gradually emerge.
We began this discussion in this article: How and When a Piece Becomes a Classic? Spotlight Artworks by Klimt02
A child’s toy becomes a ring. With that simple premise, Katie Kameen achieves a great deal. She starts with found plastics, in this case a vintage toy called Form Fitter. It’s a plastic box with cutouts of triangles, hexagons, stars and other shapes that comes with more than a dozen plastic pieces. A preschooler fits the pieces into the matching cutout shapes on the box. Kameen has transformed the toy pieces into rings by combining them with other found plastic items - hair curlers, highlighters and plates.
Kameen’s choice of material conveys her meaning: Our society produces too much waste. Reusing discarded items gives them a second life. Her message is communicated not with dour seriousness but with humor and fun. She selects plastics in bright, primary colors that remind us of the playfulness of childhood. Her work elevates everyday objects into covetable jewelry.
Why Future Classics?
Our aim is not to define academic criteria or impose any form of conservatism, but to collect subjective perspectives that help us understand the values and expectations shaping our field, without reducing them to fixed rules or hierarchies.
By sharing these voices, we invite you to think together and open a conversation about durability, relevance, and the ways particular works contain certain patterns or enigmas that make them continue to speak over time.
Kameen’s choice of material conveys her meaning: Our society produces too much waste. Reusing discarded items gives them a second life. Her message is communicated not with dour seriousness but with humor and fun. She selects plastics in bright, primary colors that remind us of the playfulness of childhood. Her work elevates everyday objects into covetable jewelry.
Why Future Classics?
Our aim is not to define academic criteria or impose any form of conservatism, but to collect subjective perspectives that help us understand the values and expectations shaping our field, without reducing them to fixed rules or hierarchies.
By sharing these voices, we invite you to think together and open a conversation about durability, relevance, and the ways particular works contain certain patterns or enigmas that make them continue to speak over time.
About the author
Jennifer Altmann is a freelance journalist who writes about jewelry. Her work has appeared in The New York Times Style section, The Washington Post, Art Jewelry Forum, and many other publications. Connect with her at jenniferaltmann.comKatie Kameen: My Form Fitter Rings, 2024
Secondhand plastics: original toys, tube plastics (highlighters and hair curlers), and flat plastics (plates).
Secondhand plastics: original toys, tube plastics (highlighters and hair curlers), and flat plastics (plates).
© By the author. Read Klimt02.net Copyright.
- Author:
- Jennifer Altmann
- Edited by:
- Klimt02
- Edited at:
- Barcelona
- Edited on:
- 2026
Forum Shortcuts
-
Interpreting lived experiences through the contemporary jewellery of Beverley Price: A case study
27Oct2026 -
Across Two Centuries. Reverso [28 Years]: Since 14 November 1998
23Oct2026 -
Binding Matter. From Dark Substance to Bright Sentiment
19Oct2026 -
Di-alogue: Technologies for thinking & making
14Oct2026 -
Three Japanese Jewelry Designers from Romanian Jewelry Week join OTOTO Japanese Fest
12Oct2026 -
Replika Project by Peter Bauhuis. An Exercise in Self-imitation. A Future Classic in Contemporary Jewellery
12Oct2026 -
Mario Pinton: Goldsmithing as Artistic Knowledge. An essay by Sotiria Vasileiou
08Oct2026 -
Laurenz Stockner’s Objects Between Matter, Process, and Form to experience in an exhibition high in the Mountains of V...
05Oct2026 -
Five Jewellers Turn Business Plans into Action with the Goldsmiths’ Centre’s Business Catalyst (Small) Grants 2026
01Oct2026 -
Growing Gems. When gemstones become a creative language at Romanian Jewelry Week
28Sep2026 -
The Critic Stops at the Neck
28Sep2026 -
A Curatorial Vision of Eight Designers at Romanian Jewelry Week 2026
28Sep2026 -
When the File Comes First: What Is the Original in Contemporary Jewelry?
21Sep2026 -
Interlude
19Sep2026 -
Human, do you want co-exist? The third Lisbon Contemporary Jewellery Biennial is happening soon
11Sep2026
















