Kristy Bujanic. PXL-MAD School of Arts. Selected Graduate 2017
Article
/
Artists
SelectedGraduate2017
Published: 11.09.2017

Kristy’s jewellery collection 'The cabinet of love for a bit of fluff' is based on childhood memories at the houses of her Croatian parents and grandparents. Rooms that might be a bit grimy, but where she felt a strong sense of love. She brings together the feeling of being raised in two cultures and love versus disgust in a collection that refers to sentimental jewellery and ordinary household items. This work shows her eye for detail, her ever increasing technical skills and her ability to translate very personal feelings into attractive objects. / Tine De Ruysser
Find out more about the courses and deadlines for applications to PXL-MAD School of Arts.
In “The cabinet of love for a bit of fluff” Kristy Bujanic investigates the possibilities to communicate her childhood memories through jewellery and objects. The feelings attached to these memories are personal and yet universally recognizable. She focuses on balancing the duality between love and disgust by using materials that evoke recognition and enhance these universal feelings.
Her work can be situated within different rooms in the mental image of a house. These rooms once were part of the houses of her parents and grandparents, now they only exist in her memories. She chooses these spaces because they made a big impression on her. The memories of these rooms determine the context of her work. Each room contains a different kind of memory, resulting in a variety of chosen materials, shapes and appearance. All senses, including smell, are important in observing her work. Kristy refers to historical sentimental jewellery to frame her work and to connect her work with emotional value. The materials she uses are intrinsically controversial, she intensifies the ambiguous feelings they cause through the way she applies them. Common utensils are elevated into symbolic objects through simple interventions, and consequently, change the way the viewer experiences the object. Different material combinations make the viewer want to touch the objects. These various methods allow the viewer to experience the ambiguity of her work to its full extent.
For this project, she chooses the bathroom as the central space, the location where our loved ones are allowed to be their most intimate self. Here you can experience the visceral reality of a person’s physical being and simultaneously love them for it. The strong duality in such an intimate relationship is the most striking. Kristy attempts to achieve the same level of duality in her work. Anecdotes and personal experiences in other spaces, such as the garage and the laundry room, create related feelings that shape another set of objects and jewellery pieces. Their emotional load and chosen materials are crossovers between different spaces.
Kristy tries to find out whether she can communicate a personal feeling by using the universal language of the object and jewellery design. Her collection consists of clear and simple, recognisable shapes that on the second inspection reveal depths that both attract and repel the viewer. She has successfully managed to bring across the feelings of her childhood memories.
More works and contact:
Website: https://www.kristybujanic.com/
Email: kristybujanic@hotmail.com
Find out more about the courses and deadlines for applications to PXL-MAD School of Arts .
In “The cabinet of love for a bit of fluff” Kristy Bujanic investigates the possibilities to communicate her childhood memories through jewellery and objects. The feelings attached to these memories are personal and yet universally recognizable. She focuses on balancing the duality between love and disgust by using materials that evoke recognition and enhance these universal feelings.
Her work can be situated within different rooms in the mental image of a house. These rooms once were part of the houses of her parents and grandparents, now they only exist in her memories. She chooses these spaces because they made a big impression on her. The memories of these rooms determine the context of her work. Each room contains a different kind of memory, resulting in a variety of chosen materials, shapes and appearance. All senses, including smell, are important in observing her work. Kristy refers to historical sentimental jewellery to frame her work and to connect her work with emotional value. The materials she uses are intrinsically controversial, she intensifies the ambiguous feelings they cause through the way she applies them. Common utensils are elevated into symbolic objects through simple interventions, and consequently, change the way the viewer experiences the object. Different material combinations make the viewer want to touch the objects. These various methods allow the viewer to experience the ambiguity of her work to its full extent.
For this project, she chooses the bathroom as the central space, the location where our loved ones are allowed to be their most intimate self. Here you can experience the visceral reality of a person’s physical being and simultaneously love them for it. The strong duality in such an intimate relationship is the most striking. Kristy attempts to achieve the same level of duality in her work. Anecdotes and personal experiences in other spaces, such as the garage and the laundry room, create related feelings that shape another set of objects and jewellery pieces. Their emotional load and chosen materials are crossovers between different spaces.
Kristy tries to find out whether she can communicate a personal feeling by using the universal language of the object and jewellery design. Her collection consists of clear and simple, recognisable shapes that on the second inspection reveal depths that both attract and repel the viewer. She has successfully managed to bring across the feelings of her childhood memories.
More works and contact:
Website: https://www.kristybujanic.com/
Email: kristybujanic@hotmail.com
Find out more about the courses and deadlines for applications to PXL-MAD School of Arts .
Necklace: It brings me back to the times, 2017
Steel, silver, soapstone, Corian.
16 x 12 x 1 cm
Photo by: Kristy Bujanic
© By the author. Read Klimt02.net Copyright.
Object: Novi Sapun, 2017
Marble
9 x 3.5 x 6.5 cm
Photo by: Kristy Bujanic
© By the author. Read Klimt02.net Copyright.
Object: Petrified, 2017
Soapstone, silver, remanium.
8 x 5 x 1.5 cm
Photo by: Kristy Bujanic
© By the author. Read Klimt02.net Copyright.
Object: Plug, 2017
Soapstone, silver
5.5 x 20 x 5.5 cm
Photo by: Kristy Bujanic
© By the author. Read Klimt02.net Copyright.
Object: Sapun za Pamcenje, 2017
Soap, mouse
13 x 2 x 6.5 cm
Photo by: Kristy Bujanic
© By the author. Read Klimt02.net Copyright.
Object: Trapped Opaque, 2017
Soap, silver, remanium
8 x 1 x 5 cm
Photo by: Kristy Bujanic
© By the author. Read Klimt02.net Copyright.
Forum Shortcuts
-
Estonian Gallery Celebrates Local Art Jewelry with a Mesmerizing Photo Series
20Jan2021 -
Material Stories - Neutral Materials? There Is No Such Thing
17Jan2021 -
Cancellation of Internationale Handwerksmesse 2021 due to coronavirus
14Jan2021 -
The Curse and the Gold. A Polyphonic Approach to Education
11Dec2020 -
The Time Zone. Master Degree Thesis by Xinia Guan
10Dec2020 -
She is Guided by Her Eye and Her Heart. About the book HUNT: Kadri Mälk's Jewellery Collection
07Dec2020 -
Contemporary Jewellery, Beyond Labels
30Nov2020 -
Silent Architectures. A Series of Work by Xavier Monclús
24Nov2020 -
Dangerously Attractive. Recycled Plastic in Jewellery. An exhibition review
20Nov2020 -
Alaitz MM. Gavilán. Glasgow School of Art. Selected Graduate 2020
20Nov2020 -
Emerging Talents selected for JPlus Award 2020 by Klimt02 / VOTE HERE
18Nov2020 -
Katie Gibbon. Central Saint Martins. Selected Graduate 2020
18Nov2020 -
Sille Luiga. Estonian Academy of Arts. Selected Graduate 2020
17Nov2020 -
Alischa Kilburg. University of Applied Sciences, Peter Behrens School of Arts, New Craft Object Design. Selected Graduat...
17Nov2020 -
Andreu de la Viuda. Escola d'Art La Industrial. Selected Graduate 2020
17Nov2020