A Review of Contemporania High Craftsmanship 2023

Half of the fair showcased pieces by jewellery designers, the other half was dedicated to the contemporary crafts. The selection and curation for the contemporary crafts felt considered and concise, showing works that were thought provoking and well executed. Within the craft rooms each work had space to breathe, which also allowed opportunity for observers to examine and interact with the works.


Siat Gallery booth at Contemporania fair. 


There were works by Yukiko Kitahara, Joao Manardu and Claudia Biehne (all representing the World Crafts Council Europe). Other notable artists exhibiting in the craft section were by Rosa Cortiella (from Artesania Catalunya), Erika Inazaki (winner of the Loewe foundation prize) and Sophie Aguilera. One observation that emerged from this event is the aptitude to expand and see through the possibilities of a medium. Be it ceramics, plaster or wood, each work serves as a testament to each artists’ ability to unite their chosen medium with new processes that have been coined from examination of manual processes and historical techniques that have developed over years. For example, Inazaki creates textured ceramic sculptures by hand. Her technique for texture involves shaping minute strings of clay into petal-like forms and then carefully placing them onto the main structure. Her designs take inspiration from plants and the natural world, and the execution of these sculptures `are a modern fusion between ceramic techniques and natural forms. Another sculptor who presented profound works was Javier Úbeda. Úbeda has been evolving their alchemic practice through building abstract sculptural forms with wood discarded from agricultural spaces. He believes that the creative process begins by considering possibilities and action that can use waste materials and discarded mediums hold.


Yukiko Kitahara and Claudia Biehne booth at Contemporania fair.



Joao Manardu booth at Contemporania fair.


Caroline Harrius booth at Contemporania fair.



Javier Ubeda booth display.


We also saw delicately powerful works represented by Siat Gallery and Han Collection, both unveiling high quality Korean fine arts and jewellery. Han Collection offered a group of bespoke ceramic works by three artists (Shin Sang-ho, Kim Hyun-jong and Kim Sang-man). Each artist employs historical ceramic techniques and styles. Siat gallery’s selection particularly focused on the theme of Kyeol; an adjective that can be used to specifically describe a tangible or intangible feeling. Textures such as hair, or fabric could be associated to the adjective, or even the feeling of wind, breathe or the softness of one’s personality. This calm beauty emanated throughout the gallery’s display; through the variety of textures, materials and subjects.


Han Collection booth display.


The jewellery design portion revealed a larger quantity of pieces than the contemporary craft portion. At times the jewellery design rooms felt somewhat overwhelming, mainly due to many objects being presented on smaller tables. However, it did mean there was a wider array of different jewellery styles and aesthetics displayed. 

We saw an impressive range of unexpected forms and materials, which once again proves a success in terms of designers rethinking the constrictions of stereotypical jewellery creation. Michael Berger stands out for his ability to incorporate rules of physics, most recently focussing on kinetic jewellery innovations that result in impressive geometric pieces that are bright in colour and crisp in form. Iker Ortiz’s work also has a strong geometric aesthetic flowing throughout, which has emerged from the Mexican designer’s drive for perfection alongside his interest in the beauty of metalwork, gemstones, and his desire to include his culture and identity in the jewellery.


Michael Berger at his booth at Contemporania.


Iker Ortiz. Brooch: Francisco Sosa 29, 2022.
Stainless steel, powder coat, sandblast. 10 x 8 x 1 cm


Geometric patterns and repeated shapes are recontextualized in Teresa Faris’ otherworldly work, who focuses on making with nature. Her captivation towards birds and anatomical function has led her to make work inspired by birds, as well as including these creatures in her process of making. The repeated patterns in her jewellery are an expression of gratitude for our ability to continually breathe and respire without consciously being aware of it, being able to live in blissful naivety whilst our bodies simultaneously carry out many functions to keep us alive. Faris’ brooches use patterns comprised of repeating spheres alongside peculiarly shaped motifs made, from natural mediums such as wood altered by birds. 



Teresa Faris booth display. 


 
It was insightful to see the array of intentions behind designers’ practice. One stand in particular with a myriad of work was Sudakas Collective, featuring 10 female designers based in Chile, Argentina and Brazil. While Irish designer Clodagh Molloy intends to shine light on the narratives around mental health through her work, Oslo based designer Tamara Marbl Joka makes work inspired by the early years of her life in Sarajevo, and how memories have evolved after moving countries due to political conflict from the dissolution. Her works feel quiet, yet they are conceptually loaded, the choice of materials and shapes lead to contemplation on how jewellery can be a vector for voicing different experiences and starting new conversations. 


Sudakas booth display. 


Clodagh Molloy. Brooch: Supergirl, 2022.
Copper, enamel. 11.5 x 9.5 x 1.2 cm



Fascinating craft processes were shown by designers Alex Kinsley and Mara Colecchia. Alex Kinsley etches curiously delicate photos onto copper brooches. Photo transfer allows him to connect and pay homage his grandfather and his life’s work. Meanwhile, Mara Colecchia specializes in beaded jewellery. Using seed beads and mathematical processes, she creates lively patterns and outstanding forms which are complimented by bold colours. Her process throws up works that are visually and tactually delightful. 

In addition, we saw artists focusing their practice on sustainability by exploring design innovation through technology or renewing traditional processes. The fair showcased an inspiring display of designers incorporating natural materials and found ephemera. Liana Pattihis selects fragments of vintage perfume vials and broken crockery to comprise structures forms that run throughout her decorative brooches. 


Alex Kinsley at his booth at Contemporania.


Overall, the first edition of Contemporania High craftmanship was a dynamic exposition of new ways of making, which sets a high standard for the fair’s future presentations and leaves us with a sense of curiosity for how individual artists and designers will continue to innovate their own stylistic practices.
 

About the author

Laura Higgins is a third year fine art student currently studying at Central Saint Martins. She specialises in sculpture, focusing the development of her practice through the mediums of metalwork, plaster and found objects. Laura is interested in how we can communicate our own introspection, specifically observations of loneliness through art in order to build human connection and spark discourse around shared emotions and experiences.

Email: Lauraellenhiggins16@gmail.com
Instagram: lhigginsart