Interview with Liana Pattihis
Interview
Published: 10.08.2014
- Edited by:
- Klimt02
- Edited at:
- Barcelona
I think the local influence shows in the way I work. I have acquired a sense of ‘efficiency’ and ethos related to my work which can only stem from the more regimented way of life here in the UK. The Universal is an amalgamation of all the beautiful people and work I have met and acknowledged over the last few years that have inspired me to be a better artist and person.
Do you think that jewellery is being standardized? What is there of local and universal in your artistic work?
I think jewellery is being standardizing on various levels. The process of selection of work for the most part, is based on what is more commercial rather than on its artistic attributes alone. Galleries have their own view on jewellery ‘standards’. Having spent years creating nurturing and establishing their own clientele, they know what will or will not sell and to whom when selecting work from the plethora of artists looking for representation. The present economic climate also dictates ‘the standard’ of work they should represent as work that doesn’t sell might jeopardize their chance of survival, with some well- known galleries folding under the pressure. Finally the internet. The readily available access of personal webpages and sites with images of work on the net, results in a lot of work looking very similar, setting yet another ‘standard’.
It is very hard for an artist today to find that very fine balance not to fall into the trap of ‘standardizing’ their work to fit in or be accepted in any of the categories above and still create work that means and expresses something to them on a personal level.
I think the local influence shows in the way I work. I have acquired a sense of ‘efficiency’ and ethos related to my work which can only stem from the more regimented way of life here in the UK. The Universal is an amalgamation of all the beautiful people and work I have met and acknowledged over the last few years that have inspired me to be a better artist and person.
What do you expect when exposing your work to the public (for example with an exhibition)?
I don’t expect anything specific, but I do like to see the way people interact with my pieces. Seeing a photograph on the internet or a book, even in high resolution, is so different from actually seeing the piece in the flesh. All of my pieces have a very tactile enigmatic quality about them and people’s response to the work always makes me feel very happy and fulfilled.
Are other areas besides the jewellery, present in your work?
Having a background in interior design has influenced the way I work. I can visualize how I would go about making my jewellery in the same way I could visualize the way I would design the space in my interior design projects. It also influences me in the way I present my work during exhibitions. I even use the computer program Rhinoceros sometimes, to see how I would set up my pieces on a wall or given surface prior to actual set up.
The last work, book, film, city that has moved me was...
I was very touched by Barbara Paganin’s set of brooches in the exhibition Open Memory at the Palazzo Fortuny in Venice in May this year. House of Sand and Fog by Andre Dubus III, is a book I found interesting and moving.
The last film that moved me was ‘Amour’. I thought Emmanuelle Riva’s performance was outstanding!
The last city I visited that has moved me was Venice. In certain parts, away from the hustle and bustle and the millions of tourists, it was like being on a huge stage production of a film, set in another century in which I was the curious observer from the future. Quite eerie and beautiful.
A place, space, country whose creativity surprises me...
I am impressed by young artists from Taiwan. It is so nice to see beautiful Contemporary Jewellery from a country that is perceived to be more associated with cheap mass produced items.
Is there any designer, jeweller, artist, you appreciate a lot?
There are a lot of jewellers whose work I appreciate, but if I was to choose one who has made an impression upon me, who has guided and influenced me during my university years and whose work I still follow, that would be Caroline Broadhead.
What piece or work has given you the most satisfaction?
The piece that has given me the most satisfaction was my first Installation Necklace from the Adapted Patterns series. I felt totally connected with this body of work which was inspired by the patterns of Greek national costumes.
‘These patterns function as re-generational symbols of aesthetic codes, through which a dialogue develops between the traditional and the modern. Inspired by these patterns, the enamelled chains come to replace their lines and now represent the silhouette of the garment. The flexibility of the chain suggests the dual functionality of the jewellery, which can be presented as a linear symbol of the garment, but can also be converted when worn into a new entity as a contemporary piece of jewellery.’
Do you read Jewellery Magazines? What is your source to get information?
My main source for information is Klimt02. It is the most direct way to get any information one requires about everything related to the Contemporary Jewellery scene and I congratulate everyone involved for their invaluable service and contribution to the Jewellery Community.
Do you discuss your work with other jewellery artists or any other person?
I am a very private person and find that I function better working alone. If I need advice or a second opinion on something however, the person whose opinion I value the most is jewellery designer and dear friend Maria Militsi.
What is your first thought when you hear the word Future? What do you expect for?
Exuberance and trepidation… I hope that I am as passionate in the future about what I do, as I am now and that my work still makes me as happy and fulfilled as a person. The fear of having the rug pulled under my feet is what constantly gives me the strength to face whatever is round the corner head on!
I think jewellery is being standardizing on various levels. The process of selection of work for the most part, is based on what is more commercial rather than on its artistic attributes alone. Galleries have their own view on jewellery ‘standards’. Having spent years creating nurturing and establishing their own clientele, they know what will or will not sell and to whom when selecting work from the plethora of artists looking for representation. The present economic climate also dictates ‘the standard’ of work they should represent as work that doesn’t sell might jeopardize their chance of survival, with some well- known galleries folding under the pressure. Finally the internet. The readily available access of personal webpages and sites with images of work on the net, results in a lot of work looking very similar, setting yet another ‘standard’.
It is very hard for an artist today to find that very fine balance not to fall into the trap of ‘standardizing’ their work to fit in or be accepted in any of the categories above and still create work that means and expresses something to them on a personal level.
I think the local influence shows in the way I work. I have acquired a sense of ‘efficiency’ and ethos related to my work which can only stem from the more regimented way of life here in the UK. The Universal is an amalgamation of all the beautiful people and work I have met and acknowledged over the last few years that have inspired me to be a better artist and person.
What do you expect when exposing your work to the public (for example with an exhibition)?
I don’t expect anything specific, but I do like to see the way people interact with my pieces. Seeing a photograph on the internet or a book, even in high resolution, is so different from actually seeing the piece in the flesh. All of my pieces have a very tactile enigmatic quality about them and people’s response to the work always makes me feel very happy and fulfilled.
Are other areas besides the jewellery, present in your work?
Having a background in interior design has influenced the way I work. I can visualize how I would go about making my jewellery in the same way I could visualize the way I would design the space in my interior design projects. It also influences me in the way I present my work during exhibitions. I even use the computer program Rhinoceros sometimes, to see how I would set up my pieces on a wall or given surface prior to actual set up.
The last work, book, film, city that has moved me was...
I was very touched by Barbara Paganin’s set of brooches in the exhibition Open Memory at the Palazzo Fortuny in Venice in May this year. House of Sand and Fog by Andre Dubus III, is a book I found interesting and moving.
The last film that moved me was ‘Amour’. I thought Emmanuelle Riva’s performance was outstanding!
The last city I visited that has moved me was Venice. In certain parts, away from the hustle and bustle and the millions of tourists, it was like being on a huge stage production of a film, set in another century in which I was the curious observer from the future. Quite eerie and beautiful.
A place, space, country whose creativity surprises me...
I am impressed by young artists from Taiwan. It is so nice to see beautiful Contemporary Jewellery from a country that is perceived to be more associated with cheap mass produced items.
Is there any designer, jeweller, artist, you appreciate a lot?
There are a lot of jewellers whose work I appreciate, but if I was to choose one who has made an impression upon me, who has guided and influenced me during my university years and whose work I still follow, that would be Caroline Broadhead.
What piece or work has given you the most satisfaction?
The piece that has given me the most satisfaction was my first Installation Necklace from the Adapted Patterns series. I felt totally connected with this body of work which was inspired by the patterns of Greek national costumes.
‘These patterns function as re-generational symbols of aesthetic codes, through which a dialogue develops between the traditional and the modern. Inspired by these patterns, the enamelled chains come to replace their lines and now represent the silhouette of the garment. The flexibility of the chain suggests the dual functionality of the jewellery, which can be presented as a linear symbol of the garment, but can also be converted when worn into a new entity as a contemporary piece of jewellery.’
Do you read Jewellery Magazines? What is your source to get information?
My main source for information is Klimt02. It is the most direct way to get any information one requires about everything related to the Contemporary Jewellery scene and I congratulate everyone involved for their invaluable service and contribution to the Jewellery Community.
Do you discuss your work with other jewellery artists or any other person?
I am a very private person and find that I function better working alone. If I need advice or a second opinion on something however, the person whose opinion I value the most is jewellery designer and dear friend Maria Militsi.
What is your first thought when you hear the word Future? What do you expect for?
Exuberance and trepidation… I hope that I am as passionate in the future about what I do, as I am now and that my work still makes me as happy and fulfilled as a person. The fear of having the rug pulled under my feet is what constantly gives me the strength to face whatever is round the corner head on!
Liana PattihisNecklace: 'Adapted Patterns' Installation Necklace 01, 2011
Silver, enamel
64 - 203 cm long
Private Collection, Museum of Arts and Design (MAD), New York
© By the author. Read Klimt02.net Copyright.
- Edited by:
- Klimt02
- Edited at:
- Barcelona
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