I am sure using hands and experiencing tactile feelings would be important for everybody, particularly in our time with growing digitalization. Interview with Lydia Hirte by Klimt02

Tell us about your background. What were your first influences to be creative and become an artist and what has drawn you to contemporary jewellery?
 
In the beginning, I had the desire for creating something with my hands. I felt this necessity, I can’t say why. I decided for goldsmithing because there are so many different tools and techniques – it seemed to me to be very diversified. I liked to make these little things. When I made field works with Waldemar Artmann, a gold and silver smith in Regensburg, Germany, I saw works from jewelry artists at his fine little gallery, for example, from Anderl Kammermeier. It intrigued me to think about how these artists develop their ideas, which have been totally new for me. So, I decided to study jewelry design. There have been many inputs at Pforzheim: Books, catalogues, events, conversations, …, and at least I helped to unpack the works for Ornamenta I with the fascinating works of artists from all over the world. During the study under the supervison of Rüdiger Lorenzen and later Johanna Dahm, I had all freedom to find my own artistic way. I felt an attraction to try working with non-metal materials – I liked very much the works of Lam de Wolf.
  
How important is networking for you in your professional practice and what are your preferred tools for this?
 
Since I have been living in Dresden, personal networking was difficult. Therefore, the web and, in particular, social media has become my favored way of networking.
 
Thinking about your career, what role do technology and the digital play in your artistic development & communication?
 
For me, my hands are my tools. I like working in this way very much. I am sure using hands and experiencing tactile feelings would be important for everybody, particularly in our time with growing digitalization.
  
How has your work changed over the past few years and what are you excited about these days?
 
There is no disruptive change in my work since I started to use drawing cardboard in 2005. I finalize a piece only if it excites me, because there is a new element, for instance, a movement or a change in the template, that intrigues me.