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I always appreciate the different cultural backgrounds, visible in the making of jewellery. Beppe Kessler interviewed by Klimt02.

Interview  /  Interviews   Artists
Published: 04.02.2019
Beppe Kessler Beppe Kessler
Author:
Klimt02
Edited by:
Klimt02
Edited at:
Barcelona
Edited on:
2019
Beppe Kessler. Brooch: Encounters 10, 2018. Alpaca, wood, acrylic, pigment, cd, vinyl, silk, textile, lapis lazuli.. 5.5 x 5.5 x 2.7 cm. Beppe Kessler
Brooch: Encounters 10, 2018
Alpaca, wood, acrylic, pigment, cd, vinyl, silk, textile, lapis lazuli.
5.5 x 5.5 x 2.7 cm
© By the author. Read Klimt02.net Copyright.

Intro
To me, it is about placing the jewellery into the world. Either as part of an exhibition, where you can touch the pieces, or visible online - on my own website / via the gallery or via social media.

 Do you think that jewellery is being standardized? What is there of local and universal in your artistic work?
I hope not! If it would be standardized, it loses diversity. 
I always appreciate the different cultural backgrounds, visible in the making of jewellery. The different ways of reacting to what’s going on in the world or what happens in a more inner circle always depend on where you are from and that will be visible in the work. I use a lot of found materials in my jewellery - seeds of elm trees, rubber bands, newspaper clippings, CDs, pieces of string - and they are in that sense always ‘from’ the local context, but may also be universally existing in the world.


What do you expect when exposing your work to the public (for example with an exhibition)?
To me, it is about placing the jewellery into the world. Either as part of an exhibition, where you can touch the pieces, or visible online - on my own website / via the gallery or via social media.
In either case it is the start of what will happen with the pieces: will they be sold, / get a new owner / will they be exhibited again, etc.


Are other areas besides the jewellery, present in your work?
I am a painter as well. My background is textile; that is still visible in all my work.


The last work, book, film, city that has moved me was…
Video made by Sammy Baloji (Congo) about a copper mine.
Book: Stil de tijd (NL),  and the art of the moment by Joke Hermsen.
Alagna, a village at the foot of the Monte Rosa.


A place, space, country whose creativity surprises me…
Japan or -in general- the rich cultural heritage that is present in and specific to every country, with particular ways of handling materials and perspectives on beauty.


Is there any designer, jeweller, artist, you appreciate a lot?
The ones that are no longer with us: Alberto Giacometti, Agnes Martin, Manfred Bischofff.
The still-going-strong colleagues: Reinoud van Vught, Lucy Sarneel, Annamaria Zanella, Robert Smit, Celio Braga.
The young ones: Marion de la Rue, Lin Cheung.
 

What piece or work has given you the most satisfaction?
The necklace and painting that belong together, which I made in 2018 and 2015: Stream lines / pars pro toto.


Beppe Kessler. Necklace: Dark Stream Lines, 2018. Silver, aluminium, acrylic, acrylic paint, wood, felt, textile. Ø 20 cm
From series: Pars Pro Toto.



Beppe Kessler. Painting: Dark Stream Lines, 2018. Acryl on aluminium, two sheets of 1.5 mm, sand. 25 x 30 x 0.7 cm
From series: Pars Pro Toto.



Do you read Jewellery Magazines? What is your source to get information?
No, online information, Instagram, Klimt02, AJF.


Do you discuss your work with other jewellery artists or any other person?
Yes, a few close friends, a few collectors, the gallerist, some colleagues.


What is your first thought when you hear the word Future?, What do you expect for?
Tomorrow, health, climate.
 
Appreciate APPRECIATE