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I like to know what other persons see in my work. If the things that I put in it are visible. Or if maybe the work is saying something else. Discussing this with people really helps me seeing my work without knowing something.
Do you think that jewellery is being standardized? What is there of local and universal in your artistic work?
Everybody is searching for their identity several times. It’s not easy searching who you are, where you come from and where you belong. This universal search is what fascinates me. It motivates me to ask questions and make jewellery.
I don’t think that jewellery is being standardized. Especially not contemporary jewellery. Every artist makes its own work. Made with its own handwriting. That is the thing I like about contemporary jewellery, everybody is free to make different work.
What do you expect when exposing your work to the public (for example with an exhibition)?
I hope that people can enjoy them. Find beauty in them. And when they look further, I hope that they will think about my work. Think about the questions I ask. Maybe wearing a work can help them in their search for their identity.
Are other areas besides the jewellery, present in your work?
I base my work on philosophical questions. To go to the base of identity I got inspired by archaeological funds. Our history, our origin.
The last work, book, film, city that has moved me was...
For my work I read a diversity of philosophical book. When I read those books I don’t understand everything, but that is the beauty of it. Because I don’t understand everything I ask questions and with those questions I make my work. Then when I hold a finished work in my hands it moves me every time again, that a question from a book can do this.
A place, space, country whose creativity surprises me...
Stockholm. While doing my internship in Sweden I was surprised by everything. The art, the way of living and the connectivity between every work, the people and nature.
Is there any designer, jeweller, artist, you appreciate a lot?
My internship coach Jasmin Matzakow. She taught me so much. She showed me a whole new way of seeing. Seeing and looking at work, asking questions. It was a wonderful period. I still admire her, how she combines philosophy into her work and how she sees the jewellery world. In my time in Sweden I visited the Prins Eugens Waldemarsudde museum there I saw paintings from Karin Broos, which I really liked. They are photographic paintings. But then realistic on an impressionistic way. This gives the painting a sort of freedom, freedom in imagination and possibilities. The person painted is in between moments, she can become everything.
What piece or work has given you the most satisfaction?
That’s a hard question. It took me a while to appreciate my first piece of this series Identity. It was a new way of working. But when I did it felt wonderful. The piece is connected to me. Part of me. More than the next pieces do.
Brooch: Do we have a choice or is everything fasted in rules?, 2016
Do you read Jewellery Magazines?
What is your source to get information? To keep myself informed I read Klimt02, Art Jewelry Forum, Current Obsession (online) and I go to gallery openings to talk to people about the jewellery world. Besides that I go to lectures given by the university in a range of art, philosophical till all the subjects that trigger me.
Do you discuss your work with other jewellery artists or any other person?
Yes, I like to know what other persons see in the work. If the things that I put in to the work are visible. Or maybe the work is telling something else. Maybe I can change something. Discussing this with people really helps me seeing my work without knowing something. It’s great to notice that people put their own experience into their talking. That’s why I don’t mind who the person is, a former classmate, a jeweller, a product designer, a friend or a neighbour.
What is your first thought when you hear the word Future?, What do you expect for?
Excitement, fear, possibilities, on my own, freedom! Finally being finished from school fills me with fear of doing everything for real and on my own without the safe environment of the academy. But on the other hand it gives me a great feeling of freedom. I am free to go where I want to and can make what I want. I expect it to be full of emotions. But it’s going to be me. I am going to make my work now and in the future. Knowing that gives me a wonderful feeling.
Cleopatra Cosulet interviewed by Klimt0219Feb2018
I am A mediator. Birgit Jacobs in conversation with Isabella Hund13Feb2018
Erich Zimmermann interviewed by Patina Gallery12Feb2018
Amelie Spitz interviewed by Klimt0201Feb2018
Akis Goumas: in search of the prehistoric craftsman29Jan2018
Laura Forte interviewed by Klimt0223Jan2018
Kay Guo interviewed by Klimt0222Jan2018
Xing Zhou interviewed by Klimt0208Jan2018
How Could Architectural Thinking Find Its Way to Jewellery? A Conversation with TORAFU ARCHITECTS27Dec2017
Alex Kinsley Vey interviewed by Klimt0219Dec2017
Some answers, many more questions. Peter Bauhuis interviewed by Marietta Kontogianni15Dec2017
Winner of JOYA 2017 Award: Wanshu Li interviewed by Klimt0219Nov2017
About duo exhibitions: Eva Burton & Tabea Reulecke interviewed by Klimt0219Nov2017
Roberta Ferreira: Curator, Artist and Owner of Dterra Gallery interviewed by Klimt0219Nov2017
Curating Alchemy, a conversation with Nichka Marobin14Nov2017