My path respects the traditional practice but allows for infinite curiosity. Farzaneh Nozari interviewed by Klimt02

What's local and universal in your artistic work?
Through my continued practice-led research, I seek to revive traditional jewelry codes in the contemporary jewelry field to increase appreciation for fine materials. It is not the material that creates the result, but our ability to create an artistic concept with good design. Precious metal and traditional skills are not necessary to make jewelry valuable, but the absence of technique and the use of nonprecious materials does not guarantee interesting objects. My path respects the traditional practice but allows for infinite curiosity.


What do you expect when you show your work to the public (for example, with an exhibition)?
As contemporary jewelry began to shift to a regard for experimental forms and materials, skilful use of precious material through traditional jewelry techniques became less respected. I believe the desire to decorate the body and identify personality and status through beautiful fine material must be supported through the practice of contemporary jewelry.
 
 
How important is the handmade for you in your development? What role does technics and technology play in your development?
Jewelry has always been an excellent artefact from which to glean information about our history on this planet. In part, jewelry makes an impact because of the unbelievable craftsmanship of the maker. Like other artists who are looking for innovative applications for traditional techniques and material, my studio practice pairs a love of traditional techniques and materials with a contemporary appearance to increase appreciation of fine materials.
 

When you start making a new piece what is your process? How much of it is a pre-formulated plan and how much do you let the material spontaneity lead you?
Making ingots was the first thing I learned in the process of making jewelry. In order to make a piece, I had to start first from casting grain; it was melted to pour an ingot and transformed into sheet or wire.
Involvement with every step of creating my material prompted me to explore a different way of making my raw material. My process transforms metal through an ancient casting process. I chose gravity pour or direct pour casting using beans as the mould, which is a method that can be used to create uncontrolled, natural forms for jewelry. In this process, the metal flows in and around the beans and "freezes" into shapes created by the spaces between the beans. The process is similar to pouring an ingot, but the mould is never the same.
When I pour the molten metal on beans, a negative form, once well-hidden, is revealed as the molten gold or silver flows into this invisible space. The cast piece becomes manifestly formed. This emptiness, this nothing, is extremely intriguing and triggers my desire to move away from controlled work. In this step of the process, I largely cede the capacity of design to the earth. This traditional technique enables me to customize countless abstract forms. After casting is complete, I continue to work with the knowledge I learned in my apprenticeship and create my own statement with it.

Are there any other areas besides the jewels present in your work?
Jewelry finds its extreme power of expression when it combines the full knowledge of the concept, material and history.


How important is wearability in contemporary jewellery? And in your pieces?
I think as an art form, jewelry is defined primarily through its connection to and interaction with the body. A piece of jewelry is in a sense an object that is not complete in itself unless it get connected with but, however it doesn’t mean it should be wearable!


What/who is the biggest influence in your career?
I strive to link the beauty of my observations and personal interpretations with the multitude of cultures that I has come into contact with. I see jewelry as a medium that allows me to explore my infinite curiosity, nurturing my innate fascinations and driving me to seek creative solutions and innovative new personal expressions.


Which piece or job gave you more satisfaction?
My hammer and rolling mill are two essential tools in my studio practice. The hammer is the primary tool used to shape or create my own sheets or strips. Hammering is a significant step in my process. It allows me to guide the shape of my sheet or strip of metal, but the form of the piece can only be guessed and manifests itself as the hammer chatters. Each form is unique and unrepeatable. While the hammering process is a traditional goldsmithing method, I engage in an experimental, playful search for unknown possibilities to transfer to my jewelry. Most of these processes stimulated me to try new methods of hammer forming and explore artistic expression.


Considering the experiences you have had over the years - if you could go back and give yourself a piece of advice for the start-up phase, what would that be?