I am less influenced by intellectual speeches which accompanies the jewelry with beautiful sentences... Jean-Yves Le Mignot interviewed by Vered Babai

What is a jewelry for you?
Jewelry talks about identity. No matter how coded, it is a language that transcends the spoken word and instigates an intimate rapport between the creator and his collector. A unique piece often has the power to transcend the aesthetic intent of the creator to become an even more powerful personal expression of the person who wears it. I love jewelry which illuminate a personal beauty, and deals with the conception of appealing.


You have been working in the field of contemporary jewelry for more than 30 years. How do you define the changes in the field over the years?
The changes I have seen in 35 years of working as an active curator, relates to the use of new techniques and non-precious materials. To my great regret, this removes the preciousness of the jewel, and the desire for possession. Over the years I am following those changes and my exhibitions are reflecting these evolutions. The result is a great diversity of creativity and exciting forms of expressions. However, deep down I love precious jewelry. I appreciate the artists who create them and the people who wear them.


Exhibition Rencontres Bijoux France-Israel at Château de Saumur, France in 2018.
Photo by Vered Babai


Do you see a relationship between traditional French jewelry and the contemporary pieces?
For all these years, I have noticed that there is not a direct relationship between ‘haute joaillerie’ and ‘contemporary jewelry’. Several attempts have been made, including an exhibition by the Volcan Agency who had achieved to bring together 16 French companies associated with creators and designers of the moment. This exhibition was presented at the Center Georges Pompidou, Paris, But the event did not lead to the hopes expected on both sides.
 

What was the first exhibition you saw (not yours) that influenced you?
The exhibition which remains as a vivid memory to me, the one that made me dream and encouraged me to devote my life to organizing events around jewelry, was curated by Graziella Folchini-Grassetto, at the GR20 in Padua, Italy. The show was dedicated to Italian jewelry artists. At that time, the term ‘contemporary jewelry’ was not much employed. Graziella Folchini-Grassetto opened her gallery in 1982, she was the greatest collector I have ever met. She really impressed me; a real passionate person, who was able to spend more than she had to purchase a jewel. At that moment, I felt deep inside me that I had entered a world that was unknown to me. Unfortunately, her collection was auctioned off at Chez Pierre Bergé a few years ago.


Exhibition Basalt. Volcanic Bijoux at The Geological Museum, Ramat-HaSharon, Israel in 2016.
Photo by Vered Babai


Why is it important for you to involve young artists in your exhibitions?
Since I have been organizing exhibitions, I wanted to associate young jewelry artists who graduated from schools and academies. I see them as the future creators of tomorrow. Sometimes I spot their natural talent which I feel that I must share. Maybe this is the reason why I am often invited to diplomas as members of a jury. I had the pleasure to exhibit the works of Annamaria Zanella, Giovanni Corvaja and many others who made their first steps in the field, and whom I believed to be promising artists.


How do you see the future of contemporary jewelry?
The future of contemporary jewelry is limited by the materials used and are increasingly becoming ‘decorative’ objects whose life will be short-lived. This is not the case with precious or semi-precious materials. It is true that the price of gold, silver and many other new materials are unaffordable for many jewelry artists.


Exhibition Common Language at Periscope Design Gallery, Tel-Aviv, Israel in 2014.
Photo Vered Babai.


How do you choose your artists?
My choices are dictated by my sensitivity, my instinctive emotions towards the piece, and the process of creation. I am less influenced by intellectual speeches which accompanies the jewelry with beautiful sentences... the jewel remains unique even without it and the question I always ask myself is: Would I offer this piece to my friend or my mom…?
 

About the Interviewee

Jean-Yves Le Mignot, Talent scout and founder of major events that have become landmarks on the contemporary jewelry scene in Europe. In 1987, he launched the first European Jewellery Biennial followed by the Triennale du Bijou in Paris until 1992. Exhibition curator for La Ente Fiera de Vicence, for the World Gold Council. Numerous exhibitions at the Museums of Luxembourg, Decorative Arts in Paris, Modern Art in Nice. For “Jewels of Israel” at the Solidor gallery in Cagnes-sur-Mer, “Design Bijou Suisse” at the Pavillon Le Corbusier in Paris. "Common Language" with the Periscope Gallery in Tel-Aviv… He was in charge of design objects for the shops of the Center Pompidou in Paris and the Museum of Contemporary Art in Nice. Artistic advisor to the School of Jewellery of the Chamber of Commerce and Industry of Saumur. Its main objective is to reconcile craftsmanship and industry, established designers and young shoots.

Contact: lemignotjeanyves@gmail.com

About the author

Vered Babai, Graduated from Bezalel Academy of Art and Design, Jerusalem, the Department of Jewelry Design, in 1993. Since then, she has been working and teaching in her private studio in Tel Aviv. Her works were exhibited in museums and galleries worldwide, and she gained awards like the "American Israel Craft Foundation Prize for Art and Sculpture" and the "Israeli Ministry of Culture and Sport Prize for Design". She had personal exhibitions in Paris, Trieste, Izola and Agde. Recently she is working as well as a curator in the field of contemporary jewelry.

Contact: veredbabai@gmail.com