During the Pandemic, Networking Became More Valuable, Slightly Evolved. Interview with Kinga Huber with Klimt02

Published: 09.04.2021
Kinga Huber Kinga Huber
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Kinga Huber. Piece: Fellowship, 2019. Silver.. 5 x 5 x 5 cm. Photo by: Soma Retfalvi. From series: Senseless Roles. Kinga Huber
Piece: Fellowship, 2019
5 x 5 x 5 cm
Photo by: Soma Retfalvi
From series: Senseless Roles
© By the author. Read Copyright.

Contemporary jewelry art has always been open to the integration of new techniques and technologies. This has opened up not only the possibilities but also the task for the profession.
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 my family, I am a first-generation artist. Although there was creative talent there in several places amongst my ancestors, their relationship with art remained secret. I had a wide range of interests as a child meaning the artistic route was not clear for a long time. However, the attraction was still stronger than anything. After graduating from MOME (Arts and Crafts University), I filmed for 10 years, designing costumes, worked in film and on commercials. It was from these experiences I found myself experimenting with an array of different materials and techniques.

How important is networking for you in your professional practice and what are your preferred tools for this?
It can be felt for a long time in the world that we no longer have to travel far. We do not have to meet in person to get to know each other and each other's art and work. In this way, you can establish and keep in touch faster. On the online interfaces, everyone shares as much information about themselves and their work as they wish. During the pandemic, in the absence of face-to-face encounters, networking became more valuable, slightly evolved. Museum exhibitions, theater productions could also be viewed virtually, jobs went home office, education also worked online. Surely all of these will survive after the covid.

What are your general thoughts on the contemporary jewellery world, (education, market, development...), where do you see chances and where are dead ends?

The digital world has also been greatly accelerated by the amount and speed of appearance and information. Jewellery designers around the world can form groups without ever meeting. These platforms are guidelines - such as Klimt02. However, in the galleries, the objects can be tried and handled, the buyer can more easily decide to buy a piece of jewelry. I don’t think online jewelry shopping would overturn the role of galleries.

Work by Kinga Huber. Necklace: Saved Second, 2019, Silver, PLA, 25 x 5 cm (the bubble: 6 x 6 cm). Photo by: Soma Retfalvi.

Thinking about your career, what role do technology and the digital play in your artistic development & communication?
Contemporary jewelry art has always been open to the integration of new techniques and technologies. This has opened up not only the possibilities but also the task for the profession. Last year, the Museum of Applied Arts bought a piece of jewelry in which I also used PLA with 3D printing. We discussed with the museologist that how will they be able to replace a decomposed printed bubble in 20-25 years. The use of new materials techniques also poses new tasks for restorers.

How has your work changed over the past few years and what are you excited about these days?
During the lockdown, I had time to think further and expand my latest series. In recent years, the imprints of the human body and skin have occupied me the most, I have tried to visualize social, individual, and relationship situations.