My visual and sonic language is hugely influenced by the beauty of the industrial landscapes. Interview with Marina Stanimirovic

Interview  /  Artists
Published: 22.06.2015
My visual and sonic language is hugely influenced by the beauty of the industrial landscapes. Interview with Marina Stanimirovic.
Edited at:
Edited on:
Marina Stanimirovic. Ring: Solitaire bits and bobs, 2015. Corian, brass, sugru, amethyst. Marina Stanimirovic
Ring: Solitaire bits and bobs, 2015
Corian, brass, sugru, amethyst
© By the author. Read Copyright.

I take a lot of time walking in the city, observing around me and taking analog photography that complete and feeds my work.
Do you think that jewellery is being standardized? What is there of local and universal in your artistic work?
Due to the development of the internet and social networks, all creative practice along with jewellery has become more and more homogenized but I wouldn’t say that it is being standardized as such - there is still a lot of diversity out there!
 Concerning my own work, I would say that my local influences would be my culture. I studied jewellery in France, which is a technical education focused on fine jewellery. Since this time I have become very strict when it comes to finishing, and consider the durability of my pieces as part of the process.
The other important local distinction is my environment. In fact, I grew up in the suburb of Paris and now live in London. These two elements definitely have an impact on my work. My visual and sonic language is hugely influenced by the beauty to be found in industrial landscapes. It is by observing its accumulations, rhythms, cranes, trains and rails that the materials, colours and shapes have become part of my own visual language.
Nevertheless, what is more universal in my work is the interest for the body, and it direct interaction with the objects we adorn them with. This is the reason why I became a jeweler. I never make a piece without thinking of its place on the body - as the connection has as much importance as the design itself.
What do you expect when exposing your work to the public (for example with an exhibition)?
 Most of my exhibitions so far have been in the product design fields. What I expect from this public is to understand a different way of thinking jewellery, to see it as an object or sculpture on its own rather than a decoration. 
On a more general scale, connoisseur or not, I like them to touch, feel and hopeful to appreciate it and understand it languages and antinomies.
Are other areas besides the jewellery, present in your work?
 Sound and music are very important in my work. It is at the moment more an inspiration and way of thinking (with structures, rythms and movements) rather than immediate factor. But it will be involved more and more.
The second important influences are Architecture and Spaces, that goes in a way with sound.
I take a lot of time walking in the city, observing around me and taking analog photography that complete and feeds my work. 

Photography by Marina Stanimirovic's tumblr
The last work, book, film, city that has moved me was...
Work: London Cross, Richard Serra
Book: The old man and the Sea of Ernest Hemingway
Film: Paris, Texas, Wim Wenders
A place, space, country whose creativity surprises me...
It is maybe very naïve but, whether it be in the city, mountains or by the sea, I am and will probably always be amazed by the diversity of lights, colors and contrasts that the sky can take.
Is there any designer, jeweller, artist, you appreciate a lot?
 It is very hard to only name one, but I would say that in general, I am very fascinated by Artists that expressed new point of view and took the risk to make their field evolved.
 Designer: Jean Prouvé
 Artist: The composer Erik Sati.
 Jeweller: Unconditional fan of Karl Fritsch’s work.
What piece or work has given you the most satisfaction?
Private Ice is definitely the very first piece I was satisfied about. Designed for my graduation show it became the base, the mother of my work. It was an very exiting news to learn that one of the three edition find an owner.

Private Ice 2013
Do you read Jewellery Magazines? What is your source to get information?
 I have to admit that I am staying not that inform regarding jewellery but I do follow regularly on the net various galleries, events and magazines such as Current Obsession.
Do you discuss your work with other jewellery artists or any other person?
 To comfort and idea, ask an opinion or simply talk about it, discussing about my work is an essential thing to do at some point in my process. I have the chance to evolve in a very creative environment, I share a lot with my friends who are mostly Fine Artists and Product Designers, Architects or jewellers.
What is your first thought when you hear the word Future? What do you expect for?
I am afraid to say that I am probably more concerned than excited by the future of our societies, politics or educational systems. I have the sensation that we are in a transitional period where rules and systems need to be re-thought and adapted to the contemporary world.
 On a smaller and more personal scale, I am also worried about how anyone can survive as an artist, particularly in the contemporary art jewellery sector. Traditional jewellery is so deeply embedded in our traditions, particularly in France, that it seems to have hardly evolved.
But I don’t believe this to be due to a lack of interest, but educational. – Which is very positive. And more and more, in every of the exhibition I do, I see that the interest is here! That is the reason why I will keep trying to open new doors and introduce my work to new platforms. – And I hope one day it will be normal to see contemporary jewellery in the street as well as in national museums, without a novelty or special tag on it. 

Silent Gesture, 2015