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Nowadays I place more emphasis on scale and wearability of the jewelry. Interview with Martin Grosman by Klimt02

Interview  /  Artists
Published: 08.11.2021
Martin Grosman Martin Grosman
Author:
Klimt02
Edited by:
Klimt02
Edited at:
Barcelona
Edited on:
2021
Martin Grosman. Brooch: Neorost, 2021. Resin, glass microbeads, neodymum magnet. 5.2 x 3 x 3 cm. Photo by: Miloš Potužák. From series: NEOrosty. Martin Grosman
Brooch: Neorost, 2021
Resin, glass microbeads, neodymum magnet
5.2 x 3 x 3 cm
Photo by: Miloš Potužák
From series: NEOrosty
© By the author. Read Klimt02.net Copyright.

Intro
 I see the world of contemporary jewelry as very vibrant, diverse and as a kind of offshoot of sculpture. For me, jewelry is like a small sculpture with a relationship to the body.
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?
I owe it mainly to my mother that I am an artist. She worked as an art teacher and in her free time, she dedicated herself to creating ceramics. As a small child, I loved helping her and I spent a lot of time playing with ceramics. Unlike my peers, I didn’t own a computer, and my parents restricted our access to television a lot. I think those were some of the reasons why I was looking for other, more creative things, to do in my free time.
I was interested in working with metal, so I started going to art high school focusing on metalwork. Here we made jewelry and small objects made of non-ferrous metals. However, our products were quite conservative and outdated in their design.
I came to contact with the world of contemporary jewelry only in college at a studio led by Ludmila Šikolová. Here I was given the opportunity to experiment with different materials and I stopped thinking about jewelry as a mere decoration. At this time I began to understand jewelry as an artistic medium, capable of carrying its own meaning and thought.
 
 
How important is networking for you in your professional practice and what are your preferred tools for this? 
 Networking is absolutely crucial for professional growth. Where I live, there is a very strong jewelry community, mainly because of its rich history. Most of the opportunities I've had so far in my life came mainly from personal ties. I think this social capital may be more important to a career than financial capital.
Instagram seems to me to be an important tool for making new contacts and exploring opportunities lately. Thanks to social networks like Instagram you can daily discover dozens of new artists and make new contacts. But there is also a downside to this. One can easily get the feeling that too much art is produced and lose the motivation to add one’s own art to this already high pile.

 
What are your general thoughts on the contemporary jewellery world, (education, market, development...), where do you see chances and where are dead ends?
 I see the world of contemporary jewelry as very vibrant, diverse and as a kind of offshoot of sculpture. For me, jewelry is like a small sculpture with a relationship to the body. In the Czech Republic, it is possible to study jewelry design at three universities, and very interesting personalities come from each of them. At the same time, it should be noted that the market in the field of author jewelry almost does not exist here, unlike abroad.
There are many opportunities. The Internet and social media are full of events, competitions and challenges. However, it is difficult to keep track of everything and you can easily feel as if you have missed many important things.

 
Thinking about your career, what role do technology and the digital play in your artistic development & communication?
I would love to use more of the current technologies in my work. In one of my projects, I worked with a 3D scan of my face and the final artwork was created by using sophisticated work in 3D graphics programs. However, I am forced to delegate work of this nature to other people and honestly, I get the greatest experience off of work that comes to life under my own hands.
 
 
How has your work changed over the past few years and what are you excited about these days?
My work has changed dramatically in recent years. Until five years ago, I almost exclusively created aesthetically bordering jewelry. I enjoyed when my work was evoking strong emotions in the audience. I was also very little interested in the issue of wearability, and my jewelry was definitely closer to free art than to design. I worked a lot with silicone and casting natural products.
I still enjoy experimenting with materials, but nowadays I place more emphasis on the scale and wearability of the jewelry. The formal component of my work has begun to dominate the ideological component. The material I’ve been interested in the most in recent years is glass grit and ballotine in combination with epoxy.
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