When I am creating, I strive to make pieces that are pleasing to my eye and that speak to my heart. I think my perception will be similar when judging...
Liana Pattihis is part of the jury members for JOYA 2017 (9th Edition) which will held at the Arts Santa Monica from 5th to 7th October.
What aspect of your creative process do you believe to be most important and why?
For me the most important aspect is the unpredictability, the element of surprise. The versatility of the enamel as a material is what gives each piece I create its own unique identity and an organic feel which cannot be replicated or reproduced.
How has being the winner of Joya 2016 influenced your jewellery career?
It is always gratifying to have one’s work appreciated and rewarded, especially by an established and acknowledged fair like Joya. It has created a platform for my work to be exposed on a much wider scale and has granted me the opportunity to continue my creative journey with more confidence. During Joya 2012, Ursula Newman, curator of MAD Museum in New York, was invited by the organising committee to speak at the conference and her subsequent visit to the fair resulted in one of my pieces being part of the museum’s permanent collection.
Is there a particular aspect you will concentrate on while jurying at Joya Barcelona?
I am curious to see the motivation and the story behind each piece and the way the artist is able to translate it successfully into their piece of contemporary jewellery.
How does the perception to creations differ from working in the field to being part of a jury for it?
When I am creating, I strive to make pieces that are pleasing to my eye and that speak to my heart. I think my perception will be similar when judging.
What are the main things attracting people to attend this year’s Joya scene?
To meet and interact with a diverse, original and imaginative group of artists, with amazing work to match!
JOYA has promoted artists with a selection of the best representatives of the art jewellery field, what do you think it takes to be the best?
Acknowledging that when one reaches a goal, that doesn’t signify the end but the beginning of something exciting and new to pursue and so on.
Liana Pattihis. Necklace: 'Adapted Patterns' Installation Necklace 01, 2011.
Silver, enamel. 64 - 203 cm long.
Private Collection, Museum of Arts and Design (MAD), New York
I am one of the creatives who miss critique. About Critique. Interview with Susan Pietzsch from Schmuck218Mar2020
I am very led by my materials during the design process. Jed Green interviewed by Klimt0216Mar2020
My works act as the medium for communication between myself and the outside world. Yuanzheng Yang interviewd by Klimt0215Mar2020
Identity is a mystical and formless thing. Elwy Schutten, one of the winners of Preziosa Young 202013Mar2020
Crossing Paths with Contemporary Jewellery has given me the Chance to Return to the World of Art. Kazumi Nagano guest of...10Mar2020
Art Criticism Alters the Public's Perception of Aesthetics. About Critique. Interview with Eva Eisler09Mar2020
Modern Classicist at Schmuck 2020. Robert Baines interviewed by Klimt0202Mar2020
The piece travels from the creator to the public to find a receiver. Lily Kanellopoulou interviewed by Klimt0202Mar2020
Technics and technology is the bridge that connects the idea and realization. Miao He interviewed by Klimt0218Feb2020
The work will have my ideas, aesthetics, cognition, feelings during the making process. Yonghui Duan interviewed by Klim...18Feb2020
I Strive for a Higher Logical Level in Education. About Critique. Interview with Manuel Vilhena11Feb2020
All of my works begin with a long thinking and dreaming process. Deniz Turan interviewed by Klimt0204Feb2020
I would like to show the various thoughts through the jewelry, including new rules and orders from the dismantling and r...28Jan2020
Remain Open for Impulses to Define Your Own. About Critique. Interview with Julia Wild27Jan2020
You have to stay true to your roots. Chequita Nahar interviewed by Nina Gassauer03Jan2020