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Contemporary art jewellery is far from being standardized. Jewellery designers find out different ways of using different and new materials for jewels all the time. But there is an increasing influencing going on through internet.
Do you think that jewellery is being standardized? What is there of local and universal in your artistic work?
You could consider the ordinary jewellery being standardized, since you can buy branded jewels from all over the world worldwide online. But contemporary art jewellery is far from being standardized. Jewellery designers find out different ways of using different and new materials for jewels all the time. But there is an increasing influencing going on through internet. As for me, each collection has a different starting point. Sometimes it’s historic, sometimes personal, sometimes it is something in my environment that strikes me. Since my stay in the Caribbean from 2010 to 2013, my interest shifted to nature. The amazing Caribbean underwater world and tropical plants and seeds led to a whole new visual language in my jewelry. Coral patterns and the delicacy and the decay in nature have become my motives in the designs. When I came back to the Netherlands I discovered I was not the only one to be engaged in ‘nature’ as a theme. It seems to me that on the whole ‘nature’ is a bigger theme now, than for example in the eighties and nineties.
What do you expect when exposing your work to the public (for example with an exhibition)?
What I like about exhibitions is to hear the reactions of the public directly. Also I like to discus what people experience in a piece. Sometimes it is something totally different than my own starting point. I find that interesting. And obviously it is most rewarding when someone buys my work and wears it.
Are other areas besides the jewellery, present in your work?
I am also an anthropologist and this particularly shows in the first collections after my graduation. There is some African influence and references to amulets and magical symbols in my work.
Margo Nelissen, Necklace, Amulet 8, Silver, raw amethyst
The last work, book, film, city that has moved me was...
Arthur Japin De overgave, beautifully written, about the clash between Comanche Indians and pioneers. From this writer I also liked very much De zwarte met het witte hart (the two hearts of kwasi boachi).
Recently I visited a new museum Voorlinden in the Netherlands which made me very happy.
Movies I saw lately: I, Daniel Blake very impressive and rather depressive. More optimistic: Captain Fantastic and Down to Earth about how we could live in a totally different manner on this planet.
A place, space, country whose creativity surprises me...
Iceland, Greenland and Faeröer Islands. Beautiful art, craft and design comes from this region.
Is there any designer, jeweller, artist, you appreciate a lot?
Terhi Tolvanen, Evert Nijland, Ruudt Peters, Tanel Veerne, Carla Nuis... Just to name a few. But there are so many more talented jewellery designers I admire.
What piece or work has given you the most satisfaction?
A piece that requires a lot of work, struggle and rethinking before it is completely right, is in the end a big reward for all the feelings of insecurity and hopelessness that involved the process.
Do you read Jewellery Magazines? What is your source to get information?
From time to time I buy magazines, for instance Art Aurea, Kunsthandwerk & design, Current Obsession or Metalsmith. Apart from this, the internet and mainly Facebook is a source of information for me.
Do you discuss your work with other jewellery artists or any other person?
Rarely and it is a pity. Everyone works in his own studio. Sometimes we discus our métier at an exhibition opening.
What is your first thought when you hear the word Future?, What do you expect for?
New technologies. And the second thought is: revival and revaluation of traditional crafts and techniques. I think that they go together perfectly.
Portraying the appearance of the object, creating the artistic conception. Felicia Li interviewed by Klimt0217Apr2019
At the end, the piece becomes a dialogue, not the monologue I planned before starting. Nicolas Estrada interviewed by Kl...11Apr2019
The Everyday Transformed. Micah Adams interviewed by 18Karat Studio + Gallery10Apr2019
Traditional skills or modern technics, they are the media and tools via which the concepts and ideas are expressed. Mian...10Apr2019
How clear are you? Conversation with Hochschule Düsseldorf teachers, graduates and students.02Apr2019
Melissa Cameron, Joya 2019 Jury Member interviewed by Klimt0226Mar2019
It is the 21st Century. The Changes are Significant. Interview with Agita Putāne from Putti Gallery26Mar2019
I love to do more on my contemporary style and subcultural aesthetics. Herman Sun interviewed by Klimt0222Mar2019
I desire an equal creative relationship between material and me. Mujun Liu interviewed by Klimt0221Mar2019
Creating Conscientiously, Lawrence Woodford interviewed by 18Karat Studio + Gallery20Mar2019
Art is aimed at setting up emotional connection with people. Qian Wang interviewed by Klimt0218Mar2019
Wearability plays an important role in my work, but sometimes I make compromises. Dimitar Stankov inteviewed by Klimt0218Mar2019
Education is very important in a young market like ours. Interview with Atty Tantivit from Atta Gallery01Mar2019
Tradition as The Base, The Future as a Model. Cornelia Lutz and Frank Neidlein on Handwerk & Design in Munich. An interv...28Feb2019
For jewellery making I choose to use what surrounds me in my daily life. Maria Cristina Bellucci interviewed by Klimt0225Feb2019