- Edited by:
- Edited at:
- Edited on:
As a child, I was fascinated by nature, it`s forms, colors and complexity, already. I was always deeply interested in perfect natural creations and geological wonders.
Do you think that jewellery is being standardized? What is there of local and universal in your artistic work?
Jewellery for itself is not being standardized. But the mass production of jewellery brings it into conformity with a standard. In my opinion, handmade, one of a kind artistic jewellery, can’t be standardized. Quite the opposite, artistic jewellery is avoiding implementation of standardization. It signalizes individuality with its uniqueness. Abstract expressions in jewellery and art act as a universal language between the wearer and the observer. There is a history of jewellery worldwide. Witnesses and traces of the characteristics in local cultures are independent from time. The spirit of place is present in genius loci. I think in artistic work is always a kind of genius loci, either conscious - through purposely research, or unconscious - with feelings and emotions of the artist who is connected to the location. My work is composed of inner feelings, instincts, memories, fantasies and stories, based on universal symbols of autonomous psyche.
What do you expect when exposing your work to the public (for example with an exhibition)?
Reactions, Interest, Discussion, Communication. I would like to know, if there is understanding of what I want to say and show with my pieces. When I present/exhibit my inner fantasy in the form of jewellery and installation, I expect a visible reaction. A reaction that doesn’t need to be always positive. Also a bad reaction is good to learn a lot from. If there is interest in my work from the public, it can grow into an intense discussion which is very important for the artistic development. To meet another artists at the exhibition and to make contacts is a very important goal.
Meeting my potential customers and to get to know them and to sell my jewellery, which is also a great opportunity and a part of my expectations from an exhibition.
Are other areas besides the jewellery, present in your work?
The love for art was always in my heart. My parents supported and shared with me this excitement. Both of them, architects working as monument conservators, showed me how I can express my ideas and my thoughts. As a child, I was fascinated by nature, it`s forms, colors and complexity, already. I was always deeply interested in perfect natural creations and geological wonders. Earlier, I did a lot of paintings with material combinations like spray paint, sand, gold and silver powder. Thanks to my father, who was an art historian, I was invited to work with archeologists and monument conservators. Thanks to my mother, who is a fashion-conscious, I got a fascination for fashion and costume jewellery. All this areas, that I have discovered are a part of me and a part of my jewellery making process.
The last work, book, film, city that has moved me was...
The book “The Swarm” (2004) from a german writer Frank Schätzing. I’ve read it in 2012 and it had a really deep impact on my thinking and working. I would describe it as a Science-Fiction environmental message book. The nature strikes back. You’ll have to dive underwater, very deep, to find out what the hell is going on. Frank Schätzing did an incredibly amount of research at marine biological knowledge institutes for this book. His information is still accurate. We have to be conscious about how we treat other beings, living spaces and our world, our planet.
Among other works that are currently moving me is the book “Perfume -The story of a murder” (1985) from Patrick Süskind, cello music from different artists like Yo-Yo Ma and 2Cellos, the work of artist Yayoi Kusama.
A place, space, country whose creativity surprises me...
I was born in Bratislava, which is the capitol of Slovakia, placed in the heart of Europe. For me, it is a hidden treasure, a colorful country with a rich history and diverse nature.
The long history of tradition is important for the designers nowadays. It is an essential source of inspiration either in intellectual sector or in applied arts. For me it’s very impressive, how inexhaustible cultural tradition is. It’s an information fountain, an unconscious root for artists and designers. There is no country that surprises me more than the one that I was born in.
Is there any designer, jeweller, artist, you appreciate a lot?
I was always interested in artists, who work with their personal, emotional energies. My master’s degree was about the inner images in the work of Louise Bourgeois. For me, her art will always be defining. On the other side I love the very vivid work of Jason Decaires Taylor, who is making underwater sculpture. Constructed to be assimilated by the ocean and transformed from passive objects into living breathing coral reefs. I appreciate a lot the work Art Nouveau jewelers Rene Lalique and Lucien Gaillard, and admire the jewelers exhibiting in the biggest and famous galleries. I appreciate the work of contemporary jewelers. A lot of them are my friends now. There is energy and power in communication between us. We can learn much more about the work when we talk to the artist or designer. So I can say now, I appreciate the work of all jewellery artist I’ve known.
What piece or work has given you the most satisfaction?
The most significant influence in my work for the last 5 years was my discovery of the “Unknown”. The unknown species, the unknown sea, the unknown universe and the unknown for itself. The greatest art is to live the life. The more beautiful and intense the feeling is, the stronger and fuller is the jewelry. Jewellery is preservation and sharing of knowledge.
It is not the goal for me to make the items for the craft, even not for vanity, but for the experience itself. I search inspiration in common things, objects, peoples and situations. The strength of the feelings makes my work deeper and richer. I use gems for the expression of soul. Some works are considered as objects that are suitable for wear.
Brooch: Pink Lord, Viktoria Münzker, 3 x 3 x 14 cm. Schwemmholz, Acryllack, Achate, Alpaka, Seeigelstacheln, Stahl, 2012.
Do you read Jewellery Magazines? What is your source to get information?
To get jewellery information I read online articles and magazines by Association of contemporary jewellery, Goldschmiede Zeitung, Klimt02, Art jewelry forum, Association Alliages, Gioielli in Fermento, the blog written by Marianne Gassier, Associazione Gioiello Contemporaneo, Art Aurea and related jewellery books.
For all other information I need for my work I research in psychology and philosophy with Carl Gustav Jung, Siegmund Freud, Sören Kierkegaard or Arthur Schopenhauer.
Do you discuss your work with other jewellery artists or any other person?
I used to work in a jewellery studio (stossimhimmel) together with 7 other jewellers where I discussed my work with my colleagues. It gave me some ideas, that I probably wouldn’t had if I’ve worked alone. Now, when I’m working on my own, I discuss my work more seldom, I’ve got the feeling the work is more intense, it goes deeper in the psyche and is more individual than before. I can’t say what’s better for me. Some exchange with other jewellers is productive. But I definitely work more focused and intense when I discuss my work after it’s produced.
What is your first thought when you hear the word Future?, What do you expect for?
In the future I expect answers and explanations for the essential things and questions that we are all asking. How are we going to live in few years? How do our children deal with our ecological footprint. What is the best problem solution for our increasing energy consumption? We would love to make the earth green again. I’d love to see all of us on a way to a favourable future.
Sometimes we see only what we want to see. Sometimes it's enough, if the things look how we expect them to look like. They don't need to be exactly the same. But on the other hand, we want to know the truth behind the things. So we ask and investigate, make research and are curious. We want to find out how things work, we want to change them in our own way. We are creating our own universe. The need to create is an important and elementary necessity of us all.
An unsatisfied thirst for knowledge, which drives to work, creates unique pieces that tell a story. The devotion to nature and jewellery, rewarded with an open field of imagination. Inspiration that’s wearable, and moreover an absolute revelation of one's own feeling.
I therefore not only investigate its visual qualities but also explore it as a usable material. Yajie Hu interviewed by ...06Jun2019
Sara Barbanti, Joya 2019 Jury Member interviewed by Klimt0205Jun2019
My work is not taxidermy nor are animals yet they have a sense of the creature about them, a feeling of the unknown. Ann...30May2019
Pravu Mazumdar, Joya 2019 Jury Member interviewed by Klimt0221May2019
My jewelry acts as a communication device to bridge the tangible and intangible, digital and real. Xiangying Shi intervi...17May2019
We want to break the hierarchy between craft and art. Interview with Florance Xia and Noga Zhang Shahar from Froots & N...15May2019
The work of human sensitivity so far is superior to the sophistication of the machine. Youjin Um interviewed by Klimt0213May2019
It is an important chance to make a different kind of contribution to our field of work with an offer like the Summer Ac...13May2019
The combination of traditional silver material and modern paper innovatively expresses the artistic characteristics of c...06May2019
Mindful Musings, Christine Dwane interviewed by 18Karat Studio + Gallery06May2019
My work brings out in people a full spectrum of emotions from tears of joy and tears of sorrow to death threats and trol...29Apr2019
Diving into the traditional and giving it contemporary expression and shape will be a very exciting journey. Susanne Mat...26Apr2019
United by Different. A Conversation with Artists and Curators of The Palace of Shattered Vessels Project22Apr2019
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