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HAWK, University of Applied Science and Arts in Hildesheim Department Metal Design

School
Published: 10.10.2022
HAWK, University of Applied Science and Arts in Hildesheim Department Metal Design.
Management:
Melanie Isverding
The Campus of the Faculty of Design at the HAWK University of Applied Science and Arts Hildesheim..
The Campus of the Faculty of Design at the HAWK University of Applied Science and Arts Hildesheim.

© By the author. Read Klimt02.net Copyright.

Intro
In the department of Metal design at the HAWK University of Applied Science and Arts Hildesheim, we combine the contexts of art, design, and crafts. Jewelry and body-related objects, vessels, and objects in relation to table culture as well as architecture and space-related works are the fields in which our students find their approach and investigation.
 
The creative basis for this is a comprehensive understanding of the meaning, context, and relation of materials and shapes in order to reflect the idea, the narration, the function, or the application. Aesthetic, cultural, and physical aspects are addressed and used in analogue and digital transformations and techniques.
Central intentions for the artistic researches and design processes are our constantly changing environment, current cultural and social affairs, and the individual encounters in those contexts. The evoking questions are reflected together within the dialogues between the students and teachers.
These approaches stand in direct contact with a self-developed concept or motif and involve in-depth research in practice in order to build up a significant artistic position. The ambition of the studies is to learn to contextualize one's own position to understand it in the larger context and to be able to make it visible to the recipient or user through the realization-materialization. The documentation of these processes as well as the presentation are part of this aesthetic practice.
 
Therefore, the aim of our courses is to accompany and encourage the students to find their own form of expression in the process and develop a sense of authenticity.
The artistic forms of expression are free, and the possibilities are very diverse.
A vessel, a piece of furniture, a piece of jewelry, or an object related to the body or space can represent an artistic position. Thus, the results find themselves between use-oriented, applied, or free artistic representations.
 
Our students bring different levels of prior knowledge of manufacturing techniques and an understanding of materials. In our workshops (goldsmith-, silversmith- and blacksmith workshop) the students receive individual offers of techniques and use them creatively, innovatively and professionally.
 
The studies in the Metal design department range between the diverse dimensions and the interaction of space, body and material:
> Jewelry and body-related objects
> Vessels and objects in relation to table culture
> Architecture and space-related works

Teachers:
Prof. Hartwig Gerbracht  (Architecture and space-related works and objects in relation to the table).
Prof. Melanie Isverding  (Jewelry and body-related objects).
Dipl.-Des. Ellen Ropeter (Goldsmith workshop, enamel workshop, casting workshop).
Dipl.-Des. Cord Theinert (Silversmith workshop, blacksmith workshop).
Dipl.-Des. Sham Patwardhan-Joshi (Dozent Jewelry and body-related objects).


> Jewelry and body-related objects
Close to the human body – Jewelry as Symbols from time, thoughts, and imprints
The need to wear jewelry is part of human activity. Worn by a person, the object associates ideas, thoughts, values, and attitudes. Jewelry is an individual medium of expression and is able to carry identities and narratives to emphasize messages.
The design of jewelry can be based on social and cultural observations, allowing personal perceptions to be shared and leading to a material interpretation. This embodiment transcends the material itself, creating meaning and containing significant symbolic power in a sensual non-verbal language.
In the making process, the hand-head-heart relationship is decisive in order to let the interactions in the artistic process flow into a corresponding significant realization and to create authorship and originality.

> Vessels and objects in relation to table culture
Individual responses to global food cultures
How would we like to design our meals in the future? What is a well-designed eating object?
We explore these and other questions in this approach to objects and vessels in relation to table culture.
The possibilities are as diverse as our global food cultures. The needs as diverse as the situations in which people meet and cultivate their food intake.
Classic thematic fields such as cups, jugs, cutlery, drinking, and portioning, but also sacred devices and vessels provide an occasion for individual responses of our time. The tasks can be designed as unique pieces or as prototypes for serial production.
The goal is for our students to develop their individual, artistic expressiveness and to be able to implement their contemporary or even visionary designs professionally and independently.
Interdisciplinary projects with our HAWK porcelain workshop or glass and porcelain manufactories expand this field of activity.
 
> Architecture and space-related works
See and feel rooms
Do we need a new understanding of space? The origin of architecture is practical to use. It is, therefore, necessary to keep reflecting on how social requirements, but also new technologies and materials are changing architecture and architectural details.
Learning to see and feel the space, the place, and the materials as well, as learning to recognize the aesthetic and physical potential to develop your own way of expression: This is the way of thinking and working with which we support our students.
In our teaching content, we also want to design the sensual, narrative level, beyond the fulfillment of the various functional criteria and the consideration of constructive and economic aspects. This applies to the design of a gate, a piece of furniture, or a free sculpture.
Understanding is often only possible when doing. That is why experimental and task-related material and work experiences are very important to us in the workshops. We closely link them to methodological teaching. It is our aim that you expand your skills, ideally, you can implement your designs professionally and independently.
 
An interdisciplinary exchange between the teaching areas of the faculty as well as across faculties and universities is supported.
Building on the six-semester bachelor's course, we promote the further development of individual creative skills in the four-semester master's course to expand the understanding and relation between practice and theory.
 
At the HAWK University of Applied Science and Arts Hildesheim, you chose one main department from the nine fields of competencies and at the same time gain interdisciplinary knowledge and experience from courses in the other fields of competence: Advertising DesignBranding DesignDigital EnvironmentsColour DesignGraphic DesignInterior ArchitectureMetal DesignLighting Design, and Product Design.
 
The goldsmith workshop of the Faculty of Design at the HAWK University of Applied Science and Arts Hildesheim..
The goldsmith workshop of the Faculty of Design at the HAWK University of Applied Science and Arts Hildesheim.

© By the author. Read Klimt02.net Copyright.
The silversmith workshop of the Faculty of Design at the HAWK University of Applied Science and Arts Hildesheim..
The silversmith workshop of the Faculty of Design at the HAWK University of Applied Science and Arts Hildesheim.

© By the author. Read Klimt02.net Copyright.
The blacksmith workshop of the Faculty of Design at the HAWK University of Applied Science and Arts Hildesheim..
The blacksmith workshop of the Faculty of Design at the HAWK University of Applied Science and Arts Hildesheim.

© By the author. Read Klimt02.net Copyright.
Anna Warnebolt. Brooch: Recordatio, 2022. Textile, silver plated brass. 18 x 6 x 1 cm. Photo by: Nadine Anklam. Semester project 2022
. I gather and collectivize objects that I find in my environment. I am attracted to them by their ability to recall past situations and associated feelings through their structure, texture, and colour. RECORDATIO shows an examination of the technique of weaving with one of these found objects, the inside of birch bark, to which memories and feelings cling. These, like the colors, are woven into and incorporated into the textile mesh made of natural materials.
.  . Anna Warnebolt
Brooch: Recordatio, 2022
Textile, silver plated brass
18 x 6 x 1 cm
Photo by: Nadine Anklam
Semester project 2022
I gather and collectivize objects that I find in my environment. I am attracted to them by their ability to recall past situations and associated feelings through their structure, texture, and colour. RECORDATIO shows an examination of the technique of weaving with one of these found objects, the inside of birch bark, to which memories and feelings cling. These, like the colors, are woven into and incorporated into the textile mesh made of natural materials.
 
© By the author. Read Klimt02.net Copyright.
Nadine Anklam. Brooch: Encounters. Strengh and fragility, 2022. Porcelain, silver, textil string. 13.5 x 9 x 2.5 cm. Photo by: Anna Warneboldt. Semester project 2022
. A look inside, inspired by my passion for climbing. Based on a climbing rope worn down by point loads, the work symbolizes the view of a part of the human soul made possible by extreme situations. This look inside through the individual layers, honest and authentic, is like an encounter with ourselves. This combination of strength, robustness, and fragility is taken up by the translation and materialization of porcelain.. Nadine Anklam
Brooch: Encounters. Strengh and fragility, 2022
Porcelain, silver, textil string
13.5 x 9 x 2.5 cm
Photo by: Anna Warneboldt

Semester project 2022
A look inside, inspired by my passion for climbing. Based on a climbing rope worn down by point loads, the work symbolizes the view of a part of the human soul made possible by extreme situations. This look inside through the individual layers, honest and authentic, is like an encounter with ourselves. This combination of strength, robustness, and fragility is taken up by the translation and materialization of porcelain.

© By the author. Read Klimt02.net Copyright.
Nadine Anklam. Brooch: Encounters. Strengh and fragility, 2022. Porcelain, silver, textil string. 13.5 x 9 x 2.5 cm. Photo by: Anna Warneboldt. On body
. 
. Semester project 2022
. A look inside, inspired by my passion for climbing. Based on a climbing rope worn down by point loads, the work symbolizes the view of a part of the human soul made possible by extreme situations. This look inside through the individual layers, honest and authentic, is like an encounter with ourselves. This combination of strength, robustness, and fragility is taken up by the translation and materialization of porcelain.. Nadine Anklam
Brooch: Encounters. Strengh and fragility, 2022
Porcelain, silver, textil string
13.5 x 9 x 2.5 cm
Photo by: Anna Warneboldt

On body

Semester project 2022
A look inside, inspired by my passion for climbing. Based on a climbing rope worn down by point loads, the work symbolizes the view of a part of the human soul made possible by extreme situations. This look inside through the individual layers, honest and authentic, is like an encounter with ourselves. This combination of strength, robustness, and fragility is taken up by the translation and materialization of porcelain.

© By the author. Read Klimt02.net Copyright.
Nadine Anklam. Brooch: Encounters. Strengh and fragility, 2022. Porcelain, silver, textil string. 13.5 x 9 x 2.5 cm. Photo by: Anna Warneboldt. On body
. 
. Semester project 2022
. The pendants Transformations tell of torn surfaces that are reassembled. Outer edges that show they were part of something bigger. Detached and standing on their own, they are eruptive structures that reveal the power required for their creation. As body-related objects, they tell their story of creation and change in dialogue with the person carrying and looking at them.. Nadine Anklam
Brooch: Encounters. Strengh and fragility, 2022
Porcelain, silver, textil string
13.5 x 9 x 2.5 cm
Photo by: Anna Warneboldt

On body

Semester project 2022
The pendants Transformations tell of torn surfaces that are reassembled. Outer edges that show they were part of something bigger. Detached and standing on their own, they are eruptive structures that reveal the power required for their creation. As body-related objects, they tell their story of creation and change in dialogue with the person carrying and looking at them.

© By the author. Read Klimt02.net Copyright.
Jonas Schwalenberg. Body piece: A Roll-on-Print to strengthen you. Chain, 2022. Rubber, paint. 10 x 2 x 1 cm. Photo by: Nadine Anklam. Semester Project 2022
. As part of the series what stengthens you, I designed four rings made out of an old printing roll. The forms are based on the question „what strengthens you?“ which I will ask the person in front of me in the beginning of the dialogue. Therefore the „roll-on-prints to strengthen you“ are jewellery and tool in one – rolled on they form an empowering pattern and tattoo on the skin of the person.
.  . Jonas Schwalenberg
Body piece: A Roll-on-Print to strengthen you. Chain, 2022
Rubber, paint
10 x 2 x 1 cm
Photo by: Nadine Anklam
Semester Project 2022
As part of the series what stengthens you, I designed four rings made out of an old printing roll. The forms are based on the question „what strengthens you?“ which I will ask the person in front of me in the beginning of the dialogue. Therefore the „roll-on-prints to strengthen you“ are jewellery and tool in one – rolled on they form an empowering pattern and tattoo on the skin of the person.
 
© By the author. Read Klimt02.net Copyright.
Jonas Schwalenberg. Body piece: A Roll-on-Print to strengthen you. Chain, 2022. Rubber, paint. 10 x 2 x 1 cm. Photo by: Nadine Anklam. Bracelet and Tool, A Roll-on-Print to strengthen you. All objects, "Chrystal, Chain, Forest, Sea". Photo Jonas Schwalenberg.Semester Project 2022
. As part of the series what stengthens you, I designed four rings made out of an old printing roll. The forms are based on the question „what strengthens you?“ which I will ask the person in front of me in the beginning of the dialogue. Therefore the „roll-on-prints to strengthen you“ are jewellery and tool in one – rolled on they form an empowering pattern and tattoo on the skin of the person.
.  . Jonas Schwalenberg
Body piece: A Roll-on-Print to strengthen you. Chain, 2022
Rubber, paint
10 x 2 x 1 cm
Photo by: Nadine Anklam

Bracelet and Tool, A Roll-on-Print to strengthen you. All objects, "Chrystal, Chain, Forest, Sea". Photo Jonas Schwalenberg.
Semester Project 2022
As part of the series what stengthens you, I designed four rings made out of an old printing roll. The forms are based on the question „what strengthens you?“ which I will ask the person in front of me in the beginning of the dialogue. Therefore the „roll-on-prints to strengthen you“ are jewellery and tool in one – rolled on they form an empowering pattern and tattoo on the skin of the person.
 
© By the author. Read Klimt02.net Copyright.
Lorain Mair. Pendant: Talismanische Begleiter-Elelefant mit Romy, 2022. Silver-plated brass silver plated, glass, acrylic paint, string. Photo by: Lorain Mair. BA thesis 2022
. With my pieces of jewellery, I address animal symbolism and a possible talismanic charge. Thousands of years ago, symbols, attributes and properties were attributed to animals. With my intuitive perception, I want to convey an expression that is centrally understandable and recognizable and yet can be viewed and interpreted individually. These talisman companions give the opportunity for a personal encounter and friendship.. Lorain Mair
Pendant: Talismanische Begleiter-Elelefant mit Romy, 2022
Silver-plated brass silver plated, glass, acrylic paint, string
Photo by: Lorain Mair
BA thesis 2022
With my pieces of jewellery, I address animal symbolism and a possible talismanic charge. Thousands of years ago, symbols, attributes and properties were attributed to animals. With my intuitive perception, I want to convey an expression that is centrally understandable and recognizable and yet can be viewed and interpreted individually. These talisman companions give the opportunity for a personal encounter and friendship.
© By the author. Read Klimt02.net Copyright.
Lorain Mair. Pendant: Talismanische Begleiter-Schildkröte mit Jonas, 2022. Silver-plated brass silver plated, glass, acrylic paint, string. Photo by: Lorain Mair. BA thesis 2022
. With my pieces of jewellery, I address animal symbolism and a possible talismanic charge. Thousands of years ago, symbols, attributes and properties were attributed to animals. With my intuitive perception, I want to convey an expression that is centrally understandable and recognizable and yet can be viewed and interpreted individually. These talisman companions give the opportunity for a personal encounter and friendship.. Lorain Mair
Pendant: Talismanische Begleiter-Schildkröte mit Jonas, 2022
Silver-plated brass silver plated, glass, acrylic paint, string
Photo by: Lorain Mair
BA thesis 2022
With my pieces of jewellery, I address animal symbolism and a possible talismanic charge. Thousands of years ago, symbols, attributes and properties were attributed to animals. With my intuitive perception, I want to convey an expression that is centrally understandable and recognizable and yet can be viewed and interpreted individually. These talisman companions give the opportunity for a personal encounter and friendship.
© By the author. Read Klimt02.net Copyright.
Tobias Behley. Necklace: Heirloom I, 2022. Nickel silver, lead, acryl. 30 x 50 x 2 cm. Photo by: Tobias Behley. Semester project 2022
. A person is imprinted by events, experiences, feelings, dreams, traumata, and survival strategies that are passed down through generations. The ever-changing world slips through the mesh of these connections. Happiness and misfortune are not repeatable. With each new generation, the handed-down logic has long since become irrational, the reference space has long since shifted. What to do with this legacy, with a coordinate system, whose associated maps have long since disappeared?. Tobias Behley
Necklace: Heirloom I, 2022
Nickel silver, lead, acryl
30 x 50 x 2 cm
Photo by: Tobias Behley
Semester project 2022
A person is imprinted by events, experiences, feelings, dreams, traumata, and survival strategies that are passed down through generations. The ever-changing world slips through the mesh of these connections. Happiness and misfortune are not repeatable. With each new generation, the handed-down logic has long since become irrational, the reference space has long since shifted. What to do with this legacy, with a coordinate system, whose associated maps have long since disappeared?
© By the author. Read Klimt02.net Copyright.
Tobias Behley. Ring: Heirloom II, 2022. Steel, hair. 3 x 3 cm. Photo by: Tobias Behley. Semester project 2022
. A person is imprinted by events, experiences, feelings, dreams, traumata, and survival strategies that are passed down through generations. The ever-changing world slips through the mesh of these connections. Happiness and misfortune are not repeatable. With each new generation, the handed-down logic has long since become irrational, the reference space has long since shifted. What to do with this legacy, with a coordinate system, whose associated maps have long since disappeared?. Tobias Behley
Ring: Heirloom II, 2022
Steel, hair
3 x 3 cm
Photo by: Tobias Behley
Semester project 2022
A person is imprinted by events, experiences, feelings, dreams, traumata, and survival strategies that are passed down through generations. The ever-changing world slips through the mesh of these connections. Happiness and misfortune are not repeatable. With each new generation, the handed-down logic has long since become irrational, the reference space has long since shifted. What to do with this legacy, with a coordinate system, whose associated maps have long since disappeared?
© By the author. Read Klimt02.net Copyright.
Gabriele Semmelroggen. Pendant: Courage. Anger for Freedom, 2022. Dyed cotton, wool remnants, brass, silver. 20 x 20 x 2 cm. Photo by: Jonas Schwalenberg. Semester project 2022
. I feel anger about the injustice and inequality in our society, as well as a desire for freedom and for women to finally become more visible. My embroideries were created as expressions of feelings, thoughts, and memories based on drawings that I made after a stressful phone call with my eyes closed while looking at my inner pictures. The frames preserve and present the images, they stand as a way of pendants as a parable for life.. Gabriele Semmelroggen
Pendant: Courage. Anger for Freedom, 2022
Dyed cotton, wool remnants, brass, silver
20 x 20 x 2 cm
Photo by: Jonas Schwalenberg
Semester project 2022
I feel anger about the injustice and inequality in our society, as well as a desire for freedom and for women to finally become more visible. My embroideries were created as expressions of feelings, thoughts, and memories based on drawings that I made after a stressful phone call with my eyes closed while looking at my inner pictures. The frames preserve and present the images, they stand as a way of pendants as a parable for life.
© By the author. Read Klimt02.net Copyright.
Gabriele Semmelroggen. Pendant: Courage. Anger for Freedom, 2022. Dyed cotton, wool remnants, brass, silver. 20 x 20 x 2 cm. Photo by: Jonas Schwalenberg. Semester project 2022
. I feel anger about the injustice and inequality in our society, as well as a desire for freedom and for women to finally become more visible. My embroideries were created as expressions of feelings, thoughts, and memories based on drawings that I made after a stressful phone call with my eyes closed while looking at my inner pictures. The frames preserve and present the images, they stand as a way of pendants as a parable for life.. Gabriele Semmelroggen
Pendant: Courage. Anger for Freedom, 2022
Dyed cotton, wool remnants, brass, silver
20 x 20 x 2 cm
Photo by: Jonas Schwalenberg
Semester project 2022
I feel anger about the injustice and inequality in our society, as well as a desire for freedom and for women to finally become more visible. My embroideries were created as expressions of feelings, thoughts, and memories based on drawings that I made after a stressful phone call with my eyes closed while looking at my inner pictures. The frames preserve and present the images, they stand as a way of pendants as a parable for life.
© By the author. Read Klimt02.net Copyright.
Jonas Quirin Leikauf. Object: Ahab, Jesus and the Dandelion, 2022. Cell phone circuit board, bones, imitation teeth, cotton wool, adhesive plasters, yarn, nickel silver, artificial eyelashes. Photo by: Jonas Quirin Leikauf. Semester project 2022
. Inspired by childhood memories and feelings. Objects that start where words end. Fascinated by poetry as a carrier of feelings. Transfer of classic lyrical design elements to jewelery and objects. The objects talk to each other and tell each other their stories in a language that one can only listen to by seeing. A translation of the unspeakable into the tangible.
. A portrait that consists only of colors and shapes. Jonas Quirin Leikauf
Object: Ahab, Jesus and the Dandelion, 2022
Cell phone circuit board, bones, imitation teeth, cotton wool, adhesive plasters, yarn, nickel silver, artificial eyelashes
Photo by: Jonas Quirin Leikauf
Semester project 2022
Inspired by childhood memories and feelings. Objects that start where words end. Fascinated by poetry as a carrier of feelings. Transfer of classic lyrical design elements to jewelery and objects. The objects talk to each other and tell each other their stories in a language that one can only listen to by seeing. A translation of the unspeakable into the tangible.
A portrait that consists only of colors and shapes
© By the author. Read Klimt02.net Copyright.
Tina Schönheit. Brooch: Meet my Milky Way!, 2022. Silver, magnets, polypropylene. 8 x 6 x 3.5 cm. Photo by: Tina Schönheit. Semester project 2022
. A formation like from a distant galaxy. Voluminous yet light Milky Way elements are created from fine silver disks. Planets and stars, made up of platonic solids, combined to form one’s personal Milky Way…
. Their feel, their sound, and their lightness invite you to move them back and forth in your hand or place and combine them on your body.. Tina Schönheit
Brooch: Meet my Milky Way!, 2022
Silver, magnets, polypropylene
8 x 6 x 3.5 cm
Photo by: Tina Schönheit
Semester project 2022
A formation like from a distant galaxy. Voluminous yet light Milky Way elements are created from fine silver disks. Planets and stars, made up of platonic solids, combined to form one’s personal Milky Way…
Their feel, their sound, and their lightness invite you to move them back and forth in your hand or place and combine them on your body.
© By the author. Read Klimt02.net Copyright.
Dagmar Christina Gerke. Object: Spaces of Taiwan: Houtong, 2022. Glass. Photo by: Louisa Heuter. MA thesis 2022
. Traveling means discovering and getting to know new places, people and cultures to gain lots of inspiration and to broaden the horizon. But this is currently not possible as usual due to the corona pandemic. Therefore, the only journey that remains seems to be the mental journey: Spaces of Taiwan is a retrospective and at the same time a homage to the country and travel itself. The design of the glass vessels invites you to associate with them and they also want to be used.. Dagmar Christina Gerke
Object: Spaces of Taiwan: Houtong, 2022
Glass
Photo by: Louisa Heuter
MA thesis 2022
Traveling means discovering and getting to know new places, people and cultures to gain lots of inspiration and to broaden the horizon. But this is currently not possible as usual due to the corona pandemic. Therefore, the only journey that remains seems to be the mental journey: Spaces of Taiwan is a retrospective and at the same time a homage to the country and travel itself. The design of the glass vessels invites you to associate with them and they also want to be used.
© By the author. Read Klimt02.net Copyright.
Dagmar Christina Gerke. Object: Spaces of Taiwan: Wulai, 2022. Glass. Photo by: Louisa Heuter. MA thesis 2022
. Traveling means discovering and getting to know new places, people and cultures to gain lots of inspiration and to broaden the horizon. But this is currently not possible as usual due to the corona pandemic. Therefore, the only journey that remains seems to be the mental journey: Spaces of Taiwan is a retrospective and at the same time a homage to the country and travel itself. The design of the glass vessels invites you to associate with them and they also want to be used.. Dagmar Christina Gerke
Object: Spaces of Taiwan: Wulai, 2022
Glass
Photo by: Louisa Heuter
MA thesis 2022
Traveling means discovering and getting to know new places, people and cultures to gain lots of inspiration and to broaden the horizon. But this is currently not possible as usual due to the corona pandemic. Therefore, the only journey that remains seems to be the mental journey: Spaces of Taiwan is a retrospective and at the same time a homage to the country and travel itself. The design of the glass vessels invites you to associate with them and they also want to be used.
© By the author. Read Klimt02.net Copyright.
Tim Udvardi-Lakos. Neckpiece: Capsule, 2022. Silver, paracord.. 2 x 2 x 8 cm. Photo by: Gilane Szalies. MA thesis 2022
. Jewellery for the psyche – designing body-related objects that strengthen mental health as companions in everyday life. The relationship between objects and the psyche is examined from the perspectives of psychology, symbolism, and design using design research methods. Jewelry not only serves to express identity but also becomes a talisman through its symbolic connections. This charge holds potential for the design of body-related objects. The result is silver capsules that offer space for beneficial objects and thoughts.. Tim Udvardi-Lakos
Neckpiece: Capsule, 2022
Silver, paracord.
2 x 2 x 8 cm
Photo by: Gilane Szalies
MA thesis 2022
Jewellery for the psyche – designing body-related objects that strengthen mental health as companions in everyday life. The relationship between objects and the psyche is examined from the perspectives of psychology, symbolism, and design using design research methods. Jewelry not only serves to express identity but also becomes a talisman through its symbolic connections. This charge holds potential for the design of body-related objects. The result is silver capsules that offer space for beneficial objects and thoughts.
© By the author. Read Klimt02.net Copyright.
Tim Udvardi-Lakos. Neckpiece: Capsule, 2022. Silver, paracord.. MA thesis 2022
. Jewellery for the psyche – designing body-related objects that strengthen mental health as companions in everyday life. The relationship between objects and the psyche is examined from the perspectives of psychology, symbolism, and design using design research methods. Jewelry not only serves to express identity but also becomes a talisman through its symbolic connections. This charge holds potential for the design of body-related objects. The result is silver capsules that offer space for beneficial objects and thoughts.. 6 x 6 x 3 cm. Tim Udvardi-Lakos
Neckpiece: Capsule, 2022
Silver, paracord.
MA thesis 2022
Jewellery for the psyche – designing body-related objects that strengthen mental health as companions in everyday life. The relationship between objects and the psyche is examined from the perspectives of psychology, symbolism, and design using design research methods. Jewelry not only serves to express identity but also becomes a talisman through its symbolic connections. This charge holds potential for the design of body-related objects. The result is silver capsules that offer space for beneficial objects and thoughts.
6 x 6 x 3 cm
© By the author. Read Klimt02.net Copyright.
Jan Böing. Body piece: Als die Sprache meinen Körper berührte, 2022. Acrylic pearls, cotton string, brass silver plated. 700 cm long. Photo by: Jan Böing. Semester project 2022
. Text in the necklace: The boy with the pearl necklace
. The boy was already threading strings of pearls in kindergarten. After breakfast, he always went to the handicraft corner in the back left. There he concentratedly stringed pearl after pearl on a self-braided cord. Discovering his interest, the boy was given letter beads and asked to spell his body. He willingly set about shaping his legs, his back, his hair, his face, and his smile, and hanging the body parts on a chain. At first, the boy was praised for his painstaking work, but by the time he was in elementary school at the latest, he was startled by what he saw. The boy's body became external to him and readable to others. What you read was his confession. The boy formulated it with unusual honesty. It happened before he knew what a confession was and if what he was telling was even himself. And before he knew it, his pearl necklace had become a symbol of his exaggerated, warped sexuality, ripped from him like a neck from its necklace. Since no one knew where the pearls came from, the boy was credited with making the pearls from his own flesh and his body became a string of pearls.. Jan Böing
Body piece: Als die Sprache meinen Körper berührte, 2022
Acrylic pearls, cotton string, brass silver plated
700 cm long
Photo by: Jan Böing
Semester project 2022
Text in the necklace: The boy with the pearl necklace
The boy was already threading strings of pearls in kindergarten. After breakfast, he always went to the handicraft corner in the back left. There he concentratedly stringed pearl after pearl on a self-braided cord. Discovering his interest, the boy was given letter beads and asked to spell his body. He willingly set about shaping his legs, his back, his hair, his face, and his smile, and hanging the body parts on a chain. At first, the boy was praised for his painstaking work, but by the time he was in elementary school at the latest, he was startled by what he saw. The boy's body became external to him and readable to others. What you read was his confession. The boy formulated it with unusual honesty. It happened before he knew what a confession was and if what he was telling was even himself. And before he knew it, his pearl necklace had become a symbol of his exaggerated, warped sexuality, ripped from him like a neck from its necklace. Since no one knew where the pearls came from, the boy was credited with making the pearls from his own flesh and his body became a string of pearls.
© By the author. Read Klimt02.net Copyright.
Jan Böing. Body piece: Als die Sprache meinen Körper berührte, 2022. Acrylic pearls, cotton string, brass silver plated. 700 cm long. Photo by: Jan Böing. Semester project 2022
. Text in the necklace: The boy with the pearl necklace
. The boy was already threading strings of pearls in kindergarten. After breakfast, he always went to the handicraft corner in the back left. There he concentratedly stringed pearl after pearl on a self-braided cord. Discovering his interest, the boy was given letter beads and asked to spell his body. He willingly set about shaping his legs, his back, his hair, his face, and his smile, and hanging the body parts on a chain. At first, the boy was praised for his painstaking work, but by the time he was in elementary school at the latest, he was startled by what he saw. The boy's body became external to him and readable to others. What you read was his confession. The boy formulated it with unusual honesty. It happened before he knew what a confession was and if what he was telling was even himself. And before he knew it, his pearl necklace had become a symbol of his exaggerated, warped sexuality, ripped from him like a neck from its necklace. Since no one knew where the pearls came from, the boy was credited with making the pearls from his own flesh and his body became a string of pearls.. Jan Böing
Body piece: Als die Sprache meinen Körper berührte, 2022
Acrylic pearls, cotton string, brass silver plated
700 cm long
Photo by: Jan Böing
Semester project 2022
Text in the necklace: The boy with the pearl necklace
The boy was already threading strings of pearls in kindergarten. After breakfast, he always went to the handicraft corner in the back left. There he concentratedly stringed pearl after pearl on a self-braided cord. Discovering his interest, the boy was given letter beads and asked to spell his body. He willingly set about shaping his legs, his back, his hair, his face, and his smile, and hanging the body parts on a chain. At first, the boy was praised for his painstaking work, but by the time he was in elementary school at the latest, he was startled by what he saw. The boy's body became external to him and readable to others. What you read was his confession. The boy formulated it with unusual honesty. It happened before he knew what a confession was and if what he was telling was even himself. And before he knew it, his pearl necklace had become a symbol of his exaggerated, warped sexuality, ripped from him like a neck from its necklace. Since no one knew where the pearls came from, the boy was credited with making the pearls from his own flesh and his body became a string of pearls.
© By the author. Read Klimt02.net Copyright.
Cathleen Kämpfe. Body piece: I like to move it. Concert at the lake, 2021. Brass, cotton, pulverized earth. ø 9 x 4 cm. Photo by: Lara Köhler. MA thesis 2021
. The feet stick to the floor, people stand tightly packed in a darkening room, the first sound begins. Live concerts of the kind that took place until spring 2020 were not possible for a long time. There were sound and image recordings, sometimes live broadcasts, but it didn‘t feel like a live concert. The topic of my master‘s thesis is the memory of live music and the atmosphere that goes with it. I researched how the past, fleeting moments can be translated into body-related objects.. Cathleen Kämpfe
Body piece: I like to move it. Concert at the lake, 2021
Brass, cotton, pulverized earth
ø 9 x 4 cm
Photo by: Lara Köhler
MA thesis 2021
The feet stick to the floor, people stand tightly packed in a darkening room, the first sound begins. Live concerts of the kind that took place until spring 2020 were not possible for a long time. There were sound and image recordings, sometimes live broadcasts, but it didn‘t feel like a live concert. The topic of my master‘s thesis is the memory of live music and the atmosphere that goes with it. I researched how the past, fleeting moments can be translated into body-related objects.
© By the author. Read Klimt02.net Copyright.
Cathleen Kämpfe. Body piece: I like to move it. Street music, 2021. Brass, sponge, pulverized earth, cotton. 13.5 x 8.5 x 4.5 cm. Photo by: Lara Köhler. MA thesis 2021 
. The feet stick to the floor, people stand tightly packed in a darkening room, the first sound begins. Live concerts of the kind that took place until spring 2020 were not possible for a long time. There were sound and image recordings, sometimes live broadcasts, but it didn‘t feel like a live concert. The topic of my master‘s thesis is the memory of live music and the atmosphere that goes with it. I researched how the past, fleeting moments can be translated into body-related objects.. Cathleen Kämpfe
Body piece: I like to move it. Street music, 2021
Brass, sponge, pulverized earth, cotton
13.5 x 8.5 x 4.5 cm
Photo by: Lara Köhler
MA thesis 2021
The feet stick to the floor, people stand tightly packed in a darkening room, the first sound begins. Live concerts of the kind that took place until spring 2020 were not possible for a long time. There were sound and image recordings, sometimes live broadcasts, but it didn‘t feel like a live concert. The topic of my master‘s thesis is the memory of live music and the atmosphere that goes with it. I researched how the past, fleeting moments can be translated into body-related objects.
© By the author. Read Klimt02.net Copyright.
Sujin Kim. Brooch: The Moment Series, 2021. Silk, textile, walnut wood, silver, nickel silver, paint. Photo by: Sujin Kim. MA thesis 2021
. The most powerful thing that came to me when I was lonely was that I felt like I was falling into something. But gradually I had my own way of dealing with it, and loneliness became a time to fill the void in me. Loneliness has different faces. It depends on your own choice which face the loneliness shows me. I express my lonely moments in form of jewelry and through it I would like to communicate with others about an individual feelings of loneliness. Because it can turn it into a really positive feeling.. Sujin Kim
Brooch: The Moment Series, 2021
Silk, textile, walnut wood, silver, nickel silver, paint
Photo by: Sujin Kim
MA thesis 2021
The most powerful thing that came to me when I was lonely was that I felt like I was falling into something. But gradually I had my own way of dealing with it, and loneliness became a time to fill the void in me. Loneliness has different faces. It depends on your own choice which face the loneliness shows me. I express my lonely moments in form of jewelry and through it I would like to communicate with others about an individual feelings of loneliness. Because it can turn it into a really positive feeling.
© By the author. Read Klimt02.net Copyright.
Sujin Kim. Brooch: The Moment Series. In the middle of the night, 2021. Silk, textile, walnut wood, silver, nickel silver, paint. 4.6 x 4.6 x 3 cm. Photo by: Sujin Kim. MA thesis 2021
. The most powerful thing that came to me when I was lonely was that I felt like I was falling into something. But gradually I had my own way of dealing with it, and loneliness became a time to fill the void in me. Loneliness has different faces. It depends on your own choice which faces the loneliness shows me. I express my lonely moments in form of jewelry and through it, I would like to communicate with others about individual feelings of loneliness. Because it can turn it into a really positive feeling.”. Sujin Kim
Brooch: The Moment Series. In the middle of the night, 2021
Silk, textile, walnut wood, silver, nickel silver, paint
4.6 x 4.6 x 3 cm
Photo by: Sujin Kim
MA thesis 2021
The most powerful thing that came to me when I was lonely was that I felt like I was falling into something. But gradually I had my own way of dealing with it, and loneliness became a time to fill the void in me. Loneliness has different faces. It depends on your own choice which faces the loneliness shows me. I express my lonely moments in form of jewelry and through it, I would like to communicate with others about individual feelings of loneliness. Because it can turn it into a really positive feeling.”
© By the author. Read Klimt02.net Copyright.
Lena Schüler. Ring: The Journey of a Seed, 2021. Silver, cellulose, flower. 7 x 6 x 4 cm. Photo by: Lena Schüler. Semester project 2021
. With the title „The Journey of a Seed“ I developed a series in the form of rings and earrings in different sizes, filled with different types of flowers. This artistic aspect is intended to show how diverse nature can be. Despite attachment, the inside can escape. In that way, the natural process of nature represents the course of the cycle. Blossoms and leaves are transient, but can also grow back again. This creates an image of how fragile nature can be in order to create a stronger awareness of nature.. Lena Schüler
Ring: The Journey of a Seed, 2021
Silver, cellulose, flower
7 x 6 x 4 cm
Photo by: Lena Schüler
Semester project 2021
With the title „The Journey of a Seed“ I developed a series in the form of rings and earrings in different sizes, filled with different types of flowers. This artistic aspect is intended to show how diverse nature can be. Despite attachment, the inside can escape. In that way, the natural process of nature represents the course of the cycle. Blossoms and leaves are transient, but can also grow back again. This creates an image of how fragile nature can be in order to create a stronger awareness of nature.
© By the author. Read Klimt02.net Copyright.
Lena Schüler. Ring: The Journey of a Seed, 2021. Silver, cellulose, flower. 7 x 6 x 4 cm. Photo by: Lena Schüler. Semester project 2021
. With the title „The Journey of a Seed“ I developed a series in the form of rings and earrings in different sizes, filled with different types of flowers. This artistic aspect is intended to show how diverse nature can be. Despite attachment, the inside can escape. In that way, the natural process of nature represents the course of the cycle. Blossoms and leaves are transient, but can also grow back again. This creates an image of how fragile nature can be in order to create a stronger awareness of nature.. Lena Schüler
Ring: The Journey of a Seed, 2021
Silver, cellulose, flower
7 x 6 x 4 cm
Photo by: Lena Schüler
Semester project 2021
With the title „The Journey of a Seed“ I developed a series in the form of rings and earrings in different sizes, filled with different types of flowers. This artistic aspect is intended to show how diverse nature can be. Despite attachment, the inside can escape. In that way, the natural process of nature represents the course of the cycle. Blossoms and leaves are transient, but can also grow back again. This creates an image of how fragile nature can be in order to create a stronger awareness of nature.
© By the author. Read Klimt02.net Copyright.
Luisa Kuschel. Body piece: The Beaded Confinement, 2021. Glass beads, PLA, iron, thread. Photo by: Ben Frik. BA thesis 2021
. How were glass beads and photography used by the colonial men to legitimize their domination over Africa? And how did they manage to create a stereotype of isiZulu that is still present in our mindset today? As part of my bachelor thesis, I created a pearl-studded slave chain. It symbolizes the weight and the constraints of having a foreign identity imposed by economically motivated external powers. Our present is shaped by the past. We carry the history of previous generations within us. And so black people still feel the prejudices created by colonialism to this day. How can it be possible to finally break the slave chain?. Luisa Kuschel
Body piece: The Beaded Confinement, 2021
Glass beads, PLA, iron, thread
Photo by: Ben Frik
BA thesis 2021
How were glass beads and photography used by the colonial men to legitimize their domination over Africa? And how did they manage to create a stereotype of isiZulu that is still present in our mindset today? As part of my bachelor thesis, I created a pearl-studded slave chain. It symbolizes the weight and the constraints of having a foreign identity imposed by economically motivated external powers. Our present is shaped by the past. We carry the history of previous generations within us. And so black people still feel the prejudices created by colonialism to this day. How can it be possible to finally break the slave chain?
© By the author. Read Klimt02.net Copyright.
Luisa Kuschel. Body piece: The Beaded Confinement, 2021. Glass beads, PLA, iron, thread. Photo by: Ben Frik. BA thesis 2021
. How were glass beads and photography used by the colonial men to legitimize their domination over Africa? And how did they manage to create a stereotype of isiZulu that is still present in our mindset today? As part of my bachelor thesis, I created a pearl-studded slave chain. It symbolizes the weight and the constraints of having a foreign identity imposed by economically motivated external powers. Our present is shaped by the past. We carry the history of previous generations within us. And so black people still feel the prejudices created by colonialism to this day. How can it be possible to finally break the slave chain?. Luisa Kuschel
Body piece: The Beaded Confinement, 2021
Glass beads, PLA, iron, thread
Photo by: Ben Frik
BA thesis 2021
How were glass beads and photography used by the colonial men to legitimize their domination over Africa? And how did they manage to create a stereotype of isiZulu that is still present in our mindset today? As part of my bachelor thesis, I created a pearl-studded slave chain. It symbolizes the weight and the constraints of having a foreign identity imposed by economically motivated external powers. Our present is shaped by the past. We carry the history of previous generations within us. And so black people still feel the prejudices created by colonialism to this day. How can it be possible to finally break the slave chain?
© By the author. Read Klimt02.net Copyright.
Imke Ganteför. Object: The forming Relationship between Human and Object, 2021. Clay, leather. Photo by: Lara Köhler. MA thesis 2021
. Material objects and their relationship to people represent an essential aspect of understanding a culture and society. How is an object perceived? Which possibilities it contains are recognized? These questions are dealt with using vessels. Design is to be seen as a component of the creative culture and the overall cultural development. Designers can directly influence the legibility of an object and thus actively shape a human-object relationship.. Imke Ganteför
Object: The forming Relationship between Human and Object, 2021
Clay, leather
Photo by: Lara Köhler
MA thesis 2021
Material objects and their relationship to people represent an essential aspect of understanding a culture and society. How is an object perceived? Which possibilities it contains are recognized? These questions are dealt with using vessels. Design is to be seen as a component of the creative culture and the overall cultural development. Designers can directly influence the legibility of an object and thus actively shape a human-object relationship.
© By the author. Read Klimt02.net Copyright.
Imke Ganteför. Object: The forming Relationship between Human and Object, 2021. Clay, leather. Photo by: Lara Köhler. Group of selected objectsMA thesis 2021
. Material objects and their relationship to people represent an essential aspect of understanding a culture and society. How is an object perceived? Which possibilities it contains are recognized? These questions are dealt with using vessels. Design is to be seen as a component of the creative culture and the overall cultural development. Designers can directly influence the legibility of an object and thus actively shape a human-object relationship.. Imke Ganteför
Object: The forming Relationship between Human and Object, 2021
Clay, leather
Photo by: Lara Köhler

Group of selected objects
MA thesis 2021
Material objects and their relationship to people represent an essential aspect of understanding a culture and society. How is an object perceived? Which possibilities it contains are recognized? These questions are dealt with using vessels. Design is to be seen as a component of the creative culture and the overall cultural development. Designers can directly influence the legibility of an object and thus actively shape a human-object relationship.
© By the author. Read Klimt02.net Copyright.
Laurin Kilbert. Installation: Symbiotic Spaces, 2021. 3D printed clay. Photo by: Laurin Kilbert. MA thesis 2021
. How can objects be designed that offer housing for different forms of life and at the same time have their own place in the urban fabric? The multispecies objects experimentally explore the question of what a symbiotic coexistence with non-human creatures in the city could mean and how design is positioned within it. 3D printing with Hildesheim sound and programming as contemporary media play a central role in finding your own technological and creative practice.. Laurin Kilbert
Installation: Symbiotic Spaces, 2021
3D printed clay
Photo by: Laurin Kilbert
MA thesis 2021
How can objects be designed that offer housing for different forms of life and at the same time have their own place in the urban fabric? The multispecies objects experimentally explore the question of what a symbiotic coexistence with non-human creatures in the city could mean and how design is positioned within it. 3D printing with Hildesheim sound and programming as contemporary media play a central role in finding your own technological and creative practice.
© By the author. Read Klimt02.net Copyright.
Laurin Kilbert. Installation: Symbiotic Spaces, 2021. 3D printed clay. Photo by: Laurin Kilbert. Detail viewMA thesis 2021
. How can objects be designed that offer housing for different forms of life and at the same time have their own place in the urban fabric? The multispecies objects experimentally explore the question of what a symbiotic coexistence with non-human creatures in the city could mean and how design is positioned within it. 3D printing with Hildesheim sound and programming as contemporary media play a central role in finding your own technological and creative practice.. Laurin Kilbert
Installation: Symbiotic Spaces, 2021
3D printed clay
Photo by: Laurin Kilbert

Detail view
MA thesis 2021
How can objects be designed that offer housing for different forms of life and at the same time have their own place in the urban fabric? The multispecies objects experimentally explore the question of what a symbiotic coexistence with non-human creatures in the city could mean and how design is positioned within it. 3D printing with Hildesheim sound and programming as contemporary media play a central role in finding your own technological and creative practice.
© By the author. Read Klimt02.net Copyright.
Hannes Frey. Cutlery: Cutlery2go, 2021. V2A steel, arylic. 21 x 3 x 3 cm. Photo by: Hannes Frey. Semester project 2021
. A salt & pepper shaker, and 2 pieces of steel. No screws, hinges, or rivets. cutlery2go uses the natural abilities of stainless steel. It values classic dining in a world on the go.. Hannes Frey
Cutlery: Cutlery2go, 2021
V2A steel, arylic
21 x 3 x 3 cm
Photo by: Hannes Frey
Semester project 2021
A salt & pepper shaker, and 2 pieces of steel. No screws, hinges, or rivets. cutlery2go uses the natural abilities of stainless steel. It values classic dining in a world on the go.
© By the author. Read Klimt02.net Copyright.
Nathalie Brack. Necklace: My Story in Macramé, 2021. Cotton, paper. Photo by: Lara Köhler. Semester project 2021
. My project tells a personal and individual story about communication with materials in the context of their and my environment. I dealt with the meaning and origin of Macramé, a knotting technique from Asia. With the focus on the talismanic thoughts – immersion, and strengthening – I created my own active ritual, which combines two materials relevant to my object: cotton and paper. Through an intensive design process, I let these materials work on me in terms of their look, feel, and knotting options using various knotting techniques, as well as the way in which they interact with each other. In addition to knots, thoughts and concepts emerged that flowed directly into the object, associatively and interweavingly, as narrators of my thoughts about the talismanic. My artistic impulse is thus passed on to viewers and wearers. By wearing the jewellery, they are invited to convey their own story, to tell it and make it visible.. Nathalie Brack
Necklace: My Story in Macramé, 2021
Cotton, paper
Photo by: Lara Köhler
Semester project 2021
My project tells a personal and individual story about communication with materials in the context of their and my environment. I dealt with the meaning and origin of Macramé, a knotting technique from Asia. With the focus on the talismanic thoughts – immersion, and strengthening – I created my own active ritual, which combines two materials relevant to my object: cotton and paper. Through an intensive design process, I let these materials work on me in terms of their look, feel, and knotting options using various knotting techniques, as well as the way in which they interact with each other. In addition to knots, thoughts and concepts emerged that flowed directly into the object, associatively and interweavingly, as narrators of my thoughts about the talismanic. My artistic impulse is thus passed on to viewers and wearers. By wearing the jewellery, they are invited to convey their own story, to tell it and make it visible.
© By the author. Read Klimt02.net Copyright.
Nathalie Brack. Necklace: My Story in Macramé, 2021. Cotton, paper. Photo by: Lara Köhler. Semester project 2021
. My project tells a personal and individual story about communication with materials in the context of their and my environment. I dealt with the meaning and origin of Macramé, a knotting technique from Asia. With the focus on the talismanic thoughts – immersion, and strengthening – I created my own active ritual, which combines two materials relevant to my object: cotton and paper. Through an intensive design process, I let these materials work on me in terms of their look, feel, and knotting options using various knotting techniques, as well as the way in which they interact with each other. In addition to knots, thoughts and concepts emerged that flowed directly into the object, associatively and interweavingly, as narrators of my thoughts about the talismanic. My artistic impulse is thus passed on to viewers and wearers. By wearing the jewellery, they are invited to convey their own story, to tell it and make it visible.. Nathalie Brack
Necklace: My Story in Macramé, 2021
Cotton, paper
Photo by: Lara Köhler
Semester project 2021
My project tells a personal and individual story about communication with materials in the context of their and my environment. I dealt with the meaning and origin of Macramé, a knotting technique from Asia. With the focus on the talismanic thoughts – immersion, and strengthening – I created my own active ritual, which combines two materials relevant to my object: cotton and paper. Through an intensive design process, I let these materials work on me in terms of their look, feel, and knotting options using various knotting techniques, as well as the way in which they interact with each other. In addition to knots, thoughts and concepts emerged that flowed directly into the object, associatively and interweavingly, as narrators of my thoughts about the talismanic. My artistic impulse is thus passed on to viewers and wearers. By wearing the jewellery, they are invited to convey their own story, to tell it and make it visible.
© By the author. Read Klimt02.net Copyright.
Anne Sophie Ruth Schneider. Piece: Talismanic Stickers, 2021. Sticker on object. Photo by: Lara Köhler. Semester project 2021
. The talismanic and the talisman are phenomena that often remain hidden or enciphered. As processual, surrounding, and descriptive objects and interactions, talismans and talismans like to show themselves in their content of memory and the power that emanates from the phenomenon. They are mostly found in very personal spaces, relationships, and in close connection with their owners. Appearing in the trend colors of recent years, the sticker sheets talismanic stickers invite their owners to go in search of the talismanic and to mark it by sticking it to its surface. Maybe there is a bank in the country, your own smartphone, your favorite pen, a book, a supermarket, a car, or a piece of jewelry talismanic? The oscillation of presence and absence, of memory and direct experience of the object inherent in the talismanic is thus playfully and obviously marked, set, and questioned – in private as well as in public space.. Anne Sophie Ruth Schneider
Piece: Talismanic Stickers, 2021
Sticker on object
Photo by: Lara Köhler
Semester project 2021
The talismanic and the talisman are phenomena that often remain hidden or enciphered. As processual, surrounding, and descriptive objects and interactions, talismans and talismans like to show themselves in their content of memory and the power that emanates from the phenomenon. They are mostly found in very personal spaces, relationships, and in close connection with their owners. Appearing in the trend colors of recent years, the sticker sheets talismanic stickers invite their owners to go in search of the talismanic and to mark it by sticking it to its surface. Maybe there is a bank in the country, your own smartphone, your favorite pen, a book, a supermarket, a car, or a piece of jewelry talismanic? The oscillation of presence and absence, of memory and direct experience of the object inherent in the talismanic is thus playfully and obviously marked, set, and questioned – in private as well as in public space.
© By the author. Read Klimt02.net Copyright.
Anne Sophie Ruth Schneider. Piece: Talismanic Stickers, 2021. Sticker on object. Photo by: Lara Köhler. Semester project 2021
. The talismanic and the talisman are phenomena that often remain hidden or enciphered. As processual, surrounding, and descriptive objects and interactions, talismans and talismans like to show themselves in their content of memory and the power that emanates from the phenomenon. They are mostly found in very personal spaces, relationships, and in close connection with their owners. Appearing in the trend colors of recent years, the sticker sheets talismanic stickers invite their owners to go in search of the talismanic and to mark it by sticking it to its surface. Maybe there is a bank in the country, your own smartphone, your favorite pen, a book, a supermarket, a car, or a piece of jewelry talismanic? The oscillation of presence and absence, of memory and direct experience of the object inherent in the talismanic is thus playfully and obviously marked, set, and questioned – in private as well as in public space.. Anne Sophie Ruth Schneider
Piece: Talismanic Stickers, 2021
Sticker on object
Photo by: Lara Köhler
Semester project 2021
The talismanic and the talisman are phenomena that often remain hidden or enciphered. As processual, surrounding, and descriptive objects and interactions, talismans and talismans like to show themselves in their content of memory and the power that emanates from the phenomenon. They are mostly found in very personal spaces, relationships, and in close connection with their owners. Appearing in the trend colors of recent years, the sticker sheets talismanic stickers invite their owners to go in search of the talismanic and to mark it by sticking it to its surface. Maybe there is a bank in the country, your own smartphone, your favorite pen, a book, a supermarket, a car, or a piece of jewelry talismanic? The oscillation of presence and absence, of memory and direct experience of the object inherent in the talismanic is thus playfully and obviously marked, set, and questioned – in private as well as in public space.
© By the author. Read Klimt02.net Copyright.
Marten Kuess. Necklace: Bad Dreams, 2021. Mixed media. Photo by: Lara Köhler. Semester project 2021
. What is a dream catcher? A construction made of willow sticks, tendons, feathers, and beads? An object to catch dreams? A sacred object of the Native Americans? When was it created and where? What is it for? I went on a journey to get answers to these questions. First and foremost, the dream catcher is a reminder. A reminder of our own past. A reminder that you should be more conscious of your surroundings and of yourself. Perhaps the dream catcher is a wish for another world. Or even a dream we should wake up from. Dreamed badly?. Marten Kuess
Necklace: Bad Dreams, 2021
Mixed media
Photo by: Lara Köhler
Semester project 2021
What is a dream catcher? A construction made of willow sticks, tendons, feathers, and beads? An object to catch dreams? A sacred object of the Native Americans? When was it created and where? What is it for? I went on a journey to get answers to these questions. First and foremost, the dream catcher is a reminder. A reminder of our own past. A reminder that you should be more conscious of your surroundings and of yourself. Perhaps the dream catcher is a wish for another world. Or even a dream we should wake up from. Dreamed badly?
© By the author. Read Klimt02.net Copyright.
Tim Udvardi-Lakos. Brooch: Die Grenze zum Nichts (The Border to Nothingness), 2020. Silver, steel wire, powder lacquer.. 6 x 6 x 3 cm each. Serial number: 1/9. Photo by: Tim Udvardi-Lakos. Alternative view.The Border to Nothingness is a brooch series from 2020 containing nine jewels. Six pieces are still available of the sequence, each of them is unique in its lacquer-work. The brooches will be shown during the artist's coming exhibition Between Spaces in Bamberg, Germany.
. 
. 
. The concept of the piece tells us that all is either developing from -or evolving into- nothingness. A flowing, eternal cycle of becoming and fading that has no ultimate finished state. But what happens on the brink to nothingness? On the edge to passing and fading? The examination of this subject and the questions that arise with it finds its narrative in the materialization and design of these nine brooches.
. 
. They evoke a consciousness for this cycle and the potential of nothingness in the bearer and the observer. The pieces are made of silver in the shape of a torus that embodies the ever-repeating cycle, with an empty centre that draws us in. A special manually applied lacquer technique gives great depth to the pieces and characterizes the thin border to the white silver - the nothingness. The deep black traces of being stain and cloud what lies beneath. / Tim Udvardi-Lakos
.  . Tim Udvardi-Lakos
Brooch: Die Grenze zum Nichts (The Border to Nothingness), 2020
Silver, steel wire, powder lacquer.
6 x 6 x 3 cm each
Serial number: 1/9
Photo by: Tim Udvardi-Lakos

Alternative view.
The Border to Nothingness is a brooch series from 2020 containing nine jewels. Six pieces are still available of the sequence, each of them is unique in its lacquer-work. The brooches will be shown during the artist's coming exhibition Between Spaces in Bamberg, Germany.


The concept of the piece tells us that all is either developing from -or evolving into- nothingness. A flowing, eternal cycle of becoming and fading that has no ultimate finished state. But what happens on the brink to nothingness? On the edge to passing and fading? The examination of this subject and the questions that arise with it finds its narrative in the materialization and design of these nine brooches.

They evoke a consciousness for this cycle and the potential of nothingness in the bearer and the observer. The pieces are made of silver in the shape of a torus that embodies the ever-repeating cycle, with an empty centre that draws us in. A special manually applied lacquer technique gives great depth to the pieces and characterizes the thin border to the white silver - the nothingness. The deep black traces of being stain and cloud what lies beneath. / Tim Udvardi-Lakos
 
© By the author. Read Klimt02.net Copyright.
Tim Udvardi-Lakos. Brooch: Die Grenze zum Nichts (The Border to nothingness), 2020. Silver, steel, lacquer.. 6 x 6 x 3 cm. Photo by: Tim Udvardi-Lakos. BA thesis 2020
. All being is constantly evolving from or into nothingness. Thus, there is no final state, but a constant cycle of becoming and fading. The connection I see is an interdependence of being and nothingness within the whole. Nothingness holds the potential of becoming and therefore is the birthplace of being. When something comes into existence, it holds its own inevitable non-being within itself. It’s fading leaves an emptiness which is soon to be filled again by another being. Being and nothingness are deeply connected as two contradictory polarities of transformation.. Tim Udvardi-Lakos
Brooch: Die Grenze zum Nichts (The Border to nothingness), 2020
Silver, steel, lacquer.
6 x 6 x 3 cm
Photo by: Tim Udvardi-Lakos
BA thesis 2020
All being is constantly evolving from or into nothingness. Thus, there is no final state, but a constant cycle of becoming and fading. The connection I see is an interdependence of being and nothingness within the whole. Nothingness holds the potential of becoming and therefore is the birthplace of being. When something comes into existence, it holds its own inevitable non-being within itself. It’s fading leaves an emptiness which is soon to be filled again by another being. Being and nothingness are deeply connected as two contradictory polarities of transformation.
© By the author. Read Klimt02.net Copyright.
Lilli Margarita Gruber. Tool: New Scrap has Potential, 2020. Recycled steel. 28.5 x 5 x 2.5 cm, 9.5 x 5 x 0.3 cm. Photo by: Lilli Margarita Gruber. BA thesis 2020
. The knife „40 degrees“ is made from production waste, as it is produced daily in the metalworking industry. The small knife is made of the production waste from the knife „40 degrees“. The knives are forged of C60 steel. This high-quality steel arises as „new scrap “ during the production of pipe drills for taking soil samples. Emissions that are produced by the production of steel in the steel mill are avoided by recycling directly „new-scrap“. For these knives, 900 g of coal forge was burned during their production.. Lilli Margarita Gruber
Tool: New Scrap has Potential, 2020
Recycled steel
28.5 x 5 x 2.5 cm, 9.5 x 5 x 0.3 cm
Photo by: Lilli Margarita Gruber
BA thesis 2020
The knife „40 degrees“ is made from production waste, as it is produced daily in the metalworking industry. The small knife is made of the production waste from the knife „40 degrees“. The knives are forged of C60 steel. This high-quality steel arises as „new scrap “ during the production of pipe drills for taking soil samples. Emissions that are produced by the production of steel in the steel mill are avoided by recycling directly „new-scrap“. For these knives, 900 g of coal forge was burned during their production.
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