Helga Mogensen
Jeweller
Published: 17.03.2021
- Mail:
- helgamogensen
gmail.com
Object: Miniature Chairs. Spring Collection 2021, 2021
Driftwood, panel, copper, brass.
Height: 8 cm
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Necklace: Underneath the Surface, 2020
Whitewashed driftwood, silk.
8 x 6 cm
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Necklace: All Natural, 2020
Driftwood, cotton, silk.
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Brooch: Surface Explorer, 2019
Top: Pumice, sterling silver; Bottom: Driftwood, sterling silver.
8 cm Ø (top); Length: 12 cm (bottom)
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Neckpiece: The Shores of Japan, 2019
Japanese driftwood, silk.
Length: 42 cm
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Necklace: Underneath the Surface, 2018
Driftwood, silk.
35 x 20 cm
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Neckpiece: Tree of life, figure 8, 2018
Driftwood, silk.
45 x 28 cm
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Necklace: Memoires from Japan, 2018
Japanese driftwood, silk.
42 x 27 cm
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Neckpiece: Portrait of a Friendship that Knows No Bounds, 2018
Whitewashed driftwood, thread.
30 x 17 cm
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Neckpiece: Underneath the Surface, 2018
Driftwood piece.
20 cm Ø
From series: Underneath the Surface
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Brooch: Untitled Brooches, 2018
Sterling silver, driftwood.
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Helga Mogensen lives in Reykjavik, Iceland. She graduated in 2007 with a degree in Jewellery and Silversmithing from Edinburgh College of Art in Scotland. Her main focus is her connection with nature and the materials that show up for the process, driftwood and found wood being the main materials. Helga has been exhibiting her work both in Iceland and abroad since graduating.
Statement
For me, making jewellery is like working with a canvas, I am drawn to making flat surfaces that become a part of the body but I am also curious about the possibility of the pieces being displayed, even as wall pieces when they are not worn. My ideas are often linked in with a piece of paper. Sketching is a medium I really love and I feel how the drawings and texts join the made pieces subconsciously.Ideas can often come up like photographs in my mind, and I feel my purpose is often to capture these photographs and make them into something tangible, basically to process the energy received into materials.
The driftwood is found up north in Iceland. I go there with my family every summer and wander around the beaches often in a meditative state of just merging with nature. The magic behind my materials is quite amazing as driftwood is not really coming to Iceland any longer but the small pieces I use show up. It's actually a big trust process towards the universe, not knowing what kind of materials are waiting for me at the beach each time I go there, and also dealing with the possibility of there being no materials at all. Sometimes I actually wonder if I found the driftwood or if it's vice versa and the wood actually found me. The latter sounds more romantic anyway but the material connects me directly with the amazing force of nature that the ocean is, the power of the wave and the mystery behind this water that covers 70% of the earth.
I once heard someone say: "The work most personal to the individual artist, tends to be the work that people will learn to appreciate the most." These words really stuck with me and led me to believe that in order to create something, people have to have passion and belief in the things they are doing or making. Therefore my work portraits a bit of myself: it mirrors actions, behaviour, people, places, nature and feelings. It really does not make sense to be making something if I don't have an interest or passion in what I am doing.
CV 
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