Kira Fritsch
Jeweller
Published: 17.07.2020
- Mail:
- kira.fritsch
gmx.net
Ring: Memento mori, 2019
Silver oxidised, hand cut glass.
2 x 3.5 x 3.5 cm
From series: Memento mori
© By the author. Read Klimt02.net Copyright.
Ring: Memento mori, 2019
Silver oxidised, hand cut glass.
2 x 3.5 x 3.5 cm
From series: Memento mori
© By the author. Read Klimt02.net Copyright.
Ring: Memento mori, 2019
Silver oxidised, hand cut glass.
2.5 x 2.5 x 3.5 cm
From series: Memento mori
© By the author. Read Klimt02.net Copyright.
Ring: Memento mori, 2018
Silver oxidised, hand cut glass.
3 x 3 x 3.5 cm
From series: Memento mori
© By the author. Read Klimt02.net Copyright.
Ring: Memento mori, 2018
Silver oxidised, hand cut glass.
3.5 x 3.5 x 3 cm
From series: Memento mori
© By the author. Read Klimt02.net Copyright.
Ring: Memento mori, 2017
Silver oxidised, hand cut glass.
3.5 x 3 x 5 cm
Photo by: Dirk Eisel
From series: Memento mori
© By the author. Read Klimt02.net Copyright.
Ring: Temple, 2017
Silver oxidized
3.5 x 6 cm
Photo by: Dirk Eisel
From series: I.Temple
© By the author. Read Klimt02.net Copyright.
Installation: Altar, 2013
Photo by: Eva Jünger
© By the author. Read Klimt02.net Copyright.
Ring: Untitled, 2013
Oxidized silver, hand cut glass.
3x 3 x 4 cm
Photo by: Eva Jünger
From series: The thieving magpie
© By the author. Read Klimt02.net Copyright.
Ring: Untitled, 2013
Oxidized silver, hand cut glass.
3 x 3 x 4 cm
Photo by: Riccardo Bernardi
From series: Hotel Bogota
© By the author. Read Klimt02.net Copyright.
Statement
I love to play with the ornament. The history of the ornament is extremely thrilling. No other art form has been so cursed and loved, varying between elevated and banal, between overloaded and minimalist, ranging from cosmos to kitsch and elitist to popular. The mix is so colorful because people from all cultures and continents have contributed to it. Until today, ornaments have met the need for geometry, order, magic and adornment. I am a storyteller who uses the ornament instead of words. But there is always enough room left for the bearers, to discover their own story, to conquer the piece of jewelry and make it to their own personal piece of adornment.I have a passion for materials of all kinds. I collect and archive my finds and some of them I keep for more than 20 years until I process them in a piece of jewelry. Every piece has its story. The material glass also excites me. I work with the hot glass and make glass blanks for my jewelry, which I sand myself in my studio. The cut glass stone is the starting point for every piece of jewelry. Another material I like to work with is wood. I like to be guided by given forms of branches, the structure of the wood. Working with wood is my "summer job". I work under the open sky and just need my hands and the carving knife.
CV 
On sale at
Events
- Mail:
- kira.fritschgmx.net
newsletter
Get the latest information about the international Jewellery Scene sent directly to your mailbox every week. View previous issues
-
Qi Han
Hangzhou, China -
Nora Kovats
Berlin, Germany -
Bas Bouman
Haarlem, Netherlands -
Esther Heite
Wuppertal, Germany -
Kim Nogueira
Saint John, United States -
Julie Bégin
Montreal, Canada -
Cristina Celis
Mexico City, Mexico -
Inbar Avneri
Ramat Gan, Israel -
Sinae Baik
Seoul, South Korea -
Géraldine Luttenbacher
Agde, France -
Iliana Tosheva
London, United Kingdom -
Youjin Um
Seoul, South Korea -
Eunseok Han
Seoul, South Korea -
Katia Rabey
Moscow, Russian Federation -
Mikiko Minewaki
Tokyo, Japan
