Liana Pattihis
Jeweller
Published: 20.09.2021
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The method I follow to fuse enamels on a movable base like chain, has brought about an innovative way of creating with the medium. By applying the enamel freely but purposefully, the material is allowed not only to decorate a piece, but to be instrumental in its creation, its appearance and its function.---------
The processes Liana uses in making her jewellery are ones of building and burying...The natural quality of the surface gives a feel of a much earlier age, yet buried under the enamel are anonymous, potentially unattractive, silver chains of this age of mass production. The point of delight is not only that unique, colourful and exciting pieces of jewellery are created, but that the rules of enamelling have been broken and rewritten so successfully.
/ Caroline Broadhead August 2010
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Chained Interpretations … An on-going study
In a world revolving around social media, it is hard to imagine a day go by without our daily dose of virtual interaction. An intricate part of this process, is further facilitated by the sharing of images, which offer a glimpse into the inspirations and interests of our online ‘friends’.The collection is inspired by online sources and found images depicting flora and fauna specifically in wooded areas, which I find mysterious and intriguing. As with previous work from this series, images are chosen for their visual composition or specific geometrical aesthetic elements and are given a three dimensional ‘chained interpretation’, thus converting them into wearable pieces of jewellery.
Each enamel colour is fused and fired on the chain separately and the piece is constructed afterwards from the previously enamelled chain. Emphasis is given in the building-up and layering of the chains This allows the piece to evolve, with the various types of chain and colours mixing and intertwining, poetically responding to the images as if they were ‘still lives ’, translating them into an impressionistic pixelated relief of textured 3dimensional layers.
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Chained Interpretations… Curious Jewellery and Objects
Images depicting flora and fauna have been a rich source of inspiration for me. Adding objects to this series has been a natural progression. Using my unwanted mass- produced silver wedding gifts, I aspire to create a collection of curious, wearable pieces and decorative objects by giving the original pieces a unique new identity and function.
/ L.P.
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To mend my broken heart
To mend my broken heart, is my latest collection of jewellery and objects inspired by Kintsugi, the Japanese art of repairing broken pottery. Replacing the lacquer and powder dust used in the traditional method, with epoxy and silver or gold chain, the aim is to embrace the damaged and the imperfect by highlighting the cracks and missing pieces with the chain. The mended flaws become part of the design, offering the object a new identity. Healing the scars of the flawed and the unwanted, the object becomes purposeful and desirable again
Drawn to the philosophical interpretation of Kintsugi, that the cracks and seams are merely a symbol of an event that happened in the life of the object, rather than the cause of its destruction, the pieces are reborn, granting the object a lease of a new life. Using a selection of unwanted and damaged wedding gifts and objects collected over the years, a collection of curious, wearable pieces and decorative objects is created, whilst giving the original pieces a unique new identity and function. / L.P.
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Scentimental
Drawn to the art of Yobitsugi, where pieces from one broken object are used to mend another and the definition of Alchemy as the mysterious magical process of transformation, this body of work comprises wearable vessels, created by the amalgamation of discarded broken glass and porcelain which conceal a perfume vial. L.P.
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