Manon van Kouswijk
Jeweller
/
Klimt02MemberSelectedSchmuck2020
Published: 01.11.2007
Necklace: Making Faces: A Jewellery Playbook, 2018
Porcelain clay, pigment, ceramic pencil, glaze, thread.
45 x 1.5 x 1.5 cm
Photo by: Fred Kroh
From series: Making Faces: A Jewellery Playbook
© By the author. Read Klimt02.net Copyright.
Necklace: Making Faces: A Jewellery Playbook, 2018
Porcelain clay, pigment, ceramic pencil, glaze, thread.
45 x 1.5 x 1.5 cm
Photo by: Fred Kroh
From series: Making Faces: A Jewellery Playbook
Alternative view.
© By the author. Read Klimt02.net Copyright.
Necklace: Making Faces: A Jewellery Playbook, 2018
Plastic beads, cut and glued.
Photo by: Fred Kroh
From series: Making Faces: A Jewellery Playbook
The entire series consists of 50 pieces.
© By the author. Read Klimt02.net Copyright.
Necklace: Making Faces: A Jewellery Playbook, 2018
Porcelain clay, pigment, ceramic pencil, glaze, thread.
45 x 1 x 1 cm
Photo by: Fred Kroh
From series: Making Faces: A Jewellery Playbook
© By the author. Read Klimt02.net Copyright.
Necklace: Pearl Grey, 2009
Porcelain, glass, ivory, plastic, pearls
31 cm long
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Necklace: Perles d'Artiste no 5, 2009
Modeling porcelain, ceramic pencil, glaze.
Beads are made with 10 fingers
34 cm long
© By the author. Read Klimt02.net Copyright.
Earrings: Pink Pair, 2009
Porcelain, Silver
ø 1,2 cm
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Object: Lady Grey
Porcelain
8,5 x 8,5 cm
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Necklace: Re-verse, 2013
porcelain, pigment
photography: Jeremy Dillon
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Object: Room Service
Porcelain object
(piece size)
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Necklace: Trophée no 6, 2012
Porcelain, thread
Length of the necklace:430 mm, diameter of the seg
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Necklace: Perles d'Artiste no 4
Modeling porcelain, ceramic pencil, glaze.
Beads are made with 8 fingers
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Object: Egg Spoon, 2003
Porcelain
3 x 13 cm
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Statement
I like to think that it's possible to reinvent jewellery, despite the fact that its archetypal forms and motifs haven't fundamentally changed throughout its long history. These archetypes to me are like templates that I use for translations of the jewellery types I work from (for example the beaded necklace). I explore the visual and conceptual potential of these existing jewellery forms and motifs and translate them through a range of materials, processes, and ideas.The traces of the making process are often visible in the work. The imperfection of the handmade, present in marks of fingerprints and moulds, is an integral part of the objects.
While originating from a conceptual approach to making at the same time my works embrace the sensual qualities of jewellery objects in the use of colour, their weight, sound, rhythm, and material expression.
An integral aspect of my practice is the framing and contextualising of the work through the making of exhibitions and artist publications often in collaboration with other artists and designers. My artist books feature found and made photographs and drawings to trace and reimagine the presence of jewellery and other personal possessions in private settings, in museums, and in popular culture.
-
Andrea MAXA Halmschlager
Vienna, Austria -
Orsolya Kecskés
Budapest, Hungary -
Carolyn Young
Waterloo, Canada -
Namkyung Lee
Seoul, South Korea -
Elvira Cibotti
Buenos Aires, Argentina -
Sonia Beauchesne
Deschambault, Canada -
Emilie Le Dez
Berlin, Germany -
Olga Kazakova
Moscow, Russian Federation -
Linda van Niekerk
Tasmania, Australia -
Aya Iwata
Tokyo, Japan -
Asako Takahashi
Toyama, Japan -
Jieun Park
Seoul, South Korea -
Sébastien Carré
Strasbourg, France -
Patricia Iglesias
Punta Arenas, Chile -
Nicole Baert
Kortrijk, Belgium