Marion Delarue

Jeweller / MunichJewelleryWeek2023

Published: 11.02.2019

: 75009 - Paris
FRANCE

: Website Marion Delarue; Facebook Marion Delarue; Instagram Marion Delarue

Mail:: infomariondelarue.com

Marion Delarue. Head piece: Sangtu, 2019. Mother of pearl, Korean natural lacquer (Ottchil), magnets.. 6 x 10 x 6 cm. Topknot ornament (for men)..

Marion Delarue. Head piece: Sangtu, 2019. Mother of pearl, Korean natural lacquer (Ottchil), magnets.. 6 x 10 x 6 cm. On body.Topknot ornament (for men)..

Marion Delarue. Brooch: Parrot Devotee I, 2016. Silver, steel wire, rice paper pulp, natural (undyed) feathers of pigeons, ducks & geese.. 6.5 x 8.5 x 5 cm.. Awarded at: The European Triennial for Contemporary Jewellery 2017. From series: Parrot Devotees. On body.

Marion Delarue. Brooch: Parrot devotees 2 3 4, 2017. Natural feathers, rice paper pulp, silver, steel wire.. From 7 x 8 x 5 cm to 5 x 7.5 x 4 cm. Photo by: Marion Delarue. From series: Parrot Devotees.

Marion Delarue. Necklace: Cracheh I, 2013. Korean traditional natural lacquer, inner tube, gold powder.. 11 x 34 x 22.5 cm. From series: Crachehs series. On model
. The cracheh is a traditional Korean headdress, which is both puzzling and unsettling. It is made of an enormous mass of plaited hair twisted in a gigantic bun. To wear such a headdress, a woman must use extra hairpieces that she will plait with her own. As I was working with the rubber of the empty inner tube and the hair, which appeared to me dull, limp and lifeless, I also had in mind the shiny, thick and bouncy hair reminiscent of traditional korean lacquer. The round shape of the inner tube depicts the bun, which appears to have no beginning and no end, whereas the valve is a reminder of the golden stick pins that Korean women love to put in their hair to set off their deep black colour..

Marion Delarue. Necklace: Cracheh I, 2013. Korean traditional natural lacquer, inner tube, gold powder.. 11 x 34 x 22.5 cm. From series: Crachehs series.

Marion Delarue. Necklace: Agate Necklace, 2013. Porcelain, glass, glaze & chamotte fused at high temperature and polished.. 26 x 22 x 1 cmAgate Jewels series. From series: Agate Jewels series. On modelBy creating false agates, I can design geometrical shapes that cannot be found in nature, that can be worn directly without requiring any particular set or structure. The association of clay and glass seemed to me perfectly suited to my project since it allows me to recreate agates by imitating the natural process. Moreover, the clay brings to the piece the stability required to keep the pattern in place during the firing process and to keep the glass in place during its fusion, while the glass brings to the piece its shine and translucency. The ceramic and the glass thus blended also enable the feel and the weight of a natural agate. .

Marion Delarue. Bracelet: Red Agate bracelet, 2013. Porcelain, glass, glaze & chamotte fused at high temperature and polished.. 10.1 x 10.1 x 0.5 cm.. Part of: Musée des Arts Décoratifs Paris. From series: Agate Jewels series.

Marion Delarue. Bracelet: Blue Agate bracelet, 2013. Porcelain, glass, glaze & chamotte fused at high temperature and polished. 10.1 x 10.1 x 0.5 cm. Awarded at: Cominelli Award 2015. From series: Agate Jewels series. Cominelli Award 2015, The Third Prize..

Marion Delarue. Bracelet: Pink Agate bracelet, 2013. Porcelain, glass, glaze & chamotte fused at high temperature and polished.. 9.4 x 9.4 x 0.8 cm. From series: Agate Jewels series.

Marion Delarue. Bracelet: Monsters for Company, 2013. Hand-modeled Korean black porcelain.. 10 x 3 x 8 cm. In Korean mythologies, some creatures bring luck to the one who touches them, who runs into them, or even catches sight of them. The snake, when he shows signs of strangeness, is one of those: Indeed, he is then being considered as a dragon to-be. Made in South Korea during the Snake’s year, this «lucky charm-companions», «peculiar siamese friends » or «monsters for company» have to be worn together, on both of their owner’s wrists, in order for him to be « well-surrounded ». .

Marion Delarue. Piece: FengHuang, 2015. Casted rice paper pulp, steel, silver, natural feathers (undyed) of crane, rooster, duck, peacock & pheasant.. 11 x 7 x 0.3 cm. Collar fastening
. On model
. The Chinese traditional feather marquetry technic consists of fixing natural feathers (undyed ones only) to a support, one by one, with the help of a small brush and traditional glue made of animal and vegetal components. To make this collar fastening, I used FengHuang - a gracious and altruistic bird who brings quietude and good fortune to anyone who glimpses at him - as inspiration. In the Chinese mythology, the very symbolic description of this imaginary bird compares him, mostly, to five existing birds: the crane, the rooster, the duck, the peacock and the pheasant. It is also said that his plumage is made of the five colors that represent harmony: blue, red, yellow, green and white. This feather marquetry, giving a personal interpretation of the FengHuangs representation, has thus been created with natural feathers of those five birds in those five very colors. .

Marion Delarue. Neckpiece: Exquisite Corpse, 2015. Casted & polished Korean pink porcelain, stringing elastic cord for articulated porcelain doll.. 23 x 23 x 4 cm.

Marion Delarue
Head piece: Sangtu, 2019
Mother of pearl, Korean natural lacquer (Ottchil), magnets.
6 x 10 x 6 cm

Topknot ornament (for men).

Marion Delarue
Head piece: Sangtu, 2019
Mother of pearl, Korean natural lacquer (Ottchil), magnets.
6 x 10 x 6 cm

On body.

Topknot ornament (for men).

Marion Delarue
Brooch: Parrot Devotee I, 2016
Silver, steel wire, rice paper pulp, natural (undyed) feathers of pigeons, ducks & geese.
6.5 x 8.5 x 5 cm.
Awarded at: The European Triennial for Contemporary Jewellery 2017
From series: Parrot Devotees

On body

Marion Delarue
Brooch: Parrot devotees 2 3 4, 2017
Natural feathers, rice paper pulp, silver, steel wire.
From 7 x 8 x 5 cm to 5 x 7.5 x 4 cm
Photo by: Marion Delarue
From series: Parrot Devotees
© By the author. Read Klimt02.net Copyright.

Marion Delarue
Brooch: Parrot devotees 2 3 4, 2017
Natural feathers, rice paper pulp, silver, steel wire.
From 7 x 8 x 5 cm to 5 x 7.5 x 4 cm
Photo by: Marion Delarue
From series: Parrot Devotees

Side view.

Marion Delarue
Necklace: Cracheh I, 2013
Korean traditional natural lacquer, inner tube, gold powder.
11 x 34 x 22.5 cm
From series: Crachehs series

On model
The cracheh is a traditional Korean headdress, which is both puzzling and unsettling. It is made of an enormous mass of plaited hair twisted in a gigantic bun. To wear such a headdress, a woman must use extra hairpieces that she will plait with her own. As I was working with the rubber of the empty inner tube and the hair, which appeared to me dull, limp and lifeless, I also had in mind the shiny, thick and bouncy hair reminiscent of traditional korean lacquer. The round shape of the inner tube depicts the bun, which appears to have no beginning and no end, whereas the valve is a reminder of the golden stick pins that Korean women love to put in their hair to set off their deep black colour.

Marion Delarue
Necklace: Cracheh I, 2013
Korean traditional natural lacquer, inner tube, gold powder.
11 x 34 x 22.5 cm
From series: Crachehs series
© By the author. Read Klimt02.net Copyright.

Marion Delarue
Necklace: Agate Necklace, 2013
Porcelain, glass, glaze & chamotte fused at high temperature and polished.
26 x 22 x 1 cmAgate Jewels series
From series: Agate Jewels series

On model

By creating false agates, I can design geometrical shapes that cannot be found in nature, that can be worn directly without requiring any particular set or structure. The association of clay and glass seemed to me perfectly suited to my project since it allows me to recreate agates by imitating the natural process. Moreover, the clay brings to the piece the stability required to keep the pattern in place during the firing process and to keep the glass in place during its fusion, while the glass brings to the piece its shine and translucency. The ceramic and the glass thus blended also enable the feel and the weight of a natural agate.

Marion Delarue
Bracelet: Red Agate bracelet, 2013
Porcelain, glass, glaze & chamotte fused at high temperature and polished.
10.1 x 10.1 x 0.5 cm.
Part of: Musée des Arts Décoratifs Paris
From series: Agate Jewels series
© By the author. Read Klimt02.net Copyright.

Marion Delarue
Bracelet: Blue Agate bracelet, 2013
Porcelain, glass, glaze & chamotte fused at high temperature and polished
10.1 x 10.1 x 0.5 cm
Awarded at: Cominelli Award 2015
From series: Agate Jewels series

Cominelli Award 2015, The Third Prize.

Marion Delarue
Bracelet: Pink Agate bracelet, 2013
Porcelain, glass, glaze & chamotte fused at high temperature and polished.
9.4 x 9.4 x 0.8 cm
From series: Agate Jewels series
© By the author. Read Klimt02.net Copyright.

Marion Delarue
Bracelet: Monsters for Company, 2013
Hand-modeled Korean black porcelain.
10 x 3 x 8 cm

In Korean mythologies, some creatures bring luck to the one who touches them, who runs into them, or even catches sight of them. The snake, when he shows signs of strangeness, is one of those: Indeed, he is then being considered as a dragon to-be. Made in South Korea during the Snake’s year, this «lucky charm-companions», «peculiar siamese friends » or «monsters for company» have to be worn together, on both of their owner’s wrists, in order for him to be « well-surrounded ».

Marion Delarue
Piece: FengHuang, 2015
Casted rice paper pulp, steel, silver, natural feathers (undyed) of crane, rooster, duck, peacock & pheasant.
11 x 7 x 0.3 cm

Collar fastening
On model
The Chinese traditional feather marquetry technic consists of fixing natural feathers (undyed ones only) to a support, one by one, with the help of a small brush and traditional glue made of animal and vegetal components. To make this collar fastening, I used FengHuang - a gracious and altruistic bird who brings quietude and good fortune to anyone who glimpses at him - as inspiration. In the Chinese mythology, the very symbolic description of this imaginary bird compares him, mostly, to five existing birds: the crane, the rooster, the duck, the peacock and the pheasant. It is also said that his plumage is made of the five colors that represent harmony: blue, red, yellow, green and white. This feather marquetry, giving a personal interpretation of the FengHuangs representation, has thus been created with natural feathers of those five birds in those five very colors.

Marion Delarue
Piece: FengHuang, 2015
Casted rice paper pulp, steel, silver, natural feathers (undyed) of crane, rooster, duck, peacock & pheasant.
11 x 7 x 0.3 cm

Collar fastening
front side

Marion Delarue
Piece: FengHuang, 2015
Casted rice paper pulp, steel, silver, natural feathers (undyed) of crane, rooster, duck, peacock & pheasant.
11 x 7 x 0.3 cm

Collar fastening
back side

Marion Delarue
Neckpiece: Exquisite Corpse, 2015
Casted & polished Korean pink porcelain, stringing elastic cord for articulated porcelain doll.
23 x 23 x 4 cm
© By the author. Read Klimt02.net Copyright.

Bio

Marion Delarue lives and works in Paris, France. She joins the Ecole Supérieure des Arts Décoratifs de Strasbourg in 2006 and takes off for South Korea in 2010 where she studies ceramic, glass and Korean natural lacquer during an exchange student. She obtains her Contemporary jewelry Master in 2011 and then leaves in Estonia for a post-graduate year, studying ceramic, wood and leather craft in the Estonian Academy of Arts, at Tallinn. Fascinated my traditional Asian techniques, Marion participates in various artist-in-residencies and research projects in Korea, China, Japan and Taïwan.

Statement

My work is mainly based on the notion of wearable objects.
Because I do not favour any particular material, I am keen on choosing for each project the most appropriate material and developing its properties as much as possible.
Fascinated by highly developed techniques, that I use in a traditional or experimental way, I strive to bring together traditional savoir-faire and contemporaneity; hand-crafted techniques and critical thinking.

CV

Events

Publications

Book: Silver Meetings 2. Contemporary Jewellery in Legnica 2012 - 2019. Gallery of Art in Legnica. Gallery of Art in Legnica: Legnica, 2019

Catalogue: Preziosa contemporary jewelry. LAO publishing: Italy, 2017

Catalogue: Schmuck 2017. IHM: Germany, 2017

Catalogue: Tales from the toolbox. Crafthaus publishing: USA, 2017

Book: The Cast book. Schiffer Publishing: USA, 2017

Catalogue: Medusa, bijoux et tabous. Musée d’Art Moderne: Paris, 2017
de la Ville de Paris, France.

Catalogue: Gyeonggi International Ceramic Biennale. World Ceramic Center: Gyeonggi-do, 2017

Catalogue: European Triennial for Contemporary Jewellery. WCC-BF: Mons, 2017

Book: Narrative Jewelry. Fenn, Mark. Schiffer Publishing: New York, 2017

Book: CAST: Art and Objects Made Using Humanity’s Most Transformational Process. Townsend, Jen; Zettle-Sterling, Renée. Schiffer Publishing: New York, 2017

Book: New Necklaces: 400+ Contemporary Designs. Nicolas Estrada. Promopress: United Kingdom, 2016

Catalogue: Madame est servie. World Craft Council gallery: Belgium, 2015

Catalogue: 59th Faenza Prize. the International Museum of Ceramics: Italy, 2015

Catalogue: Future Now, Aesthetica Art Prize Anthology 2015. Aesthetica Publishing: UK, 2015

Book: 1000 Beads. Lark Jewelry & Beading Publishers: USA, 2014

Catalogue: European Triennial of Contemporary Jewellery. Belgium, 2014

Catalogue: Emerge prize 2014. Bullseye Gallery: USA, 2014

Catalogue: 4th International Triennial of Silicate Arts. Kecskemét: HUngary, 2014

Catalogue: Coburg Prize for Contemporary Glass 2014. European Museum of Modern Glass: Germany, 2014

Catalogue: European Glass Experience. Murano Glass Museum: Italy, 2014

Catalogue: Dans la ligne de mire. National Museum of Decorative Arts: France, 2013

Catalogue: Ecrits, Mythes et Légendes, 17e International Biennial event of Contemporary Ceramic. France, 2013