Marion Delarue
Jeweller
/
Klimt02 member selected at Schmuck 2017
Published: 08.03.2017
mariondelarue.comNecklace: Cracheh I, 2011 - 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.
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.
© By the author. Read Klimt02.net Copyright.
Necklace: Cracheh I, 2011 - 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.
Necklace: Agate Necklace, 2012 - 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 the author. Read Klimt02.net Copyright.
Bracelet: Red Agate bracelet, 2012 - 2013
Porcelain, glass, glaze & chamotte fused at high temperature and polished
10.1 x 10.1 x 0.5 cm.
From series: Agate Jewels series
© By the author. Read Klimt02.net Copyright.
Bracelet: Blue Agate bracelet, 2012 - 2013
Porcelain, glass, glaze & chamotte fused at high temperature and polished
10.1 x 10.1 x 0.5 cm
From series: Agate Jewels series
© By the author. Read Klimt02.net Copyright.
Bracelet: Pink Agate bracelet, 2012 - 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.
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 ».
© By the author. Read Klimt02.net Copyright.
Piece: FengHuang, 2014 - 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.
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.
© By the author. Read Klimt02.net Copyright.
Piece: FengHuang, 2014 - 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
front side
© By the author. Read Klimt02.net Copyright.
Piece: FengHuang, 2014 - 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
back side
© By the author. Read Klimt02.net Copyright.
Neckpiece: Exquisite Corpse, 2015
Casted & polished Korean pink porcelain, stringing elastic cord for articulated porcelain doll
23 x 23 x 4 cm
Korean women are unaware of their natural beauty and often yield to doll-like stereotypes which invariably lead them to plastic surgery. They then become the plaything of some sadistic surgeons’ surreal fantasies, who nick, slice and gather their flesh, at their leisure. Imitating the “Exquisite Corpse” logic (invented by the Surrealists in the thirties), they create unreal assemblies which ressemble perfect dolls: Artificial, specious and distorted, they seem to be non-living objects, like adorable cadavers. This neckpiece’s technical process is therefore based upon the method specific to articulated porcelain dolls, but follows the rules of the “Exquisite Corpse” game. It has been created during a ceramic residency at the Clayarch Gimhae Museum, in South Korea.
© By the author. Read Klimt02.net Copyright.
Brooch: Parrot Devotee I, 2015 - 2016
Silver, steel wire, rice paper pulp, natural (undyed) feathers of pigeons, ducks & geese
6.5 x 8.5 x 5 cm.
From series: Parrot Devotees series
A barnyard fowl swoons with admiration and jealousy over a parrot: the incredibly beautiful Bird enjoys a special intimacy with the master, whose shoulder he perches on to converse. In a will to pass themselves off as Him, turkeys, partridges, pigeons, peacocks, pheasants, ducks, chickens, geese, guinea fowls and quails organize themselves and put together their most beautiful feathers to recreate the illusion of His presence.
© By the author. Read Klimt02.net Copyright.
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
newsletter
Get the latest information about the international Jewellery Scene sent directly to your mailbox every week. View previous issues
-
Eva Van Kempen
Amsterdam, Netherlands -
Jill Herlands
New York, United States -
Margit Hart
Vienna, Austria -
Dominique Labordery
Düsseldorf, Germany -
Iris Eichenberg
Bloomfield Hills, United States -
Julie Blyfield
Adelaide, Australia -
Marilena Karagkiozi
-
Gabriele Kutschera
Vienna, Austria -
Paula Lindblom
Gothenburg, Sweden -
Gian Luca Bartellone
Bolzano, Italy -
Lydia Hirte
Dresden, Germany -
Teresa Milheiro
Lisbon, Portugal -
Kathryn Wardill
Melbourne, Australia -
Marian Ripoll
London, United Kingdom -
Luz Arias
Buenos Aires, Argentina
