Marion Delarue
Published: 11.02.2019
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Piece: Sagtu, 2019
Mother of pearl, Korean natural lacquer, magnets.
6 x 10 x 6 cm
Topknot ornament (for men).
© By the author. Read Klimt02.net Copyright.
Piece: Sagtu, 2019
Mother of pearl, Korean natural lacquer, magnets.
6 x 10 x 6 cm
On body.
Topknot ornament (for men).
© 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.
Awarded at: The European Triennial for Contemporary Jewellery 2017
From series: Parrot Devotees
On body
© By the author. Read Klimt02.net Copyright.
Brooch: Parrot devotees 2 3 4, 2016 - 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.
Brooch: Parrot devotees 2 3 4, 2016 - 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.
© 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
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 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.
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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.
Part of: Musée des Arts Décoratifs Paris
From series: Agate Jewels series
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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
Awarded at: Cominelli Award 2015
From series: Agate Jewels series
Cominelli Award 2015, The Third Prize.
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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
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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 ».
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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
© 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.
Awarded at: The European Triennial for Contemporary Jewellery 2017
From series: Parrot Devotees
© 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 
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