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Tarja Tuupanen

Jeweller
Published: 26.04.2021

Intro
Tarja Tuupanen has studied jewellery and stonework in Lappeenranta in South Carelia Polytechnic, Finland (BA 1999) and she graduated as MFA from Ädellab, Konstfack University College of Arts, Crafts and Design, (SE) in 2013. Since 1997 she has taken part in exhibitions internationally, both in group and solo shows. In addition, working as an artist, she has been active in the Finnish Jewellery Art Association to promote contemporary jewellery field and to develop the possibilities of artists. She has been working as a teacher both in Finland and abroad.  Tuupanen is a member of the Hibernate-artist group.

Statement

Statement 2018
Stone has always been my main material as a jewellery artist, my practice is dominated by it. The relationship to it is so thorough that it becomes more than just a material to begin with.  Whether the stone is in its natural form or industrially made item, it always has individual material character, cultural references, physical realities and value or status aspects which has to be considered and to get acquainted with.  I work with stone.


Statement 2013
The background for the body of work is skill, the core concept within craft. The term is embedded in the craft field and loaded with values and preconceptions. How is it discussed today and what does it really mean to the maker? The traditional stone-working skill is my most precious tool; it is my fetish and my lifeline. My practice is dominated by one material — stone. The relationship to it is so thorough that it becomes more than just a material to begin with. Yet, what happens when this skill encounters ready-made marble tableware, tacky candleholders or salt shakers from the 80s or mass-produced items instead of raw material? How does it change the work, the values and the control of skills?


Statement 2004-2011
Stone is my main material as a jewellery artist. I have worked with it ten years, and still it offers me challenge and surprises. I love it for its versatility, and hate it for its limitations. Working with stone is slow and it suits me. I don´t want to romanticize it that the timetaking working process would be meditative or spiritual, but the slowness has its value and the concrete grinding work helps me think. In the first working years I disliked the stone for its heaviness and clumsyness, and I wanted to change these qualities to the opposite by pushing the material to its edge by making it as thin and light as possible. Nowdays I´m already asking what the stone wants to say.

The idea and the material go hand in hand, but sometimes the stone piece offers something you can´t pass, a
colour change or a line or a structure. Then you have to change the original plan. Sometimes I search for these treasures to be used. And in the other hand there is always the need to control, need to do a perfect shape,  a perfect oval.

The white cacholong has offered me the theme for some years. In the natural
material there are all the white shades you can think of. When you look its whiteness long enough, you start to see some colours. This stone has the perfect athmosphere, it is minimalistic and quiet, stagnant but not boring, quite noble even. It looks soft and gentle, but it is not the truth. In a white stone all details show more clearly. In the sulek-burcu-emptiness-2015 there is content. Where is the limit of your expression or form, where is the limit in minimalism?

The white is waiting, it is silent, quiet and calm, it is clear and comforting, and frighteningly empty. Can a
blanco portrait tell more than a photo? Is there something more to look at in white scenery than in the view from your balcony?
I do love the northern
winter, when everything is covered with snow. It is silent, quiet and calm. Clear and comforting and frighteningly empty.
 

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Events      View / hide events

2021:
Exhibition  29 Apr 2021 - 29 May 2021  Simultaneousness by Finnish Collective Hibernate.
Exhibition  13 Mar 2021 - 21 Mar 2021  Jewellery from Afar.
Exhibition  13 Feb 2021 - 28 Mar 2021  Zoom In. Contemporary Finnish Art Jewelry Exhibition.
2020:
Exhibition  07 Nov 2020 - 29 Nov 2020  Contemporary Jewelry Brazil - Finland. Polarities.
Exhibition  30 Sep 2020 - 15 Dec 2020  METALLOphone: Museum.
Workshop  07 Sep 2020 - 10 Sep 2020  Stone and Gem Cutting with Tarja Tuupanen in Portugal.
Exhibition  06 Sep 2020 - 03 Oct 2020  Declaration of Sentiments.
Workshop  25 Jul 2020 - 28 Jul 2020  Stone and Gem Cutting with Tarja Tuupanen.
Exhibition  12 Mar 2020 - 18 Apr 2020  Stones: The final Cut.
Fair  11 Mar 2020 - 15 Mar 2020  Schmuck 2020.
Exhibition  10 Mar 2020 - 15 Mar 2020  Mia and Tarja.
2019:
Exhibition  06 Sep 2019 - 27 Oct 2019  Stone.
Exhibition  09 Aug 2019 - 28 Sep 2019  Four Seasons, Emotional Jewelry.
Exhibition  08 Jun 2019 - 04 Aug 2019  Meeting Point.
Exhibition  16 Mar 2019 - 16 Jun 2019  Schmuckismus.
Exhibition  09 Feb 2019 - 16 Jun 2019  Northern light. Jewellery from Finland.
2018:
Exhibition  19 Oct 2018 - 07 Jan 2019  4th Triple Parade.
How Art Museum, Shanghai, China.
Exhibition  16 Sep 2018 - 27 Oct 2018  That Rocks.
Gallery Beyond, Belgium.
Exhibition  16 Sep 2018 - 27 Oct 2018  Rocking Stones.
Exhibition  02 Aug 2018 - 01 Sep 2018  KORU+itä. Members of the Finnish Jewellery Art Association.
Meeting  13 Mar 2018 - 16 Mar 2018  The Urgency of Jewellery.
Exhibition  04 Mar 2018 - 20 May 2018  Elle luit. Jewellery and Light.
2017:
Exhibition  14 Dec 2017 - 20 Jan 2018  Tableware and Tools by Hibernate.
2016:
Exhibition  11 Mar 2016 - 15 May 2016  Open Space, Mind Maps. Positions in Contemporary Jewellery.

Publications      View / hide publications

Book:  Schmuck 2020 Catalogue. Handwerkskammer für München und Oberbayern:  Munich,  2020
Book:  Open Space – Mind Maps, Positions in Contemporary Jewellery. Maurer Zilioli, EllenNationalmuseum Stockholm and Arnoldsche Art Publishers:  Stuttgart,  2016
Page 106-111.
Book:  Hibernate, Helena Lehtinen, Eija Mustonen and Tarja Tuupanen. Lehtinen, Helena; Mustonen, Eija; Tuupanen, TarjaHibernate:  Lappeenranta,  2016
Online Platform:  Tarja Tuupanen: Marbles. Shih, OliviaArt Jewelry Forum:  San Francisco,  2015
Book:  Itsenäisyyden ajan suomalainen koru. Ruutiainen & CoTammi:  Helsinki,  2014
Page 331, 375-377.
Catalogue:  Ashes and Diamonds. Humak university of applied sciences:  Helsinki,  2012
Book:  The Spirit of Stone. Hakulinen & CoSaimaa University of Applied Scienses:  Imatra,  2011
Page 80 - 83.
Catalogue:  Fortelling i sølv. Kunstnerforbundet:  Oslo,  2011
Catalogue:  The Ring - jewel for ever. Hnoss Gallery:  Gothenburg,  2010
Catalogue:  KORURAL. Saimaa University of Applied Scienses:  Imatra,  2010
Catalogue:  KORU 3. Saimaa University of Applied Scienses:  Imatra,  2009
Book:  The Compendium Finale of Contemporary Jewellery Makers. Darling Publications:  Cologne,  2009
Catalogue:  Out of the Shell. Gallery Loupe:  Montclair,  2008
Catalogue:  De main á main / From Hand to Hand. Mudac-Musée de design et d’arts:  Lausanne,  2008
Book:  Hnoss depended. Galleri hnoss:  Gotheborg,  2008
Magazine:  Exhibition in Print. Metalsmith Magazine:  Bethel,  2007
4/2007.
Book:  Kontti. Korutaideyhdistys:  Lappeenranta,  2006
Book:  Schmuck 2006. GHM Gessellschaft für Handwerkmessen mbH:  Munich,  2006
Book:  Kontti. Korutaideyhdistys:  Lappeenranta,  2006
Book:  Schmuck 2004. Bayerischer Handwerkstag e.V.:  Munich,  2004
Book:  Jewellery, The Choise of the Europarliament. Galleria Marzee:  Nijmegen,  2004
Catalogue:  Nocturnus. Liivrand and MälkEstonian Academy of Arts:  Tallinn,  2001
Page 40 - 41.
Book:  KORU. Joieria Contemporània Finlandesa. Altarriba, Antonio; Mustonen, EijaSouth Carelia Polytechnic:  Lappeenranta, 
Book:  KORU. Joieria Contemporània Finlandesa. Altarriba, Antonio; Mustonen, EijaSouth Carelia Polytechnic:  Lappeenranta, 
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