Ute Röseler

Jeweller

Published: 07.01.2017

Ute Röseler

: Düsseldorf
GERMANY

Mail:: ute.roeselergmail.com

Ute Röseler. Brooch: Insight, 2016. Stainless steel, copper, stainless steel pin wire.. From series: Inlay as constructional principle of design. The brooch was kept as minimal as possible and the metal inlay, attaching the closure to the piece, is receding from the front to the sides. .

Ute Röseler. Ring: Curved, 2016. Stainless steel, 925 silver.. From series: Inlay as constructional principle of design. The ends of the wire curve across the steel surface, closing an inlaid wire in a circle onto the same base. The shape of the groove decorates the piece as well as prevents the wire from slipping out. .

Ute Röseler. Ring: The space in between - Two stones, 2016. Stainless steel, copper, circonia.. From series: Inlay as constructional principle of design. Two stones are clamped between two bases, which themselves are held together by an inlaid wire. The wire again functions as the ring band as well. .

Ute Röseler. Object: Inside, 2016. Stainless steel, copper.. From series: Inlay as constructional principle of design. In this object two parameters are investigated, the size of the structure itself and the possibility of changing the dimensions of the groove as long as the volume stays the same. .

Ute Röseler. Object: Slowly, 2016. Corten steel, titanium.. From series: Inlay as constructional principle of design. Slowly represents the basic idea of my research into metal inlay as a constructional principle of design when welding joints are unstable because of the dissimilarity of the applied metals. In this object the strips of corten steel are held together by two inlaid titanium rods. As time is passing, a protective orange brown oxide layer will form on the surface of the corten steel and create a subtle colour contrast to the inert titanium. .

Ute Röseler. Object: Urban canyon, 2016. Stainless steel, copper.. From series: Inlay as constructional principle of design. Urban canyon consists basically of four cuprous relief inlays interlinking the four steel parts to one object. It can be seen as a study about stability and workability when the amount of inlays, the dimensions of the bases and the complexity are increased, yet leaving the measurements of the inlaid material untouched. .

Ute Röseler. Brooch: Poem, 2013. Stainless steel bicycle spokes and sprocket wheel, macassar ebony..

Ute Röseler. Brooch: Abgefahren, 2012. Stainless steel bicycle spokes, anodised aluminium rim, stainless steel brooch pin..

Ute Röseler. Installation: In Form, 2012. Paper, aluminium, thread, screws, fabric.. A collaboration between the CIT fashion design graduates and ANU gold and silver smithing students, resulting in a show at the Gallery Of Australian Design, Canberra, Australia. Those pieces, the garments by Stephanie Cooper and the objects by Ute Röseler demonstrate the process of development and making. Like first models, the garment as well as the underlying support to the left are made of paper and cheap sketching fabric, quickly assembled by rough stitching. Some parts are replaced by materials of our trade, fabric and metal in the garment to the right. The ensemble to the right can be understood as a final piece, made of fabric and metal only. Whereas the first object is supporting the garment, the object moves around the body, raising higher and changing it´s functionality. .

Ute Röseler. Brooch: Teamwork, 2010. Silver, sheoak..

Ute Röseler. Brooch: Berlin to Munich, 2010. Silver, titanium, sheoak..

Ute Röseler. Object: Timelessly balanced, 2014. Sake bottle, bamboo veneer.. Sake-set. Served in a set of a flask and cups, drinking the Japanese alcoholic beverage Sake is imbued with tradition and etiquette, for instance showing respect by pouring one another’s drinks.
. In this sake set I have combined the attributes of spending time together, communication and respect. In focus is the overall experience of communicating and enjoying the Sake together. The Sake set works best as a set since the components stand more securely within the tray. The rocking tray on the other hand makes it necessary for the two parties to lift the bottles together, pour at the same time the same amount and then pick up the cups simultaneously.
. To create the glass wear I cut and fused one old Sake bottle, appreciating its beauty in colour, form and texture. For the tray I salvaged some bamboo veneer..

Ute Röseler
Brooch: Insight, 2016
Stainless steel, copper, stainless steel pin wire.
From series: Inlay as constructional principle of design

The brooch was kept as minimal as possible and the metal inlay, attaching the closure to the piece, is receding from the front to the sides.

Ute Röseler
Ring: Curved, 2016
Stainless steel, 925 silver.
From series: Inlay as constructional principle of design

The ends of the wire curve across the steel surface, closing an inlaid wire in a circle onto the same base. The shape of the groove decorates the piece as well as prevents the wire from slipping out.

Ute Röseler
Ring: The space in between - Two stones, 2016
Stainless steel, copper, circonia.
From series: Inlay as constructional principle of design

Two stones are clamped between two bases, which themselves are held together by an inlaid wire. The wire again functions as the ring band as well.

Ute Röseler
Object: Inside, 2016
Stainless steel, copper.
From series: Inlay as constructional principle of design

In this object two parameters are investigated, the size of the structure itself and the possibility of changing the dimensions of the groove as long as the volume stays the same.

Ute Röseler
Object: Slowly, 2016
Corten steel, titanium.
From series: Inlay as constructional principle of design

Slowly represents the basic idea of my research into metal inlay as a constructional principle of design when welding joints are unstable because of the dissimilarity of the applied metals. In this object the strips of corten steel are held together by two inlaid titanium rods. As time is passing, a protective orange brown oxide layer will form on the surface of the corten steel and create a subtle colour contrast to the inert titanium.

Ute Röseler
Object: Urban canyon, 2016
Stainless steel, copper.
From series: Inlay as constructional principle of design

Urban canyon consists basically of four cuprous relief inlays interlinking the four steel parts to one object. It can be seen as a study about stability and workability when the amount of inlays, the dimensions of the bases and the complexity are increased, yet leaving the measurements of the inlaid material untouched.

Ute Röseler
Object: Urban canyon, 2016
Stainless steel, copper.
From series: Inlay as constructional principle of design

Ute Röseler
Brooch: Poem, 2013
Stainless steel bicycle spokes and sprocket wheel, macassar ebony.
© By the author. Read Klimt02.net Copyright.

Ute Röseler
Brooch: Abgefahren, 2012
Stainless steel bicycle spokes, anodised aluminium rim, stainless steel brooch pin.
© By the author. Read Klimt02.net Copyright.

Ute Röseler
Installation: In Form, 2012
Paper, aluminium, thread, screws, fabric.

A collaboration between the CIT fashion design graduates and ANU gold and silver smithing students, resulting in a show at the Gallery Of Australian Design, Canberra, Australia. Those pieces, the garments by Stephanie Cooper and the objects by Ute Röseler demonstrate the process of development and making. Like first models, the garment as well as the underlying support to the left are made of paper and cheap sketching fabric, quickly assembled by rough stitching. Some parts are replaced by materials of our trade, fabric and metal in the garment to the right. The ensemble to the right can be understood as a final piece, made of fabric and metal only. Whereas the first object is supporting the garment, the object moves around the body, raising higher and changing it´s functionality.

Ute Röseler
Brooch: Teamwork, 2010
Silver, sheoak.
© By the author. Read Klimt02.net Copyright.

Ute Röseler
Object: Timelessly balanced, 2014
Sake bottle, bamboo veneer.

Sake-set. Served in a set of a flask and cups, drinking the Japanese alcoholic beverage Sake is imbued with tradition and etiquette, for instance showing respect by pouring one another’s drinks.
In this sake set I have combined the attributes of spending time together, communication and respect. In focus is the overall experience of communicating and enjoying the Sake together. The Sake set works best as a set since the components stand more securely within the tray. The rocking tray on the other hand makes it necessary for the two parties to lift the bottles together, pour at the same time the same amount and then pick up the cups simultaneously.
To create the glass wear I cut and fused one old Sake bottle, appreciating its beauty in colour, form and texture. For the tray I salvaged some bamboo veneer.

Bio

Responding to architectural constructions or mechanical objects, the work of Ute Röseler has always been technical. Having received her Advanced Diploma in Perth and the Bachelor at ANU in Canberra, Australia, it was a matter of course that her master studies at the University of Applied Science in Düsseldorf were concerned with exceeding the use of inlay as a merely decorative technique.

Statement

Inlay as constructional principle of design
Throughout my master degree I have exceeded the use of traditional Damascene (metal inlay)* as a merely decorative technique to function as a cold joint. Adjusting single parameters to suit the new application, it is possible to permanently connect two dissimilar metals, when soldering, riveting or welding are not feasible. Utilising neither heat nor glue, I have proven it to be successful in securely adhering brooch findings or setting stones into the base.
* Metal inlay sees a softer metal hammered into an undercut groove of a harder metal base.

CV

Ute Röseler, Düsseldorf, Germany.

Education:
2016 Master of Arts / Applied Art and Design University of Applied Sciences, Düsseldorf, Germany
2012 Bachelor of Design Arts, Major in Gold and Silversmithing Australian National University, Canberra, ACT, Australia
2010 Advanced Diploma in Jewellery and Object Design and Production Central Institute of Technology, Perth, WA, Australia

Professional Development:
2013 Working for jewellery designer Claudia Hoppe Düsseldorf, Germany
2015 - 2016 Working for goldsmith Michael Berger Düsseldorf, Germany
2015 Internship at Galerie Marzee Nijmegen, The Netherlands
2015 Internship with Marc Monzó Barcelona, Spain
2015 Internship at Klimt02 Barcelona, Spain
2013 Working for goldsmith Simon Cottrell Canberra, ACT, Australia

Group Exhibitions (selected):
2016 ITAMI International Craft Exhibition - Shuki・Shuhaidai The Museum of Arts & Crafts ITAMI, Hyogo Prefecture, Japan
2016 Wiener Schmucktage 2016 Österreichisches Museum für angewandte Kunst/Gegenwartskunst
2016 Marzee International Graduation Show 2016 Galerie Marzee, Nijmegen, Niederlande
2016 - Oct.2016 Fashionably Early, Collaboration between CIT Fashion Designers and ANU Goldsmiths Gallery of Australian Design, Canberra, ACT, Australia
2012 Once More With Love, Travelling exhibition, Studio 20/17 in Sydney, Gallery Bilk in Canberra and Northcity 4 in Melbourne
2012 - Feb. 2013 SHINE - Central’s Creative Industries recent graduate show Central Institute of Technology, Perth, WA, Australia (selected)
2011 Cast Off Keeper Gallery, Sydney, NSW, Australia
2010 Cast Off Keeper Gallery, Sydney, NSW, Australia
2010 20 -10 Award Exhibition Perth Galleries, North Fremantle, WA, Australia
2010 Graduate Metal XII, National Survey Exhibition of Graduates from Australia, Asia and South Africa Gallery Central, Perth, WA, Australia
2009 Contemporary Wearables Toowoomba, Qld, Australia
2008 The York Society (Inc.) Art & Craft Awards York, WA, Australia
2008 Precious Ore - Precious Ties Kalgoorlie, WA, Australia

Events

APPRECIATE

Ute Röseler

: Düsseldorf
GERMANY

Mail:: ute.roeselergmail.com

Ute Röseler

Bio

Statement

CV

Events

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Bio

Statement

CV

Events

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