Ute Röseler
Jeweller
Published: 07.01.2017
gmail.comBrooch: 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.
© By the author. Read Klimt02.net Copyright.
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.
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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.
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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.
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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.
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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.
© By the author. Read Klimt02.net Copyright.
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.
© By the author. Read Klimt02.net Copyright.
Brooch: Poem, 2013
Stainless steel bicycle spokes and sprocket wheel, macassar ebony
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Brooch: Abgefahren, 2012
Stainless steel bicycle spokes, anodised aluminium rim, stainless steel brooch pin
© By the author. Read Klimt02.net Copyright.
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.
© By the author. Read Klimt02.net Copyright.
Brooch: Berlin to Munich, 2010
Silver, titanium, sheoak
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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.
© By the author. Read Klimt02.net Copyright.
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 designThroughout 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.
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