The 25 best On Body Artworks published in 2020. Klimt02 featured selection
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OnBody
ArtworksFeaturedbyKlimt02
Published: 14.03.2021
Brooch: From a Petroica Rodinogaster No. 2, 2020
Hook-and-loop fastener, thread, sterling silver.
9 x 15 x 4.5 cm
Photo by: Studio Munch (Myoung Wook Huh)
© By the author. Read Klimt02.net Copyright.
In this third serie we compile for you a selection of 25 On Body artworks published at Klimt02 in 2020.
In 2020 at Klimt02 we uploaded and catalogued more than 2500 artworks. An important part of the cataloguing process includes tagging the works. On Body, Landscape, Minimalism, Geometric, Design, Figurative, Organic, Abstract... and more. This especially careful task allows us to present jewels & objects compiled by any of the labels we previously decided to use as a way to organize the information.
But why we tag jewels as On Body?
We are used to see images of jewels, displayed at exhibitions or at single photo-shootings. But this way, too many times we lose the scale, the size and most important how they fit in our body. And the body is the ultimate place where the jewellery will be displayed. It was thought for it, designed and constructed thinking on the body whether worn or not. And it is only complete when gets in contact with it, being sometimes impossible to be understand if not on the body.
We can find a reflection on this in Barbara Schmitd's great text 25 Reasons why to Wear Jewelry which we quote below:
From the beginning, one constant has been taken into consideration when making jewellery. For a piece of jewellery is generally a relatively small object, which only becomes jewellery when it is worn on the body. An important criterion is that it actually meets the body’s ergonomic requirements.The human body, with all its curves and angles is therefore the standard against which this requirement of jewellery has always been measured, and continues to be so today. Functioning as an object worn on the body is not easy and requires a lot of ingenuity, for there is no part of the body which jewellery has not adorned, over the course of its history. This ergonomic exigency is reflected in the German word »schmücken« (to adorn) which has its roots in the word »schmiegen«, meaning ›to nestle in‹, the movement a child makes when it falls asleep in its mother’s arms; there is no gap between the two bodies and they move together as one.
We are used to see images of jewels, displayed at exhibitions or at single photo-shootings. But this way, too many times we lose the scale, the size and most important how they fit in our body. And the body is the ultimate place where the jewellery will be displayed. It was thought for it, designed and constructed thinking on the body whether worn or not. And it is only complete when gets in contact with it, being sometimes impossible to be understand if not on the body.
We can find a reflection on this in Barbara Schmitd's great text 25 Reasons why to Wear Jewelry which we quote below:
From the beginning, one constant has been taken into consideration when making jewellery. For a piece of jewellery is generally a relatively small object, which only becomes jewellery when it is worn on the body. An important criterion is that it actually meets the body’s ergonomic requirements.The human body, with all its curves and angles is therefore the standard against which this requirement of jewellery has always been measured, and continues to be so today. Functioning as an object worn on the body is not easy and requires a lot of ingenuity, for there is no part of the body which jewellery has not adorned, over the course of its history. This ergonomic exigency is reflected in the German word »schmücken« (to adorn) which has its roots in the word »schmiegen«, meaning ›to nestle in‹, the movement a child makes when it falls asleep in its mother’s arms; there is no gap between the two bodies and they move together as one.
Necklace: Arcadia, 2020
Japanese seed beads size 11, marbled lucite spheres size 20, nylon thread.
15 x 29 x 3 cm
From series: Symmetries Collection
Photo by: Janvi Photo
On body.
On body.
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Estimated price: 630 €
Set: The Beauty I and The Beauty II, 2020
Brass blackened.
Shoulder piece: 57 x 28 cm; Bracelet: 18.5 x 7 cm
From series: The Beauty
Shoulder piece and bracelet.
Statement: "Beauty is omnipresent". These pieces of body jewelry were created regarding the theoretical aspects of beauty while filtering out parameters for beauty and transferring these to jewelry. To create “beautiful" pieces, four mathematical parameters occurring in nature were considered: the golden ratio, the Fibonacci sequence, as well as recurring structures, patterns, and symmetries.
Statement: "Beauty is omnipresent". These pieces of body jewelry were created regarding the theoretical aspects of beauty while filtering out parameters for beauty and transferring these to jewelry. To create “beautiful" pieces, four mathematical parameters occurring in nature were considered: the golden ratio, the Fibonacci sequence, as well as recurring structures, patterns, and symmetries.
© By the author. Read Klimt02.net Copyright.
Body piece: Hybrid aus Mode und Schmuck, 2020
Silver, brass.
Photo by: Caroline Klenner
Statement: The hybrid arose from the idea of creating something new in which jewelry and fashion are equal and simultaneously combined into one object. I intend to go beyond boundaries and to show that there are no limits to art.
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Dress: Precarious situation, 2020
Viscose
70 x 40 x 1 cm
Photo by: Marek Micánek
The knitted dresses by Mikuláš Brukner from the series “Precarious Situation” are close-fitting and made of elastic rib knit. They feature exposed curved sections as a common characteristic. Dense areas of knitting alternate with areas in which the thread is loosely continued, creating transparency. The title of the series refers to the social group of the precariat with a very low or irregular income and financial insecurity. Mikuláš Brukner refers to studies by Guy Sanding Flossen, according to which the precariat is determined by negative as well as positive emotions that they experience in everyday life. For him, clothing is also a mediator and trigger of emotions. Holes were created in the knitting structure of the surface of individual items of clothing, through which the tension of precarious life is translated. The lack of rope symbolizes the lack of security. The colours for the collection range from those tones that represent calm to those that are associated with fear and aggression. The clothes thus incorporate the living conditions and emotions of this social group on several levels as inspiration for the designs and translate them into textile structures.
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Necklace: Party's Over, 2020
Light pink latex empty, faux leather covered with latex.
21 x 26 x 6 cm
Photo by: Anni Voll
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Object: Gate (Shadow), 2020
PVA foam.
211 x 51 x 1 cm
This work explores our subjective relationship to the world from both physical and phenomenological perspectives. I have attempted to create objects which when interacted with, create an embodied knowing of the world through a renegotiating of subject and object. The wearing of these objects is interactive, activating space, the senses, and the body. Gates and Gateways offer the experience of liminal space and the crossing of thresholds. I perceive these works as portals to new spaces: physical, psychological, and emotional.
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Body piece: Half-Moon, 2020
3D-printing resin.
6 x 8 x 1.6 cm
Photo by: Lester Li
From series: Puffy Crease
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Bangle: AVL Tree: the Quest for Balance, 2020
Resin, brass, paper.
Statement: Chaos and imbalance tend to spread rapidly and require an immediate response. To reinstate balance, one must identify the necessary changes. In her collection, Katherinne Milkez engages with the process of embracing and accepting pain, and the desire for balance in life. An AVL tree is a self-balancing binary mathematical structure that follows only one rule: the difference between left and right branches cannot be greater than one. The tree represents change, adaptation, and constant improvement by rotation. It is about humility: the knowledge that you are no better than your peers.
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Object: Confluence, 2020
Polymer.
Statement: Inspired by Judaica, this collection is based on candlesticks and menorahs - common religious symbols featured in Jewish family traditions and rituals. “The starting point for this project was the importance of tradition and family rituals in my life,” Tchinio explains. The modular menorahs and candlesticks have two states: open and closed. When open, these objects represent ritualistic traditions; when closed, they are stripped of this meaning and transformed into decorative objects - sculptures. Coupled with the objects’ modularity, Tchinio’s choice of polymer material makes these sculptures suitable for children to play with all year-round, rather than just on special occasions.
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Glasses: Kaleidoscope, 2020
Silver-plated bronze, enamel, copper.
Photo by: Tian Luyang
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Body piece: Vibroyant - Dahlia, 2020
Polyester, Vlisofix, synthetic dye.
30 x 30 x 7 cm
From series: Vibroyant
Model: Sophia De Groot.
Statement: The pieces that were created for my master collection have been selected to show the wide variety of possibilities of its assembly technique when it is executed in different ways. Changing the way of designing and/or connecting the surfaces, makes it possible to create completely different shapes, volumes, and movements. Each approach has the potential to translate into a more subtle or expressive design.
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Necklace: Pencil Textile, 2020
Pencils, wood, threads, glue.
16 x 1 x 40 cm
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Body piece: Fusion, 2020
Plastic, nylon thread.
© By the author. Read Klimt02.net Copyright.
Estimated price: 1000 €
Glasses: Cloud, 2020
Brass, sterling silver, blue topaz, freshwater pearls, wool roving, paper towel, clear ornaments.
34 x 32 x 36 cm
Photo by: Sihan Qiao
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Piece: My City Napoli, 2020
Sintered nylon powder, hand-dyed.
Cuff and ring.
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Sculpture: touch don't touch collection for Nuda Vita, 2020
Hand-dyed feathers, modelling foam.
Photo by: Laurentina Miksys
Modelled by Jennifer Morgan and Ellen Rehmatulla.
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Body piece: In Motion, 2020
Brass.
42 x 22 x 5 cm
Photo by: Petra Jaschke, Julia Schmölzer
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Necklace: Untitled, 2020
Copper, enamel, resin, cotton.
From series: Portraits of an Inner Universe
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Necklace: Relative No.2, 2020
Linen, cotton, cotton threads, silver.
Photo by: Federico Cavicchioli
From series: Relative
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Necklace: The Portrait of Tea, 2020
Gold plated gilding metal, handmade teabag, fishing wire, pearls.
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Necklace: Connection Network, 2020
Aluminium, brass, copper, spring steel, color spray paint.
Photo by: Silvia Zhang
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Ring: Mosaic Hand Glasses, 2020
Laser film, gilding metal.
Photo by: Yani Wang
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Piece: Together Separately, 2020
Leather, wood, sterling silver, steel.
Brooch: 10 x 10 1.1 cm; Necklace: 30 x 30 x 0.8 cm; Metalwork: 6 x 4.5 x 4.5 cm
Photo by: Tingting Chen, Xiyi Chen
From series: Learning Love
Necklace, brooch, metalwork.
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Necklace: You are a Piece of Art, 2020
Gilding metal, silver plated, earphone wire.
Photo by: Anna Chen
© By the author. Read Klimt02.net Copyright.
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