Karen Vanmol

Let’s be honest here…who likes laminate; the low budget, plastic and ugly imposter of natural materials like stone or wood that’s used for furniture and countertops? How about laminate as a material for jewellery? And how about jewellery that doesn’t rely solely on the intensive mining of gemstones and precious metals? Welcome to the world of maker Karen Vanmol.

Inspired by architecture and nature Vanmol designs using traditional techniques like hinging, threading and sawing to create her graphically bold pieces. And she’s fascinated with paradolia – the psychological phenomenon that describes how we humans try to make sense of random stimuli or patterns – if you’ve ever gazed at a cloud in the sky and decided it looks like a horse or a flower or whatever, or seen a face when you look at the moon, then you’ve experienced paradolia.

Necklace: AKA#ISEEFACES, 2018. Wood, Laminate, Blackened Silver, Cotton Thread

She describes some of her process here…

‘Protecting or imitating nature, the use of natural materials in architecture, the restoring of a road surface, accidental strong shapes on a construction site, these things I find very interesting.

On my way through town, I hunt and collect. I always encounter interesting images that I use as an inspiration. In addition, there is a certain choice of materials and colours, these are strongly influenced by memories. For example the necklaces, furniture in different colours, certain constructions. I have my story and the viewer projects its own story on top of mine.

I always start from my sources of inspiration, with these eyes I look around me. Next to that I make jewellery and I like to use my tools and try out how materials reacts to them. Eventually I work with materials, and that provides an additional factor. I find out the properties they possess and how I can edit them and this will count in the final result. Some techniques I use are common and you can find them in your house’. (via Klimt02)

I’m loving the intensity of her pieces, the colours, the shapes, the clean lines AND the fact that she’s able to use a material like laminate (so it stays off countertops). You can find out more about Karen on her website or Instagram.

Earrings : Koloro Gemo Collection
2 Finger Ring
Necklace : AKA#ISEEFACES, 2017. Wood, Laminate, Patinated Silver
Necklace : Fading Landscapes, 2011. Wood, Paint, Gold Leaf, Brass, Cotton

Ring : Under Construction, 2010. Wood, Concrete, Paint, Cotton, Silver

Jorge Manilla

3 Oscure Sacrifices, 2015. Necklace, Leather, Tumbag

I wonder how many parents (with the best intentions) redirect their children from a career in art. And how many children grow up and eventually find their way back to it anyway. As a teenager Jorge Manilla wanted to be an artist like his father and grandfather (both were traditionally trained goldsmiths and engravers). But when the 15 year old told his mother he wanted to become a sculptor she threatened to kick him out of the house if he didn’t focus on a real career…like boxing (a prestigious national sport in his native Mexico).

“That was the moment of one of the biggest decisions in my life, and with it I decided to go completely into boxing and work for a sculptor. And this saved my life in every way. Boxing gave me discipline and structure and a clear mind to decide the next step in my life.” (via: Oslo National Academy of Arts)

Several years later and in need of extra cash Manilla was thinking of leaving boxing and began doing modelling for drawing classes at the San Carlos Art Academy in Mexico City. It was there that he decided to study drawing and sculpture (1994-1997) and later jewellery and silversmithing at the National Institute of Fine Arts (INBA), Mexico City, Mexico (1998-2002). He would go on to obtain a Bachelors degree in Sculpture (2002-2003) at the Royal Academy of Arts in Ghent, Belgium and a Masters in Jewellery and Silversmithing (2003-2006) from St Lucas University College of Art and Design in Antwerp. He moved to Belgium in 2003 lives and is currently working on his PhD at the Royal Academy of Fine Arts in Antwerp.

As a non-expert in the field of jewellery I experience an underlying uneasiness when I look at Manilla’s work, something that both disturbs and invites at the same time. Blackened, bulging and mammalian in a weird way, but oh sooo tactile. But he explains what that’s about…

My central themes are human feelings, death and life. Each piece is like a small altar – physiological, emotional and religious. I like to translate this into materials. Mexicans are very bodily – we say hello, kiss, hug and touch hands. To me, touching is very important, and I am really into natural material, like leather, wood, stones and human bones, because they are related to my cultural past, and the materials have tactility, temperature and heaviness.”  (via: Oslo National Academy of Arts)

I highly recommend checking out Manilla’s website here where you’ll see the full breadth of his work and get a peak into why he does what he does. Pretty amazing.

Without Title, 2008. Necklace. Cardboard, Silver, Cotton Thread
Polvo de Amor Quebrado, 2011. ‘Please Do Not Take My Heart’. Necklace. Leather, Wood, Cotton Thread, Copper

4 Oscure Sacrifices. Necklace. Leather, Wood, Acryl Hars, Steel
Impossible to Imagine II, 2015. Leather, Steel, Wood, Silver
Bled, Jorge Manilla Navarrete, Schmuck, 2017


Detail: Bled, Jorge Manilla Navarrete, Schmuck, 2017
There Is Nothing To Be Afraid Of, 2016. ‘Some Moments To Remember’ Brooch. Wood, Casted Acrylic Gypsum, Brass

Ariel Lavian

There’s something almost post-apocalyptic about Ariel Lavian’s work, a suggestion that nature, left to it’s own devices will eventually break down any memory left by humans. Very intriguing.

‘My design is influenced by the raw materials surrounding me. I create new worlds from the limited resources and finds tremendous wealth in the soil, the rotting logs, wasp’s nest, branches of the trees, broken objects, old plastic bags, it can be anything. I refer to the material and not to the object, study it, understand its properties and use it to create small but complete scenes of staged nature, ex-wild. I believe that through design – as a tool – I can make a change, make a difference, affect people.’

Lavian obtained a B.F.A. at the Academy of Art and Design in Fashion and Jewellery at Bezalel (2008-2012) and a Masters Degree in Industrial Design at the Academy of Art and Design there (2014-2016).

Check out his website here or his Instagram here.

Brooch – Deformation as an Object – between a straight and a rounded line, 2018. Copper, Various Patinas


Neckpiece – Hansen Disease. Deformation as an Object, 2016. Copper, Various Patinas


Brooch – Plasdeath Tree, 2018. branches, Plastic Bag, Mockingjay Skull, Spider, Sand

Paul Cocksedge Studio

Being somewhat of a bender of silver I find things made of metal eye-catching. That might explain why I found this image from Paul Cocksedge Studio so captivating. It shows a gently curving thousand pounds of rolled steel balanced, like a sheet of paper captured the moment it touches a horizontal plane and just before it slides out of reach (if you still use paper you’ll know how it can sometimes get away from you…if you’ve ever dropped a sheet I mean) ). So how does unyielding steel bend like that? According to Cocksedge ‘Poised’ is the result of ‘intensive series of calculations regarding gravity, mass, and equilibrium’. I bet it took some heat too.

‘Poised’, 2013. Paul Cocksedge Studio / Friedman Benda Gallery

To explore these and other projects check out Paul Cocksedge Studio. You can also find them on Instagram here.

‘Compression Sofa’, 2016. For Moooi – Milan Design Week
Rhythm Shelf, 2015. For Greenstein Lab Library, Seattle



Rhythm Shelf, 2015. For Greenstein Lab Library, Seattle

Jenny Anderson

Anderson studied fashion design prior to obtaining a bachelors degree in metalsmithing/silversmithing and is currently attending technical college to obtain a certificate in engineering. Wow! I think it’s so cool that she sets precious metals and stones against blackened steel, paint and gorgeous found objects, always with a keen eye on form, volume and craft.
Now, this is a tiny sampling of her work below, so please do yourself a favour and check out her Instagram feed here which is more current than her website, because, you know, who has time to keep a website up to date when you can just post to Instagram. I’m with you on that point Jenny 🙂

 

U Shape ring. Steel

Interactive box ring. Sterling silver

Chain earrings. Sterling silver

download (1)
Black steel bangles

 

 

Frieda Dörfer – Guilloché

Frieda Dörfer studied gold smithing, watchmaking and jewellery design for 10 years before branching out on her own in 2014. I came across one of her unique pieces the other day and assumed she’d hand-engraved its surface and, being totally inept at using a graver in my own work, I was impressed with her accuracy. It turns out she’d engraved those precise lines using a 17th century contraption known as a guilloché machine.

So what exactly is a guilloché (pronounced gee-oh-shay) machine? Even if you don’t know what it is you’ve probably seen what it can do…

 

Yes, it engraves patterns of lines onto metal or in some cases currency paper, faberge eggs, fountain pens and antique cigarette cases. Also known as a rose engine, geometric lathe or engine turning machine it was invented when someone modified a wood lathe, replacing the standard blades that cut away wood material with 2 polished burs that removed a thin line of material from a metal surface. It became a popular look on metal long before the invention of plastic everything and it took great skill to execute, something Dörfer has learned with practice and patience. She operates the guilloché using both hands, one to turn the hand crank and the other to apply even, steady pressure onto the metal surface. To create evenly spaced lines that are equal in depth and without shadow she has to know when and how much pressure to apply, no easy task. If you’d like to see more of her captivating and unique pieces check out her website here.

doerfer_1_418_418_90
Bild 14 von 22

ae03cd86a60d3510e86aa1c9a3587b64
Bild 21 von 22

5b1e09ce7530d32a6d47fc62bcd933be
Bild 21 von 21

bf18ddbbf2a893543329db60cef62166
Bild 7 von 22

 

 

Luke Maninov Hammond

Have you ever wondered what the Biophilia Hypothesis is and what it has to do with jewellery? No? Me neither. But when I came across the work of Luke Maninov Hammond I decided to find out.

The word biophilia was first coined by the German social phychologist, psychoanalyst, sociologist and humanist philosopher Erich Fromm and it means ones’ innate ‘love for humanity and nature, and independence and freedom‘. In other words, we humans are naturally drawn to the life force, to survival itself. It’s a concept that Luke likes to explore in his jewellery and I’m guessing that’s because apart from his work as a jeweller he’s also a neuroscience imaging technician who spends a lot of time in the realm of high resolution 3D microscopic imagery of cellular forms within the brain. So while his scientific side facilitates the study of things like sleep and consciousness along with diseases such as Alzheimers and Schizophrenia, his artistic side ‘is focused on reimagining biological form to explore themes of impermanence, consciousness and the connection between all living things. Through the study of organic structures that define life his novel creations instil a sense of wonder whilst also connecting complex biological and metaphysical ideas’.

Take a look and see what you think…because thinking is what it’s all about 😉

-gold-shield-ring_ 18ct white and yellow gold, austalian parti shapphire
Gold Shield Ring. 18ct white and yellow gold, austalian parti sapphire

cerulean-odyssey- object. sterling silver, gold plating australian spphirrs, london blue topaz blue apphites white saphhires 300 mm tall
Cerulean Odyssey Object. sterling silver, gold plating, australian sapphires, london blue topaz, blue sapphires, white sapphires. 300 mm tall

silver-cajal-ring_.jpgsterling silver,patina yellow australian sapphire
Silver Cajal Ring. sterling silver, patina, yellow australian sapphire

upright-towers-ring_9ct rose gold and white diamond 31mm x 10mm x 2.7mm
Upright Towers Ring. 9ct rose gold, diamond

LMH_Surfacing-earringsblue green sapphires 14 ct gold
Surfacing Earrings. blue green sapphires, 14ct gold

luke-maninov-hammond--graceful inner-islands-cufflinks_oxidized silver fused gold leaf
Graceful Inner Islands Cufflinks. oxidized silver, fused gold leaf

Fabrizio Tridenti

If I could understand the Italian language I might be able to make sense of this makers’ artist statement (see below) which I’m guessing has been translated from Italian to English. Sadly I don’t understand so all I can tell you about Fabrizio Tridenti is that he was born in Italy, that he graduated from the Istituto Statale d’Arte, Penne, in Metals and Jewelry Design in Italy in 1982, that he apprenticed between 1983 and 1992 and that he opened his own studio in Pescara in 1993.

So let’s let his work speak for him; the twisting, rusted, industrial clash of angles pushing in all directions…bella!

p.s. I apologize for not having titles for some of the images here. Hopefully you’ll enjoy them anyway 🙂

 

687bc1d54e1db094154631a0e834b876
Untitled, 2009. Bronze, acryclic enamel

 

2010-2-Premio-FABRIZIO-TRIDENTI-

Anello, alluminio, pittura acrilica 2010
Untitled, 2010, brass, acrylic paint

Untitled, 2010 Brooch brass steel acrylic enamel
Untitled, brooch, 2010. Brass, steel, acrylic enamel

038417cebc316128c0ee5b15fde93ab6

Restricted Area, 2010, brass, acrylic paint
Restricted Area, 2010, brass, acrylic paint

 

Artist statement from klimt02

Jewels cannot be confined within the limits of their function. Through liberating jewels from these limits, infinite experimentation fields are opened, which may lead to fruitful artistic experiences. The founding assumption of these attempts is the wish to return the central role to the intangible aspect in relation to the tangible aspect of jewels. 

By asserting the primacy of the intangible aspects, jewels are seen from a different perspective, an entire scale of values is refounded, with the privilege for the finest perceptions. 

Another aspect combining these attempts with conceptual art is the indifference towards the aesthetic value, which is strictly connected with the formal value. 

The main purpose of this work is to provoke reactions, start discussions, rouse considerations, and open new debates on jewels. The point is shifting the focus from the aesthetic to the intellectual experience, or rather the aesthetic experience is the intellectual experience. 

To obtain this result, the direction followed was to confute the traditional aspects of jewels: the functional, formal, and aesthetic values. 

“Virtual” is a way to create the visibility of what cannot be realized in the tangible dimension. The new technology offers these new expressive opportunities. 
The idea of the body or body parts as jewels also develops: a sort of zero degree of jewels. It can also be considered as an inversion operation: the body changes from traditional support of jewels to jewel itself; from background, it turns into protagonist (subject).
In the photo “the room as bracelet”, the concept of jewel is reversed: traditionally, hard materials are made to surround the body. On the contrary, in this case the body is an accessory of an architectural structure. This inversion appears not only as a limitation of movements, but universally as the present condition of human beings suffocated by structures produced by the society. A house is not considered as a shelter and protection, but as a limit to our ability to move, expand, an inorganic, static, and unchangeable shell for an organic, dynamic, and continuously growing creature. In this condition, these barriers can only be crossed through thought. 
In the photo “ring”, the concept of ring is brought to the extreme consequences of dematerialization. Not only the ring does not exist, but also the part of the body supporting it is removed. The visual result is anyhow that of a ring, a ring of “absence”. However, while the object is self-limited in a shape, here the absence of the object gives space to the observer to imagine something, a personal ring. Therefore, this creatively activates and interacts with the observer. 
I want to exploit our bigger attraction for what we cannot see, for what is not there, for what is indefinite. 
“It seems to me that ’Nothing’ is the most powerful thing in the world”, said Robert Barry. 
For me, art is not an exact science. There is no evidenced truth. Art is a field where creativity experiments infinite directions towards freedom. Art responds to the stimulations of contemporary culture and uses the scientific and technological progress and knowledge in all their branches. 

Fabrizio Tridenti