Selen Özus jewelry …. a serie of « errors », a serie of little characters -between irony & tenderness- between drawing & jewel, that make you -me- smile, that touch your heart …..

Selen Ozus - « Error 107″ necklace – porcelain , glaze , cotton , silk 2011

Selen Ozus – « error » necklace – porcelain, silk 2011

Selen Ozus -   NECKLACE « Friends » serie 2013

Selen Ozus Jewelry – « as » necklace porcelain, iron, silk thread – 2011

Selen Ozus – « error » brooch – porcelain, iron 2011

Selen Ozus – « deep inside » Necklace – Iron, silver,silk, cold enamel 2013

Selen Ozus Jewelry | « lover » brooch – silver 2009

Tanel VEENRE, a BLACK ENVY ……….

« A beautiful piece of jewellery is exciting. Excitement is a quality that comes into being upon collapse of the quantifiable and measurable into the inexplicable and personal. Fleeing from gold-edged emptiness binds the artist’s soul with the thing being created. It’s all somehow wordlessly conspiratorial. Artist and jewellery become witnesses to a crime in which they are both complicit.
Anxiety may contain embarrassment and brazenness, mockery levelled at the opinion of the court.

A talented jeweller says: The quality of the jewel is in its intellectuality. For an artist the jewel is something very personal through which he can express his concerns, feelings, ideas.
Veenre likes to combine metal with such a natural details like rope or coal (back to the Stone Age?). He makes historical collars out of shining fish-scales, which he strings together with little glass beads. As a result his work looks very fine with its dynamics, femininity and grace. It is experimental and theatrical, there is a fine sense of drama inside. »

 Tanel Veenre - Nature Arisen I 2013 Brooch Seahorse, jet, amethyst, silver 7 x 7 x 3 cm –
Palindrome 2013-2014
a so dreamed brooch …………….

Tanel Veenre brooch

Tanel Veenre - PALINDROME 2013/14 – (ring ?)

Tanel Veenre – My Kingdom brooch 2011-12 – Mutual hearts serie

Tanel Veenre « Heartbreaking » Neckpiece  Heart-felt – Garnets, tourmalines, antique wood, silver, gold

 Tanel Veenre « Medal for the goner » – jewelry 2005-2011

Tanel Veenre - Nature Arisen II 2013 Brooch Wood, beetle, smoky quartz, silver 8 x 11 x 3 cm –
Palindrome 2013-2014

Tanel Veenre  Necklace: Sebastian 2009  Antique wood, bob-floats, silver

Tanel Veenre Neckpiece: Lonely Gardener Wood, rock crystal, silver, cosmic dust – « Fruits of Paradise » 2011

 Tanel Veenre, Neckpiece, 2011

Tanel Veenre earrings

Tanel Veenre  Neckpiece: « In the Beginning Was the Word » 2011  Jet, textile

Tanel Veenre « I read to know that I am not alone » Brooch

Seoyeon Lee

PREZIOSA is a cultural project designed and co-ordinated by “Le Arti Orafe”, since 1985 the most prestigious contemporary jewellery school in Italy.
The project, launched in 2005, has become one of the most important European events devoted to contemporary jewellery.
The conceptual quality, the presence of artists of international fame, the prestigious set-up, the elegant catalogues and the original formula that comprises the organisation of conferences with the artists taking part, make “Preziosa” an appointment that lovers of contemporary jewellery cannot afford to miss.
A country of exquisite jewellery traditions, Italy has no museum devoted to jewellery, and temporary exhibitions have always been rare.
The attention devoted by the communication media and the cultural institutions to initiatives devoted to this art form has – apart from a few shining exceptions – always been limited, while great interest has always been expressed by lovers of contemporary art.
Through the organisation of events such as PREZIOSA, the school wishes to help to fill a gap the discrepancy of which is more or less consciously acknowledged.
Since 2008, a «parallel» exibition for young artists is organized: PREZIOSA Young is already an international reference for new artists and goldsmiths

Han Sang Deok

Tithi Kutchamuch  

Jie Sun  Brooches: Face to Face, 2013 Wood, Silver, Steel, Chinese lacquer From Face to Face series

Daniela Hedman Necklace: Beach-series 2013 Copper, cherry wood, red birch, textile, thread 31 x 20 x 0,4 cm

Exhibition
The PY exhibition will take place in conjunction with the international event PREZIOSA 2015, in Florence, in the prestigious Marino Marini Contemporary Museum of Art (Firenze). The organizers could also plan other exhibitions along the year: the selected artists are committed to deliver their work to all the scheduled events. Each of the selected winners must present 5 to 10 pieces for the exhibition. These pieces must be the same (or similar) to those submitted for the selection

PREZIOSA YOUNG 2015
Contacts : +39 055 2280131
preziosa@artiorafe.it

Katja Toporski

Spring 2013  :  MFA Towson University, Towson , MD (USA)
2000 FRCA (Fellow of the Royal College of Anaesthetists), London, UK
1999 Diploma of Child Health, London, UK
1992 Doctor of Medicine (MD), Technical University of Munich, Germany

« Art plays a role in addressing the intangible. The small scale of jewelry and its intimate relationship with the body can make it a vehicle for objects that are dear to us, ones that carry personal or spiritual meaning or act as objects of remembrance. In my work I am exploring the cyclical structure of the necklace to illustrate my ideas about material change, about permanence and the ephemeral, about growth and decay, the cycle of life and death. I am interested in objects that provided meaning in past cultures and the faint traces they left behind. Those objects leave us wondering and contemplating our cultural ancestors and how their treasured objects impact us today. »

Katja Toporski -Porcelain, kiln fired concrete filler, Silk and silver

Arantxa Sainz / « Aran Zazu »

Técnica superior en Artes plásticas y Diseño en la especialidad de Joyería artística por la Escola d’ Art i Superior de Disseny de Valencia.(EASD)

« Entendemos que la joyería contemporánea se aventura a investigar y experimentar con materiales, conceptos, procesos, el valor de la pieza ya no solo se clasifica en gema que lleve o el material noble que utilice, el valor llega más allá, todo tiene valor, la forma, el concepto el mensaje que comunica, la relación que nace entre la pieza y el receptor. El artista trasmite sensaciones, vivencias, ideas.

Desestimamos la necesidad de que una joya , deba tener como finalidad, formar parte del cuerpo, de ser usada; una pieza puede o no ser portada. La aparición de nuevos materiales ha creado infinidad de posibilidades. Ya no hay límites, se busca experimentar con todo, investigar y valorar todo. Todos los materiales son válidos. Nuevos métodos de expresión, la utilidad y necesidad de encontrar nuevos caminos, hacen imprescindible la evolución de la joyería.
Hablamos de arte contemporáneo, en el momento que existe una motivación, libre del autor.
Es una expresión artística que responde al concepto del arte y del pensamiento del momento actual.
En la joyería actual, existe la gran virtud, de poder utilizar cualquier material. El artista se fusiona con la creación a través de sus investigaciones, sus ideas, el camino que recorre hasta llegar dar vida a sus sensaciones, una aventura que cambia, se transforma, va creciendo y es tan valorado el proceso como la creación. 
Hoy en día estamos influenciados con los momentos que vivimos, para bien o para mal somos influenciados por ellos y necesitamos expresar estos cambios, a través del arte. » (CAT Joyeria Contemp.)

Arantxa Sainz / Aran Zazu – A través de mi mirada « SIÉNTEME ». nidos/nets 2014 –
porcelana traslúcida, esmalte,(vidrio)

Arantxa Sainz / Aran Zazu – A través de mi mirada « SIÉNTEME ». nidos/nets 2014

Arantxa Sainz / Aran Zazu – A través de mi mirada « SIÉNTEME ». nidos/nets 2014

Arantxa Sainz / Aran Zazu – A través de mi mirada « SIÉNTEME ». nidos/nets 2014

Arantxa Sainz / Aran Zazu - A través de mi mirada « SIÉNTEME »

Arantxa Sainz / Aran Zazu – A través de mi mirada « SIÉNTEME ». nidos/nets

« Mi trabajo recorre los sentimientos y sensaciones que nacen en la mujer durante el embarazo. Recipientes de vida que nos hablan de fragilidad, protección, refugio, un equilibrio entre la visión real pura y los sentimientos. »

Arantxa Sainz / Aran Zazu – A través de mi mirada « SIÉNTEME ». nidos/nets

Arantxa Sainz / Aran Zazu - A través de mi mirada « SIÉNTEME ». nidos/nets

Arantxa Sainz / Aran Zazu – oct 2014 – porcelana traslúcida, esmalte, vidrio, cordón bambú

“OSCURE  SACRIFICE”

By creating  jewellery Jorge Manilla investigates his environment - religion, emotions, relationships and the meaning of life.
Manilla has a professional background as a boxer and butcher. He observes violence and cruelty pragmatic and objective and his jewellery often express a brutal rawness –
The last years the artist  re discovered his love for the black color, wich has been a constant in his life
And since 2010 Manilla translate the rawness of life in materials…
For Jorge black relates to the hidden, the secretive and the unknown, and as a result it creates an air of mystery. It keeps things bottled up inside, hidden from the world
With his dark forms and shapes he creates a barrier between the meanings of the objects and the outside world
Black implies self-control and discipline, independence and a strong will, and giving an impression of authority and power.
Manilla think that black is the end, but the end always implies a new beginning.
When the light appears, black becomes white, the color of new beginnings
The work of Jorge are beautiful punches that hit the viewer in solar plexus.

Opening: Friday January 23 – 17.00-21.00
Special presentation with the artist Friday January 30 17.00-20.00
The exhibition runs until February 21

Thursday January 28 Jorge Manilla makes a lecture at HDK – School of Design and Crafts, for more information mail karin@foursweden.com

Jorge Manilla ring

« “The emotional element which gives an obsessive value to communal existence is death.” 
George Bataille
In 2010, I  began to work on my series “Only Memories”and “Dust of a Broken Love”, which were inspired by the deepest feelings and fears that we usually avoid, I tried to show with this work the moral and corporeal anatomy of the human soul.
 Since then, I’ve developed series in which I explore the darker side of human beings.
 With series like “Pain”, “Melancholia”, “Contemporary Savagery” and “Morbid Moves” .
I’ve researched  and reflected on  topics such as death, life, love, feelings, emotions in both the psychological and physical aspects of people.                                                                   
With “Oscure Sacrifice” ,  I seek  to confront  elements of  my previous work with a more positive human outlook. Preserving the mystery and abstractness of the dark side, I want to create new  forms that  originate  a feeling of hope.
Shapes and material serve as translators of my thoughts, in my creative process through materials I strive to penetrate in the dark side of the society we live in and then represent an idealized – less  negative image of a society that in the last years has produced mass murders, not only physical but emotional and intellectual.
My latest pieces are images born out of the dream of darkness, of hope or solely my instinct. »  Jorge Manilla

Jorge Manilla – Oscures sacrifices – broches povera

Jorge Manilla - Oscures sacrifices – broche

Jorge Manilla – Oscures sacrifices – rings

Arte Povera by Jorge Manilla  - Broches (serie of 36), wood, pigments, Steel, copper, polymer gipsum, 2014

Four
Nordhemsgatan 74,
Göteborg – Sweden
+46 73 086 42 49
info@foursweden.com

The Arts & Crafts Design Award 2014 prize winners have been chosen!

Arts & Crafts Design Award is an international, annual competition for all nominated artisans, craftspeople and designers.
The primary aim of the award is to honor and support the best ideas and concepts and recognize its excellent realization.
It provides the award winners and nominees with publicity, prestige and creates a global PR push.

acd-award  2014 :  1st Prize 2014 : Julia Toledo, Brazil

Maria Rosa Franzin

Une grande dame, des bijoux d’exception …….. Quelqu’un a parlé de « Architecture of light » en parlant de ses bijoux …. oui, c’est exactement ça …

« Thinking about the object, sketching her thoughts and then letting time pass to encourage them to become concrete shapes. My pieces are the result of a close confrontation between thought expression in terms of signs and its actual translation into three- dimensional objects by working flat metal plate.
The pictorial instinct is in the way shapes and in the implementation phase, become graphic signs, a brushstroke, mark, scratch, specks on the “skin” of metal.
Steel wire provides a means for translating these graphic marks like in the neckpiece Hartung.
Pictorial traces are outlined on the surface of the metal, abstract compositions where gold veins emerge from oxidized silver plated or surfaces are marked by tiny traces. »

Maria Rosa Franzin – Brooch, 2000. Silver, pure gold

Maria Rosa Franzin -  “Breeze” Necklace, 2000. Silver, pure gold, steel.

Maria Rosa Franzin -   Necklace INSTALLAZIONE – Gold999, silver800 lenght cm 68 - 2010
(you can buy it at ALLIAGES)

Maria Rosa Franzin – Brooch, »Dark Moon » 2010

Maria Rosa Franzin - Brooch « DUE », 2014 – « base in argento, filo argento ossidato e sotto una lastra sottile di onice- L’altra parte è una forma sbalzata in argento e oro puro … » cosi dice la MAESTRA !

Maria Rosa Franzin - HARTUNG Necklace, detail

Maria Rosa Franzin – Brooch 2014  « SPAZIO NERO » – Silver800, gold999, onix cm 6×6 – height cm 5
 (I made the picture a little clearer to be able to see the details and the different levels – can be bought at ALLIAGES …)

Aişegül Telli, from Istanbul, is actually at MADEN school of jewellery in Istanbul.

(Burcu Büyükünal & Selen Ozus are the cofounders and teachers of Maden Contemporary Jewelry Studio in Istanbul.)

« my first collection inspired by underwater world , corals and anemons (my first dive was in Maldives, cant get over that beauty !). I use mostly brass, epoxy, pigments, micro glass spheres »

Aişegül Telli – Gold Plated Brass Brooch in Blue Ombre , 2014

Aişegül Telli -   Blue Ombre necklace , 2014

Aişegül Telli – Brass coral ring in blue, 2014

Aisegul Telli Gold plated Brass Ring, Blue Ombre ,  2014

Aişegül Telli - Unique piece with amethyst, 2014 – detail

and because all corals are not only blue ….

Aişegül Telli -  Pink Brooch Detail  , 2014

Aişegül Telli -   ring 2014

« Frozen Flora, Flourishing Fauna » by Märta Mattsson

Märta Mattsson’s solo exhibition, Frozen Flora, Flourishing Fauna, presents a new series of work inspired by the idea of a frozen and magical forest.  Through these works, Mattsson creates her own ‘Narnia’, inspirited with the essence of a mysterious forest inhabited by weird little creatures.

Galerie Marzee presents the exhibition, Frozen Flora, Flourishing Fauna, showcasing a new series of work by Swedish contemporary jeweller, Märta Mattsson.

Märta Mattsson Necklace: Untitled, 2014 Crushed coral, Freesia flowers, resin, wood, silver

Märta Mattsson Brooch: Untitled, 2014 Wodyetia bifurcata (seeds), crushed yet, wood, silver

 Märta Mattsson Necklace: Untitled, 2014 Crushed sulphur, Digitalis flowers, resin, wood, clay, silver

 

 

Galerie Marzee

Lage Markt 3-Waalkade 4
6511 VK -  Nijmegen
NETHERLANDS

Beauty of the Beast: Jewellery and Taxidermy -  Museum Arnhem, Netherlands

The museum presents the work of more than 15 international designers and artists for the exhibition, Beauty of the Beast.  The displayed works explore the connection between taxidermy, jewellery and visual arts.

(Reid Peppard – Head Piece: Double Rat Headdress, 2008)

Artist list : Karley Feaver — Charlie Tuesday Gates — Kate Gilliland — Idiots — Benjamin Lignel — Märta Mattsson — Kelly McCallum — Kate MccGwire — Ted Noten — Reid Peppard — Iris Schieferstein — Simei Irene Snyman — Tinkebell — Cecilia Valentine — Emily Valentine — Tanel Veenre — Christel Verdaasdonk — Lisa Walker — Julia deVille — Niels van Eijk — Miriam van der Lubbe

From high-concept shops to cocktail bars: every style-conscious place these days displays a mounted fox or peacock in the window. Taxidermy, the mounting of dead animals, is hot. But what happens when you apply taxidermy to contemporary jewellery design? In the exhibition Beauty of the Beast Museum Arnhem presents the work of more than 15 international designers and artists who make a connection between taxidermy, jewellery and visual arts. The exhibition presents, on the one hand, wearable jewellery and fashion accessories such as necklaces, brooches, bags, hats, hair ornaments and shoes. But it also includes more sculptural and autonomous work.

Märta Mattsson Brooch: Crash!, 2011 Taxidermy bird, walnut wood, silver

Märta Mattsson Brooch: Palindrome, 2014 Cicada wings, resin, crushed sulphur, silver, glitter

Emily Valentine,Vijf broches, Deconstructed Budgie, 2010. Foto: John Lee

Benjamin Lignel Piece: Io ce l’ho d’oro (yeah…but mine’s gold), 2007 Fine gold 6,5 x 3,4 x 3,4 cm Beak extension for pigeon photo: Enrico Bartolucci, Paris  An experiment on the ambivalent use of accessories to either mock, or ape, the demeanour of our betters. .

Tanel Veenre. brooch: Forever Together, 2014 Seahorses, wood, gold leaf, silver Photo by Tanel Veenre

 Julia deVille Brooch: Bird Skull, 2004 Bird Skull, cubic zirconia, sterling silver 

Kelly McCallum brooch

Museum Arnhem
Utrechtseweg 87
6812 AA -  Arnhem
NETHERLANDS
info@museumarnhem.nl
tel +31(0)26 30 31 400

Mabel Pena, Argentina -

Con una amplia formación que se actualiza hasta el día de hoy, experiencia docente en su propio taller y distintas instituciones, desarrolla actualmente su creación alrededor de la temática de la naturaleza y su alteración. (Joyeros Argentinos)

« En la joyería encontré el lenguaje que me permite explorar mi mundo interno, manifestar mis reflexiones y experiencias en piezas únicas. Joyas que transmiten mi mirada y que cobran sentido a través del cuerpo de quien las porta.
La actualidad de mi obra profundiza sobre nuestro lugar en la tierra y surge como reflexión sobre la influencia del ser humano en las alteraciones de la naturaleza.
Detengo mi mirada en esta problemática transformando materiales de la cotidianeidad (bolsas de supermercado de polietileno, tapas de botellas, etc.) y dando forma a joyas que evocan a la naturaleza, resignificando su existencia y convirtiéndolas en paradójicos objetos de consciencia. »

Mabel Pena -  Necklace  Nature, Nests, everlasting present. (Alpaca, bronze, supermarket bags recycled polyethylene, loofah).

Mabel Pena - Necklace Jungle, everlasting present. (Silk, bronze, supermarket bags recycled polyethylene).

Mabel Pena – Necklace Jungle, everlasting present. (Silk, bronze, supermarket bags recycled polyethylene).

Mabel Pena -   brooch, Nature, Nests, everlasting present.(supermarket bags recycled polyethylene, loofah.)

Mabel Pena broche

Mabel Pena -   Broch Nature, Nests, everlasting present. (Alpaca, bronze, supermarket bags recycled polyethylene, loofah).

Mabel Pena -   Necklace and Broch Nature, Nests, everlasting present. (Alpaca, bronze, supermarket bags recycled polyethylene, loofah). DETAIL

Mabel Pena -  broch Nature, Nest, everlasting present. (Alpaca, supermarket bags recycled polyethylene, loofah).

Mabel Pena ring

(jamais deux sans trois ….. voici mon troisième « Love BLANC » … le « mois du blanc » ? non, besoin de clarté, de pureté, de lumière, de « simplicité » après ces jours d’actualité sombre ….)

Velislava Bozhinova - ses broches surtout, comme de petits animaux, entre le cailloux doux et le coquillage, toujours cerclés d’une armature noire …. structurés, mais structure eux-mêmes : anciens ossements ? organisme restant, ou à venir ?

2011-2014 Master Degree Jewellery Design and Silversmithing at Royal Academy of Fine Arts (Antwerp, Belgium)

voir aussi sa page Facebook

Velislava Bozhinova brooch

Velislava Bozhinova brooch

Velislava Bozhinova – Brooch, 10,5x4x5 cm, ceramic, silver, inox

Velislava Bozhinova – Brooch, « Adaptation » 2014 – 11×5,5×4,5 cm, ceramic, silver, inox

Velislava Bozhinova – Necklace,   ceramic, hemp rope 2014

Velislava Bozhinova necklace – Photos: Ivan Nikolov

Velislava Bozhinova brooch

Velislava Bozhinova – Brooch, « Adaptation » 8×4,5×4 cm, porcelain,brass, inox  2014

Velislava Bozhinova – Brooch – Adaptation 2014 -   ceramic, silver, inox

 Velislava  Bozhinova brooches

Velislava Bozhinova - Brooch, 6×4,5×4,5 cm, ceramic, silver, inox

Kazumi Nagano is an artist reaching back to ancient traditions and reinterpreting these in a contemporary form. Her work is still very much influenced by Nihonga, a technique that she studied during her university years. This is a traditional Japanese painting technique involving the use of rock pigments deriving from natural minerals. She makes use of colour as she would in painting, although the techniques to achieve the effect are different. She employs the weaving together of strands of metal such as silver and gold, silk, nylon and Japanese paper thread, to create different colour and texture patterns. The skilful use of this technique gives a refined quality to the pieces. Nagano conveys delicacy to her works by means of creating soft shapes. Interesting and unexpected effects can be produced by making woven material into three-dimensional shapes and by the sequence of colour combination, light and shade. The suppleness of the pieces facilitates interrelation with the human body and makes them all the more appealing to touch. Her pieces are very intuitive and are the result, at times, of a mere feeling. (Alternatives gallery)

 She graduated at the Tama University of Art, Tokyo, obtaining both a BA and an MA in art. Her jewellery career began in 1996 after having studied under Minato Nakamura. In 2002, she was awarded fine works prize in the Japan Art Jewellery Competition, Tokyo. Her works are part of the permanent collection of the Victoria & Albert Museum, London, UK and the Alice and Louis Koch Rings Collection, Switzerland. She has taken part in numerous exhibitions and craft shows internationally, among which SOFA in Chicago and New York

Kazumi Nagano – Brooch 2014 bambootape, nylonthread, gpld18

Kazumi Nagano brooch « Non »,  2014, Linen paper/Nylon thread/Gold(18ct)/Pin-950 silver,Woven,11X9X4 cm

Kazumi Nagano: « Brosche/brooch ». 2011. Bambus, Nylon, Gold. Bamboo, nylon, gold. 110x900x50mm. Schmuck 2012

Kazumi Nagano – Japanese Garden Autumn Brooch. 18k gold, Japanese paper, nylon thread, Japanese lacquer. 85cm x 95cm x 70cm

Kazumi Nagano,   Brooches, Japanese paper, gold, silver pin, nylon thread and Japanese lacquer

 Kazumi Nagano,   Bracelet, Japanese paper, 18ct gold, Chinese ink

 Kazumi Nagano work done for  COLLECT 2013 - bracelet – woven, gold, nylon

Kaori Juzu

«  »Jewellery » is a word that can give anyone a concrete image in a moment, though it is associated with so many different sorts of work.
The word itself is so common that no one seems to pay attention anymore.
And there could be a gap between my work and what people usually recognize as jewellery…
One day I found one precious name in danish which better describes,
what I experience in the process of making
« klenodie »
treasure, gem, jewel …just a small thing,
but it always makes me feel warm. »

Kaori Juzu – mare nostrum – brooch 2012. enamel, copper, 14kt gold.
nominated for Mari Funaki Award for Contemporary Jewellery

« Handmade Enamel Treasures by Kaori Juzu
I love it when craft can pull through and show its face in a number of different realms. Often you see this in galleries, where an artist creates using handiwork that might be considered craft. But they don’t use the material for functional purposes, mainly for expression and to build on a concept or idea. If there’s someone who sits in this murky area it would be artist Kaori Juzu. Born in Fukuoka, Japan she moved to Bornholm in Denmark to study art, where she then founded a small line of jewellery. After training with well-known Danish jewellery designer Per Suntum, Kaori set up her own studio producing experimental brooches.
Kaori crafts by hand what she now calls ‘klenodie’. This title is a Danish word for artefact, gem, jewel, or treasure, encapsulating her pieces under this wide spectrum. She uses a mixture of copper, silver, and gold depending on the idea at hand. The metal is carefully hammered and sculpted in to shape, after a mixture of enamels (powdered glass) are applied to the metal which react in the kiln at high temperature creating a unique colour pattern and surface texture. Her forms and compositions are quite exquisite, they remind me of abstract objects carefully arranged on a canvas, the only twist is that they’re actually made of metal and are at a smaller scale. It’s fantastic to see such experimentation.
The more I explore as a creative the less I’m worried about the particular medium used. It’s more impressive to see a creative use a multitude of materials to bring an idea in to fruition, overstepping the boundaries as it were. I’m intrigued by Kaori’s work and can’t wait to see more from her in the near future, if you have time I’d recommend watching this video piece (see above) on how she produces these objects and what inspires her. » (An introduction by Mark Robinson at OEN – the189.com)

Kaori Juzu, « so close : so far » – brooch series # 2 2013. enamel, copper, silver

Kaori Juzu - « voyage » – brooch 2012. enamel, copper, silver, 24kt gold, fine silver

Kaori Juzu, mare mea – brooch 2012. enamel, copper, 14kt gold

Kaori Juzu, « looking for rose-buds » – brooch 2012. enamel, copper, silver

JIYE YUN, selected for TALENTE 2015

plus que des « portraits » : « Human Beings and the Scenes of Existence« 

2014 M.F.A. Metal craft & Jewelry, Graduate School of Kookmin University, Seoul, Korea
2012 B.F.A. Metal craft & Jewelry, Kookmin University, Seoul, Korea
2014 Marzee Graduate Show 2014, Galerie Marzee, Nijmegen, Netherlands

Brooch « Balance Beam » 2013 – JIYE YUN

JIYE YUN - Brooch « play » 2013 -  iron, copper, enamel, paint marker, etc.

JIYE YUN Brooches 2014  – « Diving » iron, copper, enamel, epoxy on cardboard box 2014

JIYE YUN – « nurse » brooch iron, copper, enamel, paint marker, etc. 2013

JIYE YUN – Brooches 2014 – having a shower …

JIYE YUN – brooch  2014 -  iron, copper, enamel, ceramic color

Brooches 2014 – JIYE YUN

  JIYE YUN – « Leaving » brooch – iron, copper, enamel, leather 2014

Yuki Sumiya (selected for Schmuck) with her “GARDEN ” series

Yuki Sumiya was student at Alchimia. Experimenting with the ideal relationship between man and nature.

« The ordinary and the extraordinary, existence and disappearance, permanence and transience, inside and outside, stillness and flow, visible and invisible…
My central theme is duality: focusing on the co-existence of two concepts, and then looking at the relationship between the two. Through my jewellery, I tyr to make the invisible visible. »

« I see this, in the synthesis of the natural and man-made in a beautiful garden,
where the gardeners have thinned out the cedar trees,
erected fences incorporating the original trees,
and also sown lawns interspersed with concrete surfaces,
the perfect balance that can be achieved between nature and human intervention moves me.
I want to ask, “How can we, man and nature, co-exist?””

 Yuki Sumiya – Garden Brooch oxidized silver sponge wire

In the ‘Garden’ series, I’m principally experimenting with the ideal relationship between man and nature. When I see this, for example in the synthesis of the natural and man-made in a beautiful garden, where the gardeners have thinned out the cedar trees, erected fences incorporating the original trees, and also sown lawns interspersed with concrete surfaces, the perfect balance that can be achieved between nature and human intervention moves me. I want to ask, “How can we, man and nature, co-exist?”
In the ‘Garden’ series, both the materials, silver and synthetic sponge, come originally from under the earth, since synthetic sponge is made from oil. When I use green sponge in my work, I use it to symbolize nature, but actually it is a man-made copy of nature.
This complex aspect of the combination of natural metal with synthetic sponge also raises the question of where the value lies in the piece.Yuki Sumiya – “GARDEN ” Brooch -oxidized silver, sponge

Yuki Sumiya – “GARDEN ” series

Yuki Sumiya:  « garden » brooch oxidized silver, sponge

Yuki Sumiya – Garden Brooch oxidized silver sponge wire

Yuki Sumiya – Garden Brooch – 18K gold plated silver sponge

Yuki Sumiya - Blue pool / Brooch -  18K gold plated silver iron acrylic sponge

Koen Jacobs (selected for Talente) with his series “DESTROYED BEAUTY”

Koen Jacobs – afbeelding-2 – ‘Blue Reborn nr.5 Brooch, 2013
8 x 5 x 4 cm, made from: Ebony Wood, resin, silver, steel.
(mythological relationship between the upper and underworld with the tree as a symbolic connection)

Koen Jacobs – afbeelding-2  – ‘Blue Reborn nr.5 Brooch, 2013 8 x 5 x 4 cm, made from: Ebony Wood, resin, silver, steel. BACK

Koen Jacobs 2013 – Blue Life Brooch, 2013 – 10 x 6 x 4 cm, made from: Ebony Wood, resin, silver, steel.

Koen Jacobs – ‘Big Blue Pendant’, 2013
60 x 10 x 7 cm, made from: Ebony Wood, resin, silver, black rope.
(mythological relationship between the upper and underworld with the tree as a symbolic connection)

Koen Jacobs 2013 – Destroyed Beauty – Pendant, 60 x 10 x 7 cm – Ebony wood, resin, silver, black robe

Koen Jacobs   – ‘Downfall’, 2013 – 44 x 12 x 10 cm, made from: Ebony Wood, resin, zinc-plated steel.
(mythological relationship between the upper and underworld with the tree as a symbolic connection)

 Sébastien Carré – selected for TALENTE 2015

« Les médiums employés dans ma production ont été initialement choisis en fonction de la thématique, de leur aspect ou de leur symbolique. Mais avec l’arrivée des représentations de la maladie, il m’est apparu nécessaire d’intervenir d’une nouvelle façon pour introduire du sens. L’idée d’origine est de retranscrire l’arrivée d’un corps étranger sur une structure, comme une mousse sur une tuile ou une tumeur sur un organe, c’est-à-dire la colonisation d’un espace déjà conquis par une autre forme. Les matériaux comme le cuivre, le bambou, la laque asiatique sont choisis en fonction de leur utilisation dans certains principes curatifs de différentes cultures médicinales. D’autres matières, comme le cuir et l’aluminium sont utilisées, pour leur sensation et le ressenti qu’ils procurent. À la fois conducteur de chaleur et de texture interactive, ils captivent les yeux et les mains. Les fibres naturelles créent un tissage, un lien qui assemble le tout. Le bijou devient alors un conducteur de sensations et d’émotions et introduit un questionnement sur les perceptions que l’on peut avoir de son propre corps. La laque est magnifiée par le contact avec la peau, le tube de cotte de mailles glisse entre les mains et semble mis en mouvement par une volonté. Extraits de la scène du corps, ces objets inertes prennent vie par l’interaction avec l’usager-spectateur. »

Sébastien Carré - « Black Inflammation », 2014 Filmstrip and beads embroyed with cotton and wool  photo: Lee makkam

Sebastien Carré ‘Inflammation noire’, 2014 – pellicule de film, coton, laine & perles

Sébastien Carré – (HEAR Strasbourg FR) Collier Inflammation, 2014 Inflammation Necklace -  plaques de cuivre émaillées, cotte de maille acier inoxydable, coton, soie, cuir, perles de rocaille  fermoir avec des aimants de Naturopathie / Copper shapes with enamel, steel chainmail, cotton, silk, leather, beads  clasp with Naturopathy’s magnets

Sébastien Carré - Viscéral, 2013 Visceral  Collier de 7 mètres, aluminium et lin 7 meters necklace, aluminum and linen

Sébastien Carré – « Visceral », 2013  7 meters Necklace, aluminum chainmail, cotton, linen, silk, leather (187 000 handmade rings)

Sébastien Carré – collier Inflammation #7, 2015 -Cotte de maille acier inoxydable, papier japonais, coton ciré, soie, lin, grenat, œil de taureaux, cuir et perles rocaille // Necklace, Chainmail steel, japanese paper, waxed cotton, silk, linen, garnet, bulls eye, leather and beads

Sébastien Carré – DNA’s Causes?, 2013, necklace, copper chain, Japanese paper, 2000 x ø 25 mm

Sébastien Carré – Collier Inflammation, 2014 -   Papier japonais, nylon, sequin et plastique. Japanese paper, nylon thread sequin and plastic

très intéressant article de Valérie Walch, nov 2014 – Portrait dans le cadre de « Première Str’Off »

selected for SCHMUCK 2015 : 4 from ARGENTINA !

Jorge Castañon, Mercedes Castro Corbat, Carolina Dutari y Sol Flores, cuatro Joyeros argentinos !!

Jorge Castañón – Las Madrigueras II – 2009 – Necklace. Parts of an old Thonet chair and linen. Constructed. 51 cm x17 cm x 2,5 cm

Jorge Castañon Ring: Colour, 2014 Toronja, Lapislazuli, Avocado, Turmeric, Nazarene 6 x 4 x 4 cm Photo: Damian Wasser -

 Jorge Castañon – brooch

Mercedes Castro Corbat piezas de la serie « La Dote »

Mercedes Castro Corbat  -     piezas de la serie « La Dote »

Sol Flores – serie aviones – BACK of the brooch

Sol Flores – serie aviones – broches -  on the left : « NAVE 03″, from « La flota impractica » serie,brooch made of silver, wood, coper, enamel and plastic. // on the right :   » Plane-1″, 2014 Wood, Plastic, Silver 9 x 15 x 1 cm Photo by: Damian Wasser

Carolina Dutari  – Collar « Indio » for Suspended in Green 2014 

Carolina Dutari  -  SCHMUCK 2015 -  Serie « Mi Tierra »  hablan del color, del sentir, hablan de las estrellas, hablan de vos..