OPEN CALL 2019 | PÁLYÁZATI FELHÍVÁS 2019
EN_INVITATION TO THE ART NIGHT OF JEWELLERY’S MAIN COMPETITION
Art Jewelry Night (with the contribution of FISE nonprofit organization) announce open call with the title CONTROLS/CTRL+S. The competition is open to professional jewellery designers, to artists who work in different field yet their work is related to jewellery design, and also to students who studies in this specific field.
Topic of this year’s competition:
CONTROLS/CTRL+S
This year we are looking for answers saved as jewellery of the following questions:
Do the rules control us or the other way around? Do we adapt to the rules or do we overwrite them? Do the traditions inspire us or they make our hands tied?
HU_2019 PÁLYÁZATI FELHÍVÁS ZSŰRIZETT KIÁLLÍTÁSON VALÓ RÉSZVÉTELRE
Az Ékszerek Éjszakája (A FISE nonprofit szervezet közreműködésével) pályázatot hirdet CONTROLS/CTRL+S címmel. A felhívás professzionális ékszertervezők, illetve más művészeti ágakban tevékenykedő, de ékszertervezéssel is foglalkozó alkotók, valamint a szakirányú oktatásban részt vevő diákok és hallgatók számára szól.
Pályázat témája:
CONTROLS/CTRL+S
Ebben az évben a következő kérdésekre keressük a tárgyakként mentett válaszokat:
A szabályok irányítanak minket vagy mi őket? Felállítjuk vagy ledöntjük? Alkalmazkodunk vagy felülírjuk azokat? A hagyományok inspirálnak vagy megkötnek?
Art Jewelry Night (with the contribution of FISE nonprofit organization) announce open call with the title CONTROLS/CTRL+S. The competition is open to professional jewellery designers, to artists who work in different field yet their work is related to jewellery design, and also to students who studies in this specific field.
Topic of this year’s competition:
CONTROLS/CTRL+S
This year we are looking for answers saved as jewellery of the following questions:
Do the rules control us or the other way around? Do we adapt to the rules or do we overwrite them? Do the traditions inspire us or they make our hands tied?
HU_2019 PÁLYÁZATI FELHÍVÁS ZSŰRIZETT KIÁLLÍTÁSON VALÓ RÉSZVÉTELRE
Az Ékszerek Éjszakája (A FISE nonprofit szervezet közreműködésével) pályázatot hirdet CONTROLS/CTRL+S címmel. A felhívás professzionális ékszertervezők, illetve más művészeti ágakban tevékenykedő, de ékszertervezéssel is foglalkozó alkotók, valamint a szakirányú oktatásban részt vevő diákok és hallgatók számára szól.
Pályázat témája:
CONTROLS/CTRL+S
Ebben az évben a következő kérdésekre keressük a tárgyakként mentett válaszokat:
A szabályok irányítanak minket vagy mi őket? Felállítjuk vagy ledöntjük? Alkalmazkodunk vagy felülírjuk azokat? A hagyományok inspirálnak vagy megkötnek?
The jury
Etentuk Inemesit HU – editor in chief Artlocator Magazine
Erato Kouloubi GR Jewelry Designer, Co-Founder of Popeye Loves Olive Art Space, Co-Founder of Athens Jewelry Week and the Anticlastics team
Niki Stylianou GR Contemporary Jewelry and Objects, Creativity Consulting/Coaching, Co-Founder of Athens Jewelry Week and the Anticlastics team
Jorge Manilla MX – jewellery designer, researcher at the Royal Academy of Fine Arts University in Antwerpen
Etentuk Inemesit HU – editor in chief Artlocator Magazine
Erato Kouloubi GR Jewelry Designer, Co-Founder of Popeye Loves Olive Art Space, Co-Founder of Athens Jewelry Week and the Anticlastics team
Niki Stylianou GR Contemporary Jewelry and Objects, Creativity Consulting/Coaching, Co-Founder of Athens Jewelry Week and the Anticlastics team
Jorge Manilla MX – jewellery designer, researcher at the Royal Academy of Fine Arts University in Antwerpen
KIÁLLÍTÓK | EXHIBITORS
1.
Orsolya Losonczy: Untitled - Precious Inside-Out Collection Material: muscovite (sheet-silicate mineral) Concept: I have been interested in minerals since my childhood. Minerals can take me into a fantasy world. They remind me on blooming buds, phenomena trying to erupt from earth. It is impressive that they grow not only individually but in groups. As a child I loved to hide in the blooming bushes, I felt as if I were dropped into a fairy tale. My works evoke my childhood memories. Mica brings back the lightness, color and shine what plants and flowers have meant to me. I love to observe the details, shapes and forms what nature creates. The atmosphere what is kept in my memories creates my own garden of Wonder.
Orsolya Losonczy: Untitled - Precious Inside-Out Collection Material: muscovite (sheet-silicate mineral) Concept: I have been interested in minerals since my childhood. Minerals can take me into a fantasy world. They remind me on blooming buds, phenomena trying to erupt from earth. It is impressive that they grow not only individually but in groups. As a child I loved to hide in the blooming bushes, I felt as if I were dropped into a fairy tale. My works evoke my childhood memories. Mica brings back the lightness, color and shine what plants and flowers have meant to me. I love to observe the details, shapes and forms what nature creates. The atmosphere what is kept in my memories creates my own garden of Wonder.
2.
Susanne Hammer: Geometric Exercises, Material: melamin, wood, textile Concept: Do the rules control us or the other way around? Do we adapt to the rules or do we overwrite them? Do the traditions inspire us or they make our hands tied? In contemporary art jewellery, these questions are inherent, especially in the 1970s and 1980s artists dealt with cross-border issues. Rules were broken, traditions redefined. Nowadays some of these traditions are overwrote (for example: materials like rubber or plastics were combined with precious metals, stainless steel is a common jewellery material). Others are still subject of discourse (value and durability). In the arts the focus is on „true” quality and the search for novelty. Both, true quality and novelty are (relative) values and distinguishing marks also for contemporary art jewellery. To achieve these values and establish new criteria – new materials, critical research, interdisciplinarity, socially topics, and crossover practices are main elements. In my opinion, jewellery traditions are inspiring and jewellery art should have quality which allows to transcend the tradition. From the beginning I have been experimenting with classical types of necklaces, reflecting these archetypes in an ironic, subversive way and try to find the essence of „chain”. My new necklaces are exemplary for my approach: investigating shape, function, movement and relationship to the body I transform a classical form into a new and surprising object and reduce it to the essentials.
Susanne Hammer: Geometric Exercises, Material: melamin, wood, textile Concept: Do the rules control us or the other way around? Do we adapt to the rules or do we overwrite them? Do the traditions inspire us or they make our hands tied? In contemporary art jewellery, these questions are inherent, especially in the 1970s and 1980s artists dealt with cross-border issues. Rules were broken, traditions redefined. Nowadays some of these traditions are overwrote (for example: materials like rubber or plastics were combined with precious metals, stainless steel is a common jewellery material). Others are still subject of discourse (value and durability). In the arts the focus is on „true” quality and the search for novelty. Both, true quality and novelty are (relative) values and distinguishing marks also for contemporary art jewellery. To achieve these values and establish new criteria – new materials, critical research, interdisciplinarity, socially topics, and crossover practices are main elements. In my opinion, jewellery traditions are inspiring and jewellery art should have quality which allows to transcend the tradition. From the beginning I have been experimenting with classical types of necklaces, reflecting these archetypes in an ironic, subversive way and try to find the essence of „chain”. My new necklaces are exemplary for my approach: investigating shape, function, movement and relationship to the body I transform a classical form into a new and surprising object and reduce it to the essentials.
3.
Joshua Kosker: Palindrome Brooch 1 Material: Sterling silver, stainless steel Concept: A palindrome is a word, number, phrase, or other sequence of characters which reads the same backward as forward. These brooches were created to read and function in the same fashion. In other words, there is no front or back. In this way, the pin stem functions as a structural mechanism to attach the brooch to clothing, while simultaneously acting as an ornamental focal point of the work.
Joshua Kosker: Palindrome Brooch 1 Material: Sterling silver, stainless steel Concept: A palindrome is a word, number, phrase, or other sequence of characters which reads the same backward as forward. These brooches were created to read and function in the same fashion. In other words, there is no front or back. In this way, the pin stem functions as a structural mechanism to attach the brooch to clothing, while simultaneously acting as an ornamental focal point of the work.
4.
Benjamin Kellogg: System Tube Chain, 2018, Material: Stainless steel, steel, sterling silver Concept: System Tube Chain is an expansion on the idea of using a found object as a tool. The elements that make up the chain were fabricated by using a disposable receipt paper tube as a jig—the negative space of the tube’s construction was used to hold the steel wires while allowing them to be tacked into place. Through this process, the jig became the control that determined the elements forms. The elements, steel wire skeleton cylinder shapes, were then linked together to form chain links, playfully; it is a chain about being a chain. As a necklace, System Tube Chain skirts between being chaotic and controlled—orderly and link-like at rest and disrupted while activated and worn.
Benjamin Kellogg: System Tube Chain, 2018, Material: Stainless steel, steel, sterling silver Concept: System Tube Chain is an expansion on the idea of using a found object as a tool. The elements that make up the chain were fabricated by using a disposable receipt paper tube as a jig—the negative space of the tube’s construction was used to hold the steel wires while allowing them to be tacked into place. Through this process, the jig became the control that determined the elements forms. The elements, steel wire skeleton cylinder shapes, were then linked together to form chain links, playfully; it is a chain about being a chain. As a necklace, System Tube Chain skirts between being chaotic and controlled—orderly and link-like at rest and disrupted while activated and worn.
5.
Iris de Vries: Tear Troughs/Invincible 2017, Material: Resin, Concept: Everywhere we go we leave digital tracks. Surveillance cameras can detect our face, recognize our face and link our face in time to a location or event. The same thing happens on social media where we are tagged in photos. Our identity is to be found based on the image of our face. Facial recognition is balancing on the thin line of our intimacy and can invade our privacy. What happens with the image of my face? Are we prepared to give up our privacy out of fear? Is the freedom I give op with my image equivalent to the safety I get back?Protect Me is the jewelry brand created to take back control, by giving us an opt-out function for face recognition. This way we can protect ourselves against the abstract technologies around us. This goal of these products is to raise awareness about privacy and safety. At the same time, people are confronted with the presence of facial recognition in our everyday lives. Let’s not judge ourselves on the platforms we use, let’s encourage ourselves to stay critical so we can base our behavior on the pros and cons of this technology, instead of acting because of a lack of awareness.Under this brand a collection of glasses is presented, a series of facial prosthetics and a series of necklaces. The glasses will make sure that the wearers face is not detected, they are designed by trying to circumvent facial recognition on Facebook, Snapchat and the iPhone camera. The facial prosthetics are based on the idea that your face will be detected, but falsely identified. The necklaces are a temporary mask and are at the same time a catapult, a symbol for rebellion.
Iris de Vries: Tear Troughs/Invincible 2017, Material: Resin, Concept: Everywhere we go we leave digital tracks. Surveillance cameras can detect our face, recognize our face and link our face in time to a location or event. The same thing happens on social media where we are tagged in photos. Our identity is to be found based on the image of our face. Facial recognition is balancing on the thin line of our intimacy and can invade our privacy. What happens with the image of my face? Are we prepared to give up our privacy out of fear? Is the freedom I give op with my image equivalent to the safety I get back?Protect Me is the jewelry brand created to take back control, by giving us an opt-out function for face recognition. This way we can protect ourselves against the abstract technologies around us. This goal of these products is to raise awareness about privacy and safety. At the same time, people are confronted with the presence of facial recognition in our everyday lives. Let’s not judge ourselves on the platforms we use, let’s encourage ourselves to stay critical so we can base our behavior on the pros and cons of this technology, instead of acting because of a lack of awareness.Under this brand a collection of glasses is presented, a series of facial prosthetics and a series of necklaces. The glasses will make sure that the wearers face is not detected, they are designed by trying to circumvent facial recognition on Facebook, Snapchat and the iPhone camera. The facial prosthetics are based on the idea that your face will be detected, but falsely identified. The necklaces are a temporary mask and are at the same time a catapult, a symbol for rebellion.
6.
Kinga Huber: Saved Second , 2019, Material: 925 silver, PLA Concept: We say goodbye to plastic drinking straws, because single use plastic straws are not environmentally sustainable. But we all may remember when we have cut the end of a straw 1/2 - 3/4 inch down, in four places and splayed the ends for blowing bubbles. So I have created the one of my favorite toys from my childhood.I have made the straw from 925 Sterling Silver and the bubble by using a 3D printer, so through modern technique I would be able to produce "soap bubbles" in series almost like the plastic straws which were mass produced. The bubble is printed from PLA, because it is an environment-friendly plastic and fast degradable, similarly to the short life of a real soap bubble. I have intentionally chosen a middle priced printer and not a top quality one. This printers started to spread in the housekeeping for makes toys and articles for personal use. That's why the surface of the bubble is striped. The chain flows out from the straw similarly to the rest of the soapsuds from the plastic straw during the game. With this chain the object becomes wearable, thus we can save and wear this beautiful memory.
Kinga Huber: Saved Second , 2019, Material: 925 silver, PLA Concept: We say goodbye to plastic drinking straws, because single use plastic straws are not environmentally sustainable. But we all may remember when we have cut the end of a straw 1/2 - 3/4 inch down, in four places and splayed the ends for blowing bubbles. So I have created the one of my favorite toys from my childhood.I have made the straw from 925 Sterling Silver and the bubble by using a 3D printer, so through modern technique I would be able to produce "soap bubbles" in series almost like the plastic straws which were mass produced. The bubble is printed from PLA, because it is an environment-friendly plastic and fast degradable, similarly to the short life of a real soap bubble. I have intentionally chosen a middle priced printer and not a top quality one. This printers started to spread in the housekeeping for makes toys and articles for personal use. That's why the surface of the bubble is striped. The chain flows out from the straw similarly to the rest of the soapsuds from the plastic straw during the game. With this chain the object becomes wearable, thus we can save and wear this beautiful memory.
7.
Anna Börcsök: 7 demons CONTROLS me, 2019, Material: tarnished copper, pearls, turquoise Concept: I thought I’d be free when I was be a grown up and I’ll do whatever I want and how I want it. Now I am sitting here waiting and waiting. Nobody said it will be so difficult. Nobody said that every step is a compromise. No one told me that even if I do what I like, I have to worry about money and recognition. When I was younger I tried to hide my anxiety about the feeling that I would not succeed and I still trying to live together with my little demons which controls my days. They are everywhere and I’m getting used to it to feel them in my skin and in my brain. Seven little demons which can choke me, if I’m not careful. I wanted to figure out what jewellery means today for my demons., This piece represents ordinary jewellery rules what I always try to defeat. It’s precious, unique, wearable and it looks like an old piece.
Anna Börcsök: 7 demons CONTROLS me, 2019, Material: tarnished copper, pearls, turquoise Concept: I thought I’d be free when I was be a grown up and I’ll do whatever I want and how I want it. Now I am sitting here waiting and waiting. Nobody said it will be so difficult. Nobody said that every step is a compromise. No one told me that even if I do what I like, I have to worry about money and recognition. When I was younger I tried to hide my anxiety about the feeling that I would not succeed and I still trying to live together with my little demons which controls my days. They are everywhere and I’m getting used to it to feel them in my skin and in my brain. Seven little demons which can choke me, if I’m not careful. I wanted to figure out what jewellery means today for my demons., This piece represents ordinary jewellery rules what I always try to defeat. It’s precious, unique, wearable and it looks like an old piece.
8.
Ariel Lavian: Deformation as an object, 2018, Material: copper Concept: As a contemporary jeweler, I rely on the rules of the classical jewelry field, but I give myself the freedom to change and break them both at the materiality and technique level. Hansen's disease, leprosy, is an infectious disease that leads to distortions in the body and on the skin. In my work I chose to create three copper rings that are "sick" with the disease. Using a unique technique that I developed in casting, I created objects that imitate the appearance of the disease in metal. The rings are covered with different patina.
Ariel Lavian: Deformation as an object, 2018, Material: copper Concept: As a contemporary jeweler, I rely on the rules of the classical jewelry field, but I give myself the freedom to change and break them both at the materiality and technique level. Hansen's disease, leprosy, is an infectious disease that leads to distortions in the body and on the skin. In my work I chose to create three copper rings that are "sick" with the disease. Using a unique technique that I developed in casting, I created objects that imitate the appearance of the disease in metal. The rings are covered with different patina.
9.
Lena Marie Echelle: Ophelia’s Crown, 2019, Material: Raw cowhide Concept: Why do we so easily accept the immortalization of ephemeral natural forms in precious metals? Shakespeare’s Ophelia, after drowning, is often depicted as wearing a crown of fragile, recently cut wildflowers as she floats silently down a woodland stream. This delicate decoration, translated into immutable, precious metals would offer us the possibility of hope, freezing in time a moment of utter transience. A floral crown made of dried, raw cowhide offers a more realistic picture as one imagines the crown floating lethargically, until heavy with water it sinks, melting into its own finite materiality.
Lena Marie Echelle: Ophelia’s Crown, 2019, Material: Raw cowhide Concept: Why do we so easily accept the immortalization of ephemeral natural forms in precious metals? Shakespeare’s Ophelia, after drowning, is often depicted as wearing a crown of fragile, recently cut wildflowers as she floats silently down a woodland stream. This delicate decoration, translated into immutable, precious metals would offer us the possibility of hope, freezing in time a moment of utter transience. A floral crown made of dried, raw cowhide offers a more realistic picture as one imagines the crown floating lethargically, until heavy with water it sinks, melting into its own finite materiality.
10.
Mária Roskó: Gesture Jewellery II, 2019, Material: silver, copper, crayon, epoxy resin, patina Concept: My series ’Gesture jewellery’ deals with the question of traditional functions of jewellery, artistic practices and mark making.During thousands of years the tools for artistic techniques: brushes, pencils, pastels, etc. have taken certain forms that became the norm for those mediums. Jewellery, too, has taken conventional forms across history, however its function is more abstract than that of artistic tools.My pieces are a blend between jewellery and artistic tools, taking distance from both, reinterpreting their conventions and traditions while pointing out some historical references such as seal rings (that are made for leaving marks) in the case of the history of jewellery, and gestural painting of abstract expressionism in art history. Gesture painting encourages freedom in the expression of emotions throughout movements. However, as the shape of my pieces diverges from the shape of traditional artistic tools, the wearer/performer is invited to overcome the rules established by my pieces, finding alternative ways of holding and using the tools by means of unfamiliar motions of the human body.The three works of the series use three different methods to leave traces on the surface. For the brush-like piece, except the metal and the brush, another material (paint) is needed to leave marks. In the case of the second piece, a material embedded in the metal (the crayon) itself makes mark on the surface. The object has two sides with two different drawing surfaces and patterns inviting the wearer to apply a dynamic movement while drawing. This series of works were created as the final project for the Art School of Buda (Budai Rajziskola).
Mária Roskó: Gesture Jewellery II, 2019, Material: silver, copper, crayon, epoxy resin, patina Concept: My series ’Gesture jewellery’ deals with the question of traditional functions of jewellery, artistic practices and mark making.During thousands of years the tools for artistic techniques: brushes, pencils, pastels, etc. have taken certain forms that became the norm for those mediums. Jewellery, too, has taken conventional forms across history, however its function is more abstract than that of artistic tools.My pieces are a blend between jewellery and artistic tools, taking distance from both, reinterpreting their conventions and traditions while pointing out some historical references such as seal rings (that are made for leaving marks) in the case of the history of jewellery, and gestural painting of abstract expressionism in art history. Gesture painting encourages freedom in the expression of emotions throughout movements. However, as the shape of my pieces diverges from the shape of traditional artistic tools, the wearer/performer is invited to overcome the rules established by my pieces, finding alternative ways of holding and using the tools by means of unfamiliar motions of the human body.The three works of the series use three different methods to leave traces on the surface. For the brush-like piece, except the metal and the brush, another material (paint) is needed to leave marks. In the case of the second piece, a material embedded in the metal (the crayon) itself makes mark on the surface. The object has two sides with two different drawing surfaces and patterns inviting the wearer to apply a dynamic movement while drawing. This series of works were created as the final project for the Art School of Buda (Budai Rajziskola).
11.
Constantinos Papadoukas: Ambiguous I., 2019, Material: Silver 925 rhodium plated, Ebony wood Concept: We speak of knowledge in two ways: both a man who has knowledge but is not using it, and a man who is using knowledge, are said to know. So it will make a difference, when a man does what he ought not to do, whether he has but is not exercising the knowledge, or whether he is exercising it. Aristotle, Nicomachean Ethics VII Based on Aristotle’s view on ethics and choice the particular pieces elaborate on the audience’s response. The viewer is left to make a choice of obeying or ignoring the stated request. A similar dilemma has been presented in Greek Mythology and the myth of Pandora. Curiosity led Zeus’s creation – Pandora – to open her wedding gift from the Gods, although she had been instructed to never do so, leading to release of illnesses and hardships. The two pieces presented toy with the viewers imagination and inquisitiveness, questioning control and forbiddance, reason and absurd.
Constantinos Papadoukas: Ambiguous I., 2019, Material: Silver 925 rhodium plated, Ebony wood Concept: We speak of knowledge in two ways: both a man who has knowledge but is not using it, and a man who is using knowledge, are said to know. So it will make a difference, when a man does what he ought not to do, whether he has but is not exercising the knowledge, or whether he is exercising it. Aristotle, Nicomachean Ethics VII Based on Aristotle’s view on ethics and choice the particular pieces elaborate on the audience’s response. The viewer is left to make a choice of obeying or ignoring the stated request. A similar dilemma has been presented in Greek Mythology and the myth of Pandora. Curiosity led Zeus’s creation – Pandora – to open her wedding gift from the Gods, although she had been instructed to never do so, leading to release of illnesses and hardships. The two pieces presented toy with the viewers imagination and inquisitiveness, questioning control and forbiddance, reason and absurd.
12.
Isabelle Busnel: Stomacher , 2017, Material: Silicone rubber, rhinestones, magnets Concept: I am inspired by traditional pieces of jewellery and I give them a twist by revisiting them with silicone. I therefore adapt the rules without overwriting them. You don’t need to erase the past to be contemporary. For the CONTROLS/Ctrl+S exhibition I am presenting 2 stomachers.While they were extremely fashionable at the turn of the twentieth century, the stomacher, a piece of jewellery that is designed to be pinned to the bodice of the gown, has long since gone out of style. Modern clothes don't really allow them to be worn, so royal examples often languish in the vaults -- or are redesigned. My giant magnetic silicone brooches are a tribute to those “stomachers”. Let them get out of the vaults and be worn again!
Isabelle Busnel: Stomacher , 2017, Material: Silicone rubber, rhinestones, magnets Concept: I am inspired by traditional pieces of jewellery and I give them a twist by revisiting them with silicone. I therefore adapt the rules without overwriting them. You don’t need to erase the past to be contemporary. For the CONTROLS/Ctrl+S exhibition I am presenting 2 stomachers.While they were extremely fashionable at the turn of the twentieth century, the stomacher, a piece of jewellery that is designed to be pinned to the bodice of the gown, has long since gone out of style. Modern clothes don't really allow them to be worn, so royal examples often languish in the vaults -- or are redesigned. My giant magnetic silicone brooches are a tribute to those “stomachers”. Let them get out of the vaults and be worn again!
13.
Elli Xippa: Crawling in the deep Material: tights , glue, leather, bronze Concept: Rules exist so that society functions in a smooth and righteous way and these rules adapt according to the needs of each era. Art and evolution – on the other hand-demand freedom, boldness, courage and fantasy… We want and need to express our thoughts and emotions through our creations and rules are sometimes an obstacle to that and we are called to overcome it. Nature, love, fear, war and politics are often an inspiration for every artist but so are traditions. We often admire creations of contemporary artists inspired by traditions and their effect on our lives. So “yes” to tradition but also breaking the rules once in a while!
Elli Xippa: Crawling in the deep Material: tights , glue, leather, bronze Concept: Rules exist so that society functions in a smooth and righteous way and these rules adapt according to the needs of each era. Art and evolution – on the other hand-demand freedom, boldness, courage and fantasy… We want and need to express our thoughts and emotions through our creations and rules are sometimes an obstacle to that and we are called to overcome it. Nature, love, fear, war and politics are often an inspiration for every artist but so are traditions. We often admire creations of contemporary artists inspired by traditions and their effect on our lives. So “yes” to tradition but also breaking the rules once in a while!
14.
Anna Zeibig: Exit_ necklace, 2019, Material: Oxidised copper, rose plated copper, nut-wood, textile-rope Concept: We all live our lives according to the observed laws of physics. Are there situations where things are radically different? Where the known rules may not apply? One mysterious object might come close: the elusive black holes. An infinitely small and infinitely dense singularity sits in the center of a black hole which may be an exit from our known universe, sort of a bottomless pit. The gravitational force is infinite at the singularity and the known laws of physics may not apply to its properties. The concave mirror in the center of the pieces shows the observer upside down. The rules of our world do not apply to this upside down world. We exit our known universe and enter something unknown, a weird, incomprehensible new world. What rules govern this new world? We do not know and we perhaps will never know, all we can do is stare at it from our universe and wonder about its different and mysterious rules which are out of our reach.
Anna Zeibig: Exit_ necklace, 2019, Material: Oxidised copper, rose plated copper, nut-wood, textile-rope Concept: We all live our lives according to the observed laws of physics. Are there situations where things are radically different? Where the known rules may not apply? One mysterious object might come close: the elusive black holes. An infinitely small and infinitely dense singularity sits in the center of a black hole which may be an exit from our known universe, sort of a bottomless pit. The gravitational force is infinite at the singularity and the known laws of physics may not apply to its properties. The concave mirror in the center of the pieces shows the observer upside down. The rules of our world do not apply to this upside down world. We exit our known universe and enter something unknown, a weird, incomprehensible new world. What rules govern this new world? We do not know and we perhaps will never know, all we can do is stare at it from our universe and wonder about its different and mysterious rules which are out of our reach.
15.
Ildikó Dánfalvi: Soul-Mates, 2019, Material: mild steel, lacquer Concept: My work is my biography. In my creation, my memories, my origins, my roots, traditions, places that are emotionally connected to me, have a big impact on me, everything that happens around me. Traditions inspire. I was born as one of twins. This fact has deeply influenced and shaped my life. I am interested how this deep bond between two identical people, siamese and identical twins, effects and shapes their physical and emotional condition. What does it mean in their search and longing for a soul-mate where two bodies or two souls grew together. Does One body have two souls or two bodies have one soul? The work presented is reminiscent of human organs which exist and function as a dependant pair. They appear symmetrical but are in fact different. My jewellery is a symbiosis between body and emotion-material and texture, the physical and the meta-physical that aims to create an ever flowing exchange and tension between one and the other. I understand my jewellery as the symbolic embodiment of an inner condition.
Ildikó Dánfalvi: Soul-Mates, 2019, Material: mild steel, lacquer Concept: My work is my biography. In my creation, my memories, my origins, my roots, traditions, places that are emotionally connected to me, have a big impact on me, everything that happens around me. Traditions inspire. I was born as one of twins. This fact has deeply influenced and shaped my life. I am interested how this deep bond between two identical people, siamese and identical twins, effects and shapes their physical and emotional condition. What does it mean in their search and longing for a soul-mate where two bodies or two souls grew together. Does One body have two souls or two bodies have one soul? The work presented is reminiscent of human organs which exist and function as a dependant pair. They appear symmetrical but are in fact different. My jewellery is a symbiosis between body and emotion-material and texture, the physical and the meta-physical that aims to create an ever flowing exchange and tension between one and the other. I understand my jewellery as the symbolic embodiment of an inner condition.
16.
Szidónia Csiki: Coping Mechanism, 2019, Material: Iron, wood, polyester rope, Concept: The series explores the concept of our own personal traditions, our coping mechanisms that we build ourselves to deal with our lives. They became intertwined with our personalities and a crucial part of us. With the help of the talented photographer, Federico Arcangeli, I depicted three scenarios, all of them having as a key factor being social, temporarily running away from loneliness. The first is a scenario of a people running down a flight of stairs to join a party, The second is a moment of dancing and getting lost in your lover’s arms, The third is a booze filled discussion around a table. Our own traditions can be great ways of detachment, relaxation, but can also be detrimental when they feel compulsory and repetitive. They can also hold us back and act as a sort of weight around our necks represented by the rope and the metal elements, visually reminding of weights and shackles. The shape of the plates and the underlayer of wood gives a heavy feel, to accentuate the weight. I depicted these characters on the fragile line of losing control visually represented by their own specific movement on the surface of the metal plate. Using acid corrosion technique, in certain angles, the neckpieces won’t show their whole range of tones and the details of the drawings unless you turn them towards the light, the same way as our own overstepped coping mechanisms became shackles only when someone close to you shines light on them.
Szidónia Csiki: Coping Mechanism, 2019, Material: Iron, wood, polyester rope, Concept: The series explores the concept of our own personal traditions, our coping mechanisms that we build ourselves to deal with our lives. They became intertwined with our personalities and a crucial part of us. With the help of the talented photographer, Federico Arcangeli, I depicted three scenarios, all of them having as a key factor being social, temporarily running away from loneliness. The first is a scenario of a people running down a flight of stairs to join a party, The second is a moment of dancing and getting lost in your lover’s arms, The third is a booze filled discussion around a table. Our own traditions can be great ways of detachment, relaxation, but can also be detrimental when they feel compulsory and repetitive. They can also hold us back and act as a sort of weight around our necks represented by the rope and the metal elements, visually reminding of weights and shackles. The shape of the plates and the underlayer of wood gives a heavy feel, to accentuate the weight. I depicted these characters on the fragile line of losing control visually represented by their own specific movement on the surface of the metal plate. Using acid corrosion technique, in certain angles, the neckpieces won’t show their whole range of tones and the details of the drawings unless you turn them towards the light, the same way as our own overstepped coping mechanisms became shackles only when someone close to you shines light on them.
17.
Fanni Vékony: The Devil’s bones, 2019, Material: white corian, corall, silver Concept: We wish to protect what we consider to be of value. But what is value? It is hard to define. What is important to us might not be important to others. In one culture something is a tradition to be cultivated, in another, it might be considered a sin. Something we valued highly a few years ago can now be a laughable matter. The value of things is relative. It is often said, especially by those in leadership positions, that it is people who have the highest value. Can we determine the exact value of a person? Can we take this like a unit for gold? There are examples of calculations made using the lives of people: numerous times in history was acceptable loss calculated before military battles. A human life can indeed be used as a unit. If the value of things is relative and variable, then we have just the same chance to determine it by sheer luck as by calculation. We could just as well cast a dice. The piece is a special dice, a rhombic dodecahedron, each of its 12 faces a human life. 1, 2, 3, 10, 100, 1000, and the pierced face, 0 (which makes it possible to wear the piece on a chain). Using this piece you can determine the value of things in human lives. From 1 to 3 people are still perceptible people, above that, they are reduced to mere numbers. There is an expression, “the devil's bones”; which I feel is especially fitting for this piece. It's a warning to all, big and small alike, who gamble with human lives.
Fanni Vékony: The Devil’s bones, 2019, Material: white corian, corall, silver Concept: We wish to protect what we consider to be of value. But what is value? It is hard to define. What is important to us might not be important to others. In one culture something is a tradition to be cultivated, in another, it might be considered a sin. Something we valued highly a few years ago can now be a laughable matter. The value of things is relative. It is often said, especially by those in leadership positions, that it is people who have the highest value. Can we determine the exact value of a person? Can we take this like a unit for gold? There are examples of calculations made using the lives of people: numerous times in history was acceptable loss calculated before military battles. A human life can indeed be used as a unit. If the value of things is relative and variable, then we have just the same chance to determine it by sheer luck as by calculation. We could just as well cast a dice. The piece is a special dice, a rhombic dodecahedron, each of its 12 faces a human life. 1, 2, 3, 10, 100, 1000, and the pierced face, 0 (which makes it possible to wear the piece on a chain). Using this piece you can determine the value of things in human lives. From 1 to 3 people are still perceptible people, above that, they are reduced to mere numbers. There is an expression, “the devil's bones”; which I feel is especially fitting for this piece. It's a warning to all, big and small alike, who gamble with human lives.
18.
Luca Újvári-Zsiga: Touch, 2019, Material: textile, plexi, silicone, glitter, yellow brass, Concept: The relationship between the wearer and the jewellery is a passive relationship. we wearing the jewellery, but we are not aware that these precious objects connects our souls to our body, because the interaction stays invisible. I wanted to break this passive relationship with an object which is provokes the wearer to contact directly to the jewellery, to touch it and the jewellery to react to this approach. Through the touching and petting of the brooch a direct relation born between the person and the object, the physical and the psychical melts together. The glossy, glimmering look of the object is an ironic indication. It refers to the classic attributions mainly expected from the jewellery, but the materials I used are almost worthless. The value here is the touching, the connection between the material and the spiritual.
Luca Újvári-Zsiga: Touch, 2019, Material: textile, plexi, silicone, glitter, yellow brass, Concept: The relationship between the wearer and the jewellery is a passive relationship. we wearing the jewellery, but we are not aware that these precious objects connects our souls to our body, because the interaction stays invisible. I wanted to break this passive relationship with an object which is provokes the wearer to contact directly to the jewellery, to touch it and the jewellery to react to this approach. Through the touching and petting of the brooch a direct relation born between the person and the object, the physical and the psychical melts together. The glossy, glimmering look of the object is an ironic indication. It refers to the classic attributions mainly expected from the jewellery, but the materials I used are almost worthless. The value here is the touching, the connection between the material and the spiritual.
19.
Snem Yildirim: Attention At Ease, 2019, Material: Lenticular Lens, Anodized Aluminum, Paper, Powder Coated Brass, Steel Concept: Attention! At Ease! It is the brooch from "Daily Obedience Routines" series. "Daily Obedience Routines" series is about the terms such as obedience, authority, hierarchy and questioning how the education system transforms us into individuals, who are obedient to authority. The actions that we are made to repeat systematically as well as the objects used in schools are fictionalised so as to form a habit of obedience in us. What we are going to learn, the way we are going to think, and the way we are going to behave in public are all determined by the authority and are taught in schools. Knowing who we are and with whom we can never be, we learn more about obedience, submission, and our limits and missions than we do about our rights and freedoms. Through schools, the authority regulates every area of our life from the movements of our body to our physical appearance and forced us to live within certain templates. I created "Daily Obedience Routines" Series by reenacting all the actions I repeated during my school years and by reinterpreting the objects in my memory.
Snem Yildirim: Attention At Ease, 2019, Material: Lenticular Lens, Anodized Aluminum, Paper, Powder Coated Brass, Steel Concept: Attention! At Ease! It is the brooch from "Daily Obedience Routines" series. "Daily Obedience Routines" series is about the terms such as obedience, authority, hierarchy and questioning how the education system transforms us into individuals, who are obedient to authority. The actions that we are made to repeat systematically as well as the objects used in schools are fictionalised so as to form a habit of obedience in us. What we are going to learn, the way we are going to think, and the way we are going to behave in public are all determined by the authority and are taught in schools. Knowing who we are and with whom we can never be, we learn more about obedience, submission, and our limits and missions than we do about our rights and freedoms. Through schools, the authority regulates every area of our life from the movements of our body to our physical appearance and forced us to live within certain templates. I created "Daily Obedience Routines" Series by reenacting all the actions I repeated during my school years and by reinterpreting the objects in my memory.
20.
Viktoria Münzker: Animal instinct, 2019, Material: Brass, bronze, wood, rubies, Silver, rabbit skull, Mother of pearl, micro-granules, Concept: The nature has rules. But the nature is also chaos. It has multiply possibilities. Amidst the chaos, there is harmony. The freedom of expression lies in the nature. We are controlling our outer expressions. We make rules for ourselves, because we want to know how far we are willing to go. We go beyond the limits and break the rules because we want to know ourseIf. Animals Instinct neckIace is made off traditional jewelry materiaIs like metaI or mother of pearl, but also an animal skull. The construction is inspired by naturaI form of a medusa and lillies. When you change your point of view, you will see either chaos and confusion, or you will experience creativity and communication.
Viktoria Münzker: Animal instinct, 2019, Material: Brass, bronze, wood, rubies, Silver, rabbit skull, Mother of pearl, micro-granules, Concept: The nature has rules. But the nature is also chaos. It has multiply possibilities. Amidst the chaos, there is harmony. The freedom of expression lies in the nature. We are controlling our outer expressions. We make rules for ourselves, because we want to know how far we are willing to go. We go beyond the limits and break the rules because we want to know ourseIf. Animals Instinct neckIace is made off traditional jewelry materiaIs like metaI or mother of pearl, but also an animal skull. The construction is inspired by naturaI form of a medusa and lillies. When you change your point of view, you will see either chaos and confusion, or you will experience creativity and communication.
21.
Noémi Gera: Power Necklace, 2018, Material: Silver, wire, metal ribbon, Concept: Save / Just sure nothing is for sure. How many times did you think in the state of creation, when you create something new, that it would be 5 minutes later if you had 1 hour before I worked last night if you decided tomorrow when you got up, etc…, then what kind of object would be here before me? In the other moments of life, what would I have thought of, how would I have decided what way I would have gone, where would I have been the end result? What object would have been born? Naturally, if I look back months, years later, I can sum up the things I can see from elsewhere, but if I'm in it? Are relationships, rules that have grown up with us, subconscious traditions and decisions made from them all determine our destiny, our creations? Of course yes. I believe things don't happen by accident and are embedded. However, it poses a serious psychological challenge if an object can no longer be varied after its creation. It needs to be a rule, it will be permanent. Of course, it could calm down, giving the reality of the present. But why shouldn't the reality of the present be different at any moment? That's clear! Are you interested in how a form changes at every moment? I show you. The basic concept of my two applications is the coherence of the constant and the variable, and their interaction. The metal part is the constant, the knotted sodron hydrotone is the variable factor. The fibers are flexible, and the knitting technique also allows freedom of movement while fixing the shape. It changes, but the same object remains, as it has a permanent point: the metal. Like our socialization, our roots. It changes with the change, the form flowing, every other moment different. All interventions appear on the jewel, leaving the impression of the change on it. The change is quite a swirling swirling, but it can be a wind-powered force. And it might have been a more perfect moment. But it is no longer. If I forget the perfect moment / form / choice if I look at the present form, it becomes perfect. I lose the illusion of finality, but I get the freedom of change.
Noémi Gera: Power Necklace, 2018, Material: Silver, wire, metal ribbon, Concept: Save / Just sure nothing is for sure. How many times did you think in the state of creation, when you create something new, that it would be 5 minutes later if you had 1 hour before I worked last night if you decided tomorrow when you got up, etc…, then what kind of object would be here before me? In the other moments of life, what would I have thought of, how would I have decided what way I would have gone, where would I have been the end result? What object would have been born? Naturally, if I look back months, years later, I can sum up the things I can see from elsewhere, but if I'm in it? Are relationships, rules that have grown up with us, subconscious traditions and decisions made from them all determine our destiny, our creations? Of course yes. I believe things don't happen by accident and are embedded. However, it poses a serious psychological challenge if an object can no longer be varied after its creation. It needs to be a rule, it will be permanent. Of course, it could calm down, giving the reality of the present. But why shouldn't the reality of the present be different at any moment? That's clear! Are you interested in how a form changes at every moment? I show you. The basic concept of my two applications is the coherence of the constant and the variable, and their interaction. The metal part is the constant, the knotted sodron hydrotone is the variable factor. The fibers are flexible, and the knitting technique also allows freedom of movement while fixing the shape. It changes, but the same object remains, as it has a permanent point: the metal. Like our socialization, our roots. It changes with the change, the form flowing, every other moment different. All interventions appear on the jewel, leaving the impression of the change on it. The change is quite a swirling swirling, but it can be a wind-powered force. And it might have been a more perfect moment. But it is no longer. If I forget the perfect moment / form / choice if I look at the present form, it becomes perfect. I lose the illusion of finality, but I get the freedom of change.
22.
Fruzsi Fekete and Gabriella Veszprémi: Layers of impressions, 2019, Material: recycled leather, lacquered brass Concept: Gabriella Veszprémi is an accessory designer. She makes sustainable, zero waste leather bags and shoes. She collects the tiny rest of leather and she creates new material from it. This way she manages to save the lather waste. In this collection she works with Fruzsi fekete jewelry designer.”
Fruzsi Fekete and Gabriella Veszprémi: Layers of impressions, 2019, Material: recycled leather, lacquered brass Concept: Gabriella Veszprémi is an accessory designer. She makes sustainable, zero waste leather bags and shoes. She collects the tiny rest of leather and she creates new material from it. This way she manages to save the lather waste. In this collection she works with Fruzsi fekete jewelry designer.”
23.
Philipp Spillmann: Backsides, 2017, Material: Hi-macs, silver, steel needle Concept: I am trained as a traditional goldsmith. Having a solid foundation in a craftsmanship, knowing basic techniques and handling tools well might give confidence to go new paths, adopt new materials, shapes and expressions while still keeping the quality of the tradition. It frees our hands but does it tie our minds? The title “CONTROLS/CTRL+S” refers to the use of technology. We are living in a digital society. Do we have control or are we controlled? What are the rules or are we ruled? Social media develop constantly new ways of communication. Even emojis change. How do we use them, are there any rules? Can we control how others understand our use of emojis. We seem to be addicted somehow, thus we must have lost control, or? "Backsides" is a work containing 3 brooches. They are inspired by today’s communication through emojis. From the frontside, when worn, they are expressionless cartoon like yellow circles with tiny eyes. From the backside they reveal their real face, only known to the wearer. The steel needle is representing the mouth of the emoji. Thus, the brooches' functional parts are included to create playful objects questioning the profundity of modern communication."Backsides" Is fully handmade. They are carved out of hi-macs plates, offcuts of a factory.
Philipp Spillmann: Backsides, 2017, Material: Hi-macs, silver, steel needle Concept: I am trained as a traditional goldsmith. Having a solid foundation in a craftsmanship, knowing basic techniques and handling tools well might give confidence to go new paths, adopt new materials, shapes and expressions while still keeping the quality of the tradition. It frees our hands but does it tie our minds? The title “CONTROLS/CTRL+S” refers to the use of technology. We are living in a digital society. Do we have control or are we controlled? What are the rules or are we ruled? Social media develop constantly new ways of communication. Even emojis change. How do we use them, are there any rules? Can we control how others understand our use of emojis. We seem to be addicted somehow, thus we must have lost control, or? "Backsides" is a work containing 3 brooches. They are inspired by today’s communication through emojis. From the frontside, when worn, they are expressionless cartoon like yellow circles with tiny eyes. From the backside they reveal their real face, only known to the wearer. The steel needle is representing the mouth of the emoji. Thus, the brooches' functional parts are included to create playful objects questioning the profundity of modern communication."Backsides" Is fully handmade. They are carved out of hi-macs plates, offcuts of a factory.
24.
Bianka Bori: Your Social Control Kit, 2019, Material: silver Concept: Controls? We control everything, our surroundings, and foremost ourselves. But how do we control the information floating around us? How do we select what we hear and what we see?Using a metal contact lens and a metal earplugs can control our sight and hearing.
Bianka Bori: Your Social Control Kit, 2019, Material: silver Concept: Controls? We control everything, our surroundings, and foremost ourselves. But how do we control the information floating around us? How do we select what we hear and what we see?Using a metal contact lens and a metal earplugs can control our sight and hearing.
25.
Aliki Stroumpouli: Heartbomb, 2019, Material: Rhodium plated silver Concept: A “chained and locked finger” is static and fixed by notions, therefore unable to take action. The finger is an element that embodies movement while the locker and the chains are symbols of stillness and inactivity. Prisoned brain: Material: silver, pearl Concept: A "prisoned brain" is secluded from incoming thoughts and experiences and being unaware of its own wills and desires lucks motivation and spirit.
Aliki Stroumpouli: Heartbomb, 2019, Material: Rhodium plated silver Concept: A “chained and locked finger” is static and fixed by notions, therefore unable to take action. The finger is an element that embodies movement while the locker and the chains are symbols of stillness and inactivity. Prisoned brain: Material: silver, pearl Concept: A "prisoned brain" is secluded from incoming thoughts and experiences and being unaware of its own wills and desires lucks motivation and spirit.
26.
Emilie Le Dez: Homo Sacer I., 2019, Material: Brass, wood, acrylic, paint, plastic Concept: Homo sacer (= sacred man) is a status created by ancient Roman law. It defines a person that has been excluded by society, who can be killed by anyone. A person that no longer has any civil rights. The italian philosopher Agamben defines "homo sacer" an individual who is considered an exile from a legal point of view. But for him, there is two perspectives to human life: a biological life (Zoë or naked life) and a political dimension/existence of life (Bios). According to him, «Homo sacer" defines a clear and total separation between the two concepts. It means a person that is subject to a special political system, that doesn’t apply or works with the human rights.That person doesn’t have it’s own political existence: everything can happen to him, he is no longer protected by rules or rights. I’m drawing here a parallel between the «homo sacer» and the refugee status. I’m trying to describe that moment where a person, who is considered a citizen somewhere (Zôe+Bios ) is leaving his common legal framework, not necessarily by choice and has to live a «vagabond life» until political system decides otherwise. My jewelry represents those «homo sacer »/refugees and recreates this random movement created by political system. (The people are moving inside the jewel)The geometrical forms represents the political systems in which we live. This describes the situation of a growing number of humans beings. Totalitarian and criminal systems have used the status of the "homo sacer" to exclude and control society.What can we say about the actual world's situation?
Emilie Le Dez: Homo Sacer I., 2019, Material: Brass, wood, acrylic, paint, plastic Concept: Homo sacer (= sacred man) is a status created by ancient Roman law. It defines a person that has been excluded by society, who can be killed by anyone. A person that no longer has any civil rights. The italian philosopher Agamben defines "homo sacer" an individual who is considered an exile from a legal point of view. But for him, there is two perspectives to human life: a biological life (Zoë or naked life) and a political dimension/existence of life (Bios). According to him, «Homo sacer" defines a clear and total separation between the two concepts. It means a person that is subject to a special political system, that doesn’t apply or works with the human rights.That person doesn’t have it’s own political existence: everything can happen to him, he is no longer protected by rules or rights. I’m drawing here a parallel between the «homo sacer» and the refugee status. I’m trying to describe that moment where a person, who is considered a citizen somewhere (Zôe+Bios ) is leaving his common legal framework, not necessarily by choice and has to live a «vagabond life» until political system decides otherwise. My jewelry represents those «homo sacer »/refugees and recreates this random movement created by political system. (The people are moving inside the jewel)The geometrical forms represents the political systems in which we live. This describes the situation of a growing number of humans beings. Totalitarian and criminal systems have used the status of the "homo sacer" to exclude and control society.What can we say about the actual world's situation?
27.
Melis Agabigum: When You Brought It Back to Life, 2019, Material: Copper, Enamel, Waxed Cotton, Silicone Rubber Concept: In my series When... I try to find meaning and balance between the emotional turmoils of my past, and how they affect and determine the way I proceed in the present. Burdens carried from abusive relationships become the past controlling the future. By embracing the errors made years ago, I am also able to control the choices I make as an adult- avoiding the wrong people, the wrong love, and putting the skeletons to rest.My works are driven by personal experience and the search for semblance in my connections to others. I move the enamel into a place of fragility, calcification, and unsettlement. Through over firing enamels to the point of black, green, and blue oxidation, or under firing enamel till it is barely fused onto the surface like a sugared texture, I challenge the notion of traditional craft and the idea of beauty with familiarity. The ‘warmth’ of a woven structure, contrasted with surface that evokes unease, invites the viewer to more closely interact with the pieces. The closeness, contrasted with the coldness of moving enamel to a state of over firing or under firing is what I believe brings in this sensation of beauty to my work. I see beauty in all the darkness of the taboo subjects I imbue in my jewelry. There is coldness through colour and texture; sensual textile chaining or silicone rubber that draws from bodily experience; visual balance and unease (but in a pleasant way) in repetition and structure. These dichotomies drive my concepts which embrace the less than beautiful aspects of being--- feelings of self doubt, lust, desire, confusion, baggage, emotional distance, and vulnerability. Ultimately, I believe that this is where control and freedom manifest in a physical product. A sad, but beautiful relic, where desire has become a sublimation of my soul’s perception of material, content, aesthetic, and connection.
Melis Agabigum: When You Brought It Back to Life, 2019, Material: Copper, Enamel, Waxed Cotton, Silicone Rubber Concept: In my series When... I try to find meaning and balance between the emotional turmoils of my past, and how they affect and determine the way I proceed in the present. Burdens carried from abusive relationships become the past controlling the future. By embracing the errors made years ago, I am also able to control the choices I make as an adult- avoiding the wrong people, the wrong love, and putting the skeletons to rest.My works are driven by personal experience and the search for semblance in my connections to others. I move the enamel into a place of fragility, calcification, and unsettlement. Through over firing enamels to the point of black, green, and blue oxidation, or under firing enamel till it is barely fused onto the surface like a sugared texture, I challenge the notion of traditional craft and the idea of beauty with familiarity. The ‘warmth’ of a woven structure, contrasted with surface that evokes unease, invites the viewer to more closely interact with the pieces. The closeness, contrasted with the coldness of moving enamel to a state of over firing or under firing is what I believe brings in this sensation of beauty to my work. I see beauty in all the darkness of the taboo subjects I imbue in my jewelry. There is coldness through colour and texture; sensual textile chaining or silicone rubber that draws from bodily experience; visual balance and unease (but in a pleasant way) in repetition and structure. These dichotomies drive my concepts which embrace the less than beautiful aspects of being--- feelings of self doubt, lust, desire, confusion, baggage, emotional distance, and vulnerability. Ultimately, I believe that this is where control and freedom manifest in a physical product. A sad, but beautiful relic, where desire has become a sublimation of my soul’s perception of material, content, aesthetic, and connection.
28.
Veronika Fazekas: Inside out, 2019, Material: paper, silver, stainless steel Concept: Controls are unpredictable. Sometimes it is our most protective friend , which is showing the path in the foggy labyrinth, called life, other times it is our cruelest enemy, which keeps in a prison and doesn’t let you be you. My piece is showing that duality. My controls, which were gained by the society, which is really necessary to fit in... But on the other side it made me accept rules, behaviors ,which are against me. The paper penitentiary symbolizes my consciousness, which controls my freemoving, shiny spirit, which is represented by a chain. As you are watching this brooch, you get involved in this war of the soul about controls.
Veronika Fazekas: Inside out, 2019, Material: paper, silver, stainless steel Concept: Controls are unpredictable. Sometimes it is our most protective friend , which is showing the path in the foggy labyrinth, called life, other times it is our cruelest enemy, which keeps in a prison and doesn’t let you be you. My piece is showing that duality. My controls, which were gained by the society, which is really necessary to fit in... But on the other side it made me accept rules, behaviors ,which are against me. The paper penitentiary symbolizes my consciousness, which controls my freemoving, shiny spirit, which is represented by a chain. As you are watching this brooch, you get involved in this war of the soul about controls.
29.
Mai Zarkawy: Black Story, Material: olive wood, sterling silver Concept: I was born under occupation having two identities ,one is blue and the other one is black, and I am exploring them through my work by using the olive wood to represent myself always wondering about : who am I ? The primary essence regarding to olive wood is that they represent the relationship between the Palestinian and their land and their existence and resistance. Am looking deep inside searching for the right answer and the research am doing brought out collection that open a corridor between my essence and my existence as a Palestinian-Israel. The objects left marks on the clothes, black marks, they are the sound of silence and the sound of wondering, the sound of revolution … I found myself asking about truth and reality ,looking for answers or signs that can lead me to the right point.
Mai Zarkawy: Black Story, Material: olive wood, sterling silver Concept: I was born under occupation having two identities ,one is blue and the other one is black, and I am exploring them through my work by using the olive wood to represent myself always wondering about : who am I ? The primary essence regarding to olive wood is that they represent the relationship between the Palestinian and their land and their existence and resistance. Am looking deep inside searching for the right answer and the research am doing brought out collection that open a corridor between my essence and my existence as a Palestinian-Israel. The objects left marks on the clothes, black marks, they are the sound of silence and the sound of wondering, the sound of revolution … I found myself asking about truth and reality ,looking for answers or signs that can lead me to the right point.
30.
Xihan Zhai: Fall in fog, 2018, Material: rock crystal, silver Concept: Rules are like stone, hard and stubborn. Humans are like water, soft and flexible. When the water flow on the stone, they started to consume each other and complementing each other. For the series of work, I construct fog as space which contains Taoism thought. The process of making is a way of being water. The jewellery created a way of learning how to deal with restrictions and freedoms. When desires go further and further away, the body becomes lighter and lighter. Light like a fog. When the objects lay on the body like pebbles on the river, the body becomes calmer and calmer. Calm like water. Slowly slowly, water continuously shape the stone, wash down the sharpness of the mind, the form becomes rounder and rounder. Round like the universe. What do you feel when you fall in fog? What you feel when you become the fog?
Xihan Zhai: Fall in fog, 2018, Material: rock crystal, silver Concept: Rules are like stone, hard and stubborn. Humans are like water, soft and flexible. When the water flow on the stone, they started to consume each other and complementing each other. For the series of work, I construct fog as space which contains Taoism thought. The process of making is a way of being water. The jewellery created a way of learning how to deal with restrictions and freedoms. When desires go further and further away, the body becomes lighter and lighter. Light like a fog. When the objects lay on the body like pebbles on the river, the body becomes calmer and calmer. Calm like water. Slowly slowly, water continuously shape the stone, wash down the sharpness of the mind, the form becomes rounder and rounder. Round like the universe. What do you feel when you fall in fog? What you feel when you become the fog?
31.
Marita Sario: Reversible, 2019, Material: Kid ́s parchment. Sewing thread-plated brass Concept: Control We go back and forth from our inside world to the outside, our mind controlling this dynamic.Our skin separates and connects us at the same time is the subject of my work. My pieces show both sides of a module, each one partly open to allow the view of its inner side, that represents the signs of the living skin.We control our emotions and feelings through our skin, it allows us to interact with people and establish a material, intellectual, social and emotional attachment. But sometimes this control is lost, forces burst from one side or the other, disrupting the balance. This is just part of life.And from this conflict, pain, love or art may come up.
Marita Sario: Reversible, 2019, Material: Kid ́s parchment. Sewing thread-plated brass Concept: Control We go back and forth from our inside world to the outside, our mind controlling this dynamic.Our skin separates and connects us at the same time is the subject of my work. My pieces show both sides of a module, each one partly open to allow the view of its inner side, that represents the signs of the living skin.We control our emotions and feelings through our skin, it allows us to interact with people and establish a material, intellectual, social and emotional attachment. But sometimes this control is lost, forces burst from one side or the other, disrupting the balance. This is just part of life.And from this conflict, pain, love or art may come up.
32.
Laura Hanisch: True needs - hold on me, 2019, Material: zinc-plated steel, polyester-nylon rope, cotton thread Concept: (the three pieces being to a series of work that deals with the non verbal dialogue between humans, prejudices and play with the phenomenon. The goal is to enable the owner to express his/her true self und needs in a playful, enjoyable way. in the first hand, it's about accepting yourself.) We oppress our true self because of external norms and values. as children we learn what’s right and what’s wrong, how to behave, how to feel. What is expected of us as children, women, men we are supposed to become. strength matters, boys don't cry. In my work I try to push the personal limits a little, get out of your comfort shell. Wear a chain to show your wish for guidance, carry a fragile bird as a trusted companion to overcome loneliness in everyday power struggles and feel good about yourself. we are not supposed to admit weakness. so called childish or women like behavior equals weakness, naivety, frailty. The strong masculinity as a picture and a claim for every little boy to become is still worn by the picture of the strong, lonely wolf. We have to ban the outdated stereotypes to create a world of togetherness and kindness, to normalize diversity.
Laura Hanisch: True needs - hold on me, 2019, Material: zinc-plated steel, polyester-nylon rope, cotton thread Concept: (the three pieces being to a series of work that deals with the non verbal dialogue between humans, prejudices and play with the phenomenon. The goal is to enable the owner to express his/her true self und needs in a playful, enjoyable way. in the first hand, it's about accepting yourself.) We oppress our true self because of external norms and values. as children we learn what’s right and what’s wrong, how to behave, how to feel. What is expected of us as children, women, men we are supposed to become. strength matters, boys don't cry. In my work I try to push the personal limits a little, get out of your comfort shell. Wear a chain to show your wish for guidance, carry a fragile bird as a trusted companion to overcome loneliness in everyday power struggles and feel good about yourself. we are not supposed to admit weakness. so called childish or women like behavior equals weakness, naivety, frailty. The strong masculinity as a picture and a claim for every little boy to become is still worn by the picture of the strong, lonely wolf. We have to ban the outdated stereotypes to create a world of togetherness and kindness, to normalize diversity.
33.
Erika Fülöp: Spikes, 2019, Material: Concrete, nails, nuts, spun paper yarn Concept: Slowly and cunningly a system of conventions sneaks into your life that teaches you that girls should give doll’s dinner-party, and boys don’t cry, that there are blue and pink, and it is not for You to choose. The verb is „to cook”, the noun is „mom”. Let’s analyze the sentence: Dad is reading the newspaper. Kings, emperors, heroic stratagems at each and every move. Ancient times hammer men’s oppressive dominance into you. You think it is the past, and you have done with these customs. Today everything is on track: women can also study and earn a degree, you are an optimist as well. After all it is the 21st century! Then suddenly you realize that you are a female colleague whose arm is being pawed. That no matter how well you perform you are not getting forward. That you earn less than men at the same post. Ctrl+S... You would like to overwrite the past and traditions, but in vain. A woman can be complete only as a mother – whispers the world around you and weaves the net tighter around you. You stop your ear and howl to deafen the noise. It is too late. Tick-tack, tick-tack, on top of the time bomb it is your biological clock that ticks. Can you hear it? You can hear it, can’t you? whispers the world and gives you a tug. It is a gray zone you are walking in; it has not been black or white for a long time. Careerist, feminist, penis envy – they hurl at you as you are toering yourway. You swallow and eject yet another spike towards the bubbles of gender stereotypes…
Erika Fülöp: Spikes, 2019, Material: Concrete, nails, nuts, spun paper yarn Concept: Slowly and cunningly a system of conventions sneaks into your life that teaches you that girls should give doll’s dinner-party, and boys don’t cry, that there are blue and pink, and it is not for You to choose. The verb is „to cook”, the noun is „mom”. Let’s analyze the sentence: Dad is reading the newspaper. Kings, emperors, heroic stratagems at each and every move. Ancient times hammer men’s oppressive dominance into you. You think it is the past, and you have done with these customs. Today everything is on track: women can also study and earn a degree, you are an optimist as well. After all it is the 21st century! Then suddenly you realize that you are a female colleague whose arm is being pawed. That no matter how well you perform you are not getting forward. That you earn less than men at the same post. Ctrl+S... You would like to overwrite the past and traditions, but in vain. A woman can be complete only as a mother – whispers the world around you and weaves the net tighter around you. You stop your ear and howl to deafen the noise. It is too late. Tick-tack, tick-tack, on top of the time bomb it is your biological clock that ticks. Can you hear it? You can hear it, can’t you? whispers the world and gives you a tug. It is a gray zone you are walking in; it has not been black or white for a long time. Careerist, feminist, penis envy – they hurl at you as you are toering yourway. You swallow and eject yet another spike towards the bubbles of gender stereotypes…
34.
Eva Fernandez: Flour-ish, 2019, Material: Aluminium, stainless steel Concept: This piece has been inspired by the dichotomy of modern motherhood: self-identity versus domestic life. Many women carry the burden of having to balance this duality. The piece blends organic elements with those taken from the domestic environment, and tries to represent conflict through features such as the coldness and the roughness of the material contrasting with soft form; and visual heaviness versus material lightness. With my work, I help people appreciate the ordinary and our man made surroundings by stimulating their curiosity and perception. I achieve this, by taking inspiration from our manufactured environment and move ordinary objects (or features of them) out of their usual contexts or configurations to portray social and political matters. I feel that in my case, the rules and traditions do not restrict the creative process. Through my work I try to challenge them – in terms of meaning, process and materials - to give the viewer a new perspective of what jewellery can be. Concept and non-conventional process and materials become the foremost of the jewellery outcome.
Eva Fernandez: Flour-ish, 2019, Material: Aluminium, stainless steel Concept: This piece has been inspired by the dichotomy of modern motherhood: self-identity versus domestic life. Many women carry the burden of having to balance this duality. The piece blends organic elements with those taken from the domestic environment, and tries to represent conflict through features such as the coldness and the roughness of the material contrasting with soft form; and visual heaviness versus material lightness. With my work, I help people appreciate the ordinary and our man made surroundings by stimulating their curiosity and perception. I achieve this, by taking inspiration from our manufactured environment and move ordinary objects (or features of them) out of their usual contexts or configurations to portray social and political matters. I feel that in my case, the rules and traditions do not restrict the creative process. Through my work I try to challenge them – in terms of meaning, process and materials - to give the viewer a new perspective of what jewellery can be. Concept and non-conventional process and materials become the foremost of the jewellery outcome.
35.
Ji Young Kim: Dear Danube , 2019, Material: sterling silver, gold plated, mother of pearl, paper, plastic, traditional lacquer Concept: The flowing river seems to remain silent, but The light on it becomes a candle, a lamp, a starlight, and changes constantly. It's happening again today. The road to beauty is like a staircase. We must overcome tradition and go up one by one based on novelty. Tradition and novelty coexist that way, so it looks like the flowing Danube. The flowing river seems to remain silent. But The light on it changes constantly. Oh! Draw a circle. Tradition and modernity are like the front and back of a coin. It's made based on our traditional technique called inlaid lacquerware with mother of pearl and modern technique with metal, I did plus it on plastic with a new challenge. Material with different properties of metal and paper and plastic combined to create together, and computer numeric control and traditional technique were combined. as light shines on the river. Therefore, the way we go is not subtract. The way forward is the road to like Danube.
Ji Young Kim: Dear Danube , 2019, Material: sterling silver, gold plated, mother of pearl, paper, plastic, traditional lacquer Concept: The flowing river seems to remain silent, but The light on it becomes a candle, a lamp, a starlight, and changes constantly. It's happening again today. The road to beauty is like a staircase. We must overcome tradition and go up one by one based on novelty. Tradition and novelty coexist that way, so it looks like the flowing Danube. The flowing river seems to remain silent. But The light on it changes constantly. Oh! Draw a circle. Tradition and modernity are like the front and back of a coin. It's made based on our traditional technique called inlaid lacquerware with mother of pearl and modern technique with metal, I did plus it on plastic with a new challenge. Material with different properties of metal and paper and plastic combined to create together, and computer numeric control and traditional technique were combined. as light shines on the river. Therefore, the way we go is not subtract. The way forward is the road to like Danube.
36.
Fekete Fruzsi: Mistake on Purpose, 2019, Material: porcelain, lacquered brass, stainless steel Concept: I always control my actions. I always care about not making mistakes. But what if I make a mistake with a purpose, in a white perfectly clear surface? I Save the gesture of the moment , and I save the mark of the impressions of the moment.
Fekete Fruzsi: Mistake on Purpose, 2019, Material: porcelain, lacquered brass, stainless steel Concept: I always control my actions. I always care about not making mistakes. But what if I make a mistake with a purpose, in a white perfectly clear surface? I Save the gesture of the moment , and I save the mark of the impressions of the moment.
37.
Lucia Gamanová: Jewellery as something, 2019, Material: Found object, Stainless steel, Filament, Styrofoam Concept: In today's material world, we are constantly surrounded by things that have short lifetime of use. As a result, there is an ever-increasing amount of waste. The aim of my thesis was to point out that we can also process waste material, increase its value and point out that it can be reused. So I pay special attention to the found waste material, which is the main substance of my collection, but one the other hand, the only one which I cannot identify. I am deliberately working with a set of brooches whose utility is hidden and the viewer is not able to determine at first sight what are they looking at. I give the viewer the role of a researcher who asks the questions. Intervention in the found object is minimal and the objects do not undergo almost any transformation to gain a new identity. They require sensitive handling, which makes the found object work on its own and becomes part of the jewellery. I combine found items (variety of materials) with 3D printing technology (identity-free material, material with no history, with no or minimal waste). I combine something found and dishonoured with something that is generated by a machine for me. Putting the found object into a jewellery object, that is printed on a 3D printer, goes beyond the traditional using to putting precious stone with using precious metals. I try to explain what jewellery means to me as a graphic designer and how I perceive the value of the material used in this medium. I examine the limits of the moment of connecting the jewellery object with the installation of the exhibition itself. Objects found on the ground inevitably accompany the action, during which I trace the route and record my movement. This creates a new relationship to the found object and the story that represents the installation of the exhibition - the found object is set in the original environment and placed in its original location. Through the installation of the exhibition, I am trying to tell the viewer the story of my collection of found items, whose rules I determine myself and which may or may not be wearable. An exhibition presentation was created for the jewellery collection, which consists of seven installation objects. You can also install the collection separately or install only part of the objects.
Lucia Gamanová: Jewellery as something, 2019, Material: Found object, Stainless steel, Filament, Styrofoam Concept: In today's material world, we are constantly surrounded by things that have short lifetime of use. As a result, there is an ever-increasing amount of waste. The aim of my thesis was to point out that we can also process waste material, increase its value and point out that it can be reused. So I pay special attention to the found waste material, which is the main substance of my collection, but one the other hand, the only one which I cannot identify. I am deliberately working with a set of brooches whose utility is hidden and the viewer is not able to determine at first sight what are they looking at. I give the viewer the role of a researcher who asks the questions. Intervention in the found object is minimal and the objects do not undergo almost any transformation to gain a new identity. They require sensitive handling, which makes the found object work on its own and becomes part of the jewellery. I combine found items (variety of materials) with 3D printing technology (identity-free material, material with no history, with no or minimal waste). I combine something found and dishonoured with something that is generated by a machine for me. Putting the found object into a jewellery object, that is printed on a 3D printer, goes beyond the traditional using to putting precious stone with using precious metals. I try to explain what jewellery means to me as a graphic designer and how I perceive the value of the material used in this medium. I examine the limits of the moment of connecting the jewellery object with the installation of the exhibition itself. Objects found on the ground inevitably accompany the action, during which I trace the route and record my movement. This creates a new relationship to the found object and the story that represents the installation of the exhibition - the found object is set in the original environment and placed in its original location. Through the installation of the exhibition, I am trying to tell the viewer the story of my collection of found items, whose rules I determine myself and which may or may not be wearable. An exhibition presentation was created for the jewellery collection, which consists of seven installation objects. You can also install the collection separately or install only part of the objects.
38.
Eszter Sára Kocsor: Mirror in mirror, 2018, Material: Stainless steel, silver, zirconia Concept: Everything started on that moment when I realized that this is not a broken mirror, It just has got many many new ways to go and I can build my own world with the pieces. I build it really free with my own rules, I always listen to my feelings. I can read myself in these objects. I never draw them before, never make some sketches, I always start to build it, listen to myself deeply and go with this flow. I wanted to put something into these mirrors to see it in a lot of ways at the same time. Maybe because I wanted to search myself from a lot of ways... My aim was to overdo the beauty of the stone, catching my eyes constantly. The jewellery that came up to my mind was something you can not look away from which is received by moving the body. This can create exciting and precious new images. This was the feeling what I wanted to do with my jewelleries.
Eszter Sára Kocsor: Mirror in mirror, 2018, Material: Stainless steel, silver, zirconia Concept: Everything started on that moment when I realized that this is not a broken mirror, It just has got many many new ways to go and I can build my own world with the pieces. I build it really free with my own rules, I always listen to my feelings. I can read myself in these objects. I never draw them before, never make some sketches, I always start to build it, listen to myself deeply and go with this flow. I wanted to put something into these mirrors to see it in a lot of ways at the same time. Maybe because I wanted to search myself from a lot of ways... My aim was to overdo the beauty of the stone, catching my eyes constantly. The jewellery that came up to my mind was something you can not look away from which is received by moving the body. This can create exciting and precious new images. This was the feeling what I wanted to do with my jewelleries.
39.
Lynne Speake: Fragile Earth, 2019, Material: Materials collected and found from Cornish beaches, woods and boatyards: Porcelain paperclay, indian ink. wood, rust, metal, rope, sikoflex, paint, copper, silver solder, plastic, rubber and various electrical flex. Concept: I was not taught in the traditional jewellery rules and rules of making I work without these rules and without these limits. Rules that would control me and make my work, my creativity and my mind conform My creative mind is not cluttered by the rules of the right way to do things. My creative mind is not dictated to by the rules of what is precious I experiment and play as I want. I make as I want. My 'jewellery' does not conform to any traditional rule but is free to evolve however it wants to evolve …. with its own set of rules. My materials impose their own rules upon the making, They have their own creative language. I am happy to follow their rules, they challenge me and they excite me. They tell me how they want to be and I listen They tell me where they want to go and I follow. They tie me down, they challenge me, they inhibit me ....but …these rules are freedom …these rules are inspiration …these rules are felt deeply to the core of my being …these rules …unlike all the others …I can not and do not want to ignore.
Lynne Speake: Fragile Earth, 2019, Material: Materials collected and found from Cornish beaches, woods and boatyards: Porcelain paperclay, indian ink. wood, rust, metal, rope, sikoflex, paint, copper, silver solder, plastic, rubber and various electrical flex. Concept: I was not taught in the traditional jewellery rules and rules of making I work without these rules and without these limits. Rules that would control me and make my work, my creativity and my mind conform My creative mind is not cluttered by the rules of the right way to do things. My creative mind is not dictated to by the rules of what is precious I experiment and play as I want. I make as I want. My 'jewellery' does not conform to any traditional rule but is free to evolve however it wants to evolve …. with its own set of rules. My materials impose their own rules upon the making, They have their own creative language. I am happy to follow their rules, they challenge me and they excite me. They tell me how they want to be and I listen They tell me where they want to go and I follow. They tie me down, they challenge me, they inhibit me ....but …these rules are freedom …these rules are inspiration …these rules are felt deeply to the core of my being …these rules …unlike all the others …I can not and do not want to ignore.
40.
Monica Wickström: Heart Control, 2019, Material: Natural stones, epoxy, gold plated silver, silver Concept: To control your life is to save important things in your heart. One of the most important things for me is friendship. It has been especially important when I have found an old friend from my childhood being still very dear to me after more than 60 years. My piece of jewelry is an object made by two complete different types of stones, which I have joined together with epoxy. The object is symbolizing the saved friendship in my heart. I feel our lifelong friendship is controlling my life in an enrichment way. We still have so much to give one another because of our differences. The silver and gold globules are the outputs of a fruitful friendship.
Monica Wickström: Heart Control, 2019, Material: Natural stones, epoxy, gold plated silver, silver Concept: To control your life is to save important things in your heart. One of the most important things for me is friendship. It has been especially important when I have found an old friend from my childhood being still very dear to me after more than 60 years. My piece of jewelry is an object made by two complete different types of stones, which I have joined together with epoxy. The object is symbolizing the saved friendship in my heart. I feel our lifelong friendship is controlling my life in an enrichment way. We still have so much to give one another because of our differences. The silver and gold globules are the outputs of a fruitful friendship.
41.
Maria Eugenia Ramos: Impermanence 2, 2019, Material: Sand, glue, german silver Concept: I’m inspired by the world around me. The fragile and the ethereal. I work with sand because I like its simplicity, Its naked beaches. I make me questions in its silences. I`m looking to re -formulate some things we learnt it. and challenge my own beliefs. How to break with the established? How to accept the new rules of the world? The freedom inspire me work, and the possibility of finding another way to make things. The sand allows me to make simple pieces, ephemeral pieces. When I take the sand in my hands, it slip away and they remind me that we are just a moment.
Maria Eugenia Ramos: Impermanence 2, 2019, Material: Sand, glue, german silver Concept: I’m inspired by the world around me. The fragile and the ethereal. I work with sand because I like its simplicity, Its naked beaches. I make me questions in its silences. I`m looking to re -formulate some things we learnt it. and challenge my own beliefs. How to break with the established? How to accept the new rules of the world? The freedom inspire me work, and the possibility of finding another way to make things. The sand allows me to make simple pieces, ephemeral pieces. When I take the sand in my hands, it slip away and they remind me that we are just a moment.
42.
Herman Sun: Dragon Myth - YA ZI Material: Silver, tanzanite, sapphire, spinal, moonstones, Indonesian pipe jade Concept: Dragon is a traditional totem in Asia, Asian believe it as a symbol of power and status. The collection of Dragon Myth is inspired by a subcultural dragon totem: “Sons of the Dragon”. Based on historical archives, Herman try to bring the traditional Asian subculture back to the modern world. Dragon Myth releases minority traditions in a contemporary jewellery way. He creates a special jewellery structure to describe the sub-cultural content. His nomadic style is applied on his works with all handmade. Each work is designed into an exclusive unique main body with multiple connected components. It allows audience feel the sub-cultures via wearing, touching, using and playing. He believes it is also a contemporary way for people to get new views on traditions and crafts. Herman’s collections are his language. He believes traditions is a part of the contemporary world, artist can guide people how to read it.
Herman Sun: Dragon Myth - YA ZI Material: Silver, tanzanite, sapphire, spinal, moonstones, Indonesian pipe jade Concept: Dragon is a traditional totem in Asia, Asian believe it as a symbol of power and status. The collection of Dragon Myth is inspired by a subcultural dragon totem: “Sons of the Dragon”. Based on historical archives, Herman try to bring the traditional Asian subculture back to the modern world. Dragon Myth releases minority traditions in a contemporary jewellery way. He creates a special jewellery structure to describe the sub-cultural content. His nomadic style is applied on his works with all handmade. Each work is designed into an exclusive unique main body with multiple connected components. It allows audience feel the sub-cultures via wearing, touching, using and playing. He believes it is also a contemporary way for people to get new views on traditions and crafts. Herman’s collections are his language. He believes traditions is a part of the contemporary world, artist can guide people how to read it.
43.
Roxana Casale: Slip Away, 2019, Material: Amate paper, japanese paper, silver pin. Concept: The chasm between the rich and poor grows ever larger. Those who are excluded from socioeconomic organizations due to lack of work and social protections suffer the edicts of disenfranchisement and erasure. Social and economic policies that are particularly unfavorable to the working class slowly sinks them deeper into poverty, uncertainty, and inequality. They are subjugated under threat of chronic unemployment that obfuscates a vast unseen world of people being delivered to a fate wrought by forces outside their control. The pieces that make up the series “Contrast” are created with brewed tea bags, japanese paper and amate paper. The manufacturing process bestows on the material a patina that simulates a parasitic guise, relating the lack of opportunities and equity with a pandemic disease that consumes everything in its path. “It is very important to understand who initiates violence: is those who engender misery, or those who fight against it.” -Julio Cortazar
Roxana Casale: Slip Away, 2019, Material: Amate paper, japanese paper, silver pin. Concept: The chasm between the rich and poor grows ever larger. Those who are excluded from socioeconomic organizations due to lack of work and social protections suffer the edicts of disenfranchisement and erasure. Social and economic policies that are particularly unfavorable to the working class slowly sinks them deeper into poverty, uncertainty, and inequality. They are subjugated under threat of chronic unemployment that obfuscates a vast unseen world of people being delivered to a fate wrought by forces outside their control. The pieces that make up the series “Contrast” are created with brewed tea bags, japanese paper and amate paper. The manufacturing process bestows on the material a patina that simulates a parasitic guise, relating the lack of opportunities and equity with a pandemic disease that consumes everything in its path. “It is very important to understand who initiates violence: is those who engender misery, or those who fight against it.” -Julio Cortazar
44.
Molly Wang: RHIZOME 1, 2019, Material: Copper, Sponge, Leather cord, Silver steel Concept: My concept is about freedom thinking and making based on RHIZOME philosophy concept, which inspiration comes from my silversmithing studio practice. When I am doing hammering practice in the studio, I realized there’s no wrong during the making process. There are only accidents which can actually help me to change something unpredictable, to make something I’ve never made. It’s an amazing experience for me and I obsessed about it so much. So, I want to use this great traditional technique to do something new for me, of course, contemporary jewellery. The creative process makes me thinking the way of creating and it becomes the inspiration of this project. After doing more research, I found that my practice of doing so is the application of a philosophy concept named “Rhizome” which is developed by French philosopher Gilles Deleuze and Félix Guattari in their Capitalism and Schizophrenia project in the 1970s. No centrality, no hierarchy, no expectations, no restriction. From the signifier to the signified, the work is trying to tell an expanding way of thinking as well as making, rather than doing something “right”. I created these rhizomatic shape brooches which can be worn in different positions on one body (on the shoulder, on the waist, around the neck or holding) or more. Although the rules in society are essential for people to work effectively, it also makes people behave like robots. Loans of rules around us make us young people thinking in a singular way which called “the right way”. The copied minds is shaping an ordered but boring world. I feel scared about this. Luckily, there’s no rule and expected way of wearing my piece. From this work, I encourage the audience to experience the creative making process by observing and wearing in diverse ways without expectations and enjoy the freedom of wearing.
Molly Wang: RHIZOME 1, 2019, Material: Copper, Sponge, Leather cord, Silver steel Concept: My concept is about freedom thinking and making based on RHIZOME philosophy concept, which inspiration comes from my silversmithing studio practice. When I am doing hammering practice in the studio, I realized there’s no wrong during the making process. There are only accidents which can actually help me to change something unpredictable, to make something I’ve never made. It’s an amazing experience for me and I obsessed about it so much. So, I want to use this great traditional technique to do something new for me, of course, contemporary jewellery. The creative process makes me thinking the way of creating and it becomes the inspiration of this project. After doing more research, I found that my practice of doing so is the application of a philosophy concept named “Rhizome” which is developed by French philosopher Gilles Deleuze and Félix Guattari in their Capitalism and Schizophrenia project in the 1970s. No centrality, no hierarchy, no expectations, no restriction. From the signifier to the signified, the work is trying to tell an expanding way of thinking as well as making, rather than doing something “right”. I created these rhizomatic shape brooches which can be worn in different positions on one body (on the shoulder, on the waist, around the neck or holding) or more. Although the rules in society are essential for people to work effectively, it also makes people behave like robots. Loans of rules around us make us young people thinking in a singular way which called “the right way”. The copied minds is shaping an ordered but boring world. I feel scared about this. Luckily, there’s no rule and expected way of wearing my piece. From this work, I encourage the audience to experience the creative making process by observing and wearing in diverse ways without expectations and enjoy the freedom of wearing.
45.
Motoko Furuhashi: Past and present Material: Brass, wood, artificial plants Concept: My research has been influenced by the locations I have lived or visited, and has led to my fascination with the roads all around us that we use travel about our lives. I see the tension that exists between our association with the road and our desires live an open and free life removed from the constraint of dictatorial mandates and prescribed pathways. This leads to an ongoing cycle of the planning and re-planning our locations to fit our conveniences and our illusions of control. This entire narrative often takes place before us in the roads and alleyways we adhere to and yet subconsciously ignore. These spaces are the literal and physical presentations of our relationship with constraint and openness. Some roads can be well maintained and are often considered ideal; while others are overtly neglected and said to be undesirable. Within this contrast is where I provide a unique representation of the interrelationships between time, location, perception, and importance. My work derives from these narratives and shifts the meaning of perfection, transforming our perception of reality into new perspectives.
46. Marina Zachou: Ground to Grow, 2019, Material: bronze, nylon printed photograph, polymer clay, gold dust, varnish Concept: „Learn the rules like a pro, so you can break them like an artist.” – Pablo Picasso Through the rules and tradition we learn about the world that surrounds us. That knowledge is the best ground for us to grow and evolve. A fertile soil ready to grow our seeds. Besides… we can’t overwrite without adapting and can’t break free without first being tied.
Motoko Furuhashi: Past and present Material: Brass, wood, artificial plants Concept: My research has been influenced by the locations I have lived or visited, and has led to my fascination with the roads all around us that we use travel about our lives. I see the tension that exists between our association with the road and our desires live an open and free life removed from the constraint of dictatorial mandates and prescribed pathways. This leads to an ongoing cycle of the planning and re-planning our locations to fit our conveniences and our illusions of control. This entire narrative often takes place before us in the roads and alleyways we adhere to and yet subconsciously ignore. These spaces are the literal and physical presentations of our relationship with constraint and openness. Some roads can be well maintained and are often considered ideal; while others are overtly neglected and said to be undesirable. Within this contrast is where I provide a unique representation of the interrelationships between time, location, perception, and importance. My work derives from these narratives and shifts the meaning of perfection, transforming our perception of reality into new perspectives.
46. Marina Zachou: Ground to Grow, 2019, Material: bronze, nylon printed photograph, polymer clay, gold dust, varnish Concept: „Learn the rules like a pro, so you can break them like an artist.” – Pablo Picasso Through the rules and tradition we learn about the world that surrounds us. That knowledge is the best ground for us to grow and evolve. A fertile soil ready to grow our seeds. Besides… we can’t overwrite without adapting and can’t break free without first being tied.
47.
Malgorzata Misiak-Orlovic: Double Oval, 2019, Material: Wet process enamel, brass powder, copper, brass, steel Concept: Subversion, stubbornness and quiet disregard for norms have always been at the core of my creative, and personal, sensitivity. I don’t meet expectations (ask my mum) and I am pathologically suspicious of the rules, which seem to govern every aspect of our lives but somehow don’t make us better people. I love brooches for their sculptural qualities. For this series of one-off pieces my aim was to play with some stereotypes around the idea of a brooch, and at the same time review some traditional jewellery techniques. An oval is a classic brooch shape, associated with ancient, Victorian, and other historical periods. While my work references those connotations, it also offers an entirely new proposal for the oval by turning it into a contemporary / distorted / ambiguous / non-precious soldered box. My aim was to create sculptures in painted enamel, inclusions, and hollow soldered copper; something I have not really seen anywhere before. The results were not fully predictable. But something in me wanted to be surprised. Experimentation and spontaneity are at the core of my practice. Excitement and expectation were a vital element of this project. I trusted the materials, and that trust certainly paid off. These ambiguous eclectic objects are not meant to be effortless crowd pleasers. There is a lot of tension within the pieces as the spontaneous and unrestricted expression of the enamel is unnaturally confined within the frames of the minimalist, unsophisticated shapes.
Malgorzata Misiak-Orlovic: Double Oval, 2019, Material: Wet process enamel, brass powder, copper, brass, steel Concept: Subversion, stubbornness and quiet disregard for norms have always been at the core of my creative, and personal, sensitivity. I don’t meet expectations (ask my mum) and I am pathologically suspicious of the rules, which seem to govern every aspect of our lives but somehow don’t make us better people. I love brooches for their sculptural qualities. For this series of one-off pieces my aim was to play with some stereotypes around the idea of a brooch, and at the same time review some traditional jewellery techniques. An oval is a classic brooch shape, associated with ancient, Victorian, and other historical periods. While my work references those connotations, it also offers an entirely new proposal for the oval by turning it into a contemporary / distorted / ambiguous / non-precious soldered box. My aim was to create sculptures in painted enamel, inclusions, and hollow soldered copper; something I have not really seen anywhere before. The results were not fully predictable. But something in me wanted to be surprised. Experimentation and spontaneity are at the core of my practice. Excitement and expectation were a vital element of this project. I trusted the materials, and that trust certainly paid off. These ambiguous eclectic objects are not meant to be effortless crowd pleasers. There is a lot of tension within the pieces as the spontaneous and unrestricted expression of the enamel is unnaturally confined within the frames of the minimalist, unsophisticated shapes.
48.
Sapi Szilágyi: Everyday Badges – I folded the clothes, 2018, Material: silver, resin, pigment, steel Concept: Our everyday life is run through with rules: after meals you have to steep the dishes, put the rubbish in the refuse container, wash the clothes at the weekend, do the shopping on Saturday, etc. Everyone hates doing at least one of these tasks, but it’s a must. With my Everyday Badges series I want to pay my respect to everyday’s heroes and heroines, who do the housework. To emphasise my respect, I created these brooches with cloissoné technique, based on the representation of ancient kings and saints. The text is written in Hungarian and edited sith mistakes in order to create a secret language. At first sight it looks like a cute badge; however, it has a deep meaning. While elaborating the surface, i didn’t mean to make it perfect – as it’s impossible to do all the housework perfectly.
Sapi Szilágyi: Everyday Badges – I folded the clothes, 2018, Material: silver, resin, pigment, steel Concept: Our everyday life is run through with rules: after meals you have to steep the dishes, put the rubbish in the refuse container, wash the clothes at the weekend, do the shopping on Saturday, etc. Everyone hates doing at least one of these tasks, but it’s a must. With my Everyday Badges series I want to pay my respect to everyday’s heroes and heroines, who do the housework. To emphasise my respect, I created these brooches with cloissoné technique, based on the representation of ancient kings and saints. The text is written in Hungarian and edited sith mistakes in order to create a secret language. At first sight it looks like a cute badge; however, it has a deep meaning. While elaborating the surface, i didn’t mean to make it perfect – as it’s impossible to do all the housework perfectly.
Awards:
The right to exhibit affects all the work that has received a positive evaluation! Individuals / groups / organizations invited by the organizers can choose from these works.
Art Jewellery Night Award - The founder team will reward one of the artists/participants with a high-value gift pack.
AJW Award – Anticlastics will reward one of the artists/participants of the Art Jewellery Night with the Athens Jewelry Week Award. His/her work should show originality, technical quality, and conceptual richness. The winner will be invited to participate for free, in the following AJW edition.
The right to exhibit affects all the work that has received a positive evaluation! Individuals / groups / organizations invited by the organizers can choose from these works.
Art Jewellery Night Award - The founder team will reward one of the artists/participants with a high-value gift pack.
AJW Award – Anticlastics will reward one of the artists/participants of the Art Jewellery Night with the Athens Jewelry Week Award. His/her work should show originality, technical quality, and conceptual richness. The winner will be invited to participate for free, in the following AJW edition.
