July 2022, Part 2
There are so many reasons to purchase art jewelry…
- You got that hard-earned promotion—celebrate!
- You’re experiencing a once-in-a-lifetime occasion—honor it.
- You wrapped up that major accomplishment—pay it tribute.
- You want to mark the beginning of a new relationship or the end of one—commemorate it.
- Perhaps it’s an investment—do it!
- It’s the perfect piece to round out an aspect of your collection—pounce!
- Or maybe it’s as a treat for yourself—just because.
Art Jewelry Forum’s international gallery supporters celebrate and exhibit art jewelry. Our monthly On Offer series allows this extensive network of international galleries to showcase extraordinary pieces personally selected to tempt and inspire you. Take a look. You’re bound to find a fantastic piece you simply have to add to your collection! (Please contact the gallery directly for inquiries.)
Sim Luttin lives and works in Melbourne as a contemporary jeweler, craftsperson, artist, and arts producer, and also works as curator and gallery manager at Arts Project Australia. She is the co-founder of the international platform Art et al. Having always drawn inspiration from nature, Luttin’s current interest is in exploring year-long time-based projects that respond to the everyday to create elevated and conceptual bodies of work. She has exhibited extensively both nationally and internationally and has work in public and private collections worldwide. She is represented by Charon Kransen, New York. Luttin has presented seven solo shows in Australia and the US. She was Deputy Chair at Craft Victoria for three years, stepping down in 2021, and is currently a board member of the Public Galleries Association of Victoria.
Silvia Walz materializes emotions much more than a conventional representation of nature.
“Impressions of nature.
Shapes, lines and colors.
Movement through the wind and the falling rain.
Fascination and meditation at the same time.”
Enamel has been used since the Byzantine era to create religious icons, and the time-consuming and technically complicated craft is often associated with historical motifs and jewelry. Zachery Lechtenberg uses the technique to create something completely different. This brooch is a three-dimensional drawing with attitude and humor, and it is very much alive here and now.
“Springs, gears, spanners, washers … collected during my wanderings,” says Marianne Anselin. “Objects of our daily life which hold my attention because they inspire me: maybe because they are beautiful or maybe because they have become useless to our society … They carry a story, made from our earth, used to make, eat, work, move forward, live, and they don’t appear to me as waste at all. Twisting, putting a silver ball where it pricks, inserting a stone to give it a look. I question the jewel, I am pushing the borders established by the classic codes but keeping in mind the first function of the jewel: to adorn the body, and make others read a story about it.”
We are very pleased to show you an exhibition of around 30 works by Helga Zahn on the occasion of Munich Jewellery Week. All the jewelry objects and silk-screen prints come from the estate, administered by the family, to whom we are deeply indebted. This necklace is a perfect example of Zahn’s jewelry development. Her works have been characterized by great creative freedom and innovative processing of simple basic materials such as silver, sheet silver, pebbles, and gemstones such as agates.
Anja Eichler is a Berlin-based jewelry artist who recently completed a three-month, mid-career residency at the Baltimore Jewelry Center. About this body of work, Eichler says, “Hardware Plus is about looking beyond the obvious, imagining something beautiful in the ordinary. Wearable objects made from hardware plus enamel, named in honor of the shop Hardware Plus on Baltimore’s Pennsylvania Avenue and the avenue itself.”
For Gésine Hackenberg, ornaments, these objects which enrich our daily life, are a fantastic source of inspiration. Using their form, diverting their functions, or transforming their use, she seizes their materiality with candor, questioning their identity. The Pillow brooch is one of the key pieces of our current exhibition, Pépiements, Omamori et Bruissement de Roche.
Yutaka Minegishi studied metalwork at Hiko Mizuno College of Jewelry, in Tokyo, before moving to Germany, where he was a guest student at Fachhochschule, in Pforzheim. From 1996–2002, he studied under Otto Künzli at the Akademie der Bildenden Künste, Munich, from which he received a graduate degree in 2003. He has exhibited widely, including three solo shows at the prestigious Galerie Wittenbrink, in Munich; and group exhibitions at the National Gallery of Victoria and at Project Space as part of Radiant Pavilion, at RMIT University, Melbourne. Minegishi is the recipient of several awards, including DAAD Preis (2003); Bayerischer Staatspreis (2014); and Förderpreis der Landeshauptstadt (2016), Munich. He is in several important collections, including the Pinakothek der Moderne, die Neue Sammlung, Munich; Stichting Françoise van den Bosch, Amsterdam; Hiko Mizuno College of Jewelry, Tokyo; Muzeum Českého Ráje, Turnov, Czech Republic; and the Alice and Louis Koch Collection, Swiss National Museum, Zurich. In 2019 Minegishi was included in Schmuck, at the IHM, in Munich, where he was a recipient of the coveted Herbert Hofmann Prize.
This piece of art jewelry by Caroline Thomas was part of the Buckle Up exhibition at Galerie Door on display at Munich Jewellery Week 2022. The artist says, “This necklace is inspired by saddlery and the tack we dress and adorn domestic horses with, to work with them and show them off. A few years ago I acquired a vintage leather saddle and deconstructed it. I created a number of works based on the materials I discovered. These saddlery works imply ‘buckle’ both in the forms they use and [in] the connections they make.”
“This piece is part of a collection that consists of tensile, extremely lightweight, elegant structures which I created from refurbished gold and Pounamu,” says Jacqueline Morren. “Mindful of dwindling resources, together with the high ecological cost of mining gold, I consciously challenged myself to minimise my use of materials in creating these durable pieces without sacrificing design. The titles reflect the weight of each piece; in general, they are less than a third of the weight of my usual work.” Originally from The Netherlands, Morren now works full time from her studio in Christchurch, New Zealand.
This necklace was made for the exhibition Pictureware, held at the SIERAAD Art Fair, international jewelry design fair 2022. Extranalities is a group of established jewelry artists who challenge each other with unusual assignments. The participants sent each other something unattractive from their own possessions to turn into something beautiful, for example. And vice versa. All kinds of assignments, even entire mood boards, ended up on the workbenches of unsuspecting colleagues. In this instance, an old jewelry photo and the captions were the inspiration for this piece.
The Twisted corset is the grand prize winner of the international exhibition Wearable Expressions, hosted at Rancho Palos Verdes Art Center, CA, in 2017 and curated by Gabriella. This artwork was painstakingly created by twisting heavy-gauge steel wire into “metal thread” with accents of brass to create a wearable corset/body armor. The piece is especially poignant now, with the overturning of Roe v Wade. Women’s bodies are bound like a human chastity belt/covering to shield themselves from the government’s “devices.”
Ramon Puig Cuyàs’s new series has lots of desire and romance in its artistic expression. At the same time, it is very fresh and optimistic—something we need in these times.
Clara Del Papa’s plastic and architectural works are extraordinarily comfortable to wear. Each creation springs from a journey, geographical or intellectual, and from the observation of nature or the spirit of places and people in the data that has most affected her soul.
Carla Nuis’s daughter Bloem (Flower) proudly wears one of the PlumFlower-necklaces from her mother’s exhibition, currently on display at Galerie Marzee. This new necklace stems from Nuis’s 2014 Golden Cuddles-series, Flower Brooch 1 (also for sale at Galerie Marzee for €1,100, including VAT), made using the artist’s children’s drawings of flowers. “The new collection comprises four series of necklaces made from European fruit tree wood,” says Nuis. “Wood is pure, solid, and tender, just like precious metal. My form language is continued in reverse. Whereas in previous collections I formed hollow objects from gold and silver plate, the necklaces from fruit tree wood were created by removing excess material. This releases the piece of jewellery from its block of wood. An unprocessed precious metal alloy is impersonal and cold; only the forging makes it into a jewel. Each piece of wood, on the other hand, already has its own character. It has lived, has borne fruit, has its own compactness and fiery drawings. The challenge is to preserve that character when working—by finding the right cuts and chop surfaces, the wood grain, a crack. With each cut, there is always the risk of [it] being [one] too many, of breaking. Wood forging requires sharp craftsmen’s tools. The designs expand on themes in my earlier work, such as baroque pearls—in LittlePotatoes (2004) and RedPotatoes (2007)—and children’s drawings—in Golden Cuddles (2014) and FlowerRing (2019). I have ‘sculpted’ my previous shapes. The wood is not sanded and [is left] untreated to keep [its] rawness.” The current exhibitions at Galerie Marzee—featuring Stefano Marchetti, Carla Nuis, Sondra Sherman, Luisa Kuschel, and Peleg Matityahu—will be on display until August 27, 2022. Galerie Marzee is at Schmuck FRAME 2022 at the IHM July 6–10, 2022.
For fans of contemporary jewelry, here’s a wonderful piece by the Dutch artist Ruudt Peters, one which is almost off the market. This is a unique opportunity to acquire one of the last bracelets of this remake series in aluminum and rubber.
“In my work I am particularly fond of photographs,” says Bettina Speckner. “Sometimes they are old and show bygone places or people of times past, but quite often I use photos I took myself of trunks, flowers, lonesome lanes, or landscapes. These pictures turn into pieces of jewelry. To turn photos into gems, the motifs are etched on small metal plates or burned on enamel. Combined with precious or nonprecious stones and objects, they become part of an individual composition. I never work with the intention to decorate things or to make them look prettier. I try to discover the soul of an object or the essence of a photograph and want to shape something new, beyond the visual appearance. My pieces do not talk about situations but give a kind of access to their ‘own’ stories. But who owns them? We, the beholder, or the piece itself?” This brooch is part of Speckner’s solo exhibition, Navegar É Preciso.