Interviews

Courtney Kemp and Karen Vanmol: Home

Karen VanmolHeidi Lowe Gallery is currently having a two-person show called Home, featuring the work of Courtney Kemp and Karen Vanmol.

Courtney Kemp, who lives in Oregon, keeps both a jewelry and a sculpture practice. In her jewelry, she restructures mundane, domestic bits of living spaces into contemporary and precious wearables. She currently teaches at the Oregon College of Art and Craft and the University of Oregon.

Karen Vanmol, a jewelry artist based in Belgium, explores the tension between city and countryside as familiar childhood landscapes fade and as her understanding of the world is constantly “under construction.” This is her fourth time showing work at the Heidi Lowe Gallery.

Olivia Shih: Can you talk about your background and about how you found your way to making jewelry?

Courtney Kemp: Growing up, I was always excited about building and making. We lived on a farm that had been in my father’s family for years and was filled with really archaic architecture and machinery, so there was the consistent need for repairing and rebuilding. I fell into making jewelry in college without any prior experience or concrete knowledge about the field, but with a solid background in tinkering. I feel it was more the material itself that drew me in, rather than the format. The potentials of working with metal seemed endless.

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Mari Funaki Award for Contemporary Jewelry

Gallery Funaki recently launched the inaugural Mari Funaki Award for Contemporary Jewelry to honor and recognize Mari Funaki, a unique and passionate advocate for contemporary jewelry in Australia. This award aims to celebrate Mari’s legacy by recognizing the skills and talent of jewelers, both local and overseas, and by providing a platform for outstanding new work to be shown in Australia. Artists worldwide, at any stage of their practice, were invited to apply for the award; over 530 entries from more than 35 countries were received. The work of 31 finalists was selected and is currently on exhibit at Gallery Funaki from August 13September 13, 2014.

The winner of the established artist category is Kiko Gianocca, from Switzerland, with a series of three necklaces collectively titled Veneer. His work has been exhibited internationally since 2003 and he is currently represented by Gallery Funaki.

In the emerging artist category, two winners were selected: Patrícia Domingues, from Portugal, with her pendant from the Duality series, and Polish artist Sara Gackowska for her brooch, Membrane, from the Methamorphosis series. In addition, two commendations were given, the first to Inari Kiuru, a Melbourne artist, for her two brooches from the Evolution series, and Jiro Kamata, based in Germany, for his Spiegel necklace.

The recent announcement of winners provided an opportunity to speak with gallery director Katie Scott about the award and her vision for the gallery, as well as hear from the three winners.

Gallery Funaki

Bonnie Levine: Mari Funaki was an important visionary and maker in the world of contemporary jewelry, particularly in Melbourne. Can you tell us about her and her legacy?

 

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Silke Spitzer: Breathing

Silke SpitzerSilke Spitzer’s exhibition Breathing was recently on display at Ornamentum Gallery in Hudson, New York, from July 12 through August 10. In this interview, Silke describes the relationships between her life and work, and her materials and surroundings. 

Missy Graff: How did you become interested in making jewelry? Please describe your background.

Silke Spitzer: Growing up as the daughter of an arts, music, and sports teacher, I cannot remember a time when I was not creating or making something. I was always sitting or kneeling barefoot on the ground, carving, drawing, sewing, painting, cutting, scribbling, collecting, adding, and combining the things that surrounded me. To me, creating and living have always seemed to be the same. The beauty of nature, light, smell, the deepness of a voice, a thought or special sound, have always touched me. 

Growing up, I always considered creating a living by making with my own hands to be my dream job and life’s goal. Et voilà! I feel the same way today.

Why jewelry? Well, I guess it just happened. I grew up with the desire to create. Making jewelry was just one option I decided to explore. The tools seemed interesting and the scale seemed manageable. I enjoy the intimacy of making a piece all alone, by myself from the very beginning to the very end. I am very interested in the solitude that working on a small scale offers, a familiar scale, my body’s scale, a scale that is very much my soul’s size. 

 

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Jorge Manilla: Beyond the Limits

Jorge ManillaIn the past few years, Jorge Manilla has created a personal style of work that is the result of his Mexican background and conceptual education in Europe. In his work, Manilla often manipulates a wide array of materials to make sense of the intricate and painful relationship people have with religion. Currently, he is simultaneously working as a guest teacher, an artist, and a PhD student at the Royal Academy of Fine Arts, Antwerp. On the occasion of his show, called Beyond the Limits, at Galerie Ra in Amsterdam, I had a chance to ask him a few questions.

Olivia Shih: You first received technical jewelry training at the school of Design and Crafts (Mexican Institute of Fine Arts) in Mexico before enrolling at St Lucas University College of Art and Design Antwerp in Belgium for your master’s degree. How did this transition influence your work? 

Jorge Manilla: My education in Mexico opened a world of possibilities. Those years taught me that a piece of classical jewelry acquires its value by the materials and techniques used, as well as by its aesthetic and wearability. When I learned how to make jewelry I started selling it straight away, but I often asked myself, why did I do it? Who did I do it for?
Soon after that, I decided to move to Belgium. A year of sculpture at the Academy of Art in Ghent was the perfect bridge to start my contemporary jewelry education. During that year, I started to think more deeply about ideas, concepts, and processes.

At St Lucas, I learned to make jewelry by not making jewelry. During that time I forced myself not to think about the portability of the piece; I stopped using precious metals, which I think was one of the most difficult things to do.

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Tilling Time/Telling Time: Curated by Karen Lorene

Karen LoreneTilling Time/Telling Time is the latest jewelry exhibition held at the Facèré Jewelry Art Gallery. The exhibition is in conjunction with the launch of Karen Lorene’s newest novel of the same name. The show features jewelry artists Kit Carson, Jude Clarke, Kevin Crane, Marita Dingus, Robert Ebendorf, Cynthia Toops, Roberta and David Williamson, Deb Karash, and Anne Fischer. Karen loves words and jewelry separately and together, but always with a story in mind.

Susan Cummins: Karen, you have done a number of shows relating words and jewelry, such as Louder than Words, Woman Working Words, and your series of publications called Signs of Life. Now you have published your own novel called Tilling Time/Telling Time. Can you tell us what it is about?

Karen Lorene: The novel is based on a grandfather I never saw, never met. I knew only one thing about this man: he ran away with the neighbor lady. And so begins a made-up tale about a granddaughter and a grandmother, each telling her story about falling in love, marrying, and then how life, as life is wont to do, comes along and hits each upside the head and makes each a strong, independent woman.

Why did you decide to write this particular story?

Karen Lorene: Half of my life is writing. Ideas appear, and then words, and then, strangely enough, a novel. Creating a world, populating it, following where characters lead is like indulging in the finest chocolate, the finest meal.

 

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Christian Hoedl: Unconventional Armour

Christian HoedlChristian Hoedl, who has lived in both Austria and Germany, is known for creating thought-provoking contemporary jewelry for men. In his work, Hoedl moves effortlessly between fabric and metal, constructing precise yet deeply personal pieces. Jewelers’Werk Galerie in Washington DC is presenting his latest work.

Olivia Shih: In the past, you’ve often worked with scintillating fabric chains, which shift and change with the moving wearer. What first inspired you to “fabricate” with fabric instead of with metal?

Christian Hoedl: My inspiration came from contemporary dancers, who are gorgeous and most precise in their unique techniques and are constantly developing new modes of expression. I admire their endurance and their ability to redefine postures daily.

Next is my love of fabric, which comes from early childhood experience on the north Tyrolean Alps, with high quality cotton and many different interpretations of cotton into fabric. The last generation of amazing and newly developed threads, from Europe to Japan, has given me a large number of possibilities to work with, and my eyes shine bright just thinking of this.

 

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Protective Ornament: Curated by Suzanne Ramljak

Book cover: On Body and Soul: Contemporary Armor to AmuletsSuzanne Ramljak is the curator of Protective Ornament: Contemporary Armor to Amulets, currently on view at the Metal Museum in Memphis, Tennessee. Suzanne is a writer, art historian, and curator, and best known as the editor of Metalsmith magazine. Her interest in jewelry as a protective device led to her organize this exhibition, as well as the book called On Body and Soul: Contemporary Armor to Amulets, just published by Schiffer Publishing. The show will travel to the Tacoma Art Museum in October of this year. Suzanne has assembled a strong exhibition and has some fascinating thoughts about the role of protective jewelry. It’s powerful stuff. 

Susan Cummins: Please tell the story of how this exhibition and the related publication, On Body and Soul: Contemporary Armor to Amulets, came into being.

Suzanne Ramljak: In studying jewelry’s functions over the years, I have come to view its protective role as perhaps its most compelling. This ancient and universal dimension of jewelry addresses our essential vulnerability and attempts to overcome fear and uncertainty through wearable ornament. The ability of adornment to empower and safeguard wearers also stands in opposition to common notions of jewelry as merely decorative; jewelry in this context becomes a necessity, not an accessory. 

 

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Kadri Mälk

Kadri Mälk, photo: Tanel Veenre Aaron Patrick Decker: How did you come to jewelry? Kadri Mälk: Initially I studied painting for four years and really enjoyed it. Before that, I worked in a publishing house. After studying painting, I suddenly felt that maybe it wasn’t for me, maybe I needed something more intimate. After that

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Julia Turner: Surfacing

Julia TurnerJulia Turner loves surfaces and textures. Her wood jewelry is beautifully colored, sanded, scraped, and generally abused in the most aesthetic of ways. Her show at Shibumi Gallery in Berkeley is a delightful grouping of lightweight and utterly wearable jewelry featuring a mixture of one-of-a-kind and production work, with the two types seamlessly working together. I asked her to tell her story and answer a few questions.

Susan Cummins: Can you tell us the story of your education and how you came to be a jeweler?

Julia Turner: I started college studying various things relating to language, not thinking I would end up in an art field although I’d been making things since I was little. At some point I took an art class as an elective, and that led to another, and another. In my junior year I went to Italy on a study-abroad program that combined language courses with studio art courses, and I think the change really happened there.

 

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Anna Cheng: Building Jewellery

Yung-huei ChaoAlthough Anna Cheng grew up in a family of jewelers, she spent more than 10 years working as an interior architect before founding Ame Gallery. “Working in contemporary jewelry,” Anna says, “is a bridge between my education in architecture and my family heritage.” In a recent exhibition, Building Jewellery, Ame Gallery showcased a cross-pollination of the two fields by displaying architecture-inspired contemporary jewelry and hosting a jewelry workshop for six Hong Kong architects. 

Olivia Shih: This project, Building Jewellery, intended to illustrate the relationship between architecture and contemporary jewelry. Can you discuss what that relationship is? What drew you to this particular topic?

Anna Cheng: Architecture is very close to me because of my previous profession as an interior architect. Since I started working in contemporary jewelry, I have noticed that there are many things in common between the two. To me, architecture is a way to perceive the world, and its concepts are not limited to building environments. I wanted to explore its concepts in contemporary jewelry and see how artists express elements of architecture in their work. 

 

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