From Walter to Valerie / Students
Flo De Nyn, Nele De Vrij, Daniela Piano, Tieke Scheerlinck, Ruby Solon, Marit Staes, Lore Van Duppen, Djara Van Hove and Cleo Van Woensel are the students of St Lucas School of Arts Antwerp who are participating in 'From Walter to Valerie'. Click here for more information on their projects.
Flo De Nyn
Biography
Flo De Nyn (b. 1995, BE) is studying Jewellery Design at St Lucas School of Arts Antwerp. She is interested in fashion and passionate about jewels. She is a creative person with an eye for detail who wants to design jewels that round off a personality or outfit. Her work is wearable, has a particular fashion content, and possesses a clear ‘Flo’ signature.
New work starts out from an idea, after which she almost immediately starts experimenting with material, form and size. This generates coincidences that lead to interesting results. She records the process of her research via collages and (an)notations in a logbook.
Project: Black & Gold
Black & Gold emerged out of an experiment with different chains which I then perfected. The use of both round and knotted links lends character to the necklace. I achieved the colour black by patinating the chains.
The colour contrast between dark and light makes the chain unique and wearable in different ways. It gives the chain a sturdy aura, making it an eye-catcher.
Project: A Chain for Each Year
A Chain for Each Year is based on my age. The necklace consists of a number of links – 22 – that is equivalent to my age. Each link in turns comprises 22 links. Burning the chain brought out different gradations of blue, black and grey. This method ensures a result whose outcome I myself cannot determine.
Flo De Nyn (b. 1995, BE) is studying Jewellery Design at St Lucas School of Arts Antwerp. She is interested in fashion and passionate about jewels. She is a creative person with an eye for detail who wants to design jewels that round off a personality or outfit. Her work is wearable, has a particular fashion content, and possesses a clear ‘Flo’ signature.
New work starts out from an idea, after which she almost immediately starts experimenting with material, form and size. This generates coincidences that lead to interesting results. She records the process of her research via collages and (an)notations in a logbook.
Project: Black & Gold
Black & Gold emerged out of an experiment with different chains which I then perfected. The use of both round and knotted links lends character to the necklace. I achieved the colour black by patinating the chains.
The colour contrast between dark and light makes the chain unique and wearable in different ways. It gives the chain a sturdy aura, making it an eye-catcher.
Project: A Chain for Each Year
A Chain for Each Year is based on my age. The necklace consists of a number of links – 22 – that is equivalent to my age. Each link in turns comprises 22 links. Burning the chain brought out different gradations of blue, black and grey. This method ensures a result whose outcome I myself cannot determine.
Nele De Vrij
Biography
Nele De Vrij (b. 1997, BE) is studying Jewellery Design at St Lucas School of Arts Antwerp. Her work method begins with the act of making, and this leads to ideas for wearable jewels. She visualizes her process by combining rapid sketches with images of mainly deconstructed jewels. This interaction accompanies her making process, but is also pursued beyond that. As a critical maker and go-getter, she makes sure she uses the right technique that helps determine the story in terms of content. In this she lets herself be inspired by the fragile and vulnerable aspects of the human body.
Project: Clovers
These works emerged out of a technical experiment with powdered filler metal. A formal study led me to the clover on which I further worked. Each clover consists of three sturdy little leaves with a part that hangs loose.
Project: Linked
In this series of necklaces, each link consists of a certain length of chain which, taken together, forms a new link.
Nele De Vrij (b. 1997, BE) is studying Jewellery Design at St Lucas School of Arts Antwerp. Her work method begins with the act of making, and this leads to ideas for wearable jewels. She visualizes her process by combining rapid sketches with images of mainly deconstructed jewels. This interaction accompanies her making process, but is also pursued beyond that. As a critical maker and go-getter, she makes sure she uses the right technique that helps determine the story in terms of content. In this she lets herself be inspired by the fragile and vulnerable aspects of the human body.
Project: Clovers
These works emerged out of a technical experiment with powdered filler metal. A formal study led me to the clover on which I further worked. Each clover consists of three sturdy little leaves with a part that hangs loose.
Project: Linked
In this series of necklaces, each link consists of a certain length of chain which, taken together, forms a new link.
Daniela Piano
Biography
Daniela Piano (b. 1994, IT) is a fashion designer who graduated from the Polytechnic University of Milan, having specialized in jewellery and accessory design. Her research explores different aspects of contemporary material culture like the problems linked to new technologies and means of communication that society faces. She focuses on different techniques, from traditional silversmithing techniques to 3D printing, in order to better express this kind of concept through jewels with accurate research around colours.
Project: Oppress in Black and Red
The starting point of my research was a study of the anxiety-related problems that affect our society. Anxiety is a problem that strikes not only the body but also the mind. Therefore I focused on two important elements: body parts where this problem can become visible and the invisible marks of anxiety on a person. I examined how chains can represent this by focusing on the neck, chest and rib cage. I decided to emphasize this problem by adding colours like red, black and gold. Not only because I think these colours have a strong emotional value but also in order to link fashion to contemporary jewellery: red and black are in fact recognized by people as strong, sophisticated and fashionable colours. I used photography to communicate my message. Most of the time, anxiety stays hidden. Taking pictures of marks on the skin of a person could make us aware of this problem in another way.
Website
www.facebook.com
www.instagram.com/danielapiano/
Daniela Piano (b. 1994, IT) is a fashion designer who graduated from the Polytechnic University of Milan, having specialized in jewellery and accessory design. Her research explores different aspects of contemporary material culture like the problems linked to new technologies and means of communication that society faces. She focuses on different techniques, from traditional silversmithing techniques to 3D printing, in order to better express this kind of concept through jewels with accurate research around colours.
Project: Oppress in Black and Red
The starting point of my research was a study of the anxiety-related problems that affect our society. Anxiety is a problem that strikes not only the body but also the mind. Therefore I focused on two important elements: body parts where this problem can become visible and the invisible marks of anxiety on a person. I examined how chains can represent this by focusing on the neck, chest and rib cage. I decided to emphasize this problem by adding colours like red, black and gold. Not only because I think these colours have a strong emotional value but also in order to link fashion to contemporary jewellery: red and black are in fact recognized by people as strong, sophisticated and fashionable colours. I used photography to communicate my message. Most of the time, anxiety stays hidden. Taking pictures of marks on the skin of a person could make us aware of this problem in another way.
Website
www.facebook.com
www.instagram.com/danielapiano/
Tieke Scheerlinck
Biography
Tieke Scheerlinck (b. 1990, BE) grew up in Ghent where in 2010 she founded a jewellery company in 2010 while studying Occupational Therapy. She came up with the idea of making photo jewels as merchandise for bands. This led her to work for bands like Balthazar, School Is Cool, The Van Jets, dEUS, Hooverphonic, The Chills (NZ), Local Natives (VS) and Bat For Lashes (UK), and to go on tour with Belgian and international bands. In 2013 she was elected Ghent Student Entrepreneur.
After hitchhiking across Europe, she moved to Brussels where she worked for two people with neuromuscular disease. She took one of them in tow on her travels around Europe. After an intense two-year adventure, she decided to change tack and to concentrate entirely on jewels.
Love brought her to Antwerp, where she started the training in Jewellery Design at St Lucas School of Arts Antwerp. Her first year ended with the birth of her daughter Moira.
She is inspired by memories of her own life, photos of her travels and her love of language. Nostalgia plays an important role but so does the quest for everything that is now in the process of disappearing.
Project: Hommage à ma grand-mère
I owe my patience to my grandmother. I grew up with her. One of my earliest memories is of me in her living room catching the pollen in the air without stopping. Or how I stuck pearls on a knittinig needle, in all possible variations. When I was done, I would return all the pearls to the tin box and start over again. On New Year’s Eve, when I was eight, we spent the evening together. That evening she taught me to knit. To knit and purl.
My designs led me to a ball of wool, my experiments brought me to knotting a chain. My thoughts and trials came together in a little knitwear of chain. A tribute to my grandmother, in other words. She gave me my first bracelet, my first jewellery box, my first knitting lesson.
She died unexpectedly during a time when I was abroad a lot.
Deceased loved ones don’t return, but we cherish the moments that we had together. We carry them with us. Close to our heart.
Project: Ma grand-mère aurait dit qu’elle l’aurait tricoté plus régulier
My grandmother taught me how to knit with a piece as wide as this necklace. The shawl I wanted to make at the time never became a shawl. On the other hand, she knitted something for me every year: socks, a shawl, a sweater for ballet class. When she died, she left us some unfinished knitwear, sagathy in a range of colours and knitting needles that have since been lost.
My first shawl is now a reality. I know that she would be proud. But she would put it differently. And she would think that it could have been done better.
I’d have to laugh, because she wouldn’t understand what that Möbius band has to do with it: ‘Isn’t that back to back?’
Project: Ma grand-mère aurait demandé qui va porter ça
The chains with which I started this project made me thing of a bath plug and garlands for on the Christmas tree. Why? Because that is what they’re normally used for. I tried to make the Christmas tree and the bath plug disappear.
Project: Ma grand-mère aurait dit que ça n’a rien de spécial
The ring that should in fact have been a bracelet. I was looking for typical elements from the textile sector that tied in with my knitted jewels. So also a button and buttonhole. The buttonhole is still there. But the bracelet is nice without the button. And works better as a ring.
With her horse sense, my grandmother would have had her own opinion about it.
Website
www.tiekescheerlinck.bewww.instagram.com
Tieke Scheerlinck (b. 1990, BE) grew up in Ghent where in 2010 she founded a jewellery company in 2010 while studying Occupational Therapy. She came up with the idea of making photo jewels as merchandise for bands. This led her to work for bands like Balthazar, School Is Cool, The Van Jets, dEUS, Hooverphonic, The Chills (NZ), Local Natives (VS) and Bat For Lashes (UK), and to go on tour with Belgian and international bands. In 2013 she was elected Ghent Student Entrepreneur.
After hitchhiking across Europe, she moved to Brussels where she worked for two people with neuromuscular disease. She took one of them in tow on her travels around Europe. After an intense two-year adventure, she decided to change tack and to concentrate entirely on jewels.
Love brought her to Antwerp, where she started the training in Jewellery Design at St Lucas School of Arts Antwerp. Her first year ended with the birth of her daughter Moira.
She is inspired by memories of her own life, photos of her travels and her love of language. Nostalgia plays an important role but so does the quest for everything that is now in the process of disappearing.
Project: Hommage à ma grand-mère
I owe my patience to my grandmother. I grew up with her. One of my earliest memories is of me in her living room catching the pollen in the air without stopping. Or how I stuck pearls on a knittinig needle, in all possible variations. When I was done, I would return all the pearls to the tin box and start over again. On New Year’s Eve, when I was eight, we spent the evening together. That evening she taught me to knit. To knit and purl.
My designs led me to a ball of wool, my experiments brought me to knotting a chain. My thoughts and trials came together in a little knitwear of chain. A tribute to my grandmother, in other words. She gave me my first bracelet, my first jewellery box, my first knitting lesson.
She died unexpectedly during a time when I was abroad a lot.
Deceased loved ones don’t return, but we cherish the moments that we had together. We carry them with us. Close to our heart.
Project: Ma grand-mère aurait dit qu’elle l’aurait tricoté plus régulier
My grandmother taught me how to knit with a piece as wide as this necklace. The shawl I wanted to make at the time never became a shawl. On the other hand, she knitted something for me every year: socks, a shawl, a sweater for ballet class. When she died, she left us some unfinished knitwear, sagathy in a range of colours and knitting needles that have since been lost.
My first shawl is now a reality. I know that she would be proud. But she would put it differently. And she would think that it could have been done better.
I’d have to laugh, because she wouldn’t understand what that Möbius band has to do with it: ‘Isn’t that back to back?’
Project: Ma grand-mère aurait demandé qui va porter ça
The chains with which I started this project made me thing of a bath plug and garlands for on the Christmas tree. Why? Because that is what they’re normally used for. I tried to make the Christmas tree and the bath plug disappear.
Project: Ma grand-mère aurait dit que ça n’a rien de spécial
The ring that should in fact have been a bracelet. I was looking for typical elements from the textile sector that tied in with my knitted jewels. So also a button and buttonhole. The buttonhole is still there. But the bracelet is nice without the button. And works better as a ring.
With her horse sense, my grandmother would have had her own opinion about it.
Website
www.tiekescheerlinck.bewww.instagram.com
Ruby Solon
Biography
Ruby Solon (b. 1994, BE) is studying Jewellery Design at St Lucas School of Arts Antwerp. As a designer, she is constantly searching for new approaches and techniques. She mostly starts from the material itself and looks for ways to enhance features that are already present. Or else she places these characteristics against an opposite to create a contrast. She finds her inspiration in everyday objects, precious family heirlooms and in the concept of beauty.
Project: Chinoiserie
In my work, I’ve tried to transform an industrial chain – which I consider rather ‘soulless’ – into a piece of jewellery by changing as little as possible. To let the chain speak for itself just by rearranging it and by adding only a few new elements. It became a kind of puzzle that looked differently and more interesting to me. I’ve integrated a lock that blends in with the form and style of the original chain. A standard and ready-made chain, straight out of production, became a precious piece of jewellery.
Ruby Solon (b. 1994, BE) is studying Jewellery Design at St Lucas School of Arts Antwerp. As a designer, she is constantly searching for new approaches and techniques. She mostly starts from the material itself and looks for ways to enhance features that are already present. Or else she places these characteristics against an opposite to create a contrast. She finds her inspiration in everyday objects, precious family heirlooms and in the concept of beauty.
Project: Chinoiserie
In my work, I’ve tried to transform an industrial chain – which I consider rather ‘soulless’ – into a piece of jewellery by changing as little as possible. To let the chain speak for itself just by rearranging it and by adding only a few new elements. It became a kind of puzzle that looked differently and more interesting to me. I’ve integrated a lock that blends in with the form and style of the original chain. A standard and ready-made chain, straight out of production, became a precious piece of jewellery.
Marit Staes
Biography
Marit Staes (b. 1997, BE) is studying Jewellery Design at St Lucas School of Arts Antwerp. She draws her inspiration from herself and her environment. She starts out from the experiment with the material. This approach comes from a previous study in Interior Design. Besides analysing the materials, she likes working on the basis of a theme or context. Marit has a preference for atypical materials and topical themes.
Project: On the Road
By making a silver chain bracelet, I became interested in working further on the making of my own links. The links in On the Road are made of iron wire, a cheaper material. The self-made rings are assembled with self-chosen chains by Walter Fischer. The formal language of the end product is based on the bird’s-eye view of a train track: longer and shorter tracks move across the whole torso.
Marit Staes (b. 1997, BE) is studying Jewellery Design at St Lucas School of Arts Antwerp. She draws her inspiration from herself and her environment. She starts out from the experiment with the material. This approach comes from a previous study in Interior Design. Besides analysing the materials, she likes working on the basis of a theme or context. Marit has a preference for atypical materials and topical themes.
Project: On the Road
By making a silver chain bracelet, I became interested in working further on the making of my own links. The links in On the Road are made of iron wire, a cheaper material. The self-made rings are assembled with self-chosen chains by Walter Fischer. The formal language of the end product is based on the bird’s-eye view of a train track: longer and shorter tracks move across the whole torso.
Lore Van Duppen
Biography
Lore Van Duppen (b. 1994, BE) is studying Jewellery Design at St Lucas School of Arts Antwerp. Her work is minimalistic and delicate. By experimenting and by learning new techniques, her work has acquired a high degree of ‘materiality’. Historical and contemporary sources lend her work context. As a designer she is fascinated by the essence of objects such as ‘the chain’, ‘the pearl’ or ‘the jewel’ an sich. The meaning thereof occupies a central position in her artistic research. Her perfectionism, intense experimenting and coincidental finds enabled her to breathe new life into material and thereby to employ it in a surprising manner.
Project: Déchaîné
With this work I distance myself completely from ‘the chain’ an sich – from terms such as movement, versatility, brilliance, suppleness and dynamism that describe the chain in its purest form. The techniques I used ensure that every feeling that is connected with the chain disappears. The brooch is the result of stripping the chain of its elegance, removing its subtlety and reducing its sensitive quality.
Lore Van Duppen (b. 1994, BE) is studying Jewellery Design at St Lucas School of Arts Antwerp. Her work is minimalistic and delicate. By experimenting and by learning new techniques, her work has acquired a high degree of ‘materiality’. Historical and contemporary sources lend her work context. As a designer she is fascinated by the essence of objects such as ‘the chain’, ‘the pearl’ or ‘the jewel’ an sich. The meaning thereof occupies a central position in her artistic research. Her perfectionism, intense experimenting and coincidental finds enabled her to breathe new life into material and thereby to employ it in a surprising manner.
Project: Déchaîné
With this work I distance myself completely from ‘the chain’ an sich – from terms such as movement, versatility, brilliance, suppleness and dynamism that describe the chain in its purest form. The techniques I used ensure that every feeling that is connected with the chain disappears. The brooch is the result of stripping the chain of its elegance, removing its subtlety and reducing its sensitive quality.
Djara Van Hove
Biography
Djara Van Hove (b. 1996, BE) is studying Jewellery Design at St Lucas School of Arts Antwerp. Her creative schooling began during her training in Liberal Arts at Kunsthumanoria in Antwerp.
She is fascinated by the human body and by natural elements. A new project in which she combines visual inspiration, material possibilities and techniques begins intuitively until she has rendered as perfectly as possible the result she seeks. She records her process in a sketchbook that she sees as a diary in which she organizes her thoughts and ideas. It is a visual, chaotic reproduction of her mind.
Her style is diverse, from simple to complex. As a result, her work ranges from frivolous to delicate but can also be statement-making. What you see is often what you get.
Project: Party Popper
Party Popper is a series of brooches that are the result of an experimental assignment in which we had to attach various chains using different techniques. The flowing effect was achieved by twisting the chain. The end result varies thanks to the alternation of length and tension. The brooch evokes a festive streamer that has just shout out from a Party Popper. I prefer to wear a single brooch, because simplicity rhymes with elegance.
Project: The tube of glue
Using silicone glue as my material, I copied a metal chain. As a result the connection of a link is almost invisible. Silicone retains both its form and its flexibility so that a link can easily be formed. The tube of glue reinforces the context of my surrealist interpretation, so that it seems as though a ready-to-use chain is flowing from the tube.
Project: Gaudi (in collaboration with Tieke Scheerlinck)
Gaudi is about the ‘catenary’:
The word ‘catenary’ is derived from the Latin word catēna, which means ‘chain’. In physics and geometry, a catenary is the curve that an idealized hanging chain or cable assumes under its own weight when supported only at its ends.
The catenary curve has a U-like shape, superficially similar in appearance to a parabolic arch, but it is not a parabola.en.wikipedia.org
Gaudi is based on Gaudi’s model for La Sagrada Família in Barcelona. The entire construction of Gaudi’s edifice is determined by the catenary. His geometric model is in fact made of chain, so should be viewed upside down.
Djara Van Hove (b. 1996, BE) is studying Jewellery Design at St Lucas School of Arts Antwerp. Her creative schooling began during her training in Liberal Arts at Kunsthumanoria in Antwerp.
She is fascinated by the human body and by natural elements. A new project in which she combines visual inspiration, material possibilities and techniques begins intuitively until she has rendered as perfectly as possible the result she seeks. She records her process in a sketchbook that she sees as a diary in which she organizes her thoughts and ideas. It is a visual, chaotic reproduction of her mind.
Her style is diverse, from simple to complex. As a result, her work ranges from frivolous to delicate but can also be statement-making. What you see is often what you get.
Project: Party Popper
Party Popper is a series of brooches that are the result of an experimental assignment in which we had to attach various chains using different techniques. The flowing effect was achieved by twisting the chain. The end result varies thanks to the alternation of length and tension. The brooch evokes a festive streamer that has just shout out from a Party Popper. I prefer to wear a single brooch, because simplicity rhymes with elegance.
Project: The tube of glue
Using silicone glue as my material, I copied a metal chain. As a result the connection of a link is almost invisible. Silicone retains both its form and its flexibility so that a link can easily be formed. The tube of glue reinforces the context of my surrealist interpretation, so that it seems as though a ready-to-use chain is flowing from the tube.
Project: Gaudi (in collaboration with Tieke Scheerlinck)
Gaudi is about the ‘catenary’:
The word ‘catenary’ is derived from the Latin word catēna, which means ‘chain’. In physics and geometry, a catenary is the curve that an idealized hanging chain or cable assumes under its own weight when supported only at its ends.
The catenary curve has a U-like shape, superficially similar in appearance to a parabolic arch, but it is not a parabola.en.wikipedia.org
Gaudi is based on Gaudi’s model for La Sagrada Família in Barcelona. The entire construction of Gaudi’s edifice is determined by the catenary. His geometric model is in fact made of chain, so should be viewed upside down.
Cleo Van Woensel
Biography
Cleo Van Woensel (b. 1995, BE) is currently a master’s student in the Jewellery Design department of St Lucas School of Arts Antwerp. She also lives and works in Antwerp.
In her work, she questions the way we look at jewellery. She focuses on translating three-dimensions into two-dimensions. Material and formal research plays an important role in her artistic practice. Essentially it is about merging jewellery and graphic design.
Project: Archive
In Archive, the semi-manufactured chains produced by Walter Fischer are the main subjects. The series of drawings reveal that a three-dimensional chain yields a unique visualization if translated into two dimensions using frottage or mono-print as the method. The same subtleties, details and delicacy that define a piece of jewellery can be found in the two-dimensional outcome. The drawings are collected and arranged in an archive that preserves the original chain in a symbolic way.
Cleo Van Woensel (b. 1995, BE) is currently a master’s student in the Jewellery Design department of St Lucas School of Arts Antwerp. She also lives and works in Antwerp.
In her work, she questions the way we look at jewellery. She focuses on translating three-dimensions into two-dimensions. Material and formal research plays an important role in her artistic practice. Essentially it is about merging jewellery and graphic design.
Project: Archive
In Archive, the semi-manufactured chains produced by Walter Fischer are the main subjects. The series of drawings reveal that a three-dimensional chain yields a unique visualization if translated into two dimensions using frottage or mono-print as the method. The same subtleties, details and delicacy that define a piece of jewellery can be found in the two-dimensional outcome. The drawings are collected and arranged in an archive that preserves the original chain in a symbolic way.
JEWELLERY, MATTER, TIME 13 October 2022
On Sand - Jewellery Matter Time: Hard Data, Soft Stories
Our presentation during the research week gives an insight into the research process on sand.
Creating an environment on how we work, this installation is made up of different components: text, readings, material samples, experiments and objects.
Sand is a granular material composed of finely divided rock and mineral particles consisting of loose grains between 2 and 0.0625 millimeters. It is a seemingly abundant resource which is mined worldwide and processed into structural materials such as concrete, glass and silicones which are used in microelectronics and as components in the food and pharmaceutical industries. After air and water, sand is the most utilized natural resource on earth. It is present in every structure, road, window, and screen we use daily. As abundant as it seems, it is predicted to become scarce due to overconsumption by industrial use. The ecological and economic consequences of overmining often result in illegal activities and local geographic conflicts.
As researchers in the artistic field, we chose to work with sand - for its apparent finitude and therefore preciousness - and develop processes and objects that zoom into these qualities.
What if sand is in fact an extremely valuable material?
How would a jeweller then work with it?
Why would their tools and choices be relevant?
JEWELLERY, MATTER, TIME 1 September 2022
Jewellery Matter Time: Hard Data, Soft Stories
How does the production of jewellery, tied to the ownership of land, materials and data, contribute to the Anthropocene, environmental exploitation and climate emergency?
Jewellery, Matter, Time: Hard Data, Soft Stories focuses on the impact of different genres of jewellery production on the environment. As a result of globalised capitalism of materials, it has become harder to trace how materials are sourced, processed, and how communities and the environment pay costs for commodified materials made available for global markets. In the context of the Anthropocene, overconsumption and overproduction asks us – artists and designers – to situate our jewellery practices within the undefined relationships between material flows and their data, land of production and ownership. In this research hard data is defined as facts, soft stories are defined as meaningful connections between these facts, crafted into object stories through the artistic practices of Saskia Van der Gucht and Irma Földényi.
Jewellery, as a critical medium, becomes a tool to think with. If jewellery can tell stories, which stories can they tell about their impact in the age of the Anthropocene?
Image: Fieldwork for sand probes at Kattendijkdok-Oostkaai, september 2022 - Saskia Van der Gucht
JEWELLERY, MATTER, TIME 1 September 2020
Jewellery Matter Time: True Cost of a Jewel
In our current project Saskia Van der Gucht and Irma Földényi are building on the research of ‘Jewellery, Matter, Time – Materials in the Anthropocene’ by Irma Földényi and Liesbet Bussche, which investigated how precious materials are becoming extinct as a result of human activities on earth. There we have developed a visual essay on how artificial diamonds are becoming a new form of natural stone and concluded that growth time is speeded up, materials have no rights, jewellers are not part enough of public debates on material issues and the industry is not fully transparent on the true costs – among others.
Therefore in ‘Jewellery, Matter, Time – True Cost of a Jewel’ we will focus on the social contexts of man-made precious materials – contexts such as production, makers, traders, curators, collectors, wearers – to trace true cost, and the renewed meaning of material usage. We will follow one material from production contexts to the wearers context.
Furthermore, even though these are challenging times we are looking forward to find new ways of connecting with people, deepening our understanding and extending the contexts of jewellery by engaging with professionals from different fields within arts and design who are dealing with various questions relevant to the Anthropocene.
Photo: Grassberg Mine, Central Papua, Indonesia. (collage of google earth 2D screenshots, March 2021)
JEWELLERY, MATTER, TIME 1 September 2019