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Juanjo GarciaJUANJO GARCIA - "Mares de asfalto"
Spain, 1976

Necklace / Object - Wood, silver, ink, paper, sand, acrylic paint, clay, metacrilate.

I have always felt a special predilection for creating rings, although in recent years my work has been transmitted through brooches. This allowed me to introduce a concept in the form of a plan, with ideas that are transformed into a canvas, telling stories with a more poetic language. The idea revolves around cities, their buildings, streets and the crowds of people, creating infinite prescriptions of colours. This cultural variety builds parallel stories and both line and volume are always present, along with the signs of the passage of time on their grey façades where, in the end, the individual moves on fabricated peaks, as a unitary being, led through asphalt seas.

Julika MULLER- Zwischen-Raum -SEEZEICHEN- 10cm-paper.gras.waxJULIKA MÜLLER - "Seezeichen"
Germany, 1966

Object - Paper, grass, wax.

"... to be at sea is not always possible, but our thoughts can always take us there."

www.nstp.de/bojen.htm

 

 

konstanze prechtl FanRose about colour 35x25 wood textileKONSTANZE PRECHTL - "FanRose, about colour"
Austria, 1986

Necklace - Wood, textile

Colours, their perception and their emotional context play an important role in my work. My materials of choice are wood and textiles. Painted, dyed and printed, they resemble different qualities and aspects of colour, ranging from vivid to subtle.

www.konstanzeprechtl.com

 

Liana Pattihis IMG03-Cynara bud Spoon Brooch 2018 frontLIANA PATTIHIS - "Cynara bud"
United Kingdom, 1961

Spoon/Brooch - Silver chains, enamel, stainless steel.

Chained Interpretations... Curious jewellery and objects, images depicting flora and fauna have all been a rich source of inspiration for me. Adding objects to this series has been a case of natural progression. Using my unwanted mass-produced silver wedding gifts, I aspire to create a collection of curious, wearable pieces and decorative objects by giving the original pieces a unique new identity and function.

www.lianapattihis.com

 

 

 

 

 

Lily Kanellopoulou  Brooch  Balance AliveΟrDead  7X4X25 ResinPigmentsSilverStainlessSsteelLILY KANELLOPOULOU - "Alive or Dead?"
Greece, 1955

Brooch Resin, pigments, silver, stainless steel.

Alive or dead? Life is everywhere. Sometimes it is found in the most unexpected places. A plant that grows in a crack in a wall or footprints left by accident in concrete on the street, creating unbelievable patterns. In this project, I focused on the idea of how a lifeless, presumably dead material could give birth to something new; how within destruction new life is born. With nature as my inspiration, I started to transform the lifeless materials I had chosen and by experimenting I created new forms of my own.

Lucie HoudkovabroochDeep 12x8papersilverstainless steelLUCIE HOUDKOVÁ - "Deep"
Czech Republic, 1984

Brooch - Paper, silver, stainless steel.

This series of my jewellery is made from paper lamellae, which is a variable material, and you are invited to take part in the various forms. Shapes can resemble waves of coral polyps, which swiftly change with the movement of imaginary underwater currents.

www.luciehoudkova.com

 

Marcin TyminskiMARCIN TYMINSKI
Poland, 1972

Brooch - Epoxy resin, plastic, plexi, steel.

My lifelong interest in art, architecture and design led me to create little forms. Those forms have the characteristics of jewellery, yet they are little artistic sculptures. That is how I perceive them. I fulfil myself artistically by creating such jewellery. Each of my pieces of work contains a subject and in each one you can find my inspiration (architecture, fauna, flora, technique-mechanics). The most important element is form, which is expressed by different materials.

 

Marian Ripoll Brooch-C Balla collection 50x50x30mm 925 Silver Stainless SteelMARIAN RIPOLL - "Balla"
Espanya, 1976

Brooch - Silver, stainless steel.

M'interessa crear espais. El meu treball actual "BALLA" és un projecte basat en la dansa; una meditació sobre el moviment i una traducció de la repetició del moviment circular en la joieria. "BALLA" és una peça modular, en la qual els components simples es poden combinar per a crear formes més complexes.
España, 1976.
Me interesa crear espacios. Mi actual trabajo "BALLA" [Baila] es un proyecto basado en la danza; una meditación sobre el movimiento y una traducción de la repetición del movimiento circular en la joyería. "BALLA" es una pieza modular, en la que los componentes simples se pueden combinar para crear formas más complejas.
1976, Spain.
I am interested in creating space. My current work BALLA is a project based on dance; a meditation on movement and a translation of the repetition of circular dance movement into jewellery. BALLA is a modular piece, where simple components can be combined to create more complex shapes.

www.marianripoll.com

Namkyung Lee Mixed Memories 1 Scene and Space SilverCrystalPhotographPearl 45x54x22mmNAMKYUNG LEE - "Windows"
South Korea, 1985

Brooch - Silver, crystal, photograph, pearls.

Windows, which merge with the exterior, draw one's eyes to the view beyond and provoke various specific sensibilities. For me, spaces with windows and the views through them remain like images from memories, like scenes from photographs. Memories of windows exist as symbols of recall and contain a mixture of specific spaces and their connected feelings. In this sense they are a medium, connecting not only the inner and outer worlds, but also the past and present.

www.nkjewellerystudio.com

 

Sabina  Dragusanu Facebook Like necklace  Contemporary Embroidery 73x15 cm driftwood ropeSABINA DRAGUSANU
Romania, 1996

Necklace - Embroidery, driftwood, rope

In my collection, I have redesigned traditional Romanian embroidery by introducing 'modern' symbols, in order to make a statement about how people's values have changed over the years, making a comparison between the past and the present. I have used simple and natural materials, decorating them with very old techniques such as cross-stitch embroidery and pyrography.

SARA BARBANTIHEALINGORIGINS 14 CM X 2 CM X 2 CM CHARCOAL GOLD SILVER SARA BARBANTI - "Origins"
Italy, 1991

Brooch - Charcoal, gold, silver.

My research is based on the relationship between different materials, on how they can converse with and enhance each other. The creation process is extremely important: the piece of jewellery is born from the metamorphosis of the material that imparts value to the object, telling a story of unleashed shape-shifting potential.

www.sarabarbanti.com

 

Sara Chyan - Materiality -1SARA CHYAN - "Materiality"
China, 1990

Brooch - bismuth, sterling silver, copper, glass

Sara chose to use gallium and bismuth because she believes these two metallic materials possess symbolic attributes that can be employed to reflect the emotional state of the wearer. This project is inspired by her obsession with heat, exploring the possibility of using temperature to assess one's emotional state. Temperature plays a major role in her project. Changes in temperature can lead to changes in the physical forms of the chosen metal. This transition between solid and liquid phases caused by heat gives metal an emotional character and transforms metallic jewellery into an emotional symbol.

www.sarachyan.com