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Sabato, 26 Gennaio 2019 11:15

Paola Mirai

Italia

Paola Mirai is a jewellery designer in Milan. She tamed Orotrasparente a new super-light transparent material that she developed after 5 years of research and experimentation; something rebellious, light as air and transparent as water. It makes who's wearing it feel as protagonist of a new era. Gold, diamonds, precious stones, japanese organza, seeds and technological components float around the body spreading pureness and a special harmony that takes place when East meets West.
The advent of the technological world, geared towards the future, the evolution, is changing our whole life and put the world in a virtual connection, going from centuries based on matter to this new millennium of immateriality. through transparency.

 

 

 

 

FLOWERS - Structure Orotrasparente | gold 24 Kt
STARDUST- Structure Orotrasparente and gold 24 Kt
HELLO! - Structure Orotrasparente, flexible keyboard circuit and clock gear
METROPOLIS-Structure Orotrasparente, flexible keyboard circuit and old radio gear
Seed Savers Project - Structure Orotrasparente, silver chain untreated, magnets, pink alcea
Seed Savers Project - Structure Orotrasparente, silver chain untreated, magnets, hibiscus
Seed Savers Project - Structure Orotrasparente, silver chain untreated, magnets, poppy
Seed Savers Project - Growing gold – Structure Orotrasparente, silver chain untreated, magnets, marigold
Structure Orotrasparente, Japanese organza
Structure Orotrasparente, gold, Japanese organza
Sabato, 12 Gennaio 2019 10:22

Liana Pattihis

United Kingdom

The ritual of fusing the enamels is painstakingly precise, almost regimented. Applying the enamel freely but purposefully however, allows the material not only to decorate a piece, but to be instrumental in its creation, its appearance and its function. My designs evolve through a dialogue between my source inspiration and the creative potential of the enamel. The versatility of the material is what attracts me the most as it gives an organic feel to my work. My response to the way in which the materials fuse together is intuitive and impromptu. With each layer the enamel adds form, structure and substance to the piece. The natural fragility of the material exudes a new found strength, richness in texture and an acquired preciousness at the same time as the precious metal chain is slowly buried into obscurity. The inquisitive attention, tactile approach and numerous juxtapositions, provoke a sense of preciousness in my jewellery that is understated and enigmatic.

‘Liana’s work has both an immediate and an ancient quality. It looks effortless and elemental: both sumptuous and scabby. The processes Liana uses in making her jewellery are ones of building and burying. Layer upon layer of enamel slowly obscure the foundation of silver chains, forming a vitreous crust that is raw, crackly and uneven. The surfaces are reminiscent of rough ceramic glazes or thick oil paint, and are far from those required by traditional enamelling, which insists on thin and even layers protected by thin walls of metal. Liana’s work shows a healthy disregard for these traditions – her way is inside out, upside down, wrong way round – enamels that are fused to a seemingly unstable base, which surround the fine and delicate metal links, encapsulating them and rendering them inflexible. The natural quality of the surface gives a feel of a much earlier age, yet buried under the enamel are anonymous, potentially unattractive, silver chains of this age of mass production. The point of delight is, not only that unique, colourful and exciting pieces of jewellery are created, but that the rules of enamelling have been broken and rewritten so successfully. It has been a pleasure to watch Liana’s jewellery grow in strength and stature over the last few years.’ Caroline Broadhead

 

Side by Side Necklace 2018. Silver Chains, 2 silver plated dessert forks, Enamel
Picking Up The Pieces Necklace 2018. Porcelain pieces from a cup and saucer set, Silver Chain, Low firing Enamel. L113.5cm
La Ginestra Spoon Object, Cynara Bud Spoon Brooch and Roots Spoon Brooch, 2018. Silver Dessert Spoons, Silver Chains, Enamel, St. Steel
La Ginestra Brooch, 2018. Silver Chains, Enamel, St. Steel. L20cm x W11cm
Mendoza Brooch 01 02 03 04, 2017. Silver Chains, Enamel, St. Steel.
Verde Brooch, 2017. Silver Chains Enamel, St. Steel. L14cm x W8cm
Sicily Brooch, 2016. Silver Chain, Found Brass Objects, Enamel, Stainless Steel L16cm x W10.5cm
Mimosa Fall Necklace, 2016. Silver Cable Chain, Silver Trace Chain, Silver Cable Chain, Enamel. L92 cm
Pink Spring Necklace, 2016. Silver Chains, Enamel. L98cm
Orange Bloom Brooch 2017. Various Silver Chains, Enamel, St. Steel. L12cm x W9.5cm
Martedì, 08 Gennaio 2019 08:17

Paola Siciliano

Italia

Creo gioielli e li realizzo completamente a mano con l’uso di tecniche artigianali tradizionali. Nel mio lavoro utilizzo spesso l’oro giallo abbinato all’argento ossidato martellato per ottenere forti contrasti di colore e di superfici sempre diverse. L’intento è quello di realizzare ornamenti piacevoli da toccare e soprattutto da indossare i miei pezzi sono di chiara ispirazione mediterranea, le mie radici sono campane… ma amo pensare che trasmettano anche qualcosa di più profondo, che provengono da un luogo ideale della mente: dalla mia passione per i viaggi traggano suggestioni che diventano materia. Il mio lavoro è quindi frutto dell’incontro tra la tradizione orafa mediterranea e le contaminazioni stilistiche contemporanee.

 

 

 

 

 

Collana scaglie madreperla con argento martellato, dorato
Bracciale con perle australiane tecnica cera persa
Bracciale linea "Disco"
Collana in Pietra Lavica
Spilla "Terra di confine"in argento fritto con idrotermale
Anello "Onda Anomala" in argento, turchese e madreperla
Giovedì, 06 Dicembre 2018 10:56

Yiota Vogli

Greece

Shielded Sentiments, 2019

By dismantling the walls of emotional protection and make honest connections with others, by opening ourselves up without the fear of being hurt, rejected or other painful emotions, we experience the healthy relationships that can benefit us in many ways. Protecting our self physically is a pretty straight forward affair. Protecting our self emotionally calls for more. Some people attempt to avoid uncomfortable situations by metaphorically ‘shielding’ their self within a ‘wall’, and even though this mode of protection has become somewhat comfortable for them, the accompanying feelings of anger, anxiety, and depression are far from healthy. People over time become used to that ‘wall’ and stop noticing it, they learn to ‘live within these walls’. But the wall is incapable of discerning good or bad; what could cause you harm or what is friendly and harmless.

Rooms of the Mind, 2019

The brain controls all functions of the body, interprets information from the outside world through our senses, filtered by our sentiments and experiences, and embodies the essence of the mind and soul. In this work series I am exploring my own interpretations by creating ‘Rooms of the Mind’, in boxes of various shapes drawing out my thoughts, experiences and memories.

Yiota Vogli

 

 

 

 

 

 

necklace_PierceTheVeil1_2018
brooch_flow
necklace_Slow&Persistent_2019
brooch, bangle__armor_2019
necklace_ShieldedTorso
necklace_COMPLEX_RELATIONSHIP
Necklace_Complex_Relationship
bracelet_to_the_top
brooch_Fragments_2019
brooch_Medal_Unveiled_Sentiments_2019
pendant_memory
necklace_strange_but_familiar
brooch_Supper_Gioielli_in_Fermento_2019

 

 

Lunedì, 22 Ottobre 2018 08:16

Laura Forte

Italia

I always try to find out something more about myself, my artworks are the way I talk to myself. What I feel, what I go through it goes through the metal too. I am matter , I am empty, a solid body that produces art. Artistic contamination of life.

Laura Forte was born in Copertino in 1982 and attended a goldsmith school in Lecce. She continued her studies near Vicenza, where she obtained the qualification of designer / goldsmith. In 2005 she opened a study in her hometown and she approached the world of contemporary art, a new world that inspired and made her more creative. She now defines her works as timeless, a dialogue, a contamination, a search for herself. She works mainly with gold and oxidized silver, but she can mix new 3d technologies. She has been awarded in different competitions, exposes her works in several international galleries.

 

 

 

Ring Box diamond
Gold, silver, diamond
Ring circle
Silver, pearls
Ring deep
Ring, gold, silver
Sabato, 20 Ottobre 2018 13:12

Venice Design Week

Oltre lo sguardo - Un viaggio nell'essenza del gioiello: la centralità del progetto che porta l’ispirazione a diventare forma e materia.

Il concorso è stato promosso da Venice Design Week e Associazione Gioiello Contemporaneo AGC, GioielloContemporaneo.it, Design Hotel Ca’ Pisani, OhMyBlue Gallery, Oona Gallery, Bini Gallery, Vicenza Jewellery. 
 
Giuria:  Maria Rosa Franzin (Presedente AGC), ANNA SCHETELICH (OONA Galerie, Berlino), ELENA RIZZI (OHMYBLUE Gallery, Venezia),  ROBERTO ZANON (Professore di Design all’Accademia delle Belle Arti di Venezia), VALERIA ACCORNERO (Giornalista, Curatrice, Consulente e Blogger), MARIANNA SERANDREI (Proprietaria del Design Hotel Ca’ Pisani e appassionata d’arte), LORENZA BINI (Bini Gallery).
 
Autori Esposti
Caterina Zanca, Chiara Lucato, Clizia Moradei, Elisabetta Carozzi, Francesca Antonello, Karin Heimberg – Germania, Karin Maisch – Germania, Kim Hayan – Corea del Sud, Laura Forte, Ludovica Assini e Vincenzo De Luce (WovenHand Design), Renata Manganelli, Sanna Wallgren – Svezia, Valeria Rossini, Veronica Meruzzi.
 
 
Dove: Ca’ Pisani Design Hotel primo piano
Dorsoduro 979A – Venezia Italia
orario di apertura: 14:00-18:00
Ingresso libero
Esposizione: 6 – 28 ottobre 
 
 

While the question of exhibition making occupies an ever more important place in art theory, there has never been, thus far, a publication on the subject with jewelry as its focal point. This publication aims to remedy this absence, and provide an overview of jewelry exhibition history, an understanding of the challenges inherent to showing jewelry in public spaces (whether commercial, institutional or ephemeral), and some insight into what curation can do to jewelry objects. It aims to help professional and amateur curators articulate the relative importance of selection, mediation and experience design, and question their assumptions about display conventions.

This first book-length investigation into jewelry exhibition-making covers the question of ‘exhibiting jewelry’ in three different ways: It features a series of commissioned articles on landmark exhibitions, to plot the evolution of the field, using the exhibition space as a historical marker. It includes commissioned essays by and discussions with curators on the challenges of curating craft. It incorporates a series of exhibition reviews that track some recent experimentation with display strategies. The publication, available for the first time in digitized format – ends with detailed checklist of more than 30 exhibitions (collaborators, publication, number of visitors, budget…)

Sabato, 06 Ottobre 2018 08:12

Caterina Zanca

Italia

Goldsmith-Designer-Wax-caster since 2006, I've been working for seven years at the Alberta Vita goldsmith's Studio learning the techniques of Padua's jewellery School. After that, I followed various technical courses and different workshops, such as Design at the Florentine Jewellery School "Alchimia"; Design courses held by Giorgio Gaino, design of the jewel held by MariarosaFranzin, metal oxidation with Master Lorenzo Burchiellaro, enamels with Luigi Barato and a seminar held by Charon Kransen. I graduated at the University of Ravenna in Conservation of Cultural and Environmental Heritage - Contemporary art.
I have attended several international exhibitions, events and competitions including: Gioielli in Fermento (Italy),  Joya Barcelona International Jewellery Fair, Alliages - Lille, OhMyBlue-Venice, Ickx-Brussels, Adornment-Venice, Dialogues-Japana and Italy, Fiera Vicenza oro, Premio Cominelli, (Italy)

 

 

 

 

Lo spazio dell'oro
2018
Lago capovolto
2018
Castore
2016. Argento, Pigmenti
Nuovi Spazi
2014. Argento, Rete metallica, Pigmenti. Gioielli in Fermento
Superfici
2015. Argento, Smalto
Obi
2015. Argento, Smalti, Foglia Au
Obi
2015. Argento, Smalti, Foglia Au
Luce
2015. Argento, Ossidazione, Ottone, Foglia Au
Giovedì, 04 Ottobre 2018 14:55

Eleonora Ghilardi

Italia

Ho iniziato le prime esperienze nel campo della scultura e della pittura nel 1987, alternandole allo studio di varie tecniche artistiche applicate a vari materiali (vetro, stoffa, argilla, ceramica raku). Workshops nel settore del vetro (lavorazione "a lume") e della resina mi hanno condotta ad ulteriori sperimentazioni, ma la svolta fondamentale è avvenuta con la frequentazione di vari corsi inerenti la lavorazione della porcellana, materiale nobile, definito in passato "oro bianco", utilizzata con tecniche personali dal 2005. La lavorazione del bronzo e dell'argento con la tecnica della microfusione a cera persa, frutto della frequentazione della Scuola Orafa, nonchè la sperimentazione di connubi particolari (cemento e resina) sono le tecniche utilizzate recentemente. Nel 2012 ho creato il logo EG Eleonora Ghilardi Ceramics & Jewels. Sperimentazione, innovazione, ricerca nel design sono le caratteristiche delle mie creazioni, che spaziano dal complemento di arredo, installazioni, sculture e tutto quanto riguarda l'home decor, a collezioni di gioielli che abbiano sempre un concept, un filo conduttore, presentate in vari eventi e fiere del settore, a livello nazionale ed internazionale e presenti in varie gallerie e show-room. Fra le mostre più importanti, GIOIELLI ALLA MODA, novembre 2016, PALAZZO REALE MILANO.

 


ELLIPSIS
anelli - bronzo - argento - ossidazione
ELLIPSIS
anelli - bronzo - argento
ELLIPSIS
anelli - bronzo - porcellana - licheni
ELLIPSIS
anello - bronzo
EQUILIBRIUM
bronzo-cemento - resina - pigmenti-lichene
GOTHAM
bronzo - ossidazione
SEA TO SKY
anello - bronzo - smalti
SEA TO SKY
anello - bronzo
SEA TO SKY
collier - bronzo - rame
SENSE AND SENSIBILITY
bronzo -cemento - resina

Pubblicazioni / Publications