"7 Artists for 7 Days 2019" MydayByday Gallery , 4th Edition

MYDAYBYDAY GALLERY PRESENTS

' 7 A R T I S T S 7

D A Y S

" B A C K A

T O

D I G I T A L

F O R

2 0 1 9 ' B A S I C S "

E X H I B I T I O N

4TH EDITION JUNE 5-14 2019

BY LAURA HELENA AURELI

Via Luca Della Robbia 76 www.mydaybydaydiary.com events@myday-byday.com

K C A B TO IT IS A JOURNEY! .

EVERY STUDENT REACHES HIS/HER CONCLUSIONS. THIS IS NOT JUST CONTEMPORARY JEWELRY, BUT READING INSIDE THEIR MINDS, HOW THEY LOOK AT THINGS IN THEIR OWN PECULIAR WAY. CULTURES.

JEWELRY GETS TRANSLATED THROUGH DIFFERENT CULTURES AROUND THE WORLD. THIS PROJECT IS IMPORTANT!!!

STAND UP AND LISTEN TO IT.

BA S

REACT!

LAURA HELENA AURELI

IC

CHLOE VALORSO

FRANCE ROYAL COLLEGE OF ARTS LONDON

CHLOE VALORSO

"I USE JEWELLERY AS A LANGUAGE TOOL. I AM INTERESTED IN THE AMBIVALENCE OF JEWELLERY , AS DAVID BIELANDER PERFECTLY RESUMED : 'WHAT HAPPENS WHEN A SLUG APPEARS ON A PERSON?' WHEN A PIECE OF JEWELLERY IS WORN, A SHIFT IN PERCEPTION HAPPENS AND ANOTHER LEVEL OF MEANING BECOMES ACCESSIBLE

BY THE WEARER AND VIEWER. AN AUTONOMOUS OBJECT HAS A DIFFERENT DIMENSION ON THE BODY AND SPEAKS ABOUT THE WEARER." CHLOE VALORSO

SHENGY CHEN For many people, 2017 has been a very

CHINA ROYAL COLEGE OF ARTS LONDON

disturbing year, Political divisions in the UK and USA have created an atmosphere of anxiety and distrust. In the wake of the election of Donald Trump to the US presidency, the election’s unexpected outcome was still too raw, the perceived wound too fresh, for lots of people to put their emotions into words.

For others, the chance to reflect on Hillary Clinton’s loss and its ramifications was a chance for catharsis. This means that, for many, the healing power of the arts can offer a way forward as we look to fix a deeply divided and possibly broken world.

C

T N O

O P EM

Y R RA

SHENGY CHEN

From the outrage that followed Donald Trump’s toxic and aggressively sexist and racist admission. Lots of anti-trump campaigns have been launched in the past year. From the vision of Krista Suh and Jayna Zweiman, the pussycat project was established in advance of Women’s March in Washington in January 2017. The Pussyhat has become the most visually effective and internationally recognized symbol of an anti-trump movement. Inspired by this, I set out to find the possible fine line between Trump and Jewellery Design. Trump dominates the conversation, which becomes a self-fulfilling prophecy since everyone believes that the only way to get attention is to talk about Trump, so they talk about Trump. There’s been no shortage of attention given to President Donald Trump’s news. By keeping track of his news items, such as the trade wars between China and the USA, the air attack to Syria, his massive scandals, his indiscreet Twitter posts and issues of data privacy etc, I realized that the best way to connect Trump with jewellery design was through black humor. By turning political events into black comedic, wearable pieces, my collection examines the socio-political issues occurring under Donald Trump’s presidency, questioning the validity and integrity of his position as leader of the USA.

M O C

Y ED

ROYAL COLLEGE OF ARTS LONDON

MICAELA MORNAGHI ARGENTI NA

Mica Mornaghi is an artist and a jeweller from Buenos Aires, Argentina, living in London. Her work covers jewellery and objects that belong to a sculptural realm as well as to the body. As a storyteller, she creates a visual poetry drawn by a great interest in colour and composition. Exploring the selfbeing, the body and the relationship with objects, amulets and rituals.

Currently she works with crystal properties and carving techniques; the connection between gemstones and healing, the power of the stones - crystals transformed into contemporary amulets.

MICAELA MORNAGHI

At the Royal College of Art, we seek to understand Jewellery and Metal as an expanded field, one which looks at how we, as human beings, engage with our material world. We look upon the vast entanglement of our everyday lives and seek out the narratives and concepts that underpin them. Jewellery and Metal exists as a place of interdisciplinary flux sitting as a battleground ideology between art and design, philosophy and anthropology, the past and the future.

As artists, Chloe Valorso, Shengyi Chen, Mica Morghani exemplify this exploratory practice where reflecting on our uncertain and unquantifiable world is a key attribute of their research and process. Working with and through materials they have all shown an ability to pick out themes and questions which highlight their own subjective interpretation of material reality. It is here, in the ever-questioning, in the unexplainable draw to our material world that we believe Jewellery and Metal exists.

 Prof Jonathan Boyd , RCA

MYDAYBYDAY

ZHIPENG WANG

CHINA CHINA ACADEMY OF ART HANGZHOU, CN

H C I H W

ONE

IS THE When I am alone, I often think: What kind of person am I? When I face difficulties, I often show confidence and bravery, but I always fell helpless in the dead of night. Sometimes, I am friendly and talkative.

Sometimes I am indifferent and quiet. I pretend to be modest and inadvertently, I show an arrogant expression. I am a contradictory individual, playing different roles at any moment.

So, With one is the real me?

?

E M L REA

FERMIN

CHEUNG HKG/CHN CENTRAL SAINT

MARTINS, UK

"Just like any kind of contemporary arts, contemporary jewellery always wears a thin veil, challenging to have a firm grasp on its true nature but always fascinating and attracting. My work tries to create a correlation between object and the body and in association, the delivery of concepts and message.

Ultimately, seeking the answer that allows me to unveil the art form."

Fermin Cheung

"Fermin is currently working on the final stages of his degree. His collection is a rethinking of the traditional use of pearls in Jewellery. Changing and challenging how pearls can be used as a material, seen in new ways and creating unique forms and composistions. Fermin is a committed and focused student of jewellery, keen to learn and to debate ideas. He has used his time at Central Saint Martins to question, explore and interrogate contemporary jewellery. The course places a lot of emphasis on research, analysis, experimentation, exploration and communication and Fermin uses all aspects of this in his design and making process."

Prof Giles Last Course Leader, BA Jewellery Design Central Saint Martins

ASAKO TAKAHASHI

JAPAN AKADEMIE DER BILDENDEN KUNSTE MÃœNCHEN(GERMANY)

"The theme of this work visits the question of what makes free choice in modern times, utilizing the characteristic form of a brooch and expressing the “public face and private face” by using the front and back. Are we really choosing things of our own intentions in daily life? In many cases, does the decision of our choice depend on the environment, stance, situation, and era? In modern times where the tendency to share personal interests with others is stronger, such as through SNSs, this work was born from the concept that such hues might be enhanced. This brooch serves the purpose of expressing one’ s intentions toward the outside world. In addition, since the brooch is located close to the face or the heart, it acts as a mirror representing one’ s self, and is often described as the second face."

ASAKO TAKAHASHI

CHIARA MARTINA DAVANZO SWITZERLAND UNIVERSITY OF APPLIED SCIENCE & ART LUCERNE

ÂŤMy work is expression of my perspective of the human body as a cultural element. Sensual materials, forms and body related objects are center of my projects and allow me to share emotions and views of intimacy with the public. For me jewellery is a way of reflecting status and relations in a changing society through the most natural combination: the body. My jewellery objects are expressive, sensual and sublet.Âť Chiara Martina Davanzo

"How do we know if our feelings are truly ours? How do we find out, if what we desire is not what we are told to feel?

Chiara Davanzo’s work Fe/Male Desire deals with normative notions of pleasure

and lust. She creates voluminous tactile objects to hold and touch, objects that

suggest use as well as stimuli, but they do NOT provide comfort to the uninspired

mind. This work touches upon the debate on gender, body awareness and free will.

It critically reflects on the pressure we are all under, but more so today’s youth –

the pressure to perform."

Prof Christoph Zellweger, Head BA XS Jewellery, at Lucerne University of Applied Sciences and Arts, Switzerland.

CHIARA MARTINA DAVANZO

JIAXIN LIN CHINA NSCAD UNIVERSITY, HALIFAX, CA

"Do people look up while they walk?

Probably not. It is interesting to express these unnoticeable details in everyday life. When I looked up, electricity wires are usually up there.

They over lapping each other give a wonderful composition. That’s where my fine lines work first come from. I love how wires looks like when they are so close together. The wire itself could be a beautiful pattern and the pattern could also be a flat surface. I like the idea that jewellery pieces doesn’t have a back side. In my work, exploring the surface and making them three dimensional is definitely challenge and exciting for me."

Jiaxin Lin

JIAXIN LIN "Jiaxin Lin wonders why more people don’t look up. In her most recent body of work, she has decided to trust her intuition, and work in a very free way with delicate sterling silver wires, in contrast to her traditional method of designing, doing technical drawings, and executing.

Jiaxin’s style is cool and understated. When presented with a new technique or process, she sees a way to par it down to its essence and reveal its true nature in an elegant way.

The body of work shown here began with photos taken in and around the maritime town of Halifax, Nova Scotia here NSCAD University is located. Rugged and a bit rusty from the salty sea air, old building rooflines and telephone wires look like gesture drawings. Photos were taken and then translated into loose meditative drawings in Jiaxin’s journal. After drawing her silver wire very fine, Jiaxin used her drawings as a compositional starting point, and then started the painstaking soldering process using a method related to filigree work. Upon completion, the works are hardened and appear the be wisps of air, or maybe a unicorn tail that floats gracefully on ears and lapels."

Prof Rebecca Hannon , NSCAD

KIM PAQUET

CANADA NSCAD UNIVERSITY, HALIFAX, CA

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KIM PAQUET

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CHOYAN KAYLEE SUEN CHINA PRATT INSTITUTE, NY

She started to experiment with heated plastic in sophomore year of college and she loves the soft and clean movement plastic creates. She likes the purity of silver, and has combined it with plastic for this collection. Kaylee Suen’s senior thesis collection Years Minute is inspired by ballet. “One minute on stage takes ten years of practice.”

This saying , told to her when she joined ballet at age 3, has had tremendous influence on her life. Ballerinas show their most beautiful side to the audience on stage, but people don’t know how much pain and struggles ballerinas experience.

The jewelry making process reminds Kaylee of ballet, and by extension to life. There’s struggle and pain behind every success.

ARGENTINA

PRATT INSTITUTE

NEEKA GILARDIAN

MYDAYBYDAY

YAO HUANG CHINA PRATT INSTITUTE, NY Yao Huang was born and raised in China, moved to Canada for high school, and is a BFA candidate at Pratt Institute, New York, US. Yao is largely influenced by art jewelry and current social issues. She is largely influenced by art jewelry and current social issues. And she seeks to explore the medium of contemporary jewelry as a continuum of concepts expanding beyond personal adornment. Recently she created her thesis collection "Big Brother" based on fighting for the freedom of speech. In modern-day China, the censorship system restricts people from the internet, however, virtual censorship cannot stop people wearing my jewelry to stand for freedom and human rights. As a jewelry maker creating work during this intense censorship situation, she believes that her jewelry can convey irony, hope, power, and can deliver positive encouragement and attitude.

Yao Huang

PRATT INSTITUTE, NY PRATT INSTITUTE’S UNDERGRADUATE JEWELRY PROGRAM OFFERS STUDENTS A RICH AND RIGOROUS EDUCATIONAL EXPERIENCE PLACING STRONG EMPHASIS ON DESIGN, CRAFT, THEORY, SOCIAL RESPONSIBILITY, AND PROFESSIONAL DEVELOPMENT. THIS NATIONALLY COMPETITIVE PROGRAM IN THE FIELD OF CONTEMPORARY JEWELRY PREPARES STUDENTS FOR A CAREER THAT IS FILLED WITH COUNTLESS OPPORTUNITIES FOR SUCCESS. PRATT’S BROOKLYN LOCATION PLACES IT IN CLOSE PROXIMITY TO NEW YORK CITY’S JEWELRY AND FASHION DESIGN COMPANIES—AMONG THE BEST IN THE WORLD—PROVIDING A WIDE RANGE OF CREATIVE STIMULI AND PROFESSIONAL NETWORKING OPPORTUNITIES. COUNTLESS MUSEUMS AND GALLERIES FURTHER ENRICH THE CULTURAL EXPERIENCE. GRADUATES OF THE JEWELRY PROGRAM ARE POISED TO BECOME LEADERS IN THE FIELD WITH THE GLOBALLY RECOGNIZED REPUTATION OF PRATT INSTITUTE, AND A CREATIVE, AUTHENTIC, AND INNOVATIVE APPROACH TO ART, DESIGN, AND MAKING.

PRATT INSTITUTE COURTESY PROF PATRICIA MADEJA

JOLYNN SANTIAGO USA

"Would you ever consider preserving the ring of dust that forms around objects?

Do you ever contemplate the absence of something whose outline has been preserved?

Have you noticed how hair tangles and clogs channels, or burrows into your sweater? marks of time—preserve, document, and communicate the value of each passing moment. Oxidation causes stains to accumulate on a dusty surface. piercing a pin through fabric leaves a collection of holes. fusing silver particles preserves a ring of dust. Hammering a wire into silver leaves a trace on the underside.

These residual marks imply absence—reminders of presence."

Jolynn Santiago

SUNY NEW PALTZ, NY

MIHAELA COMAN ROMANIA University for the Creative Arts, UCA Farnham, UK

Mihaela Coman retells stories through jewellery that is figurative and inspired by books and history. Having been part of a publishing house for over ten years, it is natural that most of her inspiration comes from literature, including her first meta-narrative collection, Gogol’s Overcoat -Literary obsession. During her postgraduate studies at the university for the Creative Arts, she found new ways to tell stories, focusing on honesty and authenticity, on expressing unique thoughts and emotions.

Mihaela Coman

NURIA PALLI SPAIN

ESCOLA MASSANA

"My artistic and design career has always been continuous. My work has basically revolved around its methods, solutions and manners.

Very eclectic ways, influenced by different cultures and artistic aspects, without a fixed method and that can be generated from different starting points. Providing that all these works address, above all, two fundamental fronts; the process of creating the work and the interaction of the viewer with it.

The process part of a work is a fundamental part of creation. It is the work that occurs in the workshop, the part in which the work is more alive and there may be more variations in it. Where I experience a greater number of sensations to play to transform realities, combine them and cross them as if they were paths. It is a space of knowledge where everything can be questioned and where other ways of understanding our environment are allowed. In this sense, I am interested in showing as an expositive part of the work, its own process" Nuria Palli

NURIA PALLI

MYDAYBYDAY GALLERY

MISATO TAKAHASHI ESCOLA MASSANA "A deep layer communication I’m particularly not good at talking nervousness paralyzes my brain and thoughts, and I get lost what to say. Then how about let my works speak in stead of me? My pieces are inspired by my unconsciousness. I set my thoughts free and let my hands do whatever they do.

Seeing the finished piece is like reading my own mind. At the same time, despite of my intentions, I’d love to let the viewers interpret my work, using their imaginations freely. It's a conversation between my unconsciousness and people."

MISATO TAKAHASHI

JAPAN

ESCOLA MASSANA, SPAIN In a world where virtual creation, design and new technologies take us away from contact with matter it is important to meet the old wisdom that comes from experience and direct contact with the materials, an act of profound humanization and civilization that helps to enhance the symbolic function of the jewel.

The works presented correspond to second-year works in the artistic jewelry training cycle of Escola Massana, works that share the same attitude, a primordial vision of the jewelry that takes its values of contemporary art, establishing a dialogue between matter, form and thought.

Prof Carles Codina, Escola Massana

En un mundo donde la creación virtual, el diseño y las nuevas tecnologías nos alejan del contacto con la materia es importante encontrarse con la vieja sabiduría que proviene de la experiencia y del contacto directo con los materiales, un acto de profunda humanización y civilización que ayuda a potenciar la función simbólica de la joya.

Los trabajos presentados corresponden a trabajos de segundo curso en el ciclo formativo de joyería artística de Escola Massana, trabajos que comparten una misma actitud, una visión primordial del la joyería que toma sus valores del arte contemporáneo, estableciendo un dialogo entre materia, forma y pensamiento.

Prof Carles Codina, Escola Massana

MARTHA SCHMIDT GERMANY COLLEGE OF DESIGN, JEWELLERY AND OBJECTS AT THE GOLDSCHMIEDESCHULE PFORZHEIM, GERMANY

"My work mostly channels deep and interpersonal connections and the dynamic between two or more individuals such as lovers and friends, within or outside a group, but also connections concerning daily situations and their mechanisms.

Herein the question of how to use them as catalysts to overcome and process those feelings and grow in the course of the experience arises."

Martha Schmidt

MARTHA SCHMIDT

MYDAYBYDAY

"The work of my student, Martha Schmidt, is highly motivated by personal sentiments and experiences.

Her design process is realized through drawings and collages and follows an artistic approach.

The realization into jewelry takes place on an intuitive level, which results in liberal and sculptural pieces."

-

Prof Martina Lang, GOLDSCHMIEDESCHULE PFORZHEIM, GERMANY

SARA LE KLINT Denmark College of Design, Jewellery and Objects at the Goldsmithschool in Pforzheim, Germany

"In my work I am inspired by architecture, nature and beauty in the mundane. I spend a lot of time wandering around, observing and taking pictures of my surroundings. Buildings, streets, objects of everyday life, flowers and trees, bodies of water – little details that catch my eye. Put together they create a language of form, a color scheme or an atmosphere, forming the foundation for a new project. My work also shows clear references to my upbringing and past experiences. I grew up in Denmark, where Danish Design is present everywhere in society. It’s functional, simple and minimalistic. And before I started doing jewelry I studied city planning which reflects the reoccurring inspirational theme of architecture. My designs are often constructed on straight lines and geometric shapes, and I value simplicity and minimalism. This being said I love to add a touch of kitsch or glitter, or a humorous element to play against the stringent expression. I aim to find harmony in contrasting shapes and materials, and it is important to me that the final expression of a piece is clear and balanced."

Sara Le Klint

SARAÂ LE KLINT

MYDAYBYDAY

College of Design, Jewellery and Objects at Goldsmithschool in Pforzheim In this three-year program we are teaching the traditional techniques and skills of goldsmithing in combination with individual design processes. Starting with research and drawing on a specific subject the construction of models and material experiments are leading to the right way of execution. Each personal approach is supported by the teacher and is reflected in the class by intense group discussions. Performing exhibitions and fairs is part of our schedule and is preparing the students for their professional life. The qualification is: „State-certified Designer of jewellery and objects“ Prof Iris Bodemer, Berufskolleg für Design, Goldschmiedeschule, Pforzheim .

ANPING HUANG CHINA "I am interested in working with jewelry combined elements from different fields and different cultures. It is also very charming for me to use technology in jewelry design. I usually get inspirations from digital world and games, and of course from China, the country I come from. I hope my jewels could be playful and personal so they may interact with people more and showing different identities of people." Anping Huang

IED-ITALY

ANPING HUANG "With her work Anping Huang combines her Chinese background with a western touch.

Thanks to her study experience in Milan Anping develops each jewelry project with a unique design approach. The jewelry pieces presented at the exhibition are the results of the investigation in the themes of memories and childhood throughout her personal vision and interaction with the reality. In both rings her thoughts are translated into geometric shapes, enhanced by the size and repetition. She usually explores the use of alternative materials and the manipulation of existing elements such as resin and printed pictures.

The final results intrigue the viewer also for their dynamic and lively composition."

Prof Giulia Savino, IED Italy

CLARA GARRA SABATÉ SPAIN

EASD MESTRE MATEO

"Since I was a child I felt attached in many ways to art and the observation of the world. The experiences and feelings I lived grew in me as ideas that had to be transformed and expressed through dance, paintings or volumetric designs.

As time went by, I realized which paths I could use to express myself in a more natural and pleasant way. Due to it, I focalized my studies to create and design as a mean to transmit in the most faithful way my vision of the world.I studied my degree in Product Design in ESDAP Llotja, Barcelona, for four years."

Clara Garra SabatĂŠ

MYDAYBYDAY

It helped me to create my own thoughts and style, and generate immeasurable knowledge about the past, their authors and the most important styles. During my journey trough university I discovered my passion for jewellery, which made me realize I didn’t want to let scape the chance to practice for a few months in a small workshop in Barcelona to learn and improve my skills. From that moment onwards I knew I wanted to give everything I have to this world. Is through the apparently simple geometry and clear lines of every piece I make, how I reflect all the impulses I have and feelings I love.

This is how I build bridges between crafts and industry sector. I’m constantly searching for new materials, skills and shapes to improve my growth as an artist.

For being able to continue connecting emotions with everything I create, I found fundamental to evolve and include new techniques in my personal work."

CLARA GARRA SABATÉ

"Since 2018 Clara Garra is studying Artistic Jewellery Design at the EASD Mestre Mateo in Santiago de Compostela. During the first part of her studies, Clara Garra is participating in subjects like History of Goldsmithing and Jewellery, Artistic Drawing and Colour, Technical Drawing and Contemporary Jewellery Projects. Beyond that Clara Garra is gaining hands-on experience in using fundamental tools of jewellery making by realizing pieces of jewellery in silver, cooper and other materials like silicon, stones etc. In the course of her study projects, Clara Garra is implementing design concepts with a high level of intuition and proving there by her artistic ability and will ingness to create pieces of jewellery beyond the traditional and common designs. In practical classes, Clara Garra is working with scrupulous competence and demonstrating manual dexterity. Consequently, Clara Garra is developing her own artistic style by exploring different perspectives of her design and simultaneously utilizing classical techniques of jewellery making. Al in all, Clara Garra is demonstrating that she is a creative, decisive and autonomous working person."

Prof Ana Seara Ferreiro, Department of Artistic Jewellery Design, EASD Mestre Mateo in Santiago de Compostela

LOTTA SNIJDER SWEDEN ACADEMY OF DESIGN AND CRAFTSUNIVERSITY OF GOTHENBURG, SWEDEN

"All life is constructed by shells and layers that cover the inside. The bark overlays the tree. The shell embraces the onion. The skin covers the inner organs of the body. Life would not exist without shells and layers. It is a protection against the outer world. Through my art I am exploring what reveals when you remove the layers that covers the inside."

Lotta Snijder

MYDAYBYDAY

MYDAYBYDAY

"The jewellery and the wearer are starting points at the BA program in jewellery art at HDK – Academy of Design and Craft. Jewellery art is constantly evolving in dialogue with art, society and history. Through investigations of materials, craft, expressions and contexts the aim is to support the students individual artistic languages to grow and their familiarity with materials, ideas and process to deepen. The goal is that the students develop a conscious approach to various opportunities to work professionally in the field of jewellery art.  Lotta Snijder explores the body as matter and subject. Her jewellery leads to associations to inner and outer spaces and surfaces in nature and body."

Prof Klara Brynge, UNIVERSITY OF GOTHENBURG, SWEDEN

MARTA DOBRYNINA Belgium RHOk Academy in Brussel

"I try to understand and show in my works why a process of destruction, that awake a rather painful image in our brain, is often needed to access a fundamental renewal.

When you believe to be on the edge of destruction – you are on the border of Renaissance.

It’s a kind of point of departure for the experience of living.

I would like to visualize in my jewels the new creating forces that are

«preparing the ground» after the collapse.

I sought to show through my own research, that destruction is a tool for metamorphosing, evolving, healing.. "

Marta Dobrynina

MYDAYBYDAY

"The jewellery department of RHoK Brussels is aiming to be a cultural platform, where students of diverse countries can find a place for developing their work. We consider the workshop as the backbone of the academy. Technical knowledge and artistic insight are regarded in a critical way there, students are encouraged to set goals for themselves and to develop an inquisitive attitude. The function of teachers balances between coaching in a collective dynamic and individual guidance. During four years students work towards designing a proper collection, to master jewellery creation. In the two following years of specialisation the possibility is given to deepen ones own work, but also to orientate towards a specific platform, to make an informed choice in which field of jewellery they want to operate. There are very few things so fundamental as the relation between our body and the objects that are close to us.

Also there are few art forms that are looked upon so differently. From a precious status symbol to a piece of author jewelry in recuperated materials, it seems there are as many points of view as there are spectators. In RHoK Brussels we research the relation between body and object. The value of all accessory aspects are thereby tested and tested again. From day one a student is confronted with design, experiment, with developing and realisation of ideas. Parallel to this students learn to work matter. Starting from the classical metalsmithing techniques, they quickly spread to a wide range of materials and adjoining techniques. Students are adressed to acquire a personal view to jewellery, with all the material requirements that can back up this vision. The main goal is to form makers who can express themselves throughout their jewellery. We want people who can finally create their own project, make jewellery and confront it to a public."

- Prof Max Gielis, RHoK Brussels

MICHAELA PEGUM AUSTRALIA

"I am an Australian artist and a current

RMIT UNIVERSITY

PhD candidate at RMIT university in Melbourne. I create both wearable and sculptural works. Before embarking on studies in fine art, I had fifteen years as a contemporary dancer and choreographer behind me. I think these years of deeply embodied movement practice inform my current material work in the translating of embodied energy and intelligence into material forms. A significant part of my research is devoted to the endeavour of creating new and evocative materials.

My work is centred on our capacity for embodied and poetic relationships with the natural world. It is an exploration of how the ephemeral affects of environments and atmospheres become tangible sensation in the body and how their enigmatic and irreconcilable qualities may find articulation through the crafting of unique material forms."

Michaela Pegum

Photo Credit Matthew Stanton

Photo Credit Matthew Stanton

ADELINA PETCAN ROMANIA KONSTFACK,

"Self-branding, an evergrowing concept within our society due to the development of social media, is leading to an increased need for and practice of sharing the private. I use jewellery as my method for discussing this aspect by creating a more private connection between the wearer and the piece in an investigation of intimacy on an abstract level. In my work, I am interested in reversing a function of jewellery—the creation of identity for the wearer, a position in society—by disrupting the dialogue between the wearer, the piece and the viewer in a material exploration of the private."

Adelina Petcan

STOCKHOLM,

SWEDEN

ADELINA PETCAN "Adelina Petcan seeks in the ornamental problematic of jewellevry, an understanding of where the interface between the public and the intimate sphere becomes. One of the central functions of the Jewellery - to signal the wearer's social belonging and status - in Adelina's project gets to give way to a more intimate understanding of jewelery and materiality in the the aim to engage in dialogue with the own body's experiences. The forgotten, repressed and rejected are in Adelinas examination handled with the greatest care. With great accuracy, both in artistic method and craftsmanship, she highlights values that otherwise lie in the hidden. By creating a system of different signs, she can combine meanings where the jewelry is intertwined with its background, both the wearing garment and the body that carries it. Thus, she sheds light on the own body's integrity at a time when external ideas are too much claiming our bodies."

Prof Anders Ljungberg, Konstfack Sweden

Youzhi Bi (b.1995, China) is a master student of the jewellery design, Gold and Silversmithing Department at the Royal Academy of Fine Arts, Antwerp. Before this she obtained a Bachelor degree from the Sheffield Hallam University in 2016 One of the most exciting moments of her art making is to be encountered with a blank sheet of paper ready to be transformed..

Stressed out about how to make it dirty, Youzhi always tries to control the lines of her drawings to be sharp and accurate. But no paper can stay clean and no drawing can be perfect. What is believed to be a mistake is actually what makes a drawing a personal distinctive piece of art.

Drawing inspiration from this experience, she applies her skills into jewellery making, following step by step the same principles of 2-D visualization. The paper now becomes thin fine silver. It is paler, softer, gets scratched easier.

Though the scratches first break your heart, then after it is them that allow the viewer to trace a story. And through wearing the pieces, they evoke further story-tellings by their daily contact with the body.

Youzhi Bi

YOUZHI BI CHINA ROYAL ACADEMY OF FINE ARTS, ANTWERP, BELGIUM

YOUZHI BI "Youzhi Bi is one of the master students of our department Jewellery design, Gold and Silversmithing at the Royal Academy of Fine Arts Antwerp. Before this she obtained a Bachelor degree from the Sheffield Hallam University. Youzhi likes to draw. She is good at drawing. She gets excited when she is able to changed a blank sheet of paper into a drawing. She learned that next to drawing perfect lines also mistakes and imperfections are exciting and create a personal piece of work. She translates the skills that she uses for drawing on paper into skills to draw on white thin fine silver sheets. Youzhi combines these skills together with gold and silversmithing techniques to create her work. Because she masters both skills and because of her personal artistic development over the past two years, a collection has been created with her own signature.

Prof Wieke Aerts, Royal Academy of Fine Arts, Belgium

NOORE SALEH EGYPT

ÉCOLE DE JOAILLERIE DE MONTRÉAL Young non-graduate in visual art, traveler and future jeweler, Noore Saleh is hard to miss. He started his studies at the École de Joaillerie de Montréal in 2015 after coming back from a trip to British Columbia, and he hasn’t stopped since. His style is eclectic and often hard to describe: geometric shapes on one side, organic patterns on the other, and when you mix both of these things, you enter an absurd world where order and chaos meet in perfect harmony.

His inspiration vacillates between nature, architecture and mental illness. These themes appear in Saleh’s use of broken pieces, honeycomb patterns, the moon and leaves that are assembled in a way that recalls the mystical and ethereal. Drawing on his background in visual art, Saleh liberally uses mixed-media approaches in his work. He finds novel ways to apply paint to his jewellery, adds ceramic elements or even grout to his projects. If it hasn’t been done, he’s got to try it, driven by an incredible curiosity and passion for his material.

Noore Saleh

"Noore joined the École de Joaillerie de Montréal in 2015. With a background in visual arts, he always demonstrated a high level of fluidity in the expression of his ideas and concepts through his work, and a keen interest in material exploration and form development.

Throughout his studies, he found a way to gracefully combine the technical aspects of our program with his own artistic endeavours. In 2018, the École de Joaillerie de Montréal granted Noore with the Technical Improvement Award, which highlighted the fruit of his efforts in integrating technique into his artistic discourse.

Especially in the past year, Noore used his work as a vessel for channelling his impulses and feelings, thus giving birth to a collection of emotionally charged pieces that demonstrate both his struggles and his breakthroughs. The resulting story is elusively ambiguous, through the use of a complex and abstracted visual language, yet penetrating. The ambiguity of his work allows to make it into a universal story, one that flows through the meanders of life’s whims and hazards."

Prof Stéphane Blackburn, ÉCOLE DE JOAILLERIE DE MONTRÉAL

NOORE SALEH

RACHELLI BEN ELIYAHU ISRAEL

BEZALEL ACADEMY OF ART AND DESIGN, JERUSALEM “layers” "I created a series of four rings that combine silver and copper using the Mokume-Gane technique, which is exposed from layers of veneer.

My work deals with osteoderm, a layer that exists in the crocodile's skin.

Combines hidden material or object emanating from layers, and brings these principles into the world of jewelry."

Rachelli Ben Eliyahu

RACHELLI BEN ELIYAHU "I have known Racheli for almost 4 years as a student in the Jewelry and Fashion department at Bezalel Academy of Design and Art. Gradually, over the years, I saw how she evolve and became an excellent and diligent designer and jeweler who is not afraid of challenges and hard work. I had the pleasure of accompanying her and guiding her in the "Introduction to Biomimics" course last year from which you can see the rings before you."

Prof Ariel Lavian, Contemporary Jeweler and Lecturer at Bezalel Academy of Art & Design Jersualem

SYLVIE LISSA ALUSITZ USA SUNY NEW PALTZ, NY "My work transitions between jewelry and object, sometimes acting as both. Material and form explorations inform final outcomes, resulting in works that comment on ideas of wearability and functionality. Intimate moments, such as a row of rivets or stitching, allow the viewer to form emotional connections with the work. I am currently exploring connections to place by interpreting traditional basketry and textile techniques. The home serves to protect our daydreams, compilations of memory and imagination. Responding to process, forms arise, giving language to the emotions of these memories. Lines gather, twist, and diverge to create familiar, yet enigmatic objects. Just as baskets have the ability to transcend time, mark birth, death, and regrowth, my work marks significant and influential spaces."

Sylvie Lissa Alusitz

SYLVIE LISSA ALUSITZ "Through research in weaving and basketry techniques, Sylvie carefully constructs textural forms that are both sculptural and wearable. These works follow process, each one leading to new discoveries and building new form language. Whether jewelry or object, her work and process naturally reference the body, begging to be connected with, touched or held. "

Professor Lynn Batchelderd, SUNY New Paltz, NY —

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