tag:blogger.com,1999:blog-53737921311385261902024-03-19T00:26:55.158-07:00ThinkingThroughThingsIsabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.comBlogger33125tag:blogger.com,1999:blog-5373792131138526190.post-69132093389247444762013-03-25T02:23:00.000-07:002013-03-29T07:38:42.199-07:00SILVER OR NOT SILVER BY DAVID CLARKE<!--[if !mso]>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A cover and a feature article in
CRAFT magazine in March 2013, an exhibition at SO gallery in Brick Lane, a participation
to Design Days DUBAI with the Crafts Council, a solo exhibition to come…. David
Clarke is a busy silversmith! But he kindly managed to spare a couple of hours
to answer my questions. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">David has usually been dubbed “<i style="mso-bidi-font-style: normal;">the enfant terrible</i>” of silversmithing,
or a “<i style="mso-bidi-font-style: normal;">provocateu</i>r” and even a <i style="mso-bidi-font-style: normal;">“terrorist</i>”… When asked if he enjoys
being called such names, he denies strongly. “<i style="mso-bidi-font-style: normal;">I cannot control what people say about me. I am tired of being described
as an angry person who cuts up stuff. I don’t want to destroy the discipline rather
to tackle it with a different attitude</i>”. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Having followed David’s work for
some years now, I think that there is actually much more than mere provocation in
it. I was very keen to understand what really drives him…</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb-h4ne8cHV2ZZAd6hnPCC4AMJrtPHehgkryupzNaGiQiIbX_9AZuQidOgepUJiY3VvguBb9JV6akOkTsTd7l269X_4WPCJyz2YiMWFuMhZTSYblkqBnhsEAo_zdh84PUN-tNlLdM9ZCPA/s1600/portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb-h4ne8cHV2ZZAd6hnPCC4AMJrtPHehgkryupzNaGiQiIbX_9AZuQidOgepUJiY3VvguBb9JV6akOkTsTd7l269X_4WPCJyz2YiMWFuMhZTSYblkqBnhsEAo_zdh84PUN-tNlLdM9ZCPA/s200/portrait.jpg" width="200" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">David</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">First, a flashback is useful to
understand David’s current work. After graduating from the Royal College of Art
in 1997, the young silversmith was incredibly successful. His degree show’s
collection consisted in a series of stripped down fruit bowls that attracted the
entire establishment. One piece went straight to the V&A and the Goldsmith’s
Company commissioned another one. According to David, his success was mainly
due to the fact that he was using a visual language that was radically
different from what was going on at that time and that his works fitted
perfectly the range of interior design products people loved in the 90’s: “<i style="mso-bidi-font-style: normal;">it was satisfying all my financial
requirement and desires</i>” he remembers<i style="mso-bidi-font-style: normal;">
“but it didn’t satisfy my creativity. All I was doing was producing the same
kind of work again and again. I became a machine</i>”.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVQ0wAy6lOmN4Z8kMyH7UoJT6X3qbEUGTvfwJqBwNfjtntO_7rzVb1qp67rfdiVsc8B6mzmFuKFiuKyepZ06s4yyqn-ShiZx65HXapcFZSmVOExFc0813zuraX6644vERpLeg6b_uCzcyk/s1600/voyager_mar_104.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVQ0wAy6lOmN4Z8kMyH7UoJT6X3qbEUGTvfwJqBwNfjtntO_7rzVb1qp67rfdiVsc8B6mzmFuKFiuKyepZ06s4yyqn-ShiZx65HXapcFZSmVOExFc0813zuraX6644vERpLeg6b_uCzcyk/s320/voyager_mar_104.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Pear Epergne, 1997</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The revelation came during a
workshop at Bishopsland: he was part of a group of silversmiths left in a field
with sheets of silver but no tools except a hand guillotine and a torch. His
first impulse was to try and recreate a studio but instead he let the magic
operate and came back with a better understanding of what was important for
him. This experience was very profound and he realised how his tools and his
workspace were crucial, both physically and emotionally. Having been close
to nature during this workshop, he decided to engage with the rawness of silver
and started to use his scraps of the precious metal. He made a collection where
the hammer marks, the firestain and the seams were visible. He drew on the
metal, using felt tips and pens. “<i style="mso-bidi-font-style: normal;">It was
almost like showing work in progress</i>”, he recalls and “ <i style="mso-bidi-font-style: normal;">it was a real challenge for myself, for the
galleries and for the audience</i>”. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjivdyvJrIDHHsl57y1CHE999DpB1ZhmqQNfJWHcF3G3eLmZlWyuQcHOhr-HwCQmPVGVRoiY8DZjocUEyGvPFyCP626JAY8os2gT2fE6ApSmSQ9-kWfzkHtngd0CVQMokVQWLUcTPbCjGAm/s1600/david-clarke-one-dayers-sml.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjivdyvJrIDHHsl57y1CHE999DpB1ZhmqQNfJWHcF3G3eLmZlWyuQcHOhr-HwCQmPVGVRoiY8DZjocUEyGvPFyCP626JAY8os2gT2fE6ApSmSQ9-kWfzkHtngd0CVQMokVQWLUcTPbCjGAm/s320/david-clarke-one-dayers-sml.jpg" width="212" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">One Dayers, 2005</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Keeping his momentum, he went a
step further with the “Salt work” where the silver pieces were dipped in a
salted solution that attacked the metal.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcIpmruul_r9PmhR8GSvkAiKnlU8F0w7RWTzIt8YwZ-r1RyxkD4DyG5v8Mm0MLWoaG6Mfg2KvSwy1VApwKFB5ubKusLe68oaOFkjE4nwpXTelP91v0fpu96g5HkqL5uS3yY5hnAbsdbbJI/s1600/salt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcIpmruul_r9PmhR8GSvkAiKnlU8F0w7RWTzIt8YwZ-r1RyxkD4DyG5v8Mm0MLWoaG6Mfg2KvSwy1VApwKFB5ubKusLe68oaOFkjE4nwpXTelP91v0fpu96g5HkqL5uS3yY5hnAbsdbbJI/s320/salt.jpg" width="266" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Insalted V, 2009</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The idea was not to destroy the
metal per se but to test the limits of silver and to challenge the tradition of
silversmithing and its dos and don’ts. In his article about David in this
month’s issue of CRAFT magazine, Glenn Adamson implies that it is less
challenging being an avant-gardist in the narrow world of contemporary Metalsmithing
than in the wild universe of contemporary Art, where so many boundaries have
already been tested. However I am still convinced that pushing the limits of a
discipline like David Clarke does requires a lot of audacity. When I asked him
if his past successes gave him the legitimacy to challenge conventions like he
did with the salt pieces, he reckoned that being established in the discipline
helped him a lot, and that if he had done that as a student, the hill would
have been much higher to climb. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Drawing on the metal, using salt
on silver…what could have been the next “sacrilege”? I have deliberately chosen
the word sacrilege as David describes the relationship people have with silver
as almost sacred: we use white gloves to manipulate silver objects, we worship
them in display cases, we barely touch them to avoid staining them, we polish
them at nauseam. Lead was the answer: it is often described as the “cancer” of
silver. When heated and melted, it literally eats silver. David’s first works
with lead were a series of silver objects cut in different parts then “fixed”
with lead parts.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCj5DZDoxG4mPWnCU-SC-SoZRAVv2KO6bYqfCZjXbD_XhebZ0xNv7nNkhI2YEUysPd2A4gKdAqLM_rb-L8XBmo5orQLCKghfQYQPxY73eYD7F-SIRSYGE8yO8TKa9dqoL0x-dmNjiDZZ5U/s1600/teapot+with+led.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCj5DZDoxG4mPWnCU-SC-SoZRAVv2KO6bYqfCZjXbD_XhebZ0xNv7nNkhI2YEUysPd2A4gKdAqLM_rb-L8XBmo5orQLCKghfQYQPxY73eYD7F-SIRSYGE8yO8TKa9dqoL0x-dmNjiDZZ5U/s320/teapot+with+led.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Yea ha, 2007</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTffo3ZQa7mYC38LCaB_zTOh9vqBSbfF9L5iJFVtoP2I1e-KrNebAjKM1dOVLlHF1lvSUap36wpP5V6MIWTw38QVtpHn3yWY7UDU7eK8yZijotGsXOn5Rsy8gjOQ4iCYsVavWUdCUcD5NF/s1600/teapot+with+led+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTffo3ZQa7mYC38LCaB_zTOh9vqBSbfF9L5iJFVtoP2I1e-KrNebAjKM1dOVLlHF1lvSUap36wpP5V6MIWTw38QVtpHn3yWY7UDU7eK8yZijotGsXOn5Rsy8gjOQ4iCYsVavWUdCUcD5NF/s320/teapot+with+led+2.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Brouhaha, 2007</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Then came the work “Dead on arrival” where a silver tea
service eaten by lead rests in a leather carrying case…</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4pXsNp1yjozPGU_v9LhyHmr3itoF0r3rO8KHBByP00AhM-vIVVvhpwabwgsxr6lb7kFOdw3JRnEwA4k1ynoj8uwzgwyhJc5hbBGX7xb1x30MgfmYM5mCQLuGJJ3Ig4ahhV87DSzQVDPpq/s1600/dead+on+arrival+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4pXsNp1yjozPGU_v9LhyHmr3itoF0r3rO8KHBByP00AhM-vIVVvhpwabwgsxr6lb7kFOdw3JRnEwA4k1ynoj8uwzgwyhJc5hbBGX7xb1x30MgfmYM5mCQLuGJJ3Ig4ahhV87DSzQVDPpq/s320/dead+on+arrival+2.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Dead on arrival, 2012</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiseJ_sN8Ma0SWwqfq7NFVYHn93HmhXecrhHAFR7QuRdkBN-hbEisbrYPiv4WAPQyoWbIsD6H52nQ-e_ZXRYXyGut5MbfwGLdGz1oDp9quTC-BZc1M7IEWu0D7WhS78MM69I6fBpajzkGnT/s1600/dead+on+arrival.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiseJ_sN8Ma0SWwqfq7NFVYHn93HmhXecrhHAFR7QuRdkBN-hbEisbrYPiv4WAPQyoWbIsD6H52nQ-e_ZXRYXyGut5MbfwGLdGz1oDp9quTC-BZc1M7IEWu0D7WhS78MM69I6fBpajzkGnT/s1600/dead+on+arrival.jpg" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Dead on arrival, 2012</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Those works have triggered some extreme reactions in
the audience. Amongst them is this letter sent anonymously to David. I can’t
resist publishing an extract<i style="mso-bidi-font-style: normal;">: ”</i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">Is this
intended to be some sort of joke? All you seem to be able to do is take the
work of other, much more highly skilled makers than yourself and then mutilate
it with obscure, unnecessary additions. What a waste of silver! As if that
wasn’t bad enough, upon closer inspection and with further research it’s become
apparent that you actually contaminate your silver using lead? Do you even
understand how wasteful this is? Silver is a precious, pure and beautiful
material as it is. It is ‘makers’ like yourself who pollute the good name of
many contemporary silversmiths coming up with interesting, functional designs
as well as beautiful sculptural pieces”. </span></i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">What an
unintentional tribute to David’s work! This letter can be seen in its integrality
in the silversmith’s website and on David’s Facebook page it has reached 230
likes and 125 comments altogether. I even asked David if he didn’t write this letter
himself as it was almost too good to be true! But it was for real, and he even added
another story: a couple in their 60’s visiting the Swedish Gallery where he was
exhibiting in August 2012 smashed one of his pieces on the ground and destroyed
it claiming that it was “<i style="mso-bidi-font-style: normal;">the ugliest work
they had ever seen</i>”…Two unpleasant happenings together as they had to pay
for the broken piece…<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">David takes
responsibility for the consequences of his attacks against the precious metal
and even though he finds those two extreme behaviors very violent against his
creativity, he enjoys the fact that his work triggers passionate reactions. He
has since tried to contact both the writer and the couple, though without any
success yet.<o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">But David also enjoys the other end of the reactions spectrum:
he has regular buyers, fans of his work and he loves asking them to send him
pictures of the objects in their surroundings. He brings out this lovely story
of a lady telling him that his “<i style="mso-bidi-font-style: normal;">teapot
had changed my husband’s breakfast and is the beginning of our days”</i>… This
story outlines some other very important aspects of David’s work: emotion and
humour. Pushing the boundaries of the silversmith world can also be obtained through
less radical gesture than destroying the metal. Titillating the seriousness,
the rigor and the relative classicism of the silver world is paramount to
David’s approach. “<i style="mso-bidi-font-style: normal;">We try to make
everything very profound nowadays but there is a space for playing and laughing</i>”,
he told me<i style="mso-bidi-font-style: normal;">. “I like my work to have different
levels of</i></span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"> reading and I want it to be accessible and communicative</span></i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">”.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Some of his works
are very cartoon-like and David likes when people laugh in front of them: “<i style="mso-bidi-font-style: normal;">when you laugh, it changes your physical and
mental state. It is very healthy</i>”. <span style="mso-spacerun: yes;"> </span>I can’t stop myself smiling when I look at the works
photographed below:<o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Deeperer, 2009</span></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In flux exhibition, 2012</span></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Chuffing marvelous and
friends, 2009</span></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Miss de caf, 2009</span></span></i></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The
emotion in those spoons and pots comes from the bizarre associations, the
oversized details, the comic deprivation of basic functions: they could almost
be some characters in Walt Disney’s Alice in Wonderland.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This
collection of amazing works leads me to the next theme that is essential to
David’s work: function and non-function and the grounding of the artist in its
discipline, the silversmithing. Often compared to fine artists like Cornelia
Parker (who smashes silver objects and suspends them in the air), I asked David
if he was not frustrated not to be featured at the Tate Modern as Cornelia
does.<o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Cornelia Parker, Alter
Ego 2012, photo from Frith Street Gallery Website</span></span></i></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“<i style="mso-bidi-font-style: normal;">I have no need or ambition to be there</i>”,
he replies<i style="mso-bidi-font-style: normal;">. “I once had an identity
crisis and I called myself an artist but now I insist on being named a
silversmith”. “I might be at an extreme edge of my discipline, but it is my
grounding in silversmithing that makes my work relevant</i>”. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I
believe that challenging domestic objects, giving them a second chance or
another identity, playing with the notions of function and dysfunction are at
the core of the contemporary Applied Arts scene and David is currently one of
the most creative and interesting artists to engage with those challenging
topics.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">His
collaborative projects with other artists are an important part of his artistic
approach as well: he is a member of 60/40, a trio made up of Tracey Rowledge,
Clare Twomey and himself with the aim of injecting new vitality and content
into craft. He is also part of “Intelligent Trouble”, a group of makers (Helen
Carnac, Lin Cheung, David Gates, Katy Hackney, Shane Waltener and David
Littler) whose manifesto is to ”<i style="mso-bidi-font-style: normal;">explore
the possibilities of working together and what new things could be done.
Without jettisoning our own identities, opening our selves to the actions and
provocations of others. Trying to find out a little about how each of us works
and thinks, locating the overlaps in approaches</i>’.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Another
aspect of David’s personality, which is only briefly mentioned in the published
literature about him, is his contribution to the training of the new generation
of silversmiths. He teaches in many different countries and considers that it
is part of his role to educate people. He usually gives creative lectures and
tutorials (and refuses technical ones) where he challenges and encourages
students to think outside the box and step out of their comfort zone. When I asked
him what kind of teacher he was, he laughed and replied: “<i style="mso-bidi-font-style: normal;">I am not saying, “today we are going to smash silver”. I don’t want to
create miniatures of me. I see myself more like a coach who helps student to
question the work they produce, the context in which they operate and the
diversity of their thinking</i>”. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Having
recently taught in Sweden and in China, I asked him if he saw some cultural
differences between students there and in the UK. “<i style="mso-bidi-font-style: normal;">The students don’t really change, It is the structure of the department
where they are taught that sets the framework of what is acceptable or not</i>”.
“<i style="mso-bidi-font-style: normal;">The Chinese students work at an
extraordinary level and their ambition is massive but at the end of the day
they will all have produced the same ring following the instructions written on
the blackboard</i>”. My next question came logically: if those students have to
follow precise instructions and conform to a single design, what can they take
out of David’s teaching? “<i style="mso-bidi-font-style: normal;">They were very
happy and it is phenomenal to see the journey they went through. But you are
right, I am concerned about what they will do with it</i>”. He is soon going
back to China and it is a matter he wants to discuss with the head of
department before continuing teaching there.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">David’s
portrait would be incomplete without mentioning his two latest bodies of works both
featured at SO Gallery in London: Fix, Fix, Fix currently until 24/03, and a Solo
Exhibition in April.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sweetheart
is the piece exhibited at Fix, Fix, Fix and is a collaborative work with the sugar
jewellery artist Natalie Smith. <o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sweetheart, 2012</span></span></i></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I
find this work very interesting for two reasons: first, it shows that the
artist never indulges in facility and manages to remain unpredictable. An
exhibition about artists fixing objects was the perfect space for David to show
one of his teapots, dismembered and recreated with other parts of silver or
lead. But he chose to display a work that plays metaphorically with the idea of
fixing. This “bonbonniere” had been left unwanted when he bid it on Ebay, (like
a broken heart) and he asked Natalie Smith to fix it, to sweeten it with sugar.
It took her 6 months to grow sugar around it and the result is beautiful and
poignant.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Secondly,
it shows a rupture in the inexorable journey of silver destruction that David
has followed recently: sugar protects the silver and makes it even more
desirable. I asked David if one could see it as a way of “re-loving” the
silver? “<i style="mso-bidi-font-style: normal;">I don’t know where I am going
with this piece. It is a one off, very differen</i>t. <i style="mso-bidi-font-style: normal;">And it was for me an opportunity to work with Natalie, who is an expert
in sugar.</i>”.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">So,
is it time yet to see David back to working silver in a friendlier manner?
Having had the privilege of a private view of work-in-progress “Spare Parts”,
his forthcoming exhibition, one can only doubt….<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1_QhuGGJtKZd7rwGeLcPiAbwkTuPG404AECJA5qVp-I2byPOiuUO4M6YPYBEQFVwuf1CrjWjGPkWaMLLlkRyxmgy6DQpt9utlsjJx3SJMsszJ9W35YwnfZiflt14eBu_Zyqii4rREK0Er/s1600/isabelle4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1_QhuGGJtKZd7rwGeLcPiAbwkTuPG404AECJA5qVp-I2byPOiuUO4M6YPYBEQFVwuf1CrjWjGPkWaMLLlkRyxmgy6DQpt9utlsjJx3SJMsszJ9W35YwnfZiflt14eBu_Zyqii4rREK0Er/s320/isabelle4.jpg" width="240" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Spare Parts, 2013</span></span></i></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As
a matter of fact with “Spare Parts”, it is the first time that silver is
totally absent from David’s work… to be replaced by pewter: no dismembered or
discarded objects, just sheets of metal. Pewter is very soft and gives him
freedom and spontaneity. The work will bear the imprint of the hammering, the
soldering, the filing. The pieces will be interchangeable, playful and will
require a lot of commitment from the public. Interaction will be the main
concept of the exhibition. David wants to provoke the audience: “<i style="mso-bidi-font-style: normal;">people are not really seeing exhibitions at
the moment. They are all about twitting, blogging, facebooking it instead of
enjoying the present moment. With this work, they will have to assemble parts, to
build objects … some bits have no home to go, others are interchangeable…I
won’t have any control of what might happen. It is very experimental</i>.” The
exhibition opens on the 4th of April at SO Gallery (<a href="http://www.galleryso.com/"><span class="Apple-style-span" style="color: blue;">website</span></a>).<span style="mso-spacerun: yes;"> </span>It is worth popping in there and
playing with the spare parts.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I
hope that after reading this article, people will no longer see David as an “<i style="mso-bidi-font-style: normal;">enfant terrible, a provocateur or a
terrorist</i>” but rather as a very unpredictable, prolific, talented and generous
artist who brings a lot to the discipline without choosing the easy way or losing
his integrity. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Silver
or not silver?<span style="mso-spacerun: yes;"> </span>As they say “there
is only a thin line between love and hate”….<o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">David
Clarke’s <a href="http://misterclarke.wordpress.com/"><span class="Apple-style-span" style="color: blue;">website</span></a></span><span class="Apple-style-span" style="color: #262626;"><o:p></o:p></span></span></div>
<!--EndFragment-->Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com2tag:blogger.com,1999:blog-5373792131138526190.post-40934418654194480362013-02-12T10:27:00.001-08:002013-02-12T10:27:37.942-08:00A PHOTOGRAPHIC EYE FOR APPLIED ARTS BY SUSSIE AHLBURG<!--[if !mso]>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLMYSKAZQPzT0w1VrHjglU8bEF1-Kt1qg6QWdm5r8R4wmc3WqWbUuRQOmIe018WxBfTE6-QlB3bKim9rnoJLrLkPyEBnRiWU3hvUVnyn8suQDlcRdrGUVd5UUUPlGvgQiywFHwRbvyowtg/s1600/sussie_ahlburg+portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLMYSKAZQPzT0w1VrHjglU8bEF1-Kt1qg6QWdm5r8R4wmc3WqWbUuRQOmIe018WxBfTE6-QlB3bKim9rnoJLrLkPyEBnRiWU3hvUVnyn8suQDlcRdrGUVd5UUUPlGvgQiywFHwRbvyowtg/s1600/sussie_ahlburg+portrait.jpg" /></a></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US; mso-no-proof: yes;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Sussie</i></span><!--[endif]--></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I am the proud and happy owner of
a good camera, which I have been using to take pictures of my work until
recently. Somehow a little voice told me that it was about time I invested in
photos taken by a professional to better promote what I am creating. Some very
good friends were in touch with Sussie Ahlburg, a professional photographer who
specializes in Applied Arts and I thought: why not take the opportunity?</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I met her at her London studio/home
with a collection of my current work (silicone brooches) to discus briefly
about what I was expecting. I was very pleased with the result and I found
Sussie’s approach and personality so interesting that I decided to write about
her own work.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sussie is Swedish and when she
was 7 years old a doctor discovered she was severely short sighted and prescribed
her some glasses. This was a revelation for her: she had spent the first 7
years of her life thinking the world was blurry and suddenly she discovered
what it meant to see the world clearly. She asked her parents to buy her a
camera and her passion for images started at that moment in her life. This
first camera was quite frustrating, as she couldn’t obtain the effects she
wanted but she started to look at things differently and take notice of
surfaces, patterns and new shapes.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When she turned 18, she decided
to leave Sweden to travel and ended up taking a degree in photography in
Central St Martins in London. She met her husband there (a photographer as well),
got 2 children and eventually stayed in London. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">She started photographing applied
arts 20 years ago when she was approached to contribute to a book about London
makers for a Japanese publisher. The whole team went to some countryside settings
for a week and there she realised how much she enjoyed photographing objects
and their makers. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Word of mouth helping, her
commissions and talent developed nicely in that area… so much so that she now
focuses mainly on, and sees herself as, a photographer of Applied Arts objects,
although a few times a month she continues to take musicians’ portraits for CD
covers and magazines. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I have chosen some photos from
her <a href="http://www.sussieahlburg.com/"><span class="Apple-style-span" style="color: blue;">website</span></a> to illustrate how she works and what drives her. </span></div>
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<o:p><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE3fzsAqB3dppxR-uiOn4vOKppzCSPv12gCVFOt0pyBNHn9H7CAJQh0KgxgA_YRPCiVnUmfaS74pGfSf8H95M66NrtpX4qgJR5awjRiOt6ZBVHL1Sd4lEQ-_cmY8JQedB6mxs3TM-xQFBH/s1600/christie+brown+rabbits.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE3fzsAqB3dppxR-uiOn4vOKppzCSPv12gCVFOt0pyBNHn9H7CAJQh0KgxgA_YRPCiVnUmfaS74pGfSf8H95M66NrtpX4qgJR5awjRiOt6ZBVHL1Sd4lEQ-_cmY8JQedB6mxs3TM-xQFBH/s320/christie+brown+rabbits.jpg" width="201" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ceramics by Christie Brown</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The above photo about Ceramics by
Christie Brown is all about composition and light. What attracts Sussie is to
understand an artist’s work through the material, the techniques and the
concept and to do a portrait of the maker through a portrait of her or his work. She works with backgrounds, settings and lights to try and capture a mood
that suits the personality of the artist.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQq50ChyphenhypheniBZwA_Hy-xXEzbcNkerRJvQR6DQ1dekPb3cHLuSb8LAJ-FTcvSx_iSWNecyAFGBpILFxln8g1IPCyMoREqKKzO7PMc6QvFRqAtwZf4nwc4uzgryZjrF1RD21NBIG2Q-jCJ-nw/s1600/yoyo+ceramics+pear.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQq50ChyphenhypheniBZwA_Hy-xXEzbcNkerRJvQR6DQ1dekPb3cHLuSb8LAJ-FTcvSx_iSWNecyAFGBpILFxln8g1IPCyMoREqKKzO7PMc6QvFRqAtwZf4nwc4uzgryZjrF1RD21NBIG2Q-jCJ-nw/s320/yoyo+ceramics+pear.jpg" width="211" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Yoyo Ceramics</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When asked how precise the
initial brief has to be, Sussie replies that it really depends on the maker.
Some people give specific instructions and some leave Sussie totally free. In
the picture of Yoyo Ceramics above, Sussie took the liberty to include a real
pear to add some curbs and sensuality to the cup.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlsvaHnjy8iYUBAP17zJ6_zlHdAs8LVlM97H8WjiTRaUmXqFo6viFgUytWjm2HIGuUTvRn0sKyYPBaATfFcHraVmfrG0TseUOGSedd1FSiv4_hIfHNh0yszjvGxtFgwpOE0-pyERdzQkBp/s1600/simone+ten+hompel+stiffer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlsvaHnjy8iYUBAP17zJ6_zlHdAs8LVlM97H8WjiTRaUmXqFo6viFgUytWjm2HIGuUTvRn0sKyYPBaATfFcHraVmfrG0TseUOGSedd1FSiv4_hIfHNh0yszjvGxtFgwpOE0-pyERdzQkBp/s320/simone+ten+hompel+stiffer.jpg" width="212" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Metal work by Simone Ten Hompel</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">With the maker Simone Ten Hompel
there is total freedom and trust between the two artists. Simone just drops her
work to Sussie Studio and the magic operates. In this picture, the background adds
a fascinating touch of colour and intrigue but is blurred enough not to
distract from the work. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I personally like the idea that a
photographer, when given freedom, can breathe new life to an object by
highlighting some aspects that his maker, all absorbed in its creation for
several days or weeks in a row, may have overlooked.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCEalcE7X-G8W1JtU5fUnmCMVfp_IouDG9BE4Q4dr43HZU-mJXcsJ8tqr9xdLELj8ItLAJAVm8htun1urppkcjtxtdOA2oJpSVBy8QUQc-bWcVSZGJXsYJ2KhyphenhyphenKZSWeZ6_NnBFPexxSJaD/s1600/anu+penttinen+vases.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCEalcE7X-G8W1JtU5fUnmCMVfp_IouDG9BE4Q4dr43HZU-mJXcsJ8tqr9xdLELj8ItLAJAVm8htun1urppkcjtxtdOA2oJpSVBy8QUQc-bWcVSZGJXsYJ2KhyphenhyphenKZSWeZ6_NnBFPexxSJaD/s320/anu+penttinen+vases.jpg" width="262" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Vase by Anu Penttinen</i></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">What Sussie always discuss with
the artist though, is the purpose of the photo shoot and the intended use of
the pictures. Is it for a magazine, for a competition, for a website? That
information can be paramount to choosing the background and lighting of the
photo. In the picture above, the focus is on the object itself. White background,
minimum shadows: the work stands out naturally.</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Luna Lights</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In this photo of Luna Lights,
Sussie has added a natural background and blurred flowers to put the object in
a possible context like a subtle “suggested presentation”…</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Ceramic by Sue Binn</i></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Even with a neutral background,
what I enjoy with Sussie’s photos is that she always tries to add something
lively, her personal touch. In this photo, the background is white but Sussie
has created an interesting composition. </span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jewellery by Katy Hackney</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In this shot, the necklace is put
into movement. The piece of jewellery is not worn but nonetheless it seems
alive…</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTIFH8NW00zhYXMEhyphenhyphenNIgQ1eF-xjbwifiC-ea6jxpqGRvRslxhN3SQmKtMxxdfvLBglqMNFlotvjzQWWPAFQLUKO4Rz-hujPN0iTMKgDSJzH1wI3ftB6DdVvzywR0YOSTOU0pXyq8AHpmN/s1600/john+masterton+red+bowl.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTIFH8NW00zhYXMEhyphenhyphenNIgQ1eF-xjbwifiC-ea6jxpqGRvRslxhN3SQmKtMxxdfvLBglqMNFlotvjzQWWPAFQLUKO4Rz-hujPN0iTMKgDSJzH1wI3ftB6DdVvzywR0YOSTOU0pXyq8AHpmN/s320/john+masterton+red+bowl.jpg" width="320" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Ceramic by John Masterton</i></span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ceramic by Sarah Scampton</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYHvcK8Eg5RRpTsxuTpgmDloerAW6wQbFwV8VRcq8eE2SMOFdzMuEbEF9Ki779ktHpVfEP-MhsqzgODAQhJUnUu-NgBzWwVbEfQ0WbitQB4Zd2yVzwQ1-I5QZSNlbG2KkVseWlxrDCdIdQ/s1600/abigail+brown+silver.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYHvcK8Eg5RRpTsxuTpgmDloerAW6wQbFwV8VRcq8eE2SMOFdzMuEbEF9Ki779ktHpVfEP-MhsqzgODAQhJUnUu-NgBzWwVbEfQ0WbitQB4Zd2yVzwQ1-I5QZSNlbG2KkVseWlxrDCdIdQ/s320/abigail+brown+silver.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Silver work by Abigail Brown</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The particularity of
photographing Applied Art objects is that the photographer has to capture the
beauty of the objects in 3D with its texture, shape, material, etc and to
translate it into a 2D image. I have experienced myself how easy it is to lose
all this richness with a poor picture. This is exactly where the professional
photographer makes the difference: Sussie works with a Nikon D800 and various
expensive lenses she cherishes. She tries to use natural light as often as
possible but knows how to play with flashes and reflectors to enhance the
beauty of the objects. She makes digital photos but avoids at any price to
Photoshop them. The images above are striking examples of her technique: the
reflection of the red bowl on the shiny surface magnifies the beautiful glossy
surface of the ceramic, whereas the delicate and intriguing texture of the
ceramic vase is rendered with a subtle game of lights. Abigail Brown’s
beautiful silverwork was a tough one to handle according to Sussie: too much
light and the striking edges would disappear, flattening the work. Too little
or wrong directed, and the 3D complexity of the vessel would never be rendered.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When I candidly asked Sussie whether
she didn’t find photographing objects a little boring, she was surprised I
could even ask: she genuinely loves it, privately teaches how to photograph
Applied Art objects and has written a book about it that I recommend:
“Photograph your Own Art and Craft” <i style="mso-bidi-font-style: normal;">(A
& C Black Publishers Ltd - 15 Nov 2011).<o:p></o:p></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyKu8ATqlUhVoHEMt3TqZ5xyeGWxhq_vf-NQdekdLBJR8SpN6JGNWApomsdPbsLgXPPKRrGUI_LqnpbIzqpmpJxLVs7405iL2oECEFkNQo6Ax-kTCy3W7TdfsKzqwS-6T0Jobh3poNUvVC/s1600/51nbe7BpXsL._SL500_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyKu8ATqlUhVoHEMt3TqZ5xyeGWxhq_vf-NQdekdLBJR8SpN6JGNWApomsdPbsLgXPPKRrGUI_LqnpbIzqpmpJxLVs7405iL2oECEFkNQo6Ax-kTCy3W7TdfsKzqwS-6T0Jobh3poNUvVC/s320/51nbe7BpXsL._SL500_.jpg" width="245" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Sussie’s book cover</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyHV6fJmm8GM_TwPEhJKkaap9ZKulBoRmbsA13lOleJ5-wTEMYRT4rwQ53xTvSiPzQ1Wk-ZQdT3A6A-jK1DaVugBfF6fRh1A00Mq17bqPWlpl1vCWKsDRDfxEbPa1b1N1BtgAH3BO0r_82/s1600/shan+valla+bottle+milk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyHV6fJmm8GM_TwPEhJKkaap9ZKulBoRmbsA13lOleJ5-wTEMYRT4rwQ53xTvSiPzQ1Wk-ZQdT3A6A-jK1DaVugBfF6fRh1A00Mq17bqPWlpl1vCWKsDRDfxEbPa1b1N1BtgAH3BO0r_82/s320/shan+valla+bottle+milk.jpg" width="212" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Shan Valla bottle milk</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I would like to conclude this
portrait with this picture of a bottle of milk by Shan Valla. For me it encapsulates
Sussie’s spirit: an impression of authentic simplicity, a genuine love for objects
and a striking technique. Since Sussie photographed my work, I have found
myself much more confident to show it around and I am grateful to her for that…</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sussie Alhburg’s <a href="http://www.sussieahlburg.com/"><span class="Apple-style-span" style="color: blue;">website</span></a></span></div>
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<!--EndFragment-->Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com1tag:blogger.com,1999:blog-5373792131138526190.post-13977196676921117782012-09-25T11:33:00.002-07:002012-09-28T05:56:40.798-07:00INSIDE/OUTSIDE BY ADI TOCH<!--[if !mso]>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Until the 20<sup>th</sup> of
October 2012, Contemporary Applied Arts Gallery in London is hosting an
exhibition called “Domestic matters” (<a href="http://www.caa.org.uk/exhibitions/archive/2012/domesticmatters.html"><span class="Apple-style-span" style="color: blue;">website</span></a>).
Simultaneously they have a Focus exhibition featuring three artists. Among them
is Adi Toch, a silversmith dubbed “<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">One of
the most exciting young makers</span></i>“ by Corinne Julius in the Evening
Standard. I met Adi when I was studying for my MA and, I have been keeping up
with her work since then.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Adi Toch completed her MA at the
Cass, London, in 2009 following her BA with First Class Honours from Bezalel
Art Academy in Jerusalem. Since then her work has been exhibited
internationally and is included in the permanent collections of The Goldsmiths’
Company, Crafts Council and Fitzwilliam Museum Cambridge.</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Adi exhibiting at Goldsmith’s in 2010</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I am a big fan of Adi’s work and
every time she shows new pieces I tell myself: “<i style="mso-bidi-font-style: normal;">wow, she did it again</i>”… <span style="mso-spacerun: yes;"> </span>But what exactly is she doing? To try and understand this attraction,
I interviewed her in her workshop and also asked a few people to tell me what they
felt about Adi’s work during the private view of the CAA’s exhibition. “<i style="mso-bidi-font-style: normal;">I want to touch it</i>”, “<i style="mso-bidi-font-style: normal;">it is beautiful</i>”, “<i style="mso-bidi-font-style: normal;">I want to hold it in my hands</i>”, “<i style="mso-bidi-font-style: normal;">it is very original</i>” were amongst the comments I heard that
evening.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">There are some pictures of her
work, beginning with her “tactile series”, as it is where everything started.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaCYd7vXXDf1bSSTiCQEWNiGDN2H66zgBsqKUhjdrsM_HVxHzUy3VrhqMV7_PIVc1S2E8R3ZABPa8dpC36HnXkkugeK5yhuFk7CypCOuQeaap5QjpkdTCL9B4HcUX3y8eZwWrAKLWUAkoC/s1600/AT_RedSandBowls2010.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaCYd7vXXDf1bSSTiCQEWNiGDN2H66zgBsqKUhjdrsM_HVxHzUy3VrhqMV7_PIVc1S2E8R3ZABPa8dpC36HnXkkugeK5yhuFk7CypCOuQeaap5QjpkdTCL9B4HcUX3y8eZwWrAKLWUAkoC/s320/AT_RedSandBowls2010.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Red sand bowl, 2010. Photo: Sussie Ahlburg<span style="mso-spacerun: yes;"> </span></span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Those bowls are made of silver or
other metals and they are especially designed to contain substances, which
cannot be retrieved. In her website Adi writes: ”<i style="mso-bidi-font-style: normal;">The series of tactile vessels invites the observer to touch, play and
discover unexpected sounds and motion. Turning the vessels around triggers both
compelling sound and mesmerizing fluidity of the particles held inside like
tiny pearls, sand or ball bearings. The contained particles cannot fall out due
to the special structure</i>”.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This series started
with a “<i style="mso-bidi-font-style: normal;">happy mistake</i>” as Adi calls
it. She was participating in a one-week workshop in the Czech Republic “Bohemian
Paradise” area,<span class="Apple-style-span" style="background-color: white;"> <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial;">where precious
stones are found and she described to me how there were lots of little garnet
stones on the benches carelessly stored in plastic cups</span>. Adi was amazed
to see how they were treated like coarse gravel and stored in disposable
containers. She loved the fluidity </span>caused by this type of grouping in large
quantities. She wanted to find a way of setting the stones but at the same time
giving them some freedom of movement. And came this amazing shape, which is now
recurrent in some Adi’s work.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8sjWbmckBGzw-aNq2jqeSqRyXpbwEdY7BSs5JiTUbT64CB6CzcgiYzlrl2kCZrBDMQ2CFi0SsLW8jgkev7QXt_lNiq7DPG3tX8PtV1XEZalxgfG1uOb7zlKkWW3PDz4Cci2NIMZlGQVgE/s1600/PinchOfSalt2008.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8sjWbmckBGzw-aNq2jqeSqRyXpbwEdY7BSs5JiTUbT64CB6CzcgiYzlrl2kCZrBDMQ2CFi0SsLW8jgkev7QXt_lNiq7DPG3tX8PtV1XEZalxgfG1uOb7zlKkWW3PDz4Cci2NIMZlGQVgE/s320/PinchOfSalt2008.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A pinch of salt, 2008. Courtesy of the artist<span style="mso-spacerun: yes;"> </span></span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This gold plated “Pinch of salt”
piece uses the same idea but this time the hole allows two fingers to grab a
pinch of salt.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Adi’s pieces usually start with a
shape and not with a function in mind. She makes a quick drawing and moves
strait to the metal, starting from very basic forms. She lets the shape develop
so the object grows when making it, the metal sometimes “tells” her where to go
as she describes. She doesn’t like the word inspiration but she reckons that
she collects a lot of objects or bits of things in her cupboards. They are somehow
stored in her mind as well and they reappear randomly when she works on a
piece. Two things are always present in her work: containers and tactility…</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTVzq3ZzK5OlVCGcaQUhXfpg1GT1pTDPu9DxW0QpBSHapVNY6lwgFaGSUBdPEPaNwRnjkjz_og3uG6mTrPtHm39R3ZQN_7AaGrzpvzY48rm8UrhqcdRArPCc0DSKB18aO5uupMmIGu7gQr/s1600/AT_Sound+Vessel2009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTVzq3ZzK5OlVCGcaQUhXfpg1GT1pTDPu9DxW0QpBSHapVNY6lwgFaGSUBdPEPaNwRnjkjz_og3uG6mTrPtHm39R3ZQN_7AaGrzpvzY48rm8UrhqcdRArPCc0DSKB18aO5uupMmIGu7gQr/s320/AT_Sound+Vessel2009.jpg" width="212" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sound vessel, 2009. Photo: Sussie Ahlburg<span style="mso-spacerun: yes;"> </span></span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This picture summarizes perfectly
what one is tempted to do when seeing her work: hold it in your hands and
cuddle it. “<i style="mso-bidi-font-style: normal;">My intention is to provoke
interactions</i>,” says Adi. And it really works: the round shapes are inviting,
the size fits perfectly in your palms and the matt surface makes it
irresistible. Adi is fascinated by the idea of capturing the inside and outside
by creating vessels and containers. Watching her 18 months old daughter playing, endlessly filling and emptying all kinds of vessels
at home is very inspiring too as it reminds her how
our early world was defined by this simple task of testing how to contain
things. For Adi, a room is a container and the palm of your hands or the body
are imaginary containers. </span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Body Autobiography. Ear. Courtesy of the artist<span style="mso-spacerun: yes;"> </span></span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This piece is an early work done
during her BA in Israel, but it revolves already around the concept of
containers. Here a plaster mould has been made trapping the gap created between
the head and the shoulder and then Adi has raised the form in metal by hand.
This project was very personal and intimate but it started her reflection about
inside/outside and her love for working with metal as well.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When asked if she could work with
another material, Adi says she is really open but she seems to have developed a
very intimate relation with metal. She likes the idea that metal has character:
<span style="mso-spacerun: yes;"> </span>“<i style="mso-bidi-font-style: normal;">It is like an old friend</i>” she says, “<i style="mso-bidi-font-style: normal;">you expect what will happen next but at the same time you might be surprised</i>”.
She also loves the fact that metal becomes warm when you hold it in your hands
and reverts to cold when you leave it aside. “<i style="mso-bidi-font-style: normal;">It is like fresh linen in your bed. The first impression is coolness
and progressively it takes the temperature of your body</i>”.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSJYRPQGAhwUJoX8i52lWyQutq0Ro_ci-0ZNCKryHubottbAwvnfWcB0TJIybaNrctp3jmcYi35C1ilbipsyjkcj36fPr9fNfobmcV99pXq9wX-0ao8uuU1zUZZFAdBi5NfThmxamKOccF/s1600/AT_OilDrizzler2012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSJYRPQGAhwUJoX8i52lWyQutq0Ro_ci-0ZNCKryHubottbAwvnfWcB0TJIybaNrctp3jmcYi35C1ilbipsyjkcj36fPr9fNfobmcV99pXq9wX-0ao8uuU1zUZZFAdBi5NfThmxamKOccF/s320/AT_OilDrizzler2012.jpg" width="214" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Oil drizzler, 2012. Photo: Sussie Ahlburg</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When asked about techniques and
how important they are, Adi considers that they are only here to serve the
shape she wants to make. The piece above shows how skilled she is, but that is
not her technical skills she wants to advertise. I have seen her at work, and I
found the finish of her pieces particularly interesting: she can spend hours
removing the fire stain (NB: when heated and soldered, a layer of oxides forms
on the surface of silver) and obtaining the right surface finish on a piece of
silver. She even jokes about it comparing it to a mild form of obsessive-compulsive
disorder… The result is however always striking and worth the effort as the
bowl below can testify.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgyFHM70Wy6fVPu8S-xf4MGzWYfq3g4tTnnTTQGOGzfXhOAen21a9IUbKlz_LxNyO-8Ek2WRmXuh5mpwqrPm4R7FepthFSGHLgFz3FmyN1Uz8AMUqeUENcQI0SDyTDbtDT_IeE4AVE_hkg/s1600/AT_OneDropPlusOneDropMakesAbiggerDropNotTwo2009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgyFHM70Wy6fVPu8S-xf4MGzWYfq3g4tTnnTTQGOGzfXhOAen21a9IUbKlz_LxNyO-8Ek2WRmXuh5mpwqrPm4R7FepthFSGHLgFz3FmyN1Uz8AMUqeUENcQI0SDyTDbtDT_IeE4AVE_hkg/s320/AT_OneDropPlusOneDropMakesAbiggerDropNotTwo2009.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">One drop plus one drop makes a bigger drop, 2009. Photo: Simon Armitt<span style="mso-spacerun: yes;"> </span></span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">To my great surprise, Adi has also
developed a body of works where randomness plays a serious part. After putting
the hours obtaining the right finish, Adi sometimes patinates some of her
pieces with a result that can’t be predicted. For one of her piece, the process
of patination took her only 30 seconds.... “<i style="mso-bidi-font-style: normal;">You
need guts to do it</i>,” she says “<i style="mso-bidi-font-style: normal;">but in
some ways it counterbalances my obsession with the finished surface</i>”. The
result is somehow psychedelic with a palette of amazing colours. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqPfB7u_VmF6t58d-9RB-JwYmhnLoP4iJyoMvxqtUPTx4UHHIgHejwR-sMoqhj-R93lT282oTtsyYvqX2Zy-mb8lCtpxpt4_s3456VQ3UZETeFwmS_ZuQyF7LS5T71xSgANVCJVC9SVqGo/s1600/Toch_ReflectionBowl2009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqPfB7u_VmF6t58d-9RB-JwYmhnLoP4iJyoMvxqtUPTx4UHHIgHejwR-sMoqhj-R93lT282oTtsyYvqX2Zy-mb8lCtpxpt4_s3456VQ3UZETeFwmS_ZuQyF7LS5T71xSgANVCJVC9SVqGo/s320/Toch_ReflectionBowl2009.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Reflection bowl, 2009. Photo: Simon Armitt<span style="mso-spacerun: yes;"> </span></span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXd61Wwtbn0dounhq-cCCdaBZmZm8OjVnEaRehvUaFZnFp6UnxFWYWGdik61kGRs0__X3tGB7yfglEA7YtOy8Kl4FrQzK9GWmFaaLUoW40Cu9BotF4mI7UMpxtnhfGgyDM-Ii3jm3-FoqZ/s1600/AT_Passage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXd61Wwtbn0dounhq-cCCdaBZmZm8OjVnEaRehvUaFZnFp6UnxFWYWGdik61kGRs0__X3tGB7yfglEA7YtOy8Kl4FrQzK9GWmFaaLUoW40Cu9BotF4mI7UMpxtnhfGgyDM-Ii3jm3-FoqZ/s320/AT_Passage.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Passage, 2012. Photo: Sussie Ahlburg</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“<i style="mso-bidi-font-style: normal;">Oil drizzler</i>”, “<i style="mso-bidi-font-style: normal;">berry bowl</i>”,
“<i style="mso-bidi-font-style: normal;">oil and vinegar</i>” or “<i style="mso-bidi-font-style: normal;">bowl with hollow handle</i>” are amongst the
names Adi has given to her works. I couldn’t help thinking function was
important to her even if she claims the contrary. When asked about this
apparent contradiction, she stuck to her motto: “<i style="mso-bidi-font-style: normal;">function never drives my work. But you are somehow right as I want my
pieces to have a purpose</i>” she replied. “<i style="mso-bidi-font-style: normal;">Purpose
can be simple things as to hold, to see, to move. When I make my oil drizzler,
I imagine oil pouring. But the shape always come first and then I want a
dialogue with the person through the pieces. So, yes they do have a purpose</i>”</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Oil drizzlers, 2012. Photo: Sussie Ahlburg</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Oil and vinegar, 2012. Photo: Sussie Ahlburg</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivNZ6a02jXGH378wttUkYHXeqPPxb1J413Ro6kKlJE9Rsdoi7_Nrk_kGzxlIzIAQzjnI0vddQuAtyIIo0L6v9KAEfmC91Umvz7QitEGkTThSpLk3qnQilD-Q6LtCmb_NEOQOaTuGAAEC9V/s1600/AT_BerryBowl2010.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivNZ6a02jXGH378wttUkYHXeqPPxb1J413Ro6kKlJE9Rsdoi7_Nrk_kGzxlIzIAQzjnI0vddQuAtyIIo0L6v9KAEfmC91Umvz7QitEGkTThSpLk3qnQilD-Q6LtCmb_NEOQOaTuGAAEC9V/s320/AT_BerryBowl2010.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Berry bowl, 2010. Photo: Sussie Ahlburg</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwTOy28jWkp0EB6cz9EjBUjFdZyPlAHRmT_lLdf7heflNLa3cr4w0wwB6Q7RIaAe-SFH9cXbtuSyEtl0Z9yP9EAPvSgaGcOrIDfos6L8uvVAAHVztUKQm3qMa8qv8mtN6uS2GVsR2Zz-RM/s1600/AT_BowlWithHollowHandle01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwTOy28jWkp0EB6cz9EjBUjFdZyPlAHRmT_lLdf7heflNLa3cr4w0wwB6Q7RIaAe-SFH9cXbtuSyEtl0Z9yP9EAPvSgaGcOrIDfos6L8uvVAAHVztUKQm3qMa8qv8mtN6uS2GVsR2Zz-RM/s320/AT_BowlWithHollowHandle01.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Bowl with hollow handle, 2012. Photo: Sussie Ahlburg</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I would like to finish this
portrait with some of her newest works, which surprisingly incorporate
balloons. One can wonder why balloons? Again it has to do with Adi’s
fascination with containers. Balloons contain air and define a space. And contrary
to the metal, they are very flexible and also perishable. Shapes are changing
according to the amount of air you put inside and with time they inevitable
shrink, leaving space between the piece and the balloon,
as she explains. Those are fascinating ways of defining space. </span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Balloon vessels, 2011. Photo: Sussie Ahlburg</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQD1T9mP726eZIvRYPOaD33RTdT3xiTBviMB1JmzYCjKCEpCL32UIsZm6rimLPzzGhO7pL6PEE4QE4Cep0HJYoaA98Tk5eDktfkTu1ly97vfQRM2csp0nt8nfvZWw11X46K7ZWq56VPTnl/s1600/AT_RoomToGrow-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQD1T9mP726eZIvRYPOaD33RTdT3xiTBviMB1JmzYCjKCEpCL32UIsZm6rimLPzzGhO7pL6PEE4QE4Cep0HJYoaA98Tk5eDktfkTu1ly97vfQRM2csp0nt8nfvZWw11X46K7ZWq56VPTnl/s320/AT_RoomToGrow-1.jpg" width="209" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Room to grow, 2012. Photo: Sussie Ahlburg</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Her last project is called “<i style="mso-bidi-font-style: normal;">room to grow</i>”. Adi describes them as a
way of “<i style="mso-bidi-font-style: normal;">questioning where the container
ends</i>. <i style="mso-bidi-font-style: normal;">When you look at a hemisphere,
you can imagine the rest of the shape. The balloon completes the shape here</i>“.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">There again you might want to
hold those pieces in your hands and cuddle them as if they were little
creatures. I think I now understand better why I am so fond of her work: her
pieces are seductive and they wait for you to take them in your palms. In my
post about “Blobjects and Bachelard” </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(<a href="http://thinkingthroughthings.blogspot.co.uk/2011/03/blobjects-and-bachelard.html"><span class="Apple-style-span" style="color: blue;">post</span></a>), </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I mentioned some quotes from Gaston Bachelard’s book “The
poetics of space”: “<i style="mso-bidi-font-style: normal;">everything round
invites a caress</i>” or “<i style="mso-bidi-font-style: normal;">the round being
propagates its roundness, together with the calm of all roundness</i>”. Adi has
managed to transfer this feeling of roundness to her work and her objects play
amazingly with our emotions.<span style="mso-spacerun: yes;"> </span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">If you want to see and “cuddle”
her work, she will be exhibiting at <a href="http://www.thegoldsmiths.co.uk/exhibitions-promotions/goldsmiths'-fair"><span class="Apple-style-span" style="color: blue;">Goldsmiths' Fair </span></a></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">from Tuesday, October 2 to
Sunday, October 7.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Adi Toch’s<span class="Apple-style-span" style="color: blue;"> <a href="http://www.aditoch.com/"><span class="Apple-style-span" style="color: blue;">website</span></a></span></span></div>
<!--EndFragment-->Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com3tag:blogger.com,1999:blog-5373792131138526190.post-85816434831711750612012-05-26T04:14:00.000-07:002012-05-26T04:17:45.911-07:00MY PICKS FROM COLLECT 2012<br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It is the second time I write
about COLLECT in my blog. This year I have decided to follow my instincts and pick
objects that were attracting my attention without trying to understand why.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Back home, I did some research
about the artists I had selected. After having carefully read about the objects
I wanted to write about, I was amazed to discover that they are all linked by a
theme that I am currently researching with my own work: giving objects a second
chance. The 9 artists featured in this article use different strategies but
what they have in common is to use or reflect about “found” or “second-hand”
objects and give them a new existence.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In his introduction to “Thing
Theory”, Bill Brown proposes an interesting quote about them: “<i style="mso-bidi-font-style: normal;">we begin to confront the thingness of
objects when they stop working for us</i>”. Julian Stallabrass in his essay
“Trash” leads us into similar territory: “<i style="mso-bidi-font-style: normal;">Commodities
are of course signs in a system of value, both monetary and social, which is
lost when they are abandoned. When objects are seen together as trash,
relationships of a more poetic and intrinsic interest emerge. The qualities of
the thing itself begin to appear in sharp relief like pictures in a developing
tray. […] their arbitrariness and alien nature are suddenly revealed</i>.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Some artists collect objects, pick
up trash in urban landscapes or the natural environment, pace up and down flea
markets. Their works use, distort, incorporate or are inspired by those “found objects”
and a new story appears where the object itself disappears to give way to a new
subject-object relation.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Some of them use different
strategies and create objects in the first place but then allow the works to
live a second life by altering them. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The first artist I have chosen is
Heidi Bjorgan in Galleri Kunst1. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Heidi is a ceramist and she
collects. “<i style="mso-bidi-font-style: normal;">Overlooked objects, a lamp, an
old bread tin with</i><i style="mso-bidi-font-style: normal;"> an interesting shape or
knick-knacks of low value which have been discarded as trash or have ended up
in a car boot sale, that is what I collect. I give these forms a second chance
in a new guise, in a new context and sometimes I even add a new function. As a
maker my aim is through sampling and remaking to explore the aesthetic
potential of the shapes of these objects</i>”, she says about her work. Her
works featured at COLLECT are porcelain vases cast from a plastic lampshade she
found in a skip. Other found objects have been added: a bird and little ceramic
bears are bound with the vase and both have been covered by glaze (pink or
blue) to transform the two parts into a whole. In Heidi Bjorgan;s work, worthless
discarded objects are transformed into beautiful and valuable craft.</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Heidi Bjorgan. Galleri Kunst1. Photos Isabelle Busnel</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For Graziano Gianocca, represented
by Gallery SO, the creation is confrontation, an exchange between its internal
world and the outside world. He is interested in the day-to-day objects, which
he transforms to confer them a new identity. In his project “With Other’s Eyes”
he uses anonymous photographs he has found on the web or in flea markets and
carefully integrates them on the back of empty white or pink shiny square
brooches. Only a second glance can reveal them. They function like 19<sup>th</sup>
century lockets, which were pendants that opened to reveal a space used for
storing a photograph or other small items such as hair. But the photos he uses
are anonymous and with Graziano Gianocca’s work, one can wonder if those “found
images” have the same emotional meaning than portraits of people we love?</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Graziano Gianocca. Gallery SO. Photos Isabelle Busnel</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Caroline Andrin’s work immediately
caught my attention on the WCC.BF stand. At first, I didn’t actually understand
what I was looking at. By getting closer and discussing with the artist, I started
to understand that the “animal” trophies hanged on green backgrounds were made
of clay cast in gloves. Caroline’s work questions our relationship with the
objects we wear or use. She collects found objects such as gloves or woolly
hats and uses them as moulds to create new shapes like those animal trophies.
She believes that a shape can contain another shape and her wish is that her works
keep the tracks of the objects used to create it. Each mould is used only once
and destroyed when the work is turned out. From a certain distance they really
look like animals. Get closer, and the viewer discovers that ears, noses, or
chins are moulded from parts of leather gloves sewn together. Another very
interesting manifesto about giving a second chance to objects…</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Caroline Andrin. WCC.BF. Photos Isabelle Busnel</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">At Lesley Craze Gallery, Maud
Traon’s rings were eye-catching. Combining materials such as Fimo clay,
electroformed copper, synthetic stones and found plastic toys, her rings are exuberant
and intriguing, oscillating between chaos and magic. In the exhibition booklet
“Also Known as Jewellery”, Michael Rowe perfectly describes Maud’s approach: “<i style="mso-bidi-font-style: normal;">In her work, she confronts us with issues of
preciousness, value, durability, wearability, sensuality - explored with
particular reference to consumerism, social aspiration and taste, attitudes to
cultural differences, childhood and adult life. […] In some pieces we become
aware of toy cars, animals and other plastic models embedded in the clay and we
sense a poetic intent, those objects seem like fossilised toys, symbolic of
time passing perhaps, remains of a childhood locked in a mysterious
conglomerate ooze</i>”.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In Maud’s work, found objects are
meant to be reassuring: for the viewer, by incorporating iconic and childlike
objects in apocalyptic landscapes, and for the artist by creating a starting
point to avoid facing the blank page syndrome.</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Maud Traon. Lesley Craze Gallery. Photo Isabelle Busnel</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Maud Traon. Lesley Craze Gallery. Photo Isabelle Busnel</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUORh5IWPaSsDGbdL3dAu9KIJcUAvHGHyFeI0rUxYAPe7ttHU5rE4A5X3FrMewVYCPrvtbC84DutKVflQxFUT4ks4uq54CckgyLi3yIHNW8A-aDPDRrTw1fJhgWAEjMzPLGxlDR2uZPxMD/s1600/LittlePony-emboded.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUORh5IWPaSsDGbdL3dAu9KIJcUAvHGHyFeI0rUxYAPe7ttHU5rE4A5X3FrMewVYCPrvtbC84DutKVflQxFUT4ks4uq54CckgyLi3yIHNW8A-aDPDRrTw1fJhgWAEjMzPLGxlDR2uZPxMD/s320/LittlePony-emboded.jpg" width="320" /></a></div>
<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Maud Traon. Photo from the artist’s website</span></i><br />
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Maud Traon. Photo from the artist’s website</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I already mentioned Caroline
Slotte last year in “My Picks From COLLECT 2011”. I find her work thought
provoking and effective despite its apparent simplicity. This year she
exhibited two plates in Gallerie Sofie Lachaert. In her website she describes
her practice in a very interesting way: “<i style="mso-bidi-font-style: normal;">The
most humble object can function as a key to the past, as a key to our inner.
The poetry of everyday objects, with all the memories and associations that
these objects contain: that is the starting point for my artistic practice. In
my work I examine the memory-bearing aspect of second-hand objects. […] What
role do the objects in our surroundings play in the creation of continuity in
our existence, and in the construction of a continuous life story? The
manipulation of existing material is central in my work. I rework found
objects, mainly second hand ceramic items, so that they take on new meanings. I’m
interested in how the interventions direct or obstruct the associations of the
viewer. The manipulated objects are characterised by a tension between the
recognisable and the mysterious, the familiar and the unfamiliar. I rework</i> <i style="mso-bidi-font-style: normal;">the ceramics by cutting directly into it, by
sculpting and sanding, and by combining elements from different objects. In
this way, the work process becomes a way of questioning the material and
highlighting stories contained in the objects”.<o:p></o:p></i></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The two plates hung on the wall could
easily go unnoticed. The surface has been sanded leaving no colours and no
drawings but a small Asian-style house in a corner. The viewer has different
strategies possible: imagining what the plate looked like before being reworked
by Caroline or wondering if they would have notice this little house when the
plate was fully coloured and painted. As stated previously, a poetic interest
emerges from what was previously a simple commodity.</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Caroline Slotte. Gallerie Sofie Lachaert. Photos Isabelle Busnel</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I have spotted Stuart Cairns’
work at the National Gallery Ireland’s stand. He is a silversmith and in his
vessels series he mixes pristine silver shapes with twigs, nails and buttons. On
his website he describes his practice as: “<i style="mso-bidi-font-style: normal;">concerned
with the exploration of materials through the objects of the everyday,
specifically those around the familiar experience of dining at the table. These
forms are re-imagined to investigate their narrative possibilities using a
variety of materials, processes and found objects. Setting the play between
materiality and form in the everyday experience I seek to touch upon the
viewer’s sense of the familiar and divert it into an alternative narrative and
association</i>”. In Stuart’s
work, found objects are accessories that, added to functional objects, distort
their functions and force the viewer to reconsider the obvious. </span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Stuart Cairns. National Gallery Ireland. Photos Isabelle Busnel</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Diana Hakim’s jewellery exhibited
at Gallerie Louise Smit gives another interesting manifesto about found
objects. On her website she states: “<i style="mso-bidi-font-style: normal;">Familiar
everyday commodities are often in use in my work. I transform them
and give them a new meaning which offers the opportunity for a critical
reflection. I choose these objects because they are loaded with meaning and
have a cultural or associative presence. […] My jewellery collection comments on
our society condition as a Fear Society. We are constantly afraid from the
"other", from crime, terrorism, epidemics and more. The materials
used are connected and related to and with safety, such as: nets, filters,
ventilation covers, light reflectors, working gloves etc</i>”. What I find
interesting in Diana’s work is that using “fear related objects” to denounce
our “Fear Society” could seem too obvious and simplistic but thanks to the
awkward and fascinating aesthetic of her jewellery, it works. Her found objects
become monsters that play in an unconscious level with our most intimate fears.</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Diana Hakim. Gallerie Louise Smit. Photo Isabelle Busnel</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Diana Hakim. From the artist’s website.</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US"> </span></i></span><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Diana Hakim. From the artist’s website.</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Diana Hakim. From the artist’s website.</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Anne Fischer, Juliane Scholss,
Ja-Kyung are three artists exhibited at Galerie Rosemary Jaeger. They don’t
work with found objects but give a second chance to pieces that they have
created themselves. They describe their projects as: “<i style="mso-bidi-font-style: normal;">Each of us made a classical candleholder comprised of 3 parts. Next,
the 3 parts were separated and each one of us obtained a base, one handle and
one socket each from separate makers. Then we built the candleholders from
these parts. Each of us works very much in her own style. The decision of
parting with one’s own work was not an easy one. It involves confidence and the
ability to let go, but in the process there was also much spontaneity, joy and
playful pleasure</i>”. The result is quite original and it takes its
inspiration from those games where somebody writes a word on a paper, folds it
and passes it to another person, generally resulting in an amusing piece of
gibberish. The 3 objects below seem chaotic but when associated with their
story, they reveal their humanity. One cannot always choose who we are but we
have to do with what we have. And it works… Those objects have a real second
chance to exist.</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Anne Fischer, Juliane Scholss, Ja-Kyung. Galerie Rosemary Jaeger.</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photos Isabelle Busnel<o:p></o:p></span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The last artist I would like to
mention is Hugo Meert featured in the WCC.BF stand. On the gallery website one
can read: “<i style="mso-bidi-font-style: normal;">Hugo Meert observes everyday
objects, diverts and distorts them. He keeps up a taste for objects bearing
cultural or visual messages. His work pieces question on their own nature, this
way a vase self-wrecks, a set of everyday objects becomes functional only once
smashed. Over the past twenty years, this master of "shape and irony"
has created an intriguing ceramics collection, characterised by a subtle
"terrar" touch”.</i> I particularly like this “tea set” which is a
non-functional object until it has been smashed in pieces. Was the artist
inspired by Marx’s quote: “<i style="mso-bidi-font-style: normal;">a product
becomes a real product only by being consumed. […] Only by decomposing the
product does consumption give the product the finishing touch</i>”? The second
chance in this case is what makes the object useable. But once broken, what is
its value? The scars it carries on the surface where the parts have been
separated are the only proof it has once been a non-functional object and an
artistic manifesto. So how to display such an object: broken or unbroken? At COLLECT Hugo Meert has chosen to show
both. </span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Hugo Meert. WCC.BF. Photos Isabelle Busnel</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This is where my journey at
COLLECT 2012, through works that give a second chance to objects, ends. Julian
Stallabrass wrote: “<i style="mso-bidi-font-style: normal;">when the commodity
form is stripped away, something may be revealed of the social relations which
are immanent in the objects and which bind people of their fate</i>”. What a
fascinating subject for applied arts… It lies at the core of craft practices
and I will come back to it in my “Thinking Through Things” reflection process.</span></div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com0tag:blogger.com,1999:blog-5373792131138526190.post-54990485704217671122012-05-16T04:51:00.000-07:002012-05-17T02:04:36.971-07:00A DAY IN 401 ½ STUDIOS, HOME OF HAPPY ARTISTS<br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I went for the first time to Clapham-based 401 ½ studios late 2011 to visit a friend during their annual
open day. I immediately fell in love with the place and the atmosphere and decided
to come back to interview the owner Michael Haynes as well as the artists
working there. I had a wonderful time meeting an enthusiastic owner and happy
artists. </span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Entrance to 401 ½ studios</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The courtyard and the studios</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">As stated in the <a href="http://www.401studios.org/"><span class="Apple-style-span" style="color: blue;">website</span></a></span> <span lang="EN-US">“<i style="mso-bidi-font-style: normal;">For over fourty years 401½ has provided
studios for fine and applied artists and designers. The project, started in
1971 by Michael Haynes, is housed in a Victorian warehouse situated on one edge
of Larkhall Park in Clapham</i>”. Michael Rowe, head of Silversmithing &
Jewellery at the Royal College of Art and one of the first generation of
artists working here makes a vibrant tribute to the studio: "<i style="mso-bidi-font-style: normal;">401½ has a growing historical significance
in the world of art & design as one of the birth places of the artistic
crafts renaissance in Britain dating from the early 1970's. The history of this
movement has been documented by the leading applied arts historian Tanya Harrod
in her authoritative book 'The Crafts in Britain in the 20th Century'. In it
she pays tribute to Michael Haynes, the visionary founder and Director of the
studios, for providing affordable workspaces for numerous artists craftsmen and
women over the years; this was the first studio of its kind and was the model
for those that were to follow</i>”.<o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Michael Haynes (front left) and 401 ½ members in 1979</span></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Source: website<o:p></o:p></span></span></i></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Michael didn’t know when he started this adventure 40
years ago that he would be a “<i style="mso-bidi-font-style: normal;">model for
those that were to follow</i>”. Established as one of the leading display
designer in the 60’s, the idea of opening artists’ studios was more a pragmatic
decision rather than a visionary one. As he needed space for displaying the exhibitions
he was in charge with, he started to search for a large building. The Clapham Victorian
warehouse was a cheap and central alternative but as the building was too big
for his needs, he decided to share it with other artists: half of the space for
him and the rest split in individual studios. Fascinated by the energy and
creativity of the new Applied Arts scene of the 70’s, he went to the Royal
College of Arts and asked graduates if they needed studio spaces. 10 of them
loved the idea and joined him: among them were the famous ceramicists Alison Britton,
Carol McNicholl, Jill Crawley and Elisabeth Fritsch and the silversmiths
Michael Rowe and Robert Marsden… As Michael told me “it was <i style="mso-bidi-font-style: normal;">such an amazing group of people…I had no
idea how good they were</i>”… He is still in touch with those artists and had
the opportunity to build an amazing collection of art works by regularly buying
pieces from resident artists since 1971. His collection is stored in his
Oxfordshire house but 401 ½ studios host a gallery space at the entrance where
Michael exhibits some pieces all year round. “<i style="mso-bidi-font-style: normal;">It is not a proper gallery. More a museum because nothing is to sell</i>”
he clarifies. <o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The gallery at the entrance of the courtyard</span></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Front window display inside the gallery</span></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Michael Haynes in his gallery</span></span></i></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Being selected to rent a space in 401 ½ studios is
nowadays a challenge as there are only 43 of them available while Michael
receives new applications almost every day. He chooses the artists himself after
an interview. “<i style="mso-bidi-font-style: normal;">I am not an expert, but I
love talking to artists and seeing works that are very individual and full of
enthusiasm</i>” he specifies. His main concern is that people feel so
comfortable here that the turnover is very rare. He has had artists staying for
20, 30 and even 40 years…”<i style="mso-bidi-font-style: normal;">it is lovely to
keep people and at the same time, we need fresh blood</i>…” he says. His aim is
to keep a balance between established artists and new graduates and to avoid
too many people in one field. A couple of years ago, Michael wanted to close
the place as running it became too demanding as he grew older. However he
realized how important a studio is for an artist and a poignant letter from one
tenant writing than “<i style="mso-bidi-font-style: normal;">in spite of all her
ups and downs in her private life, she had always had a home to come to at 401
½</i> ” finally convinced him to continue with the help of his wife and his two
sons. Building new spaces might even be on the agenda… <o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">After chatting about craft and applied artists, it was
time for me to leave Michael and to discover this Victorian warehouse. The
first thing I noticed was a tiny garden at the back of the courtyard and a
small building with a ladder leading to a studio space.<o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The garden</span></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A very original studio</span></span></i></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In the main building, I immediately got a homey
feeling:<o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Stairs leading to the 1<sup>st</sup> floor of the main building</span></span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicBSGWm2g_L_aEvNqZp9MzHQAm5NKKF8rrzL218Rm1PkydUzs9uhe0Ts9uLIKGZcJazT6lwOpUBdBnYmkTGd9Nni1eiolkFjsReJ1qax8zvIUVWIyjMxevobnNuie8vW-JM-V83ipEZ_Vz/s1600/IMG_5086.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicBSGWm2g_L_aEvNqZp9MzHQAm5NKKF8rrzL218Rm1PkydUzs9uhe0Ts9uLIKGZcJazT6lwOpUBdBnYmkTGd9Nni1eiolkFjsReJ1qax8zvIUVWIyjMxevobnNuie8vW-JM-V83ipEZ_Vz/s320/IMG_5086.JPG" width="213" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Corridor inside the main building</span></span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBkDBZfqtloo4FK9OnZoOFGF7i395WHkgNRGNHDuY0H5tXsqVqGaA9CykCHukmrJrs7B9_noB8ytGkQI9v7KFxab-a9VPLQhpXjXChyjRJ-ktK6ThpgxSWJkH1US1IPiJyjZjdysei9oN6/s1600/IMG_5089.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBkDBZfqtloo4FK9OnZoOFGF7i395WHkgNRGNHDuY0H5tXsqVqGaA9CykCHukmrJrs7B9_noB8ytGkQI9v7KFxab-a9VPLQhpXjXChyjRJ-ktK6ThpgxSWJkH1US1IPiJyjZjdysei9oN6/s320/IMG_5089.JPG" width="213" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Artists’ works hanging on corridor walls</span></span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">My first
interview went naturally for my friend Emma Nacht. She is a jeweller and moved
to 401 ½ a year ago. Her studio is part of a huge semi-open space at the first
floor. Having known her for many years I was moved to see how she managed to
recreate a very personalised environment.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCXc4fZKYqNQ7eZn1bwr5j2iwGV5yHB_fxfKU2-Hd4jgTuSERv1bIpTtdfa3Fkxcrj2FL0wnkPyuZdMJR1ZyuxyhEYIl8UPUi059k1SfpUZrj___D3e_v38jrRwGwEWHOPIYFWReIX3ojd/s1600/IMG_5103.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCXc4fZKYqNQ7eZn1bwr5j2iwGV5yHB_fxfKU2-Hd4jgTuSERv1bIpTtdfa3Fkxcrj2FL0wnkPyuZdMJR1ZyuxyhEYIl8UPUi059k1SfpUZrj___D3e_v38jrRwGwEWHOPIYFWReIX3ojd/s320/IMG_5103.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Emma’s studio and the
corridor in the semi-open space</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH14-HdJLA6rVYEzp7Hz9D5RLUzSXv-RLBPSVNBI9_wsItemsnm0k0x4yJJbKUlRhO8cCYvYBG-2lCAtS5mYMaa3qlrMG0GIPt66QphA_ocv8fFjxmeT1bDq8W9eh3Ojd8lFAjsW1FrJUq/s1600/IMG_5097.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH14-HdJLA6rVYEzp7Hz9D5RLUzSXv-RLBPSVNBI9_wsItemsnm0k0x4yJJbKUlRhO8cCYvYBG-2lCAtS5mYMaa3qlrMG0GIPt66QphA_ocv8fFjxmeT1bDq8W9eh3Ojd8lFAjsW1FrJUq/s320/IMG_5097.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Emma Nacht in her studio</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBV7-6tdwoKMnozqRyXzHK0_iYhANfJCcLSt1zEL28sh0nb-hPweOBVkgMH3fyM2fjvwLnYkZyo-uKxibtSkaQIAKgz5mwT8Vmd1YxFBJmzFATahIRFunllqC-tN1vzSPGR4nQvy-pnQeM/s1600/IMG_5094.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBV7-6tdwoKMnozqRyXzHK0_iYhANfJCcLSt1zEL28sh0nb-hPweOBVkgMH3fyM2fjvwLnYkZyo-uKxibtSkaQIAKgz5mwT8Vmd1YxFBJmzFATahIRFunllqC-tN1vzSPGR4nQvy-pnQeM/s320/IMG_5094.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The hand…</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe7okP14cucch7w_wiBq5-zH5gNpxE1njQOMe5drUDxItiUuVPjgL10xr9bz_QUhAOhoBUz0m7P-bYU-xj_kR62zLXfr-SbOvAZY453nDUh9gbcisjjrZfGUoThrzPa_vQ4VmzAdTgOamh/s1600/IMG_5102.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe7okP14cucch7w_wiBq5-zH5gNpxE1njQOMe5drUDxItiUuVPjgL10xr9bz_QUhAOhoBUz0m7P-bYU-xj_kR62zLXfr-SbOvAZY453nDUh9gbcisjjrZfGUoThrzPa_vQ4VmzAdTgOamh/s320/IMG_5102.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">… and the tools</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7bUtHby0gU0pqXkmzFv6tLS7cXwsJyH60YAlZTf_x-1HE8XDzyBQQb8rnqYMDSknyuOb7ffMXs1YgS2K3ai2vJu3pnqLezDT0yiA220pA4YfnnBJkqgCncgRpxWt6G9UHVoWHoV48dzav/s1600/IMG_5095.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7bUtHby0gU0pqXkmzFv6tLS7cXwsJyH60YAlZTf_x-1HE8XDzyBQQb8rnqYMDSknyuOb7ffMXs1YgS2K3ai2vJu3pnqLezDT0yiA220pA4YfnnBJkqgCncgRpxWt6G9UHVoWHoV48dzav/s320/IMG_5095.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The drawing table</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Emma
compares the studios to a family and I think the image is particularly
appropriate: everybody has his own space and freedom but lunch and tea breaks
are opportunities to gather in the common kitchen. She loves the fact that
disciplines are mixed as she tends to seek technical advices from her fellow
jewellers but prefers to get inspiration or to test design ideas with
ceramicists or painters. She still feels “new” and “shy” compared to more
established artists but has found a comforting support when she feels low or
short of ideas when they reassure her: “<i style="mso-bidi-font-style: normal;">we
all went through the same stages, don’t worry…</i>” Interestingly she finds the
proximity with successful artists sometimes intimidating but mainly
challenging.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In the
basement, two textile designers Bevelee Regan and Daniele Budd share a space.
They managed to divide it in two distinctive parts and the space reminds me of Ali
Baba’s cave. For Bevelee, who makes bespoke cushions, curtains and other
textile works, 401 ½ is a “<i style="mso-bidi-font-style: normal;">heaven of
creativity</i>” and she really loves the fact that it is a non-competitive
environment. She lives nearby and comes with her dog Chopper, who seems to like
the place as well…<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTXswYyS5pbRFuJ5mvwr3mNugKKbFKBeWykLInf_K_YongQZfNAC5iu4WhEO4xxJAY67ZubVRahNBVcwRSx9JxhqYN4VpsBos6XyAyuZ_w-i_gajas8bCOY4Ho4i3g6karl1Im4Q_DI-iI/s1600/IMG_5123.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTXswYyS5pbRFuJ5mvwr3mNugKKbFKBeWykLInf_K_YongQZfNAC5iu4WhEO4xxJAY67ZubVRahNBVcwRSx9JxhqYN4VpsBos6XyAyuZ_w-i_gajas8bCOY4Ho4i3g6karl1Im4Q_DI-iI/s320/IMG_5123.JPG" width="320" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Bevelee Regan in her studio</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMIIpOIXLrIVaNVpXqRlwkRAfh2enHNEGifFTHjDmM0BNBz9NVnZRXSy6YX-Rgs84JduCRD_kbTJHQLHgvc4voCS3w9qYhcaK1Gxt2OxxP5GPl1jnBQMYltxmNfT3-It7LptyUIwb9CUHF/s1600/IMG_5124.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMIIpOIXLrIVaNVpXqRlwkRAfh2enHNEGifFTHjDmM0BNBz9NVnZRXSy6YX-Rgs84JduCRD_kbTJHQLHgvc4voCS3w9qYhcaK1Gxt2OxxP5GPl1jnBQMYltxmNfT3-It7LptyUIwb9CUHF/s320/IMG_5124.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Bevelee / Ali Baba’s cave...</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp9jmD9UJNlfEjSVDQZEP9QpSYHf4cIXvmGXkjhKIvek4vfzubGSzlVJ3vMBsu73LFxAu01_sKnLfsyz3bX9eueCds9eyOatnwXqt8mVcQY28CPThnNh_W_WWCocKzNQM-rh4qXgZXAxOq/s1600/IMG_5118.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp9jmD9UJNlfEjSVDQZEP9QpSYHf4cIXvmGXkjhKIvek4vfzubGSzlVJ3vMBsu73LFxAu01_sKnLfsyz3bX9eueCds9eyOatnwXqt8mVcQY28CPThnNh_W_WWCocKzNQM-rh4qXgZXAxOq/s320/IMG_5118.JPG" width="213" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Chopper the happy dog</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Danielle
has rent her studio for 12 years and she loves it despite the fact she could
use more space and more light. She makes leather and screen-printed handbags
and purses under the name Miss Budd. She finds the place very safe and she
really enjoys the garden in summer. “<i style="mso-bidi-font-style: normal;">People
are really friendly and there is a nice atmosphere</i>”, she says.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Danielle Budd in her studio</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Inspiration board</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Also in
the basement but “<i style="mso-bidi-font-style: normal;">hidden in a corner</i>”
as she says stands Heather O’Connor‘s space. She is a silversmith and she
needed a studio where she could be noisy without disturbing the other artists.
She has been renting the space for 7 years and she loves it. She wanted “<i style="mso-bidi-font-style: normal;">something cosy</i>” and declined an offer
from a bigger studio. She enjoys the “<i style="mso-bidi-font-style: normal;">relaxed
atmosphere</i>” and the fact she has her own private space but can meet people anytime
to discuss a technical point or new ideas. Being “<i style="mso-bidi-font-style: normal;">among very talented people who all understand how hard it is to run a
business</i>” gives her the support she wanted. She also loves the fact that
people outside her discipline have a complete different way of looking at the
same object, which allows her to have interesting discussions with the other
artists. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCr8qvNE1a6Bko12V7kQYAX8IsafJUlfxzttteMjzCR5gx0n3-mLBbaJ8yPdIaS7mByzXeYavqAm-erObdcWkpKnxyrjW9bgzUHxH6ejZuZuTacOh48iaCHlctIDh_vhWRZCqHx0MksyC4/s1600/IMG_5128.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCr8qvNE1a6Bko12V7kQYAX8IsafJUlfxzttteMjzCR5gx0n3-mLBbaJ8yPdIaS7mByzXeYavqAm-erObdcWkpKnxyrjW9bgzUHxH6ejZuZuTacOh48iaCHlctIDh_vhWRZCqHx0MksyC4/s320/IMG_5128.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Heather O’Connor in her
studio</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjStEmkI3YUto5faSuuATTrBb98tFW9gQZ8xpk6rp3DGcAYc_3cJ_U7aqllXg_4YcmQ8PQWF3_-RFQCcyZ5ZuQHZBW7MZ5JcB-7RgkAYzCIQyOdG_SI4UMj2v0aOJDJD8IJ-YFy_pemFEdV/s1600/IMG_5132.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjStEmkI3YUto5faSuuATTrBb98tFW9gQZ8xpk6rp3DGcAYc_3cJ_U7aqllXg_4YcmQ8PQWF3_-RFQCcyZ5ZuQHZBW7MZ5JcB-7RgkAYzCIQyOdG_SI4UMj2v0aOJDJD8IJ-YFy_pemFEdV/s320/IMG_5132.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Heather’s bear</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Upstairs,
I met Holly Frean, a painter who has been renting her studio for 8 years. Holly considers the workshop "<i>a vital space to experiment and play with intent in peace</i>". It is impossible for her to work at home (she has two small children) and she finds it nice "<i>to make a total mess everywhere and not have to clean it up</i>"... She loves the place as it reminds her of her university years.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFrBnJTX6xqUgZCCdlBaxpMlv6Qa0ZlXxSI4_p5fzL5HXbk9Vu4V5qZRySb8SvR60mWJehTTIJ_j1HKKM3vMmBw74NRNmvw_FCAvrvo3pAiyFyh5iNabEZIeU5bCpJvO4VPSpJp9EJEwwT/s1600/IMG_5141.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFrBnJTX6xqUgZCCdlBaxpMlv6Qa0ZlXxSI4_p5fzL5HXbk9Vu4V5qZRySb8SvR60mWJehTTIJ_j1HKKM3vMmBw74NRNmvw_FCAvrvo3pAiyFyh5iNabEZIeU5bCpJvO4VPSpJp9EJEwwT/s320/IMG_5141.JPG" width="213" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Holly Frean in her studio</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj36y8y09t9G5h0Z5TZUkkgUYrszrG1sDuRxaqAoPeBVyWp5lMci64B2u73YmVhxr_T1toeuqJLj6F7fMdOSAqSgtWTIoAqnH-HCcV5Q_1aJrGzJ2_EWTvg94XMArch7yfEv4JevRf8xiUH/s1600/IMG_5138.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj36y8y09t9G5h0Z5TZUkkgUYrszrG1sDuRxaqAoPeBVyWp5lMci64B2u73YmVhxr_T1toeuqJLj6F7fMdOSAqSgtWTIoAqnH-HCcV5Q_1aJrGzJ2_EWTvg94XMArch7yfEv4JevRf8xiUH/s320/IMG_5138.JPG" width="213" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Grab a seat…</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I then met
Gerlinde Huth, a jeweller established in 401 ½ studios for 15 years, She waited
one year to get a space and had a tiny one to start with. She has now settled
in a studio she loves, with plenty of light, which is crucial as she comes
almost every day. “<i style="mso-bidi-font-style: normal;">Working at the bench
can be very lonely</i>” and she really enjoys sharing moments with the other
artists, exchanging ideas. “<i style="mso-bidi-font-style: normal;">Everybody is
different but it is nice to see people moving in the same direction</i>”, she
told me.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM_44GnwNeSnnq91bw2jHc8rdO9ht1IyVge7fDJduvmM27NDw-CimBEbnN6IN9hYtY09RAzasH516veLMawvFSVwYdLiBRjTC0CspoijA7wxbPLZle2t3FsdSzwKnnMBT_5Im2laW2hbNI/s1600/IMG_5147.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM_44GnwNeSnnq91bw2jHc8rdO9ht1IyVge7fDJduvmM27NDw-CimBEbnN6IN9hYtY09RAzasH516veLMawvFSVwYdLiBRjTC0CspoijA7wxbPLZle2t3FsdSzwKnnMBT_5Im2laW2hbNI/s320/IMG_5147.JPG" width="213" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Gerlinde Huth in her studio</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk-fT54YnM4z-AgoDWCRNO6SeeU8q6-iEfDq2yO5o2cxOUBLUqCLgOjX5HHQMQLts118BTuxKAgnNXTsChoMQQUvU2GS_9frMlOfpc5k4l4hpH9mvTMJl1cfu8SBiscuar8wV7kH5C9wUt/s1600/IMG_5142.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk-fT54YnM4z-AgoDWCRNO6SeeU8q6-iEfDq2yO5o2cxOUBLUqCLgOjX5HHQMQLts118BTuxKAgnNXTsChoMQQUvU2GS_9frMlOfpc5k4l4hpH9mvTMJl1cfu8SBiscuar8wV7kH5C9wUt/s320/IMG_5142.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">To do list</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Her
closest neighbour, Pina Lavelli is a ceramist. She arrived 8 months ago but
reckons she has just settled recently. As a new graduate, it took her time to
find the materials and to buy a kiln (which sits in the basement). She started
to “<i style="mso-bidi-font-style: normal;">work in a shed in her garden but felt
lonely and wanted to meet people</i>”.
She likes small studios with enough people to socialize but not too many
artists. She loves her room but could have more space as she does big sculptural
pieces.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGXp3KWJItZ-b3Yspddlf2P_js-aSEtP8AV64zv1LZ7XubFraZXNwYYksK-lNyRNVOSM6G2YcKQodX-iqMLMF8ZhiP8rJkBYKxR5hausZPc9VtfPtblCvBjZRRwAfM8bqAD6pyPI4CLWDJ/s1600/IMG_5148.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGXp3KWJItZ-b3Yspddlf2P_js-aSEtP8AV64zv1LZ7XubFraZXNwYYksK-lNyRNVOSM6G2YcKQodX-iqMLMF8ZhiP8rJkBYKxR5hausZPc9VtfPtblCvBjZRRwAfM8bqAD6pyPI4CLWDJ/s320/IMG_5148.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Pina Lavelli in her studio</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSpP7BbbRF0kGAngbLMVFGccXIaT8CwG5njXoOm_H8BwpDAQSaJBMA0SzSl5fWRb0Ud3MZDe-dxHyvxcsO4Zm0ZenIqlCUrM2t1ItcNcf9euEV9MZu_wHbnLdqtKu5nzZzbcoiQZTAvykf/s1600/IMG_5153.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSpP7BbbRF0kGAngbLMVFGccXIaT8CwG5njXoOm_H8BwpDAQSaJBMA0SzSl5fWRb0Ud3MZDe-dxHyvxcsO4Zm0ZenIqlCUrM2t1ItcNcf9euEV9MZu_wHbnLdqtKu5nzZzbcoiQZTAvykf/s320/IMG_5153.JPG" width="320" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"></span><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Test pieces<o:p></o:p></span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Snuggled
in a tiny space, I met Yoko Izawa, a jeweller who is the newest artist in the
studios. She arrived 2 months ago and has just settled. She is a renowned
artist who was previously working from home. She really “<i style="mso-bidi-font-style: normal;">enjoys the good sense of community</i>”. Her space is small but she
feels “<i style="mso-bidi-font-style: normal;">independent</i>” and she loves it
so far.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOEGIQqxm3cD0RI-wNzHCZxq7EKCTQAl_nC7xhKVaM840EhBwcjsxVTuJ2UamIrEny6Pqx28pSdGOF5TOYLEIK0uIsY1FUZWNvutsTnVg7iT8AJhEzaW2oZCK0pF4p7DgbrsQTl1TnVYcQ/s1600/IMG_5178.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOEGIQqxm3cD0RI-wNzHCZxq7EKCTQAl_nC7xhKVaM840EhBwcjsxVTuJ2UamIrEny6Pqx28pSdGOF5TOYLEIK0uIsY1FUZWNvutsTnVg7iT8AJhEzaW2oZCK0pF4p7DgbrsQTl1TnVYcQ/s320/IMG_5178.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Yoko Izawa in her studio</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnxneCq3nT4EbFmT3rF48UmsklxtFRRJoSeCgCZWx_0atnEue6lS5zHHlQCq-GnMvG2hmMhq3dPZCc9Ju8Ycz3Zsmexkcw8MOEuINXcjH80h6epv6PeTxBjT1E1gjSgLqBqPsRM7nH1o3c/s1600/IMG_5180.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnxneCq3nT4EbFmT3rF48UmsklxtFRRJoSeCgCZWx_0atnEue6lS5zHHlQCq-GnMvG2hmMhq3dPZCc9Ju8Ycz3Zsmexkcw8MOEuINXcjH80h6epv6PeTxBjT1E1gjSgLqBqPsRM7nH1o3c/s320/IMG_5180.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Fancy a break?</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And
finally the last artist I met was Etsuko Montgomery, a painter and Emma’s
neighbour. Etsuko arrived 5 years ago after two bad experiences in other
studios. She really appreciates having hot water and central heating, things
that people usually consider as obvious but which very often lacks in artists’
studios. She finds people “<i style="mso-bidi-font-style: normal;">wonderful”</i>
and as she is an amazing cook, she regularly finds excuses to bake cakes for
birthdays or other events “<i style="mso-bidi-font-style: normal;">to share with
everybody</i>”. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3bgj9T2UI70T5aK4JZOzKaR8fTWCdKK67fp3dUlDM1nBpPuDh990VqYDyjdlssAGL_lSf8EX_6Ne6o-jqNmOmGZXL0kxytwh_2Frd7IuRwgrBiZr6__sr0uaHTpvRuZvVh3ih-9yyGLcZ/s1600/IMG_5187.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3bgj9T2UI70T5aK4JZOzKaR8fTWCdKK67fp3dUlDM1nBpPuDh990VqYDyjdlssAGL_lSf8EX_6Ne6o-jqNmOmGZXL0kxytwh_2Frd7IuRwgrBiZr6__sr0uaHTpvRuZvVh3ih-9yyGLcZ/s320/IMG_5187.JPG" width="213" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Etsuko Montgomery in her
studio</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYnkxQ-tgv96Xp8Eti6275yocY9ddOSM09ePazIourhChU72ectx7TFjGiY1tTlk8wOmtI5oPSm8f75MvZVlsqm0YAyN9FkZ7qbI4mratZB15G10MFBFEsOrGY9cr0r5jLGcszc8XAiL6h/s1600/IMG_5186.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYnkxQ-tgv96Xp8Eti6275yocY9ddOSM09ePazIourhChU72ectx7TFjGiY1tTlk8wOmtI5oPSm8f75MvZVlsqm0YAyN9FkZ7qbI4mratZB15G10MFBFEsOrGY9cr0r5jLGcszc8XAiL6h/s320/IMG_5186.JPG" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Pastel colours</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When I asked
if anyone felt something was missing at 401 ½ studios I received a sole but
unanimous wish for more external promotion. Less crucial for established
artists who usually have their own network of galleries, shops or exhibitions,
new graduates were the most vocal about this.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This was however
the only negative point of the day. My visit culminated with an exquisite Tarte
Tatin made by Etsuko for Gerlinde’s birthday and shared by everybody present
that day in the common kitchen. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">After this
very friendly and interesting day spent at 401 ½ studios, I can fully
understand what Bevelee told me when interviewed in the morning: “<i style="mso-bidi-font-style: normal;">every time I come through the gate, I feel
myself lucky</i>”. It is a warming tribute to this 40-year old space,
brainchild of Michael Haynes and home for 43 lucky and happy artists.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">All pictures from Isabelle Busnel, except
“Michael Haynes and 401 ½ members in 1979”</span><o:p></o:p></i></div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com1tag:blogger.com,1999:blog-5373792131138526190.post-52997591160588077122012-05-04T09:55:00.002-07:002012-05-04T15:04:03.559-07:00ZIMMERHOF 2012: THE PUBLIC AND PRIVATE LIVES OF JEWELLERY<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I am very sad not to be able to attend the 44th Zimmerhof symposium, a key event in the world of contemporary jewellery taking place on June 7th-10th, 2012 in Bad Rappenau-Zimmerhof (Germany). Although I usually report only about events I do attend, I can’t help but mention it in this blog as this year’s program promises to be exciting, not only because it was put together by my fellows from the jewellery association la garantie!</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="background-color: white;"><u><a href="http://www.schmucksymposium.de/">Zimmerhof</a></u> </span>is a yearly reunion of around 200 members of the jewellery field - students, makers, designers and historians - taking place in an impressive old farmhouse estate in Bad Rappenau-Zimmerhof, a small town situated between Heidelberg and Heilbronn in the state of Baden-Wuertemberg, south Germany.<b style="mso-bidi-font-weight: normal;"><u><o:p></o:p></u></b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">While the four-day event revolves around talks and presentations, it also provides the opportunity to chat at length with those peers we often only ‘bump into’ in other events: it’s an occasion to exchange information, communicate about one’s work, and generally have a good time together.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In order to keep both the attendants and the organisers on their toes, the lectures are always organised by a different team of jewellery professionals: two, sometimes three, people choose a theme, and select a roster of international speakers accordingly. The speakers come from Spain, Germany, Belgium, the Netherlands, Austria, and France. According to the tradition, visitors are encouraged to bring a couple of their own pieces, which are shown on Friday night on the now legendary Schmucktisch (jewellery table). The 2012 edition will also stage the first jewellery Pecha-Kucha (more on</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><u><a href="http://www.facebook.com/events/323505747711921/">facebook</a></u></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">).</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><u><a href="http://www.lagarantie.org/">La garantie</a></u>, in charge of this year’s program, is a French association whose purpose is to promote jewellery outside its primary audience of specialists, to reflect on and compare the different ‘types’ of jewellery, from the traditional to the post-disciplinary, through various approaches: historical contextualisation, the confrontation of current practices, the promotion and critical analysis of contemporary trends. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The organisation team has chosen “the public and private lives of jewellery” as the general theme for this edition. On the first two days, the program will tackle the different public spaces in which contemporary jewellery can be found and how actors in the field have sought to challenge the boundaries between those spaces. The last two days will focus more specifically on the private space (how ownership transforms jewellery) and the body.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As the organisers say: <i>“Our aim, in choosing this theme, is to deal with issues that have cropped up recently in opinion pieces and academic texts, and in contemporary practice: how makers sometimes produce for museums, and forget the user; how museums in turn try to propose ‘hands-on’ exhibition projects; how some individuals have literally gone ‘on the street’ to meet the user; how the body is at once a destination, a reference, and an arena of transformation. In short, we intend to provide a platform for debate on the exciting and problematic to and fro of contemporary jewellery between maker, wearer and institution”</i>.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The organisers also hope that the program will give the attendees an opportunity to test a growing interest in the field for exhibition design against the larger historical and theoretical context of museology & (contemporary) jewellery exhibition history.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Last but not least - as the mandate of la garantie is not only to organise, but also to disseminate research & ideas on jewellery - the results of the symposium will be published both online and in print. I will be impatiently waiting for them!</span></span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Accommodation in the “barn”</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For those lucky enough to be available, they can register until 10<sup>th</sup> May 2012 and find all details, including <a href="http://www.schmucksymposium.de/2012/prog.html">the program</a>, <a href="http://www.schmucksymposium.de/2012/infos.html">the organisation team</a>, <a href="http://www.schmucksymposium.de/pdf/hotel2008.pdf">accommodation</a>, and</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.schmucksymposium.de/pdf/karte.pdf">travel</a> on the symposium <u><a href="http://www.schmucksymposium.de/">website</a>.</u></span></div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com0tag:blogger.com,1999:blog-5373792131138526190.post-36300718695790154322012-05-01T12:30:00.000-07:002012-05-01T12:32:23.695-07:00CERAMIC SERENITY ON THE WALL BY VALERIA NASCIMENTO<br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">My first encounter with Valeria
Nascimento’s work was at FORM London in 2007. I immediately loved the organic
feeling of her porcelain and I found the idea of wall installations very
innovative. A few years later, I discovered that Valeria was a friend of a
friend and I had the opportunity to meet her, to see two of her solo shows at
Woolff Gallery and to learn more about her work.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">On top of understanding her
technique and her inspiration, I met her recently at her studio to interview
her about her vision of ceramics and her positioning in the Art vs Craft
sphere.</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento in her studio, courtesy of the Artist</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I always found it fascinating to unravel
where and in what an artist finds her or his inspiration. Listening about
Valeria’s story is like assembling a jigsaw. Born in Brazil, she grew up in a
“quinta”, a sort of family farm where as a kid she used to play barefoot on the
mango and guava leaves covered soil. She developed a taste for shapes from the
natural world as well as a love for manipulating organic materials. When Valeria
graduated with a degree in Architecture, she then enjoyed planning, drawing and
understanding spaces and volumes. Her work is a very interesting combination of
all those backgrounds and influences, a sort of fusion between “urban
landscapes and natural forms”, as she describes it in her <a href="http://valerianascimento.com/"><span class="Apple-style-span" style="color: blue;">website</span></a>.
When she discovered ceramics, it was just a hobby for her and architecture was still
her main occupation. She immediately loved working with clay as it had the
smoothness and malleability she was looking for to express her ideas. At the
beginning, she experimented it in all its forms: figurative female bodies,
tableware, lanterns, etc… but the idea of displaying ceramics on the wall was immediate
and instinctive. She doesn’t really remember what triggered this idea but she
was a kind of pioneer in incorporating ceramics as an integral part of the decor
of a space, which today seems to be a new trend in art and design. Her first
wall pieces were assemblages of square ceramics tiles with coloured motives. When
she moved to London in 1999, she decided to become a full time ceramist and she
started to use The Richmond College’s facilities as a starting point for her
new career. This allowed her to meet other ceramists, be commissioned as well
as understand and adapt to the English ceramic and visual art space.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria describes her work as
“repetitive sequencing with separate elements to form a cohesive sculptural
group” and she now focuses principally in large-scale wall installation
projects. When I saw her work at FORM in 2007, she had two different bodies of
works: an intricate patterns of white glazed cubes and some more organic
porcelain installations. </span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, “Cubes”, courtesy of the Artist.</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I immediately fell in love with ‘Cubes”
and its subtle off-white hues. Each cube is hand-built in stoneware clay (with
millimetre precision), glazed and fired to 1260 degrees. The process is
extremely time consuming and precise but every piece is different, a bit irregular
and with a different shade of white. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Another work displayed was “Roses”,
a circular combination of porcelain cones.</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, Roses, courtesy of the Artist </span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria is no longer showing her “Cubes”
installations (but she still has commissions of similar works). She explains
that her work focuses now almost exclusively on organic and natural shapes and
that she had to chose between them and geometrical forms in order to strengthen
her artistic signature. Maintaining coherence but reinventing oneself
permanently is a very interesting but difficult challenge for artists. Valeria
thought she had to make a choice but I personally think her installations “Cubes”
looks more organic than she wishes to admit. Leonard Koren in his book
“Wabi-Sabi for artists, Designers, Poets & Philosophers” describes this
Japanese philosophy as “<i style="mso-bidi-font-style: normal;">a beauty of
things imperfect, of things modest and humble, of things unconventional</i>”,
which to me perfectly fits Valeria’s works, both “Cubes” and “Roses” carrying
this “zen” beauty. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Her last solo show “Botanica” at
Woolff Gallery in London at the end of 2011 was showing new sculptural
installations which “<i style="mso-bidi-font-style: normal;">resonate a
flamboyant euphoric vitality and refreshing weightlessness that captures the
essence of wild florae</i>” writes Nour Wali, an art curator in the beautiful catalogue
of the exhibition. Walls were covered with a symphony of petals, flowers, cups,
and leaves. White was predominant but Valeria has progressively introduced some
colours in her work.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It is always subtle, as in
“Lotus” where the edges of each piece are blackened: </span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, Lotus, courtesy of the Artist</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">… or in “Poppies” where little
red cups breach the harmony of the series:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimU_XAdBJtqzvSkzy7s8xgXkKanij3whBl1AUFk_13LMq2oYBpMa9DQ7yiRHoCaEUHJgFtMOBM3cWsZwTTRDCRpp0C0Ltk3DFyNS8LHyZBeZkKuZ0Ihv5StW9dq5Tm5SJ8MUdofyOgFWQb/s1600/20110905_valeria_nw_008+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimU_XAdBJtqzvSkzy7s8xgXkKanij3whBl1AUFk_13LMq2oYBpMa9DQ7yiRHoCaEUHJgFtMOBM3cWsZwTTRDCRpp0C0Ltk3DFyNS8LHyZBeZkKuZ0Ihv5StW9dq5Tm5SJ8MUdofyOgFWQb/s320/20110905_valeria_nw_008+copy.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, Poppies. Courtesy of the Artist</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">She now uses black pigments for
some pieces and the effect is stunning:</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, “Black Coral, courtesy of the Artist</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXRBaaXsi0L0Qu85Ax0oghJ8kVqNhzu0uiqdZ0OYHWyTAWj9xlTbwmGDP4094ztgi7yTrthRO4y-63EkwHfjW3AMvvnMC_PWmGAfred-EEZwdC6ekqd6WND2Vnaa1nfY-AbPKpdtE9gWiV/s1600/Valeria+Nascimento_black_hibiscus_135x135cm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXRBaaXsi0L0Qu85Ax0oghJ8kVqNhzu0uiqdZ0OYHWyTAWj9xlTbwmGDP4094ztgi7yTrthRO4y-63EkwHfjW3AMvvnMC_PWmGAfred-EEZwdC6ekqd6WND2Vnaa1nfY-AbPKpdtE9gWiV/s320/Valeria+Nascimento_black_hibiscus_135x135cm.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, “Black Hibiscus”, courtesy of the Artist </span></i></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, “Black Spiral”, courtesy of the Artist </span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A subtle dosage of black and
white renders an endless range of greys in her monumental 5m x 1,2m “Hibiscus” installation,
which contemplation provides an intense aesthetic pleasure:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT-yirTqFXeYGU7bQuen90zpz2y3rzuyQtf22XalTh7WjBp54rKZd2Wj_5dud3uLcw6hgVWapYdEEr6ypnFeufuB34C-V3h-gLLL0H0NsZlatkzzwd7OpJJImMoHIqU4j2s86_RMcxr0As/s1600/Nascimento.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT-yirTqFXeYGU7bQuen90zpz2y3rzuyQtf22XalTh7WjBp54rKZd2Wj_5dud3uLcw6hgVWapYdEEr6ypnFeufuB34C-V3h-gLLL0H0NsZlatkzzwd7OpJJImMoHIqU4j2s86_RMcxr0As/s400/Nascimento.jpg" width="400" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, “Hibiscus”, courtesy of the Artist</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">If her artist statement could be
summed up in three words, it would be: organic, white, and repetitive. She
always starts a work by creating a new shape of the individual pieces and
different sizes for it and then she studies the possibilities of repetitiveness
by drawing the overall design of her piece. Every step is carefully planned but
the final result always looks natural and simple. It reminds me of some
Japanese gardens, which are knowingly inspired by nature but are also an interpretation
rather than a copy; they should appear to be natural, but not wild. When I look
at Valeria’s work I can’t help but feel serenity, beauty and simplicity.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Coral” is an amazing example:</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, “Coral”, courtesy of the Artist</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, “Coral” close up. Courtesy of the Artist</span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A well as “White Cups”:</span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, White cups, courtesy of the Artist </span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The last time I saw Valeria’s
work was at the Ceramic Art London at the RCA in February 2012. Woolff Gallery
being a Fine Art Gallery, my never-ending curiosity about cross over between
craft and art was naturally aroused. I asked Valeria how she ended up showing
in an art gallery.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">She explains that was exhibiting
in 2006 at Alexander Palace alongside fine and applied art works and three Art
galleries spotted her work. Woolff Gallery was among them and at the time they
were looking for new artists to represent. Woolff is specialized in works from artists
using original and innovative materials, and ceramic installations on the wall
immediately seduced them. Since then Valeria has been represented by this
gallery and has become one of its main artists, showing and selling her work in
art fairs all around the world. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It seems to be a dilemma for
Valeria as she feels she still belongs to the ceramic community and wants to continue
showing among her peers to avoid disappearing from the ceramic scene, but at
the same time her prices have now reached levels seen in paintings rather than
ceramic works. Questioned by a visitor about Valeria’s work, the gallery
replied she was not a ceramist but an artist working in clay. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">What is really refreshing when
interviewing Valeria is the simplicity and sincerity of her work: being seen as
an artist or a ceramist is not her main concern. She is happy when she manages
to confer to her work the beauty and serenity of the natural world and when
people appreciate and buy her pieces. Her work is not conceptual but celebrates
beauty for the sake of it.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Wild Fungi Installation” is a
wonderful example and one of my favourite pieces. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQK-yW070b_oJZnULkPaL1KZ-DUIF2gH94rj-bP6TZK2hT2ywW5rcY66Q9VkzAv6WqUufgcTwACuA3q6rzYHqrQIflrl-uoa76sHdtIS3GyFrPFn9yiwvGwdzfgw036gPcfD13xsxze8va/s1600/20110906_valeria_nw_008+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQK-yW070b_oJZnULkPaL1KZ-DUIF2gH94rj-bP6TZK2hT2ywW5rcY66Q9VkzAv6WqUufgcTwACuA3q6rzYHqrQIflrl-uoa76sHdtIS3GyFrPFn9yiwvGwdzfgw036gPcfD13xsxze8va/s400/20110906_valeria_nw_008+copy.jpg" width="266" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, Wild Fungi Installation, courtesy of the Artist</span></i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_iUE0Eb9sOnLseNsiapC5wY0vn-r0MsbLY6d1hWz9JdK7PQ3HOZX4ER2wbVHWx7wNriKEt1mPVfnpj2POAjObnjKXieOXs-VjAIJLu4XBMk5SP1y-TiPYB3DJCbgkYX5GnDghyphenhyphenSSanhrt/s1600/20110906_valeria_nw_025+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_iUE0Eb9sOnLseNsiapC5wY0vn-r0MsbLY6d1hWz9JdK7PQ3HOZX4ER2wbVHWx7wNriKEt1mPVfnpj2POAjObnjKXieOXs-VjAIJLu4XBMk5SP1y-TiPYB3DJCbgkYX5GnDghyphenhyphenSSanhrt/s320/20110906_valeria_nw_025+copy.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Valeria Nascimento, Wild Fungi Installation close up, courtesy of the Artist</span></i></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As a conclusion I would like to suggest
watching the video made for her last exhibition “Botanica” at Woolff. It
summarizes wonderfully what I have tried to describe in this article. Enjoy a pure moment of “ceramic serenity
on the wall”!</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="Apple-style-span" style="color: blue; font-family: Arial, Helvetica, sans-serif;"><a href="http://www.youtube.com/watch?v=3RaruW2Bn_0">Youtube video Valeria Nascimento Botanica at Woolff Gallery</a></span></div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com4tag:blogger.com,1999:blog-5373792131138526190.post-2489236207139657432011-11-21T08:10:00.000-08:002011-11-21T08:10:55.384-08:00NOVEMBER, WHEN EVERYBODY WEARS A PIN<!--[if !mso]> <style>
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<div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The first year I spent in London, I was really amazed by the poppy fervour. I didn’t know what was happening (it doesn’t exist in France) when I progressively saw poppy pins growing on every man and woman’s jackets. Young, old, executives, artists, students, everybody was wearing a red and green flower brooch.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsCO5XoNChhnDmJnKcM-2ZDyQ_ZaZC9Gw4O_AeZ5RaN9fM-bXTMqLVd3EZynYyPog9sfbARd5LWendgvzB4JvkNX1YZ4SyKRNckEG2P2fDnGKqHkLQxzJJJ4WY1etcMmG0Pney5UdcVrXH/s1600/IMG_2958.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsCO5XoNChhnDmJnKcM-2ZDyQ_ZaZC9Gw4O_AeZ5RaN9fM-bXTMqLVd3EZynYyPog9sfbARd5LWendgvzB4JvkNX1YZ4SyKRNckEG2P2fDnGKqHkLQxzJJJ4WY1etcMmG0Pney5UdcVrXH/s320/IMG_2958.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Poppy pin in the United Kingdom. Photo Isabelle Busnel</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">After a few clicks on Internet I felt cleverer: red poppies are worn around the world in remembrance of battlefield deaths. It symbolises the wild flowers that were the first plants to grow in the churned-up soil of soldiers' graves in Belgium and northern France. Little else could grow in the blasted soil that became rich in lime from the rubble. Those flowers were the first signs of life and renewal, and in 1915 a Canadian doctor John McCrae wrote a wartime poem:</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="margin-left: 72.0pt; mso-layout-grid-align: none; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“In Flanders fields the poppies blow<o:p></o:p></span></i></div><div class="MsoNormal" style="margin-left: 72.0pt; mso-layout-grid-align: none; mso-pagination: none; tab-stops: 11.0pt 36.0pt; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">Between the crosses, row on row</i>...”</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It was this poem which inspired an American war secretary to sell the first poppies to raise money for ex-soldiers.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfxaSKbGHX4OOjSHP-XmfnvytHTmReqZnNS5SHYHxoLJQ5gPqeAvvuwQTMmQnDlnk0TPZJoy45Xbb5jUB1hzADI9o-srT9xO0qn_c5T2Kn-b0wikaMXxdWrGJ8noB7PBW20ugcLPkJ8r9/s1600/IMG_2963.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfxaSKbGHX4OOjSHP-XmfnvytHTmReqZnNS5SHYHxoLJQ5gPqeAvvuwQTMmQnDlnk0TPZJoy45Xbb5jUB1hzADI9o-srT9xO0qn_c5T2Kn-b0wikaMXxdWrGJ8noB7PBW20ugcLPkJ8r9/s320/IMG_2963.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Poppy pin in Canada. Photo Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></i></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In the United Kingdom, people express their support for The Royal British Legion's charity work every year in November through the Poppy Appeal. Last year £36 million was collected and £40 million is expected this year. That is a lot of poppies!!!</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But enough for history. The fact that once a year people adorn themselves with a poppy pin whatever their gender, age and social background or status raises questions relevant to my investigations about jewellery (see my post on “<a href="http://thinkingthroughthings.blogspot.com/2011/02/read-my-jewellery.html">Read my jewellery</a>" )</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-spacerun: yes;"> </span>Wearing a poppy pin is indeed not as straightforward as it seems.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">First there are rules on when to wear it. According to the BBC website, “<i>it's a hotly debated question.</i><i style="mso-bidi-font-style: normal;"> Many people think poppies should be worn from 1 November until Armistice Day on 11 November. Others pin one on only in the week running up to Remembrance Sunday - 8 November this year. The Royal British Legion spokesman says they can be worn from the launch of the poppy appeal, which this year was 22 October. Organisations like the BBC usually choose a day for presenters to start wearing one. This year it was from 6am on 24 October</i>”. One should notice that the BBC has been often criticised <span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">for having its presenters wear the poppy too early, a full three weeks before Remembrance Day…</span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Second question: where to wear it? According again to the BBC:<span style="color: #020a1c;"> </span><span lang="EN-US" style="color: #363636;">“</span><i style="mso-bidi-font-style: normal;">left or right? Some people say left, as it's worn over the heart. It is also where military medals are worn. Others say only the Queen and Royal Family are allowed to wear a poppy on the right, which isn't true. Then there is the school of thought that says men should wear theirs on the left and women on the right, as is the traditional custom with a badge or brooch. The Royal British Legion spokesman says there is no right or wrong side other than to wear it with pride</i><span lang="EN-US" style="color: #363636;">".</span><span lang="EN-US" style="color: #020a1c;"><o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Third, I have noticed that the matter of poppy etiquette is becoming an increasingly difficult issue to handle successfully. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For their public appearance, politicians, journalists, and TV personalities failing to show their support for British troops could well be committing political suicide. The only one standing out is Jon Snow, the Channel 4 newsreader, who vowed not to wear the Remembrance Day symbol on air because he disliked what he termed "poppy fascism". The 59-year-old presenter usually wears a poppy off screen but has appeared on television without it, leading some viewers to complain. This gesture is a way of condemning the "unpleasant" attitude of those who insist poppies are worn. He said he refused to wear anything that represented any kind of statement.<o:p></o:p></span></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In 2009, “Strictly Come Dancing” bosses came under fire after none of the contestants or dancers wore poppies on the show on Remembrance weekend. They had to explain themselves and apologize, saying that it was not practical and could be dangerous. A spokesman said: "<i style="mso-bidi-font-style: normal;">It could be dangerous to pin the poppies on to them while they are flying around at high speed because they could fly off</i>”. </span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And this year in Northern Ireland, an employee at a Poundland shop walked out of the store after being asked to remove the poppy from her uniform on grounds it was against company's dress policy. Poundland said after listening to customer and staff feedback it had reviewed its UK policy. The company apologized for any unintended offence caused and the company decided to allow store colleagues to use their own discretion in wearing poppies.</span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When, where and following what etiquette: it is everything but trivial to wear (or not to wear…) a poppy.<o:p></o:p></span></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I tend to agree with Jon Snow that the poppy has somehow become a morality icon going far beyond the support to troops: not wearing it makes you look as an egoist or someone who doesn’t care, even though you give money but don’t pin the trophy on you coat. For many charities, there is nothing to display in return for giving money. Is it not the way it should be, generous but anonymous? <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">Yet November seems to be the annual occasion for people to display their generosity pinned on their jackets. Going one step further, we have also recently seen the development of precious ranges of poppies. The following examples are pictures from the </span><span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://www.poppyshop.org.uk/">Poppy Shop</a></span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">, on sale through the website with set prices:<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvKyLKeAU76l-2fw4uQML16smNaqz-JJM10gsZVeePNysCjhFpKOGB3Se41AeXbzGBQsG7r-9Xm2OqwfuAIfEMK4V1eNX5nEBnFxXAM3p0CuLwACAHda8ycd_-Fix363p-WD-5HKiMJ2YX/s1600/large-crystal-encrusted-buckley-poppy-brooch-aa10a4bubpolrg-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvKyLKeAU76l-2fw4uQML16smNaqz-JJM10gsZVeePNysCjhFpKOGB3Se41AeXbzGBQsG7r-9Xm2OqwfuAIfEMK4V1eNX5nEBnFxXAM3p0CuLwACAHda8ycd_-Fix363p-WD-5HKiMJ2YX/s1600/large-crystal-encrusted-buckley-poppy-brooch-aa10a4bubpolrg-1.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Crystal Poppy</span></span></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-y0T1iIdwuJu_uitrNQbTKV5GxclxdAM51IcL2c7R59Rg9FA1vfqEGapGMfi26CLt46xKiMVoyvqExqbfbdx1QWsWXELn3KwcyOHB17txMExINI8Jmrw2RJiuqUeVoTQgi-zp_yBtYotr/s1600/Large_Poppy_Brooch_AA10A4LPBPOLRG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-y0T1iIdwuJu_uitrNQbTKV5GxclxdAM51IcL2c7R59Rg9FA1vfqEGapGMfi26CLt46xKiMVoyvqExqbfbdx1QWsWXELn3KwcyOHB17txMExINI8Jmrw2RJiuqUeVoTQgi-zp_yBtYotr/s1600/Large_Poppy_Brooch_AA10A4LPBPOLRG.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ceramic Poppy</span></span></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXebmKCqAi2Ugi2HaqP581UiBy3QAfhhe4vZ10ylKcQCj80_KWECfm5j3Rv9eoYeNc_uaplruMxULNPcOkghYWLjrLycJertUplMdXOlfrvDR_BWoXdPdXQGF9vPJqKvcPjXiQVyeyqKV4/s1600/poppylrgbrooch2011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXebmKCqAi2Ugi2HaqP581UiBy3QAfhhe4vZ10ylKcQCj80_KWECfm5j3Rv9eoYeNc_uaplruMxULNPcOkghYWLjrLycJertUplMdXOlfrvDR_BWoXdPdXQGF9vPJqKvcPjXiQVyeyqKV4/s1600/poppylrgbrooch2011.jpg" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-no-proof: yes;"><!--[if gte vml 1]><v:shape
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o:title="poppylrgbrooch2011.jpg"/> <v:textbox style='mso-rotate-with-shape:t'/> </v:shape><![endif]--><!--[if !vml]--><!--[endif]--></span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p></o:p></span></span></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Enamel Poppy<o:p></o:p></span></span></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRi2O6-kQr3lQZxHneY44A0IF2VkVEM_SFXOn4ij9Ud3uRwC74W-1l4o4IPm7ay_bem3mxOvbfMLMWqpZZ2BfXSY1UBuNraeDXTGpVDl6wYLDkhDvcBVyNUMl1RN-wDB0hGXvWiAectA4X/s1600/Scarf_Ring_AA10A1SCRPO000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRi2O6-kQr3lQZxHneY44A0IF2VkVEM_SFXOn4ij9Ud3uRwC74W-1l4o4IPm7ay_bem3mxOvbfMLMWqpZZ2BfXSY1UBuNraeDXTGpVDl6wYLDkhDvcBVyNUMl1RN-wDB0hGXvWiAectA4X/s1600/Scarf_Ring_AA10A1SCRPO000.jpg" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-no-proof: yes;"><!--[if gte vml 1]><v:shape
id="Picture_x0020_3" o:spid="_x0000_i1026" type="#_x0000_t75" alt="Scarf_Ring_AA10A1SCRPO000.jpg"
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o:title="Scarf_Ring_AA10A1SCRPO000.jpg"/> <v:textbox style='mso-rotate-with-shape:t'/> </v:shape><![endif]--><!--[if !vml]--><!--[endif]--></span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p></o:p></span></span></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Scarf ring<o:p></o:p></span></span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz8kHYybVE-QrnXtPNB1Tv0sKcP45t8JRthF4L7vxLsgtGz1efjC-_Gsh2NRmOB590u6PioCRV-PQHtzWqjXOTZMXdZ1R7ezZY1wQ35lXaJneA2-PytdfZRVAhQOmIZi8C5WclOAxXxZNe/s1600/Small_Poppy_Brooch_AA10A4SPBPOBRO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz8kHYybVE-QrnXtPNB1Tv0sKcP45t8JRthF4L7vxLsgtGz1efjC-_Gsh2NRmOB590u6PioCRV-PQHtzWqjXOTZMXdZ1R7ezZY1wQ35lXaJneA2-PytdfZRVAhQOmIZi8C5WclOAxXxZNe/s1600/Small_Poppy_Brooch_AA10A4SPBPOBRO.jpg" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-no-proof: yes;"><!--[if gte vml 1]><v:shape id="Picture_x0020_4"
o:spid="_x0000_i1025" type="#_x0000_t75" alt="Small_Poppy_Brooch_AA10A4SPBPOBRO.jpg"
style='width:169pt;height:169pt;visibility:visible;mso-wrap-style:square'> <v:imagedata src="file://localhost/Users/busnel/Library/Caches/TemporaryItems/msoclip/0/clip_image013.jpg"
o:title="Small_Poppy_Brooch_AA10A4SPBPOBRO.jpg"/> <v:textbox style='mso-rotate-with-shape:t'/> </v:shape><![endif]--><!--[if !vml]--><!--[endif]--></span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><o:p></o:p></span></i></span></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Fabric Poppy<o:p></o:p></span></span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Again according to BBC, <i>“the traditional poppy is roughly 7cm from red tip to the bottom of its green stalk and 4cm wide. But other sizes are worn. The Queen Mother had an extra large poppy - even two sometimes - specially made for her each year. And Baroness Sayeeda Warsi sported a super-size poppy for once for a controversial Question Time. Why someone wears a larger poppy is open to debate. An attempt to stand out from the crowd, maybe a nonconformist gesture? Whatever the reason, that splash of red certainly gets noticed”</i>. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">If the poppy appeal is really about remembrance and solidarity, why, one can argue, would anyone want to stand out of the crowd? Are humility and discretion not indispensable conditions for such causes? Why not just wear the standard paper poppy sold on the streets? Well, I must admit that as an artist I do enjoy a certain measure of variety and originality and even though one may be reluctant at showing off for good causes, seeing the same pin again and again on everybody worn like a uniform gets very boring!<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">November and its poppies are so heavily charged with meanings and symbols that it has almost become intimidating for me: should I or should I not wear it? Thank God December is coming!</span></div><!--EndFragment-->Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com2tag:blogger.com,1999:blog-5373792131138526190.post-56672910288084817232011-10-24T12:05:00.000-07:002011-10-27T14:31:37.923-07:00SURFACE AND SUBSTANCE<div class="MsoNormal" style="text-align: justify;"></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Surface and substance” is the title of two simultaneous exhibitions held at the moment in London about International Contemporary Enamel.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">They both have been curated by Jessica Turrell and are held at the Electrum Gallery (<i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;"><a href="http://www.electrumgallery.co.uk/exhibitions/surface-and-substance">website</a></span></i>) and at CAA (<i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;"><a href="http://www.caa.org.uk/exhibitions/archive/2011/touching-gold/coming-soon.html">website</a></span></i>). <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This title refers to Jessica Turell’s practice led research project “<i style="mso-bidi-font-style: normal;">Surface and substance: a call for the fusion of skill and ideas in contemporary enamel jewellery</i>” that I have already mentioned in my article about the contemporary enamel paradox </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(<i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;"><a href="http://thinkingthroughthings.blogspot.com/2011/03/contemporary-enamel-paradox.html">see article</a></span></i>).</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The exhibition’s flyer mentions: “<i style="mso-bidi-font-style: normal;">The title, Surface and Substance, has been chosen to emphasize that while this is clearly an exhibition that focuses on the use of vitreous enamel – the surface – of equal importance is the ‘substance’ that underpins the work on display; the thinking and the research, which along with the obvious material knowledge and skill, is evident in the striking and individual pieces on show</i>”.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">While the fusion of skills and ideas clearly appeared in these exhibitions, I came back with an additional story in mind: “Surface and Substance” can also be viewed in the light of the tumultuous relationship between aesthetics and contents and contribute to the controversial debate about the value of beauty in craft.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jorunn Veiteberg wrote a very thought provoking chapter called “The Problem of Beauty” on the issue in her book “Craft in transition” (<i style="mso-bidi-font-style: normal;">Bergen National Academy of the arts, 2005</i>). In this essay, she starts by reviewing the different philosophies about the concept of beauty (Plato, Hume, Kant, Beaudelaire…) and then describes the main taboos of beauty (beauty as empty aesthetics, immoral, sensual, feminine and commercial…). The last paragraph establishes a link between craft and beauty and provides some interesting insights: “<i style="mso-bidi-font-style: normal;">Craft addresses the senses and does not assume an antithetical or hierarchical ranking between mind and body, craft and art, visible surface and deeper meaning</i>”, she says, and she quotes the design historian Frederik Wildhagen: “<i style="mso-bidi-font-style: normal;">without in-depth knowledge of materials one cannot achieve beauty</i>”. In the world of contemporary art however, the word beautiful is often synonymous with superficial or vacuous: it implies that the work is purely aesthetic and lacks substance, is not really art. “<i style="mso-bidi-font-style: normal;">It is necessary to separate aesthetics from art</i>” said Joseph Kosuth in his 1969 manifesto… <span lang="EN-US">Jorunn Veiteberg</span> then asks: “<i style="mso-bidi-font-style: normal;">Does craft devote too much attention to aesthetics and too little to meaning? Is it a final proof that craft is hopelessly out of touch with other contemporary visual art? Or should we reject this as an artificial antithesis</i>?” <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_iKUyQKzusuZFyJKzftD9m8lL1l4oOTS5mxomdFJqLJmcFeYnuszLxEu7_vdxn0dOrPm3BrCFIzDddeg3kOcQ8x61_b4aKQ6qEmja_w9jcWcJFJDAvpdr3TczsmCLlzmHJq9eQcrTD1ow/s1600/craftintransition.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_iKUyQKzusuZFyJKzftD9m8lL1l4oOTS5mxomdFJqLJmcFeYnuszLxEu7_vdxn0dOrPm3BrCFIzDddeg3kOcQ8x61_b4aKQ6qEmja_w9jcWcJFJDAvpdr3TczsmCLlzmHJq9eQcrTD1ow/s320/craftintransition.jpg" width="234" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Craft in Transition book cover. Google images</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">She is clearly in favour of the latter but she broadens the perspective: “<i style="mso-bidi-font-style: normal;">We all need and long for something that is beautiful. But exactly what it is, is an open question</i>”, she says, and quoting Roland Barthes “<i style="mso-bidi-font-style: normal;">beauty cannot really be explained… it can only say: I am what I am</i>”, she states “<i style="mso-bidi-font-style: normal;">beauty is much easier to detect than to define</i>”. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Virginia Postrel in her book “The substance of style”, (Harper Perennial, 2004) seems to share this view and argues that society must accept “<i style="mso-bidi-font-style: normal;">that aesthetic pleasure is an autonomous good,</i> <i style="mso-bidi-font-style: normal;">not the highest or the best but one of the many plural, sometimes conflicting, and frequently unconnected to sources of value </i>” and must refrain from holding “<i style="mso-bidi-font-style: normal;">those with aesthetic preferences in low regards</i>”. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I am pleased that <span lang="EN-US">Jorunn Veiteberg</span> finishes her chapter on beauty with an optimistic outlook: according to her, beauty has a future before it and will benefit from a new theoretical turn. She even gives a possible lead to fill the concept of beauty with new meaning: “<i style="mso-bidi-font-style: normal;">beauty is about the rhetorical tools that craft utilises in order to arouse visual joy and desire, heal spiritual wounds and worn out bodies, and about the aspect that makes a piece irresistible</i>”.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I am convinced that beauty is a theme worth exploring and that we, craft makers, should not be ashamed of mentioning and researching it. “<i style="mso-bidi-font-style: normal;">Nor, in craft, has beauty ever been repressed and exiled, except from speech and theory</i>” says <span lang="EN-US">Jorunn Veiteberg</span>. Indeed, beauty seems to be at the core of craft practice, and so to a much greater extend than in other visual art practices. At the same time, it doesn’t seem to be able to stand on its own and needs to be associated with a more intellectual side: one can enjoy the “surface” but we should not forget to look at the “substance” … <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Enamel practices are particularly interesting in that debate as the technique naturally puts great emphasis on the surface and therefore needs a lot of energy to convince that not only the surface, the aspect and the beauty have to be admired, but the substance beneath it as well.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It is with those considerations in mind that I have approached some of the artists’ works shown in those two exhibitions and tried to understand how they cope with this challenging issue of beauty (or surface).<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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<ul><li><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Times; font-size: small;"><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></span></span><span class="Apple-style-span" style="font-family: Times; font-size: small;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It seemed that some of them have just accepted they are trying to make beautiful objects:</span></span></span></li>
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</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Pve4LFYXGyeyOedFTDS4qw03YKXxTiHsh_XE8lBMGNOM8TFaLZv4PpblLQQFFKAYl5GfegiPj5m7K_Lz4BdLt0ulZQvaOUIOP5O5-wOKrNCHwqnTQjD1QRtdzQH6le7B1LQfpbBJN6N_/s1600/002Ralph+Bakker+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Pve4LFYXGyeyOedFTDS4qw03YKXxTiHsh_XE8lBMGNOM8TFaLZv4PpblLQQFFKAYl5GfegiPj5m7K_Lz4BdLt0ulZQvaOUIOP5O5-wOKrNCHwqnTQjD1QRtdzQH6le7B1LQfpbBJN6N_/s320/002Ralph+Bakker+copy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ralph Bakker, Grande Florale, Necklace, gold,silver,enamel, 2010</span></i></div></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo: Michael Anhalt<o:p></o:p></span></i></div></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“<i style="mso-bidi-font-style: normal;">I want to seduce with my jewellery, my work is seduction; and when the seduction is achieved, the seduced can never be without the object of desire”</i> writes Ralph Bakker in the exhibition catalogue.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Having met the artist at the private view, he confirmed he was perfectly comfortable with the idea that he makes beautiful objects of desire: “<i style="mso-bidi-font-style: normal;">you get what you see</i>”, he told me.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtfcS6IVzS-mFdR09INCJPdmfUcMoFUojfoU2ZjI59Mpo7uQBjbOVfZ2Eykhr3J9tungmUzt9Hm8qUlqX72m3x1eyKXxwvFA5bpSgngTfUGbONvjOWrlzZ5pQyfFZpqmjlcLGC4ushhGaF/s1600/052Jacqueline+Ryan+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtfcS6IVzS-mFdR09INCJPdmfUcMoFUojfoU2ZjI59Mpo7uQBjbOVfZ2Eykhr3J9tungmUzt9Hm8qUlqX72m3x1eyKXxwvFA5bpSgngTfUGbONvjOWrlzZ5pQyfFZpqmjlcLGC4ushhGaF/s320/052Jacqueline+Ryan+.jpg" width="320" /></a></div><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jacqueline Ryan, Pendant, 18ct gold, vitreous enamel, 1996</span></i></div></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo: Jacqueline Ryan<o:p></o:p></span></i></div></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“<i style="mso-bidi-font-style: normal;">I am fascinated by nature’s creativity… most of my pieces are preceded by studies derived from plant life and other small organisms</i>” states Jacqueline Ryan. In her work, the artist abstracts nature and tries to recreate the impressions she has encountered observing infinite combinations offered by the natural world. “<i style="mso-bidi-font-style: normal;">Visually stimulating and aesthetically exciting</i>” seems to be at the core of her practice.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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<ul><li><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Times; font-size: small;"><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: small;"> </span></span></span><span class="Apple-style-span" style="font-family: Times; font-size: small;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Some of the artists seem to celebrate a revival in ornamentation, sometimes considered as “empty aesthetics”:</span></span></span></li>
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</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1m3qqKlxu6pnbWyGIujoktHKwKTTOXLmPcnbSU7LrQf7CY8XcC67y5I8xsIkDg_TyPlaXSuG7DCJ6Nk8y4EhRridzHefYigXLrgnHes3O-fheKWihkOSaWfteXu0tVZq_bxkGiBZvg-i1/s1600/061Vera+Siemund+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1m3qqKlxu6pnbWyGIujoktHKwKTTOXLmPcnbSU7LrQf7CY8XcC67y5I8xsIkDg_TyPlaXSuG7DCJ6Nk8y4EhRridzHefYigXLrgnHes3O-fheKWihkOSaWfteXu0tVZq_bxkGiBZvg-i1/s320/061Vera+Siemund+.jpg" width="226" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Vera Siemund, Neckpiece, Enamel on copper. Silver, 2009</span></i></div></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo: Vera Siemund<o:p></o:p></span></i></div></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“<i style="mso-bidi-font-style: normal;">Historic ornament has long been the focus of my interest […] And I love to show the beauty of decoration, stuff that is nowadays regarded as very ugly; for example wall lamps or velvet cushions, old fashioned designs as relict of a lost cosy, bourgeois interior</i>” writes Vera Siedmund.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In her work, the artist tries to associate the qualities of ornamentation in old jewellery with a contemporary feeling like this necklace.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2fSS5uBqcd5R6jc1Ss8AdvEZ2dtS9vY1z4ZzkRm-cAdbJgTWlRr4kXyobgPs0RRWgmCJ-brJ1xGLav_Nqc_AdE38AKVqr6pMDqFOG-tMBKP01DQK5OX7zmFb6iBlajP6j2h70hR0kQtmo/s1600/064+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2fSS5uBqcd5R6jc1Ss8AdvEZ2dtS9vY1z4ZzkRm-cAdbJgTWlRr4kXyobgPs0RRWgmCJ-brJ1xGLav_Nqc_AdE38AKVqr6pMDqFOG-tMBKP01DQK5OX7zmFb6iBlajP6j2h70hR0kQtmo/s320/064+copy.jpg" width="213" /></a></div><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Marjorie Simon, Red Blossfeldt, Necklace, vitrous enamel on copper, sterling silver, 2011. Photo: Ken Yanoviak</span></i></div></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“<i style="mso-bidi-font-style: normal;">I am enjoying the current resurgence of interest in ornament. I look to travel in Europe and the Middle East for inspiration, whether on William Morris wallpaper or the Topkapi Palace</i>” states Marjorie Simon in the catalogue.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The artist draws her inspiration mainly from the plant world where she finds a constant source of inspiration in forms, colours and functions.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkYCjxPpDa-aRLtvej1Y1Nw-l3nLPU7p9-2VEN7Sf1SKqImUyXiu5s94D07FuYyEBxr9UCp7T7mS-FfXyQSIB5Qd0o_2hmAq_4n3WdY3T7I4q_yXvHvt5G27RKW0jLD5094xbGROUl3WcK/s1600/034Christine+Graf+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkYCjxPpDa-aRLtvej1Y1Nw-l3nLPU7p9-2VEN7Sf1SKqImUyXiu5s94D07FuYyEBxr9UCp7T7mS-FfXyQSIB5Qd0o_2hmAq_4n3WdY3T7I4q_yXvHvt5G27RKW0jLD5094xbGROUl3WcK/s320/034Christine+Graf+.jpg" width="320" /></a></div><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Christine Graf, No return, brooch, copper mesh, gold, silver, enamel, stainless steel, 2011. Photo: Christine Graf</span></i></div></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Christine Graff explains: “<i style="mso-bidi-font-style: normal;">The surface quality - subtle nuances and texture - emphasizes the fragility and ephemeral qualities of the work. It seems as if the metal body is reduced; covered by the enamel it loses its structural qualities and in turn takes on a new visual and metaphorical identity</i>”<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOL0Crx_YxP0no23iE9zjSr2xO2qzs6KD2oGsOoRNA7aiSyCyVr-OpmjTfKpynwAY-0eYR6NIUIwvjuIVeUSsO4LoVz1v-fdbJiQVxUS2Nth0czA_Qq0_fsAMBw7zsbhkl_1lIQ3KfwDqb/s1600/042Kaori+Juzu+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOL0Crx_YxP0no23iE9zjSr2xO2qzs6KD2oGsOoRNA7aiSyCyVr-OpmjTfKpynwAY-0eYR6NIUIwvjuIVeUSsO4LoVz1v-fdbJiQVxUS2Nth0czA_Qq0_fsAMBw7zsbhkl_1lIQ3KfwDqb/s320/042Kaori+Juzu+copy.jpg" width="320" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"></span><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kaori Juzu, Not me but storyteller 2, brooch, enamel, copper, 14ct gold, silver 2010. </span></i><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo: Anders Sune Berg</span></i></div></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kaori Juzu says: “<i style="mso-bidi-font-style: normal;">By forging and </i><i style="mso-bidi-font-style: normal;"><span lang="FR">repoussé</span> I feel the material and aim to transform that feeling into a form. By applying multiple layers of enamel I seek to enhance the expression not in order solely to create something different but to deepen form. […] Form and surface melt together”</i>.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3EKYgaA8qVmoJGD26IqPsvjkvRL8TFD17h6cOrM9uiyRwR6NrHHsZE_YDAHpKanbSnnTTLoV9d7jghyV30WY1nKvD16qFstRI9ZqeHfG5il2GchVhWTdMoEFV3P5LKI96mhf14jcwPuOL/s1600/IMG_8149.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3EKYgaA8qVmoJGD26IqPsvjkvRL8TFD17h6cOrM9uiyRwR6NrHHsZE_YDAHpKanbSnnTTLoV9d7jghyV30WY1nKvD16qFstRI9ZqeHfG5il2GchVhWTdMoEFV3P5LKI96mhf14jcwPuOL/s320/IMG_8149.JPG" width="320" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"></span><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jessica Turrell, Hollow form series, brooches, enamel on copper, oxidised siver, 2010. </span></i><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo: Jason Ingram</span></i></div></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“<i style="mso-bidi-font-style: normal;">I seek to create evocative objects that might stir an emotional connection and thus give pleasure […] I strive to attain a tactile delicacy and a weightiness that positively encourages touch. It is important to me that the pieces I create should reward the wearer’s close attention with an intricate and detailed surface</i>” writes Jessica Turrell.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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<ul><li><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> Some artists seem to consider that beauty should be difficult to grasp:</span></li>
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</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb25uVhlIow_ZoZzGQ9_3wialzt6sCL9ULQwu-a6G9_VyUII4vhn5psXk3JsFsbPdrwtvyoLyYledYWpmbv7dTKE06qsB-dNUi-m1GSGurWDjMvpcntkmeWFN5FiMsvj7bFvbmcSoXn2qt/s1600/016bKathleen+Browne+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb25uVhlIow_ZoZzGQ9_3wialzt6sCL9ULQwu-a6G9_VyUII4vhn5psXk3JsFsbPdrwtvyoLyYledYWpmbv7dTKE06qsB-dNUi-m1GSGurWDjMvpcntkmeWFN5FiMsvj7bFvbmcSoXn2qt/s320/016bKathleen+Browne+copy.jpg" width="320" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"></span><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kathleen Browne, Links, necklace, copper, 24ct gold, vitreous enamel, cotton, 2011. </span></i><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo: Kathleen Browne</span></i></div></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kathleen Brown explains that: “<i style="mso-bidi-font-style: normal;">My current body of work is a response to a beautiful collection of 19th and early 20<sup>th</sup> century jewellery that was passing on one of the members of my family. […] These jewel images sit on the surfaces of organic “fleshy” forms I have created</i>”…<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">By photographing the collection of rings and pasting it onto rough and unrefined forms, the artist seems to conceal its natural beauty into something harder to grasp. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“<i style="mso-bidi-font-style: normal;">How nature is mediated by ornamentation and aestheticized continues to hold my interest. Particularly in jewellery […] interpretations of beauty seem to be intractable. My own interest in this subject has evolved and what I seek to characterize as beauty has shifted from an integrated ornamental condition to a more incidental bodily appearance</i>” says Jamie Bennett.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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<ul><li><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> Some artists exhibited seems to use enamel to distort, destroy or dirty the beauty of the material used. The alteration of preciousness and beauty is a way of attracting attention to the substance:</span></li>
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</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirPdhtVxbgygh4c7-mK62cq3OlbxcnAyS2U27A8CpHVVaJfCv9FuuapOr9cy17dgann0p4SViLTChGZPJ-F7YA6j-_M_nDEaD4CwZarH-CaEIvcTMP0IVt3i74-n0Pinu0lIYb6xzWVUOw/s1600/012Adrean+Bloomard+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirPdhtVxbgygh4c7-mK62cq3OlbxcnAyS2U27A8CpHVVaJfCv9FuuapOr9cy17dgann0p4SViLTChGZPJ-F7YA6j-_M_nDEaD4CwZarH-CaEIvcTMP0IVt3i74-n0Pinu0lIYb6xzWVUOw/s320/012Adrean+Bloomard+copy.jpg" width="320" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"></span><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Adrean Bloomard, Amphora. Necklace, silver, copper, enamel, 2010. </span></i></div><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo: Adrean Bloomard<o:p></o:p></span></i></div></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><br />
</div></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Adrean Bloomard’s work is inspired by archaeological finds. He says: “<i style="mso-bidi-font-style: normal;">I apply enamel to the surface of metal so that it appears in encrustations and clots, to give a sense of an object that has been corroded by time</i>”<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyGawkwCdxWt9ZUpLxtNKz0GG_yk7bJ0mZqjGF8wPRBwrHC8CLkpgjMcwSQ7TOsanhoR_dpba5a2UK9zLawybdfSzWDeNuwfMwrCbvBj7YD0asUxMJiMWlAOJOujvkBjlSrLbNRgnO-43h/s1600/015Patrizia+Bonati+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyGawkwCdxWt9ZUpLxtNKz0GG_yk7bJ0mZqjGF8wPRBwrHC8CLkpgjMcwSQ7TOsanhoR_dpba5a2UK9zLawybdfSzWDeNuwfMwrCbvBj7YD0asUxMJiMWlAOJOujvkBjlSrLbNRgnO-43h/s320/015Patrizia+Bonati+copy.jpg" width="320" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"></span><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Patrizia Bonati, A3, ring, 18ct gold, enamel, 2003. </span></i></div><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo: Patrizia Bonati<o:p></o:p></span></i></div></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In the catalogue, Patrizia Bonati explains: <i style="mso-bidi-font-style: normal;">“ I introduce the white enamel to my pieces as a way to “dirty” the surface, although white is a symbol of purity</i>”.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjckioDGV_Nea2Ag0HueY2xF7unsaSGt9FRbgfdW0FrY3FgeMEnAc8AqnRQnVLcEu5kDdM0BFdxHl4RVt7rrNOWtnLJ7a3tgX_BUA4FuWkAswwDtXfoCoE39QgwT3Cj2VYCXwm5FrDUIGl1/s1600/015Stephen+Bottomley+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjckioDGV_Nea2Ag0HueY2xF7unsaSGt9FRbgfdW0FrY3FgeMEnAc8AqnRQnVLcEu5kDdM0BFdxHl4RVt7rrNOWtnLJ7a3tgX_BUA4FuWkAswwDtXfoCoE39QgwT3Cj2VYCXwm5FrDUIGl1/s320/015Stephen+Bottomley+copy.jpg" width="320" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"></span><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Stephen Bottomley, Matrici, brooch, silver, enamel, plastic, 2011. <o:p></o:p></span></i></div></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo: Simone Nolden<o:p></o:p></span></i></div></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“<i style="mso-bidi-font-style: normal;">Fascinated by oriental motifs and universal mathematical shapes and symmetries, I am intrigued how pattern alters once transferred to cloth. Lines soften and geometries stretch, not only from fabric’s movement and weave but also on the passage of time</i>” writes Stephen Bottomley.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I was intrigued by this piece where the natural beauty of the patterns has been altered and corroded by the enamel. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAVOeuES29Fl8dTLmH-5xUnr4avhQy0iBFFa2LKnImB0agtFcciX6lk7r59OZtN8tq8B0ptInoX17xSuqx-R9MZOq_XY2pN4nVCUwoEx8m5X7ZRqmpMYsnkIintFgaoCi_fAMqqFWoI92s/s1600/075+Annamaria+Zanella+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAVOeuES29Fl8dTLmH-5xUnr4avhQy0iBFFa2LKnImB0agtFcciX6lk7r59OZtN8tq8B0ptInoX17xSuqx-R9MZOq_XY2pN4nVCUwoEx8m5X7ZRqmpMYsnkIintFgaoCi_fAMqqFWoI92s/s320/075+Annamaria+Zanella+.jpg" width="320" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"></span><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Annamaria Zanella, Venere, necklace, silver, gold, enamel, magnets, 2007. <o:p></o:p></span></i></div></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo: franco Storti<o:p></o:p></span></i></div></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For Annamaria Zanella : “<i style="mso-bidi-font-style: normal;">The most important aspect of the work remains the continued research on materials, the ability to create sculptural forms through oxidations causing physical holes, wounds, burns, colours, creating microsculptures in which neither the preciousness nor the beauty are the value, but the poetry and the underlying process</i>”.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I will conclude this reflection on Surface and Substance with a work that summarises perfectly the complexity of this topic: the Soot ball series of Susie Ganch.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigEfu9pjZQzTu82aSzT_hrdvWJtcYzFo7gQlf33ExAbFL3287N6rMopwT_7Glp9XDsSZA6nERT0V2_y9AM-XxI63X-2F59CEFxKeraOQuxYTN3aJTrdMDkWUVb4Iw5dGQKZ3Kt1-3b4ToS/s1600/028Susie+Ganch+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigEfu9pjZQzTu82aSzT_hrdvWJtcYzFo7gQlf33ExAbFL3287N6rMopwT_7Glp9XDsSZA6nERT0V2_y9AM-XxI63X-2F59CEFxKeraOQuxYTN3aJTrdMDkWUVb4Iw5dGQKZ3Kt1-3b4ToS/s320/028Susie+Ganch+copy.jpg" width="320" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"></span><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><div style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Susie Ganch, Soot ball series, brooches, diamond, silver, gold leaf, enamelled copper, stainless steel, 2011. </span></i><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Photo: Susie Ganch</span></i></div></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Those brooches are made of enamelled copper worked in such a way that they take on the appearance of soot balls, some of them covered with gold leaf and some of them topped by a diamond. By coupling those two materials, she is making a comparison between the most prized substance (the diamond) and one of the cheapest one. One is shiny and desirable; the other is dull and unattractive. But both are made with the same material, carbon. Surface or substance? The same question applies to the brooches covered with gold leaves: they will wear away with time. “<i style="mso-bidi-font-style: normal;">In the end the wearer will have to decide what is beautiful: what remains or what was taken away. Beneath the skin of gold is a simple ball of soot</i>” writes Susie Ganch.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This is a perfect metaphor for this debate but as this work demonstrates, no one has to choose between surface and substance and the enamel works shown in those exhibitions represent a very interesting panorama on how craft practices deal with what <span lang="EN-US">Jorunn Veiteberg</span> calls “the problem of beauty” in craft.</span><u><o:p></o:p></u></div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com3tag:blogger.com,1999:blog-5373792131138526190.post-61852831142670555252011-07-15T10:53:00.000-07:002011-07-15T11:04:57.650-07:00JOURNEY THROUGH CREATIVE MATERIALS<div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The Royal College of Art degree show is a rendez-vous I never miss. As specified in their </span><span class="Apple-style-span" style="line-height: 16px;"><a href="http://www.rca.ac.uk/Default.aspx?ContentID=511825"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">website</span></span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> : "</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Art, Architecture, Communications, Design, Fashion & Textiles and Humanities come together at Show Kensington in a remarkable gathering of design talent</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">".</span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> What impressed me most this year was the students' creativity in material use. This post will therefore be focused on some of the most fascinating and clever objects discovered at this show.</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Erik de Laurens has, during his two years at RCA, "</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">extensively explored the realm of materials. Challenging what they are and asking what they could be. For instance, creating new materials from fish scales and human hair</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">". </span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Those tumblers are made of coloured fish scales.</span></div><span lang="EN-US" style="color: #000419; font-family: Arial; font-size: 12pt;"> </span> <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIeg0xmuk7jqVQ9kdFT-yKP8ymZElKbmZazDr0rsOGvYdV0wMb7r6j9ORbPflMiAwiNMDrKe-xKXLgVV8cn5p7alL5b0umkIAXLL9ktaS6M0-mpcS574nF2MEc4nSMY6iuhj4hyphenhyphenJhNND3_/s1600/IMG_1183.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIeg0xmuk7jqVQ9kdFT-yKP8ymZElKbmZazDr0rsOGvYdV0wMb7r6j9ORbPflMiAwiNMDrKe-xKXLgVV8cn5p7alL5b0umkIAXLL9ktaS6M0-mpcS574nF2MEc4nSMY6iuhj4hyphenhyphenJhNND3_/s320/IMG_1183.JPG" width="320" /></a></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKvad07WZIAEnZMXKVRnO0U0nDsAa-WwXrGHt7pld3Euhw4W8GZF044Ya_m76W7aMzGLcZsGu9n1BNr9IMpzdJK5oPpRxqenA_eLhUBMKxg_TdBIp5o9by7Mithz7QqjoR3CHG5bTkev6s/s1600/IMG_1191.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKvad07WZIAEnZMXKVRnO0U0nDsAa-WwXrGHt7pld3Euhw4W8GZF044Ya_m76W7aMzGLcZsGu9n1BNr9IMpzdJK5oPpRxqenA_eLhUBMKxg_TdBIp5o9by7Mithz7QqjoR3CHG5bTkev6s/s320/IMG_1191.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Erik de Laurens. Photos Isabelle Busnel</span></i></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sarah Colson's artist statement says: "</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">a</span></i><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">t the forefront of my practice is an investigation into manipulation of materials. I apply my ideas using a range of juxtaposing techniques. My current work explores the personal boundaries that we project to the outside world, and how public and private intimacy can be expressed through our clothing. Processes such as body art, adoration and armour communicate identities and create boundaries, which are used as tools to express different levels of privacy</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">." </span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This cape is made of white plastic nails.</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="color: #000419; font-family: Arial;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpZsDivrCJj3yRJws5Ape8ku15Re2wY9pzxZTqJPUsUdm7A4N8WrZN-4ozCba9jts0Fu0mtUQTEwLTFuqXmDXhA8SIjLgrRZTSxKf1rapULtWRncVGj1Yr0QNH89OcrTuFJXMc2CxT7T88/s1600/IMG_1184.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpZsDivrCJj3yRJws5Ape8ku15Re2wY9pzxZTqJPUsUdm7A4N8WrZN-4ozCba9jts0Fu0mtUQTEwLTFuqXmDXhA8SIjLgrRZTSxKf1rapULtWRncVGj1Yr0QNH89OcrTuFJXMc2CxT7T88/s320/IMG_1184.JPG" width="320" /></a></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPzJQSImoVfzJMjI06yxMTJzGddl8Bq9PyQruQRVMtaYmWCB4G2rHyso7ZFwbd4dpsffPNZvZQfgQbuTsWpW87YAGwBT5aUXI8EQviVZtV_ugs_v_0L6eJNVT-FbYltyr9vSYd2OXtUR-s/s1600/IMG_1185.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPzJQSImoVfzJMjI06yxMTJzGddl8Bq9PyQruQRVMtaYmWCB4G2rHyso7ZFwbd4dpsffPNZvZQfgQbuTsWpW87YAGwBT5aUXI8EQviVZtV_ugs_v_0L6eJNVT-FbYltyr9vSYd2OXtUR-s/s320/IMG_1185.JPG" width="320" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Sarah Colson. Photos Isabelle Busnel</i></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Fabien Caperan states: "</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">m</span></i><span class="Apple-style-span" style="line-height: 20px;"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">y work focuses around encouraging the subtle interrogation of behaviours. A recurrent theme is the idea of ‘slowness’, particularly regarding everyday rituals, which have become depreciated in modern society. It is about re-appreciating the moment</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> [...]. </span></span><span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></span><span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> This project "</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">explores the long-standing significance of bread, through an imagined narrative. More than this, bread, as the oldest edible constituent of our society, is the ideal vehicle to explore methods of production</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">". </span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This object is made of bread crumbs.</span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="color: #000419; font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="line-height: 20px;"><br />
</span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbCQ85DkQgM7lsmckZqWBA-plWv-3diL2nvlkLNA3TAYAc6J89BjnhLh9_ZOI8QalbRjC_yLvp-fKR-YHDDXbXoRQNiXnr3p5kr_0wijmp_B6OXksvKJIk67TomqCp7MCIL5Va9ia_z3ze/s1600/IMG_1187.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbCQ85DkQgM7lsmckZqWBA-plWv-3diL2nvlkLNA3TAYAc6J89BjnhLh9_ZOI8QalbRjC_yLvp-fKR-YHDDXbXoRQNiXnr3p5kr_0wijmp_B6OXksvKJIk67TomqCp7MCIL5Va9ia_z3ze/s320/IMG_1187.JPG" width="320" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Fabien Caperan. Photo Isabelle Busnel</i></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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</span></div><div style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Shi Kai Tseng's </span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">PhotoGraphy</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> project "i</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">s the creation of a process in which the environment, time and light react to each other and generate images on 3D objects. The objects are coated with a ‘light-sensitive’ layer, put in a black box with strategically placed holes, and exposed for five to 50 minutes, depending on the brightness of the environment. It is a new way to capture a moment in time; no matter whether the image on the object is focused or losing focus, the object will carry the trace of its first moments of experience, its first exposure</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">". </span></span></div><div style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></span></div><div style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The two vases have been made using this process.</span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #000419; font-family: Arial; font-size: 12pt;"><br />
</span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeCaFMUs2ZQKdudLXqgk89JBk_YtEM39pna_0BsISVE_fhtFVMcEFsJuqsUiBN-DOxmPO4RtjPHUzc6TwjfCERXxpvqL_hPqg2Isr2JsOnH-VkHS-y6CoePZyX47-pr5bAFOur0YDVSobi/s1600/IMG_1197.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeCaFMUs2ZQKdudLXqgk89JBk_YtEM39pna_0BsISVE_fhtFVMcEFsJuqsUiBN-DOxmPO4RtjPHUzc6TwjfCERXxpvqL_hPqg2Isr2JsOnH-VkHS-y6CoePZyX47-pr5bAFOur0YDVSobi/s320/IMG_1197.JPG" width="320" /></a></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIe9qv6CTrBOFsSwTBgzNdoOQSHfWlG9Jo-sdVurBaMQtkvJ7R2uOleAOcbAcNCilg_TR9tSC3DQAeeQgR0j7fX_JnJW3HPpZXtu8jgfOlKIW1a3E93xFU6xznIVP26zhQeGCu7FMv1b0D/s1600/IMG_1198.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIe9qv6CTrBOFsSwTBgzNdoOQSHfWlG9Jo-sdVurBaMQtkvJ7R2uOleAOcbAcNCilg_TR9tSC3DQAeeQgR0j7fX_JnJW3HPpZXtu8jgfOlKIW1a3E93xFU6xznIVP26zhQeGCu7FMv1b0D/s320/IMG_1198.JPG" width="320" /></a></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Shi Kai Tseng. Photos Isabelle Busnel</span></i></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span></span></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><div style="text-align: justify;">Markus Kayser's project is very original as well. He writes: "<i>In a world increasingly concerned with questions of energy production and raw material shortages, this project explores the potentials of desert manufacturing, where energy and material occur in abundance. Sunlight and sand are used as raw energy and material to produce glass objects, using a 3D printing process that combines natural energy and material with high-tech production technology. Solar Sintering aims to provide a point of departure for fresh thinking about the future of manufacturing, and to trigger dreams about the full utilisation of the production potential of the world’s most efficient energy resource — the sun"</i>. </div><br />
<div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The first two objects are obtained using solar energy to create sand in fusion, and the last picture represents the machine he used to achieve this process. You can find an interesting video about his Solar Sintering project on Markus Kayser </span></span></span></span><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.markuskayser.com/">website</a>.</span></span></div></span></span></span><br />
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</span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLFJVuXwjOv4gUjIK_t9jgqeDtKF1ua3tF6YMfR5mnt3y6asx2s-lCAu4bs4fpc4sfgy-aSvHjcy39whA06jD6LG6AtJoMrRqUJ7J6xKImuIiZ_0Zz_DAyE1jpfHkMePuMCQLzPWYKYZkN/s1600/IMG_1218.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLFJVuXwjOv4gUjIK_t9jgqeDtKF1ua3tF6YMfR5mnt3y6asx2s-lCAu4bs4fpc4sfgy-aSvHjcy39whA06jD6LG6AtJoMrRqUJ7J6xKImuIiZ_0Zz_DAyE1jpfHkMePuMCQLzPWYKYZkN/s320/IMG_1218.JPG" width="320" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8aOUaDuna6yWjaVm2u5AH8yI6PEHgu2-GOyzmKl_4ed2SvHEYBvkxk9IiKaD6hg_gokjJ3xrHITx-zFcQw8ArF5K66xxHjrlP6qQNuCCFMGpiJ3RE-mVEM794MK7TWck7_9VWguP7D_7D/s1600/IMG_1220.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8aOUaDuna6yWjaVm2u5AH8yI6PEHgu2-GOyzmKl_4ed2SvHEYBvkxk9IiKaD6hg_gokjJ3xrHITx-zFcQw8ArF5K66xxHjrlP6qQNuCCFMGpiJ3RE-mVEM794MK7TWck7_9VWguP7D_7D/s320/IMG_1220.JPG" width="320" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFSm-_f4qkmFouenIsNCK6GSGugpXngEIdlLtkrb2WM6MUcSoGSyrMtuNHxEkvnHWK-i9ddde3MWD6361xqhM7tRkT6g0fLqdTbZZtvHC2FUNnV8DtQ8bXrWyKuq3X15e9S1ciy4SnEF0H/s1600/IMG_1219.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFSm-_f4qkmFouenIsNCK6GSGugpXngEIdlLtkrb2WM6MUcSoGSyrMtuNHxEkvnHWK-i9ddde3MWD6361xqhM7tRkT6g0fLqdTbZZtvHC2FUNnV8DtQ8bXrWyKuq3X15e9S1ciy4SnEF0H/s320/IMG_1219.JPG" width="320" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Markus Kayser. Photos Isabelle Busnel</i></span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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</span></div><div style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Alkesh Pamar's statement explains: "<i>in addition to presenting light as a form of de-materialised matter, I am engaged in thinking about processes of re-materialisation; materials being transformed from one sphere to another, specifically materials that are normally destined to become waste products</i>".</span></span> </div><div style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></span></div><div style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Those objects are made of orange peel powder.</span></span></div><div style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif5RGDLOpkyqNBW5lrPvI3ZQ9QqmGPPhoQG4l5TKnYgIk92NUeT0ZFzC_M7qdZEm6L7zmxWM_7lzgu34wlkEkTIiigCfNSDKc0uDkBQbtuoCdVB4ptjIytotX0urCxCsOq66oxFu2PA0aJ/s1600/IMG_1262.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif5RGDLOpkyqNBW5lrPvI3ZQ9QqmGPPhoQG4l5TKnYgIk92NUeT0ZFzC_M7qdZEm6L7zmxWM_7lzgu34wlkEkTIiigCfNSDKc0uDkBQbtuoCdVB4ptjIytotX0urCxCsOq66oxFu2PA0aJ/s320/IMG_1262.JPG" width="320" /></a></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUqrhiGP3hxMhlk0m-hcPjGcE3rMTylCH-UPDnqfptj6g7oIK-gTNDNiv6FW01l9TmnLOYIChzPip4q8yPj_oeDpcoxp8HmDsMsq_P0Q8iKwScxfEssgVurl-4amGOV4vXgx8acv92bLCX/s1600/IMG_1264.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUqrhiGP3hxMhlk0m-hcPjGcE3rMTylCH-UPDnqfptj6g7oIK-gTNDNiv6FW01l9TmnLOYIChzPip4q8yPj_oeDpcoxp8HmDsMsq_P0Q8iKwScxfEssgVurl-4amGOV4vXgx8acv92bLCX/s320/IMG_1264.JPG" width="320" /></a></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Alkesh Pamar. Photos Isabelle Busnel </span></i> </div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: Arial; font-size: 12pt;"><i><br />
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</i></span></span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Nevertheless, David Roux Fouillet's "Riviere de Diamants" remains my favourite project. It tackles a challenging question : "</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Could a delicate moment of beauty last forever?</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">"</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">His diamond-shaped steel necklace rests on a rotating device, and is plunged into soapy water. Every time one of the shapes emerges from the liquid, a bubble has formed over its structure, creating an ephemeral surface, which imitates a real diamond until the bubble bursts. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A clever, fascinating and thought provoking way of questioning the value of beauty and preciousness. </span></div><div style="text-align: justify;"><span class="Apple-style-span" style="color: #000419; font-family: Arial;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIrPIYrlCsdM9ywP4k_PNeHu_6FzmkknOzrdtXr9fk21LOEQ675uYTEgQtLmhRy6mw7vIZAD_ikU2BXIw35OBd8A5xOi_TIctQ3pHKhPwHjXZCMIbwXAR1QbI93DnXJ3G-9H4L7IIV27Ev/s1600/IMG_1247.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIrPIYrlCsdM9ywP4k_PNeHu_6FzmkknOzrdtXr9fk21LOEQ675uYTEgQtLmhRy6mw7vIZAD_ikU2BXIw35OBd8A5xOi_TIctQ3pHKhPwHjXZCMIbwXAR1QbI93DnXJ3G-9H4L7IIV27Ev/s320/IMG_1247.JPG" width="213" /></a></div><div style="text-align: justify;"><span class="Apple-style-span" style="color: #000419; font-family: Arial; font-size: 16px;"><br />
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</span></div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com2tag:blogger.com,1999:blog-5373792131138526190.post-31738507204887863982011-07-05T12:50:00.000-07:002011-07-05T12:50:12.146-07:00BLACK AND WHITE TRIBUTE TO A JEWELLERY WORKSHOP<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: large;">"</span><i><span class="Apple-style-span" style="font-size: large;">To photograph is to confer importance. There is probably no subject that cannot be beautified</span></i><span class="Apple-style-span" style="font-size: large;">". </span></span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Susan Sontag, On Photography (1977)</span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: large;"><br />
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</div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com3tag:blogger.com,1999:blog-5373792131138526190.post-11248855782477825762011-06-17T07:45:00.000-07:002011-06-17T07:46:48.776-07:00JEWELLERY AND SILVERSMITHING DEGREE SHOW AT THE CASS<div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">London Metropolitan University's Sir John Cass Department of Art, Media and Design (aka The Cass) had its 2011 graduate degree show this week. Being an artist in residence at the Jewellery and Silversmithing department during the year, I had the opportunity to witness the development and flourishing of the new graduates' work. An artist in residence at The Cass is not a teacher but someone present in the workshop who helps students when needed, and who gives them advice on techniques and how to use tools.</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I went to the private view on Tuesday evening and was very pleased to see the result of these students' hard work. I took pictures of all that was shown but decided to feature only one piece for each graduate. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This process is somehow restrictive as each artist's style and skills cannot be summarised in one picture. But this gives an idea of what was exhibited.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">You can also learn more about some of the new graduates by clicking on the link after their names.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Moreover, I had the nice surprise to be thanked for my help with a box of chocolates and a lovely Thank You red ring (see the last two pictures). </span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I would like to thank them for this nice gesture and I wish them all good luck in their projects.</span></div><div style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJCoprnAx2oYDPcjQx3yWLQD4mVVGUDB22-hhXIEpMy9dWPWRdesHVUo1CuqeX59tJYyODTryLfcFrJVofFHtcgmOwtlrz5eQYaVXvPikkfNIkuHZiLYpNk_a09wv9ZnRw_2UXL_QofbtB/s1600/IMG_1143.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJCoprnAx2oYDPcjQx3yWLQD4mVVGUDB22-hhXIEpMy9dWPWRdesHVUo1CuqeX59tJYyODTryLfcFrJVofFHtcgmOwtlrz5eQYaVXvPikkfNIkuHZiLYpNk_a09wv9ZnRw_2UXL_QofbtB/s320/IMG_1143.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Josephine Adebolu </i></span><a href="http://basandj11.tumblr.com/post/6495442880/josephine-adebolu"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>(read more)</i></span></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR2GbltkSOjUmaD0gl613-W9TkofiT5Ev6zMlbQLk6tXGpziiGsEAgKbrIRF75UWqnlQC98xDz72CKMMnBNGNeIYPeRYpIg8Lus1ZmAMih1_ag896KWBrJSu9x7Bspo4eoLbHSaXUx7D33/s1600/IMG_1130.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR2GbltkSOjUmaD0gl613-W9TkofiT5Ev6zMlbQLk6tXGpziiGsEAgKbrIRF75UWqnlQC98xDz72CKMMnBNGNeIYPeRYpIg8Lus1ZmAMih1_ag896KWBrJSu9x7Bspo4eoLbHSaXUx7D33/s320/IMG_1130.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Charlotte Yeo </i></span><a href="http://basandj11.tumblr.com/post/6495657671/charlotte-yeo"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>(read more)</i></span></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1EewgqZ4DQKJ56pP29p6tcOilMhNR6tb1Tx30mS4589Qrbmy7IN2P8YqxVJWNJ4J1orwU5ki6beNavIJlbwQ867Hqs-8WeMa_Fan9CtYLxbQxtRT4Y86T1ONLrFD-dfwoPxIYIVao-X3o/s1600/IMG_1082.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1EewgqZ4DQKJ56pP29p6tcOilMhNR6tb1Tx30mS4589Qrbmy7IN2P8YqxVJWNJ4J1orwU5ki6beNavIJlbwQ867Hqs-8WeMa_Fan9CtYLxbQxtRT4Y86T1ONLrFD-dfwoPxIYIVao-X3o/s320/IMG_1082.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Tiantan Zhu </i></span><a href="http://basandj11.tumblr.com/post/6492048451/tiantian-zhu"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>(read more)</i></span></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">My THANK YOU ring...</span></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com6tag:blogger.com,1999:blog-5373792131138526190.post-24990188936540163782011-06-12T09:42:00.000-07:002011-06-12T11:00:14.899-07:00LEVIATHAN BY ANISH KAPOOR<div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">If you want to experience something really unique, you must head to the Grand Palais in Paris to see Anish Kapoor’s latest work, LEVIATHAN.</span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As Kapoor casually describes it: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">it is a single object, a single form, a single colour</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. Well, be prepared for a shock!!! I had planned to see the work and then go shopping on the close-by Champs Elysees but I ended up completely losing track of time, staying almost two hours and having to really force myself to leave.</span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The press release states: </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Anish Kapoor’s ambition “is to create a space within a space that responds to the height and luminosity of the Nave at the Grand Palais. Visitors will be invited to walk inside the work, to immerse themselves in colour, and it will, I hope, be a contemplative and poetic experience.” Designed using the most advanced technologies, the work will not merely speak to us visually, but will lead the visitor on a journey of total sensorial and mental discovery. A technical, poetic challenge unparalleled in the history of sculpture, this work questions what we think we know about art, our body, our most intimate experiences and our origins. Spectacular and profound, it responds to what the artist considers to be the crux of his work: namely, “To manage, through strictly physical means, to offer a completely new emotional and philosophical experience</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.”<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I can only conquer with this statement: when you see the work, you go through various stages of feelings. First, you experience it emotionally with your body. The exhibition is entered through</span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> a darkened entrance hall and you are then literally swallowed by an immense red womb-like space lit from the outside through its monochrome soft surface. The smell is bizarre, mainly because the membrane is made of rubber, and the pressurized air inside makes breathing uneasy. After a while your body adjusts to this impression of suffocating and you slowly start to look around. You discover a strange space which you can hardly embrace completely as it is made of three orifices open into pod-like spaces. The sun projects the pattern of the Grand Palais’s roof (a gigantic glasshouse) over the rounded shapes above you, mixing its straight lines with the rounded ones of the dome. The pictures below may better illustrate this than words…<o:p></o:p></span></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrjGzOwYpM2KGIglGzfjV9f2NvFrtn5V_w7ICwOi0u_vgf3QHL8HxvzdH9K5oVnN0YcluMx1AJJqhlSAmnDbMhCQugqcr-Xr4FN7q3bBceyMu2QL5a_3IxELYCcaWf3szxwNSAHa7eQxOX/s1600/IMG_7569.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrjGzOwYpM2KGIglGzfjV9f2NvFrtn5V_w7ICwOi0u_vgf3QHL8HxvzdH9K5oVnN0YcluMx1AJJqhlSAmnDbMhCQugqcr-Xr4FN7q3bBceyMu2QL5a_3IxELYCcaWf3szxwNSAHa7eQxOX/s320/IMG_7569.JPG" width="320" /></a></div><div class="MsoNormal" style="text-align: center;"><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Inside. Photo Isabelle Busnel</span></span></i></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06_9M5fx9K60EHMbl6idiuE2Cj1POptx4XEG6MSpfzib-20Ym2DqK5jHVHPxn_20ncdefHyzbtDpJdMLf2iA-QlVvySug49yaFkyXd5NgCLHgEPhJLYX2PzQPyEs2GGEAQof8ef42NUT9/s1600/IMG_7612.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06_9M5fx9K60EHMbl6idiuE2Cj1POptx4XEG6MSpfzib-20Ym2DqK5jHVHPxn_20ncdefHyzbtDpJdMLf2iA-QlVvySug49yaFkyXd5NgCLHgEPhJLYX2PzQPyEs2GGEAQof8ef42NUT9/s320/IMG_7612.jpg" width="240" /></a></div><div class="MsoNormal" style="text-align: center;"><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Detail of patterns created by the sun. Photo Isabelle Busnel</span></span></i></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-vZn4QwZOYs0E655kKYTNEK3p8kLuDGxrIXSjxgxoJWf-bBQT70BD6tH8TVxkoKJ0E6auLX9Oqaiv50BDkefvGSgQWt_tX5z2O14pgm-YEuHg67XNNaIIdbdV1sPfCODClzZ3kr-BktQu/s1600/07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-vZn4QwZOYs0E655kKYTNEK3p8kLuDGxrIXSjxgxoJWf-bBQT70BD6tH8TVxkoKJ0E6auLX9Oqaiv50BDkefvGSgQWt_tX5z2O14pgm-YEuHg67XNNaIIdbdV1sPfCODClzZ3kr-BktQu/s320/07.jpg" width="320" /></a></div><div class="MsoNormal" style="text-align: center;"><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Global shape. Photo press pack.</span></span></i></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
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</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">If you are lucky enough to visit Leviathan on a slightly cloudy but still sunny day, it feels like the “thing” is breathing. At that stage, you are either entering into a meditative sate of mind or panicking out of claustrophobia!<o:p></o:p></span></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When you regain consciousness, your mind then starts wondering: how big are the pods? What are they made of? How is the whole thing holding into place? What is the actual volume of the space? Where does the light come from? How does it look and feel at night? Etc…<o:p></o:p></span></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Two or three museum guides are permanently available inside the structure, first to check that nobody is suffering a panic attack or damaging the work, but mainly to answer questions. <o:p></o:p></span></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The sheer dimension of the structure is speaking for itself: 34m high, 100m long and 13,500 cubic meters in volume. The surface is made of specifically designed translucent PVC generally used to cover football stadium and developed by a high tech French company. Years of research have been necessary to reach the right elasticity and the exact hue of red desired by Anish Kapoor.<o:p></o:p></span></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijkUp7IOGkTQg_Ts1qg4pbJY1oWuk4uCHg5ls0qLHkvnFoX-j6jEgKfTPep1-DlcdMy1bqUMdAIW9bZlYbN6CGXTTA4WeDBRVXwDhmcgW1yLnUiLrLVSaWW4kBlwhyphenhyphenLAMbcvZGoG2SWOVv/s1600/IMG_7580.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijkUp7IOGkTQg_Ts1qg4pbJY1oWuk4uCHg5ls0qLHkvnFoX-j6jEgKfTPep1-DlcdMy1bqUMdAIW9bZlYbN6CGXTTA4WeDBRVXwDhmcgW1yLnUiLrLVSaWW4kBlwhyphenhyphenLAMbcvZGoG2SWOVv/s320/IMG_7580.JPG" width="320" /></a></div><div class="MsoNormal" style="text-align: center;"><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">PVC surface. Photo Isabelle Busnel</span></span></i></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Four pieces, one for each of the three pods and one for the main body, have been created in the factory, then stitched and welded together directly on-site to build the whole structure.<o:p></o:p></span></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The structure was then inflated and requires permanent pressurized air blown into it to stand upright.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Following the emotional and the rational stages comes the realisation of the monumental size of the work. After staying inside the structure, you are invited to see it from the outside. And your mind is blown once again, as Leviathan happens to fill the entire surface of the grand Palais and match its shape, looking even more gigantic. Pictures are again certainly the best way to describe it:</span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As a long admirer of Anish Kapoor’s work, the final stage I went through was trying and relating this project to the concepts usually explored by the artist. A very interesting exhibition catalogue helped me making sense of these notions. </span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNN2FK8xaTY2wOw8God0h0T3x2k-ALX5VbcchtuQqKh9NWuGkap6AgV0CEGok1-e_HKNVcmAuRN28lD0uy2F6sp-Ex1WAFQ9UByD7qgmUtwPnHb47tIyuPUmnrZ820eP8kaclvy9da8k9y/s1600/catalogue+cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNN2FK8xaTY2wOw8God0h0T3x2k-ALX5VbcchtuQqKh9NWuGkap6AgV0CEGok1-e_HKNVcmAuRN28lD0uy2F6sp-Ex1WAFQ9UByD7qgmUtwPnHb47tIyuPUmnrZ820eP8kaclvy9da8k9y/s320/catalogue+cover.jpg" width="320" /></a></div><div class="MsoNormal" style="text-align: center;"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Cover page of the exhibition catalogue. Photo Google Images</span></i></div><div class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Colour and monochrome</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: colour is fundamental in Anish Kapoor’s art. The colours he uses are often pure and monochromatic, are not meant to serve as decoration but are usually the very principle of the work. Leviathan is dark red, a colour Kapoor has already used in many projects. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">My tendency is to go from colour to darkness. Red has a very powerful blackness</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">,” he says. What is amazing in this project is the variation of the colours depending on the outside light, from very bright red at noon to purple at dawn. Visitors are invited to come at different times of the day with the same ticket to experience those changes.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The skin of the object</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Anish Kapoor makes the skin an intensely sensitive zone, crucial to the understanding of its work […] the object does not tell its own story but leads into our mind’s world</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">” says the exhibition catalogue. In Leviathan, the skin of the object is everything as its technical characteristics, soft and elastic but solid at the same time, allow the structure to exist only thanks to the pressurized air. </span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The original body</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: in the catalogue one can read “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">the works of Anish Kapoor address our body and sometimes our deepest memories. The scale of the sculpture or its concavities connects to the spectator physically and mentally in the work</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. It is particularly true in Leviathan, where the visitor is swallowed by the structure. I have heard people around me saying they had the impression of being in a uterus, or in an artery leading to the heart, or in a cathedral, etc… This work can’t leave you emotionally neutral!</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The sublime</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: the art of Anish Kapoor is often related to the sublime, “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">this specific emotion sparked by the impression of vulnerability before the forces of nature. His creations, often huge […] give the viewer an inhuman temporal and spatial scale […], the loss of familiar markers, the sensation of being swallowed up vertiginously by the work</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">” states the catalogue. I already experienced that feeling in front of Yellow at the late 2009 Royal Academy of Arts’ Anish Kapoor retrospective, but Leviathan is much more powerful as you enter inside the structure and genuinely experience a loss of temporal and spatial scale.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvFa7oE_xEI9ByttBCfSjAFkKYtM6FORqTT2pGSk-vxJTosWqFwce_9DJxFHGN-9YZaHLdr3Va2olEeyqSarx8hY9Mq0qUBdtjUjnZhkX8nlA7VyDEcqJDuro5NOyaGulg-WMS1-7FUTOq/s1600/yellow_1486748i.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvFa7oE_xEI9ByttBCfSjAFkKYtM6FORqTT2pGSk-vxJTosWqFwce_9DJxFHGN-9YZaHLdr3Va2olEeyqSarx8hY9Mq0qUBdtjUjnZhkX8nlA7VyDEcqJDuro5NOyaGulg-WMS1-7FUTOq/s320/yellow_1486748i.jpg" width="320" /></a></div><div class="MsoNormal" style="text-align: center;"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Anish Kapoor in front of YELLOW (1999). Photo Google Images</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Emptiness</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: for Anish Kapoor, “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">creating emptiness does not lead to emptiness […] the more is emptied out, the more there is. Emptying is filling up</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. Leviathan is just an empty structure, but it is full of sensations, noises, smells, colours and, as it is impossible to embrace the whole structure while standing inside or outside it, full of mystery. Kapoor’s statement applies particularly well to this work.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I will stop here, as there would be so much more to say about Anish Kapoor, and particularly Leviathan. You must have figured out by now that I absolutely loved this work! It is so far the most powerful and emotional experience I have ever encountered in front of an artwork. If you have the opportunity to jump in the next Eurostar to Paris before June 23rd, I can only encourage you to do it!</span></div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com1tag:blogger.com,1999:blog-5373792131138526190.post-13043935815619265002011-06-04T04:24:00.000-07:002011-06-09T10:03:26.422-07:00INTERVIEW WITH YVONNA DEMCZYNSKA OWNER OF FLOW GALLERY<div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">When I arrived in London 11 years ago, I lived in Bayswater, near Notting Hill. I loved the area and spent hours wandering its streets. This is how I discovered Flow, a gallery specialising in international and British Applied Arts, located off Westbourne Grove. I was still working in banking and knew nothing about Craft but I remember being fascinated by the space, the works displayed and particularly by the contemporary jewellery collection. This Gallery means a lot to me, as it is where the idea of changing career and training in jewellery design emerged. The gallery features several exhibitions a year and I think I may have missed only a few of them. On the Flow <a href="http://www.flowgallery.co.uk/"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="background-color: white;">website</span></span></a><span class="Apple-style-span" style="color: white;"> </span>one can read: </span><span lang="EN-US" style="font-family: Arial; font-size: 13pt;">“</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;">Flow, situated in the heart of Notting Hill, was established by Yvonna Demczynska in 1999 […] Flow represents over 100 artists working in ceramics, glass, paper, wood, textiles, metal and jewellery. Flow works both with collectors and more recently with corporate clients who are establishing collections of applied arts</span></i><span lang="EN-US" style="font-family: Arial;">”. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">I have already written about an exhibition held at Flow called FUSED on contemporary enamel (see this article </span><span class="Apple-style-span" style="font-family: Arial;"><a href="http://thinkingthroughthings.blogspot.com/2011/03/contemporary-enamel-paradox.html">here</a> ) but this time I wanted to know more about the owner, Yvonna, and how she came to open this wonderful Gallery. She very kindly agreed to be interviewed and I thank her for her time.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDFH2iF7rGuTonghZ3aFcs6yPB-CEECtnKGXsTDNaEB9xmDNDUkl4exRXS6Y3Nf05ZsCdEYf3wB7ifYfGH-TsnLpfgbjfbwI00ilWZ457vLTRKTBL4Ssvm0QP3u2M_uI0AB36LMDinUptA/s1600/BIG1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDFH2iF7rGuTonghZ3aFcs6yPB-CEECtnKGXsTDNaEB9xmDNDUkl4exRXS6Y3Nf05ZsCdEYf3wB7ifYfGH-TsnLpfgbjfbwI00ilWZ457vLTRKTBL4Ssvm0QP3u2M_uI0AB36LMDinUptA/s320/BIG1.jpg" width="214" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;">Yvonna at Flow. Courtesy of Flow Gallery</span></i></div><div class="MsoNormal"><br />
</div><div class="MsoListParagraph" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -17.85pt;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Arial;"><br />
</span></u></b></div><div class="MsoListParagraph" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -17.85pt;"><b><span style="font-family: Arial;">How did you discover Craft?<o:p></o:p></span></b></div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><span class="Apple-style-span" style="font-family: Arial;"><br />
</span></div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><span class="Apple-style-span" style="font-family: Arial;">I suppose I should start with my childhood. I was brought up in Poland and came to England when I was 13. I was not able to speak English when I arrived. I went to a grammar school in Hertfordshire and later graduated in Business and Administration from Loughborough University. I studied History of Art at school and should have studied it at University. I suppose I really discovered design and art when I had my first job at the Design Council. I worked for the marketing department where I was helping to promote British design overseas. My job involved organising events at trade fairs in Japan, America, France, Frankfurt and I came across the Craft Council at these events, especially in New York City where they had a group of makers in the hand made section of the fair. I used to look at these wonderful pieces and thought that hand made objects were much more exciting than design from manufacture because they had more soul and spirit and were not perfectly made. The Craft council offices were then in Waterloo Place, just 5 minutes walk from The Design Council. So I used to go and see all their exhibitions. I started buying little things, especially the ones blurring boundaries between design and craft. Having left the Design Council I then worked for a packaging consultancy which wasn’t really me. Therefore, when somebody contacted me to help the biggest design guru in Japan, sourcing well design British products, I was more than happy to become a buyer for him. He just asked me to work a few days a month for him, providing reports on trends in design, visiting trade fairs, exhibitions, and then buying things that he liked. After a while, another opportunity arose: the Craft Council really liked what I did for the Design Council and asked me to do a similar job for them. As a freelancer, I started to organise exhibitions of makers in New York and San Francisco (which I still do in NYC). This is how my love affair with Crafts began.</span></div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><br />
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</div><div class="MsoListParagraph" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -17.85pt;"><b><span style="font-family: Arial;">What is the story of Flow Gallery?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><span style="font-family: Arial;">I have always wanted to have my own gallery but this type of business required quite a big investment so it took a while to save up the money. I had never worked in a gallery before, which in retrospect was a bit of a mistake. Having some experience in running a gallery would have been useful</span><span style="font-family: Arial;">. I did, however, rent a space for a few months within a gardening shop,</span><span style="font-family: Arial;"> just to test the market in Ledbury Road, Notting Hill. We organised a small exhibition of contemporary crafts with rough scaffolding and shelves. We sold jewellery, ceramics, glass, wooden bowls and did very well, even made a bit of money. Then I started to look for a space and it took me around one year to find this one. Rents were very high on Westbourne Grove and Ledbury Road, which is why we are in a smaller street off the main high street. The Gallery opened in September 1999 and at that time I had a business partner but unfortunately it didn’t work out as planned and we had to part after a year. It was a bit of a hiccup but I don’t regret it at all as I really love what I do. I learned a lot and I am still learning about some craft disciplines. I suppose my business background has helped me run the company. I am the only director now with two wonderful members of staff who help me to run the gallery (one graduated from Ceramics at the RCA and the other one is a lawyer/art historian). The current model is working well. However, I do enjoy collaborating with other Galleries as a curator as teamwork always brings a fresh view and something extra or exciting into the projects. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6viOsdm9Dcb7vWLC9k7Wgz6jGAfWYKCcVYCFucXbfD0bV45xGzKuu6WzM3O07xoi84qrfwPXvnn97QwYU3Xq405Oka22obMBHI7kNL72-Ezg-TxYIYlyUNg2-PG6Nirj4BARyMMgmn9jM/s1600/Flow+Gallery+main+room.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6viOsdm9Dcb7vWLC9k7Wgz6jGAfWYKCcVYCFucXbfD0bV45xGzKuu6WzM3O07xoi84qrfwPXvnn97QwYU3Xq405Oka22obMBHI7kNL72-Ezg-TxYIYlyUNg2-PG6Nirj4BARyMMgmn9jM/s320/Flow+Gallery+main+room.jpg" width="286" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Flow Gallery, Main room. Courtesy of Flow Gallery</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Arial;"><o:p><br />
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</div><div class="MsoListParagraph" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -17.85pt;"><b><span style="font-family: Arial;">How did you combine running a Gallery with your family life?<o:p></o:p></span></b></div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><span class="Apple-style-span" style="font-family: Arial;"><br />
</span></div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><span class="Apple-style-span" style="font-family: Arial;">As a career woman with a family I have always found it very difficult to find a job that evolves with your situation. I was bringing up two boys and my ideal business model was to have a partnership and work less, take some holidays with the kids, letting the business grow as the family grew. Now my children are grown up and I spend more time at the gallery and outside networking. When I opened the gallery I was in my early 40’s and I thought, if I don’t do it now I will never do it. But it was a big risk opening this space as it required such a big investment. The gallery is a very important part of my life; my life revolves a lot around its exhibi<i style="mso-bidi-font-style: normal;">tions</i> and networking activities such as private views. But it is much harder now to reach the same level of sales as it was 4 or 5 years ago because of the financial crisis so I have to do much more development work. And I still don’t know what the best way of finding new younger collectors is. COLLECT is a great place to meet new people: when young collectors discover craft they are usually very excited and surprised by the relatively affordable prices for such beautiful objects. However, I am still looking for the best approach to reach this younger collector base.</span></div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><br />
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</div><div class="MsoListParagraph" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -17.85pt;"><b><span style="font-family: Arial;">Are you the only Gallery of that kind in London?</span><o:p></o:p></b></div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><span style="font-family: Arial;">Yes, I think so. CAA (Contemporary Applied Arts) is the oldest craft gallery and is a membership based organisation, mainly showing works from its British members. I am originally from Poland and was interested in showing international crafts from the outset. Slowly I started researching the market, looking at Japanese and Scandinavian craft and design. I love and have empathy with them as my first foreign show was Japanese and the second one was Scandinavian. As I have often travelled to Japan in my previous jobs I had close links with curators and artists there. I suppose people see the style of Flow as European with some Scandinavian aesthetics and a very organic use of materials, respect for nature, and finally a touch of Japanese spirit. At the moment, I am researching artists for an exhibition which will look at the empathy between Finnish and Japanese craft. What is currently happening in craft is very interesting: some people start to think that applied art is a more exciting area than fine arts because there is more going on, more innovative use of materials and some amazing ideas. <o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><span style="font-family: Arial;">In my upcoming show, “BLUE”, I will be showing a fine artist, Livia Marin at the Devon Guild who is creating a wonderful installation of plaster plates with blue transfers. I invited her to COLLECT and she loved it as she enjoys working with different materials. How to define her? Is she a craft person or an artist? </span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</o:p></span></div><div class="MsoListParagraph" style="margin-left: 35.7pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -17.85pt;"><b><span style="font-family: Arial;">How do you select the artists you are showing? <o:p></o:p></span></b></div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><span class="Apple-style-span" style="font-family: Arial;"><br />
</span></div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><span class="Apple-style-span" style="font-family: Arial;">I do go to a lot of exhibitions and degree shows as well as New Designers every year. People also come to me spontaneously and I travel abroad. I sometimes collaborate with other galleries such as Blas & Knoda in Stockholm, Gallery Norsu in Helsinki and Galerie Sofie Lachaert in Antwerp. Sofie has an amazing eye and her gallery with a B&B attached to it is wonderful. I usually choose new artists and mix them with established ones: this year at COLLECT I showed a ceramic artist who just graduated with an MA from the RCA as well as a textile artist who had just finished her MA, alongside with more established ceramicists. I usually follow the development of artists and I try to show them more than once. This is the case with Mia E. Görransson for example; we showed her at COLLECT a few years ago with terracotta tiles. She then did porcelain tiles and porcelain vessels with amazing leaves and twigs. Her work was very figurative and she has now evolved into more abstract pieces which will be featured in our next show, BLUE.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6zhdk45SWDjpTmzeS5Zc5lr_Y86vEWXNcD5pchH8dHa9A7re9y4h6URLJ0KZKZim-skKhEPmAZWD4ItXNyzGywY3CVhom3VacTjoUeCDDBUiequJWmyjx56dCjdTyaSn47h5GeUoC_9ea/s1600/flow+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6zhdk45SWDjpTmzeS5Zc5lr_Y86vEWXNcD5pchH8dHa9A7re9y4h6URLJ0KZKZim-skKhEPmAZWD4ItXNyzGywY3CVhom3VacTjoUeCDDBUiequJWmyjx56dCjdTyaSn47h5GeUoC_9ea/s320/flow+3.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">FUSED exhibition. Courtesy of Flow Gallery</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Arial;"><o:p><br />
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</div><div class="MsoNormal" style="text-align: left;"><b><span style="font-family: Arial;">What are the relations between the artists and you? Do you consider them as friends,customers, suppliers?</span></b></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial;"><br />
</span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial;">This is a very interesting question...Some have become friends but I think it is more a relationship of equals, it is teamwork. They are supporting me and I am supporting them. I like to know what they are doing, their exhibitions, and they often pop into the gallery for a chat. It is much more than a business relationship; it is more of a friendship. You have to take an interest in people as well. I sometimes take risks in showing new works, as not all of them were commercially successful. Hans Stofer had his first solo exhibition here and it was a great show but it didn’t sell out. </span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</span></u></b></div><div class="MsoNormal" style="text-align: justify;"><b><span style="font-family: Arial;">You have always a thematic exhibition going on. Can you tell me more about it?</span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">I have 6 exhibitions a year with either a theme or material based. At the moment we have a show curated by Melissa Rigby about ENAMEL, the next one is called BLUE and we will have a show in the autumn called WOOD. In the rare occasions when we have no show, we put more emphasis on our gallery artists, highlighting their pieces in the middle of the gallery. I always feel I should be doing something new to get people in. It keeps my interest and brings something new to collectors as well. Maybe we should not change that often, just extend the exhibitions as I find some of them are too short. I usually curate the exhibitions myself but we also do have guest curators like Simone Ten Hompel, Hans Stofer, Sofie Lachaer. I really like working with other people as it brings a fresh perspective and something else into the project. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH2gfN-dol93YEk7XGC8TnvFI9TFNTh6nbON0SDIiv00Gvdl4E5O_-Z_-CXd2_NBBBYxgKclmudBVyNmRSJyd69IZpeb_mkxD5ghj1JMQlV3Od1xL6ehMTDsLbOya3sl6PVD8oRpK2tSmm/s1600/flow+gallery+still+life+high+res+images.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH2gfN-dol93YEk7XGC8TnvFI9TFNTh6nbON0SDIiv00Gvdl4E5O_-Z_-CXd2_NBBBYxgKclmudBVyNmRSJyd69IZpeb_mkxD5ghj1JMQlV3Od1xL6ehMTDsLbOya3sl6PVD8oRpK2tSmm/s320/flow+gallery+still+life+high+res+images.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Main room. Courtesy of Flow Gallery.</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</span></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;"><o:p></o:p></span><span style="font-family: Symbol;"><span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><b><span style="font-family: Arial;">Is Notting Hill a good location?</span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">I don’t know, really. I happen to be here and I don’t think I will move. There are a lot of fashion shops popping up and closing, which is not ideal, but now people know where we are and it is more a destination for them: they come here especially. We don’t get a lot of passers by, which is why we have to work quite hard on the PR and the press. When we get articles in the Financial Times, World of Interiors, House and Garden, etc…people then come in and it is a great way of attracting new people. Overall, I don’t think location is that important in our business.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZya3fuOuy5WfJk_mwrrk3Pxy_o5kWlzFF2_A04re6-vPIRBBqlWEDADZ0sdHm8fAbTjvX1uFenPZiHD8_wx5SJR6q1aXZs5m374gb86hjvjKJuDqztIlT-NstQoqGWTeWgeLH3ufAPcXw/s1600/cabinet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZya3fuOuy5WfJk_mwrrk3Pxy_o5kWlzFF2_A04re6-vPIRBBqlWEDADZ0sdHm8fAbTjvX1uFenPZiHD8_wx5SJR6q1aXZs5m374gb86hjvjKJuDqztIlT-NstQoqGWTeWgeLH3ufAPcXw/s320/cabinet.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Main room. Courtesy of Flow Gallery.</span></i></div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Arial;"><br />
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</span></u></b></div><div class="MsoNormal" style="text-align: justify;"><b><span style="font-family: Arial;">What is the mix between ceramic, glass, paper, textile, wood, metal in the works you exhibit?</span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">It is difficult to say. I suppose ceramic is the predominant one. We only have a few glassmakers because I find it really difficult to find interesting glass forms and colours. As an aesthetic choice, colours are quite muted in the gallery as I don’t tend to display very bright colours. Ceramic seems to be the most popular purchase. It used to be jewellery but somehow people seem to be buying more things for the home rather for themselves in this time of recession. Ceramic also sells well because we have a wide range of prices, from small bowls to larger pieces. I personally prefer jewellery, wood and ceramics but I love everything displayed in the Gallery as I find it difficult to sell things I don’t like. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</span></u></b></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;"><o:p></o:p></span><b><span style="font-family: Arial;">How do you organise your communication?</span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">COLLECT is the only show we do in the UK and it is very good for attracting a new audience. We are also going to do SOFA in Santa Fe for the first time. We try to do as much press as we can before each show. The next BLUE show created a lot of interest from a large number of journalists so we have received quite a good amount of press coverage. We have a policy of not advertising therefore we just rely on our editorials. Before each exhibition we send out a large number of invitations: they are square cards, always the same format, the same design and the same look, so people know when a Flow invitation lands on their table. I know a collector that keeps them in a big bowl. We are on Twitter and Facebook, on which we have a lot of fans. It does help a lot but I am not sure we use social networks enough: if you want to attract younger people, you must use them more intensively. I would like to do a course on social networking to optimize and increase our presence.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</span></u></b></div><div class="MsoNormal" style="text-align: justify;"><b><span style="font-family: Arial;">Do you see an evolution in trends (more collectors, interest for craft and hand made, interest for a particular material?)</span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">I think there is a revival in hand made, people are interested in acquiring fewer, but still beautiful objects with an imprint of the maker. Big brands like Louis Vuitton and others have hijacked the word “craft” and I think it will take time before we see a truly beneficial effect back in the Craft discipline itself. The Craft museum in New York is now called the Museum of Art and Design: they changed their name because craft was so unpopular. They now have more visitors although after all, what they are showing is craft…We are also definitively seeing the impact of the financial crisis: fewer people, fewer sales but increasing number of people looking which will hopefully translate into higher sales.</span></div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Arial;"><br />
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</span></u></b></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;"></span><b><span style="font-family: Arial;">What are the financial issues when running a Gallery? Do you receive subsidies or grants?</span></b></div><div class="MsoNormal" style="margin-left: 17.85pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Everything at Flow is on a sale or return basis. I would like to be able to afford to buy pieces but unfortunately I can’t. As far as margins are concerned, we apply the same rate as every other London gallery. We do not receive any subsidies or grants as we are a limited company. I have thought of changing the status of the gallery into a social enterprise, as it feels like we are one or maybe a charity in order to apply for grants, but this is a lot of work. The only grants we have ever received were from foreign embassies at the occasion of a thematic show about a specific country, where they paid for shipping the works or for the catalogue.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7LtC9PcWhALmz7aQDHdrK8g4CgM9NW3RCPXHU9X_q2ClMOUNtUfMoqPYwn-f6_xhRi-qezvOmPZ3I2I65VUh7pI2Cic9NLm9QLz1_RjP1oOWdR6r1Nyg7EvP2wF_R6w0Osb2LuUPoA080/s1600/Yvonna+at+flow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7LtC9PcWhALmz7aQDHdrK8g4CgM9NW3RCPXHU9X_q2ClMOUNtUfMoqPYwn-f6_xhRi-qezvOmPZ3I2I65VUh7pI2Cic9NLm9QLz1_RjP1oOWdR6r1Nyg7EvP2wF_R6w0Osb2LuUPoA080/s320/Yvonna+at+flow.jpg" width="224" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Yvonna at Flow. Courtesy of Flow Gallery.</span></i></div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Arial;"><br />
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</span></u></b></div><div class="MsoNormal" style="text-align: justify;"><b><span style="font-family: Arial;">Have you ever thought of quitting? Or finding alternative ways of promoting craft?</span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">There are days when we have very few customers but we often don’t even notice until late in the afternoon because we are busy working on so many projects. Sometimes I think of retiring in a few years but then, what would I do? I love my job so much!...<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">I keep thinking there must be other ways of running a gallery. Some dealers work from home, where they also have their showroom. Another alternative could be the organisation of “pop up shows” or small improvised exhibitions in ad hoc venues.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Artists’ studios are doing a great job in promoting artists but it can be frustrating for the galleries sometimes. We invest a lot of time promoting and displaying their works to show to collectors who occasionally end up buying directly from the artists. I wish there was a different way of working. Maybe similar model to the fine art world. These days we generate most sales from international artists as UK based collectors do not have easy access to them. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;"><a href="http://www.flowgallery.co.uk/">Flow Gallery website</a><o:p></o:p></span></div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com0tag:blogger.com,1999:blog-5373792131138526190.post-43706420491987591642011-05-29T03:34:00.000-07:002011-05-29T03:34:00.729-07:00CHROME YELLOW BOOKS BY SONIA AND MICHAEL COLLINS<!--StartFragment--> <br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">“An art book is a museum without walls”, wrote André Malraux. This quote has helped me feel less guilty about my addiction to Craft, Art and Design books: I can spend months without buying clothes, shoes or bags but I can hardly leave a bookstand empty handed. This is how I met Sonia and Michael Collins, the owners of the company called Chrome Yellow Books. On their </span><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;"><a href="http://chromeyellowbooks.com/">website</a>,</span><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;"> they describe themselves as “<i style="mso-bidi-font-style: normal;">specialists in contemporary European art and craft publications</i>”, as “<i style="mso-bidi-font-style: normal;">suppliers to university libraries, museums and galleries</i>” and as “<i style="mso-bidi-font-style: normal;">bookstands at craft events, festivals, conferences, symposium</i>”. <o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 14.0pt; mso-bidi-font-weight: bold;">Having met them in numerous Applied Arts events, we are now friends and I wanted to interview them about their passion for craft publications. I phoned them a month ago and they immediately agreed but Sonia had a very good and pragmatic idea. She told me: “We will be selling books at COLLECT in May at the Saatchi Gallery and Saturday will be very busy. Why don’t you come help us and make the interview live that day?” I had already worked for them 2 years ago and it had been a very interesting and enjoyable experience, so I immediately fell for it. The event had started on Thursday evening, therefore I didn’t take part in the hardest and less gratifying aspect of their business: transporting books from their </span><span style="font-family: Arial;">lock up store in a hired transit van</span><span style="font-family: Arial; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 14.0pt; mso-bidi-font-weight: bold;">, building the stand, carrying and displaying all the publications. I did however help selling them, maintaining the display and giving advice to customers from time to time, which gave me the unique opportunity to witness Sonia and Michael’s passion for what they are doing.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfRXdH1LanWiu3-a_UQ2SnmAFp2MVUz21nm2W4vfwtQ0Ot_RQuKKhWQVqL1cExIc-toQJLHyvuL2nIgCgCkvHipDEK5ejc-NkCcnJ6rMKnROvLRP6Qfn4862iZYrD87jfQPG4FtiI5-f1T/s1600/IMG_7495.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfRXdH1LanWiu3-a_UQ2SnmAFp2MVUz21nm2W4vfwtQ0Ot_RQuKKhWQVqL1cExIc-toQJLHyvuL2nIgCgCkvHipDEK5ejc-NkCcnJ6rMKnROvLRP6Qfn4862iZYrD87jfQPG4FtiI5-f1T/s320/IMG_7495.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Sonia and Michael. Photo Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Chrome Yellow Books has no shop and their website is extremely basic: a single page provides a list of future events Sonia and Michael will attend. Their main activity is to travel to fairs, events, and symposium and visit universities with carefully selected books to sell them to customers and students. When asked why they don’t have a fixed shop or a proper commercial website, they come up with good reasons: a shop implies massive fixed overheads and a website requires time and money being built and maintained, as well as payment and delivery logistics. But more importantly, both of them like direct contact with people and they see their business as a way of sharing their knowledge and passion for makers and their work.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Both of them have an artistic background, which makes their manifesto very legitimate. Sonia graduated from Central St Martins with a BA in textiles and Michael was a painter. After 10 years working for a design and architect company, Sonia stayed at CAA (Contemporary Applied Arts) as an administrator for 11 years. There, she was in charge of setting up a collection of books about craft, sourcing them abroad and widening the scope of books available in the UK, and did a series of conferences about contemporary jewellery. She then realised that books were a great way of promoting the artists she was passionate about. In the meantime, Michael was touring England with punk bands he had met in Art schools, acting as their manager. When Sonia decided to set up Chrome Yellow Books, he joined the adventure, touring with books being a reminder of his good old times on the 70’s British punk music scene. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Sonia and Michael have built a quite unique business model in the UK and even in Europe. Everybody in the Applied Arts community knows them and wants them to sell their publications, which ranges from small exhibition catalogues of a few pages sold for £5 or rare books in limited editions, and they often have the exclusivity when an artist edits a catalogue of his or her work. Therefore, they don’t really need to source new books: books come to them. However, Sonia only sells books she is interested in and passionate about, which provides her selection with great integrity, as she is able to talk about each and every book she sells and to give precious advice to any customer looking for something specific.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX1v9jwtJq6SKV_9xjewY_QOmUSzSuvOL3Oed1OcYhH0Dil6Dtbc8xrG1hZRk3CUChCQUdhXtPsmUaDHi6jmAEFeHPrnpvDYGttoWB0s_n5Qd8q-6lwfAa_6FFoALeFBWQhQrzxHKGJbQB/s1600/IMG_7484.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX1v9jwtJq6SKV_9xjewY_QOmUSzSuvOL3Oed1OcYhH0Dil6Dtbc8xrG1hZRk3CUChCQUdhXtPsmUaDHi6jmAEFeHPrnpvDYGttoWB0s_n5Qd8q-6lwfAa_6FFoALeFBWQhQrzxHKGJbQB/s320/IMG_7484.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Chrome Yellow Bookstand at COLLECT 2011. Photo Isabelle Busnel</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Another key to understand Chrome Yellow Books’ success is the amazingly wide range of books available and the very careful selection process undertaken before each event. As they can’t carry every publication in their catalogue to every event, Sonia tries to anticipate what will be useful and sought after for each occasion. For Schmuck in Munich, a jewellery fair, she obviously chose a wide selection of jewellery books, but also many about textile and nature, as she had noticed that jewellers often take their inspiration from textile design and natural shapes. For COLLECT, they brought a lot of books about jewellery, glass and ceramics but none, I noticed, about woodworking. The reason Sonia gave me for this absence is that there are few publications available about woodworking, and even fewer of good quality, but sourcing some to complete her collection is definitely on her agenda. When they first travelled to France a few years ago they visited AFEDAP, a private jewellery school, and brought no technical book as they thought the language barrier would deter French students to buy them. On another visit to that school this year, Sonia decided to bring some on the basis that the French may have made progress in technical English, and every one of them were sold. Being able to anticipate what people will be looking for at each event is therefore crucial for the success of their business.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcNrqVyMi4EKss4ZggJVkXZY4yC5QWlsJEEIGP1fFntKRZ-9-i8HPRY8uPodn-PRVDis9FEvtR17YcojJSvGlzaKwnKaU8kJ7sysSzml0n3Qj-13SULtEYK6Nb1p0xBssXS0q1zFUrd5Yn/s1600/IMG_7485.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcNrqVyMi4EKss4ZggJVkXZY4yC5QWlsJEEIGP1fFntKRZ-9-i8HPRY8uPodn-PRVDis9FEvtR17YcojJSvGlzaKwnKaU8kJ7sysSzml0n3Qj-13SULtEYK6Nb1p0xBssXS0q1zFUrd5Yn/s320/IMG_7485.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguwk4Oosq6SYXNasZ7zHSkXluU9xq_bqNkaYXx_D5srAa1mwYE852fAUWGjxx3GqnqHoeESxRa3BFhTd9_yWR-G8qJlr9lo2kXlOBC07KJN2eG8VuUJqCxRozcWG4oYC_F_QIDKBTn3kgx/s1600/IMG_7492.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguwk4Oosq6SYXNasZ7zHSkXluU9xq_bqNkaYXx_D5srAa1mwYE852fAUWGjxx3GqnqHoeESxRa3BFhTd9_yWR-G8qJlr9lo2kXlOBC07KJN2eG8VuUJqCxRozcWG4oYC_F_QIDKBTn3kgx/s320/IMG_7492.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Selection for COLLECT 2011. Photo Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">When asked what might be the next milestone in the development of Chrome Yellow Books, Sonia and Michael mentioned two projects: a proper website (not to replace their presence at major craft events, they insist, but in addition to it) and more travelling abroad to European destinations. They have really enjoyed being at Schmuck or in Paris and they believe they could reach a new audience and share their passion with foreign students and collectors.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">I really wish them to be successful in this future development as they are the nicest couple selling books I have ever met and are very generously sharing their passion for craft publications. Applied Arts really need passionate people like them to spread the knowledge.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmE6ozXvrdJ00NLB3PllGke5CnnefVPYfwhY6MQn9QVIfnf_vLM3HB1HwjxonJKLhg0rH7umeIW5NbC3wQ1iQ9TfzNqa49lhY68KH0E9j_fH94ZfMuiaBouM_RR5rylipA1gth56zOn4vD/s1600/IMG_7490.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmE6ozXvrdJ00NLB3PllGke5CnnefVPYfwhY6MQn9QVIfnf_vLM3HB1HwjxonJKLhg0rH7umeIW5NbC3wQ1iQ9TfzNqa49lhY68KH0E9j_fH94ZfMuiaBouM_RR5rylipA1gth56zOn4vD/s320/IMG_7490.JPG" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Sonia at COLLECT 2011. Photo Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal"><span style="font-family: Arial;"> <a href="http://chromeyellowbooks.com/">CHROME YELLOW BOOKS PROGRAM OF EVENTS</a><o:p></o:p></span></div><div class="MsoNormal"><br />
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</div><!--EndFragment-->Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com0tag:blogger.com,1999:blog-5373792131138526190.post-82769130880509545882011-05-10T15:39:00.000-07:002011-05-11T01:41:16.807-07:00MY PICKS FROM COLLECT 2011<div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial;">It’s the seventh time I go to COLLECT. And third time at the Saatchi Gallery. Every year I look forward to it, I enjoy it and I am amazed by the quality, the variety and the high standard of the works exhibited. But at the same time, I find myself fighting against a certain indolent indifference in front of some displays. Could it be because I have already seen some works many times? Or because I make a mental link between what I see and some other pieces using the same idea, technique or concept? A “been there done that” feeling…</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">This year, to avoid that feeling, I </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">have tried two different strategies: the first was to really take time to look at each object I liked and ask questions to the galleries or artists. It required a lot of time and several visits but allowed me to better make sense of what I saw. The second one was to ask my husband, who is not so familiar with applied art objects, to show me the works he liked and tell me why he liked them. This allowed me to have a fresh and different look at the objects he chose.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Here are the objects I really loved this year at COLLECT 2011:<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">I love minimalist objects that are both very poetic and effective at the same time:<o:p></o:p></span></div><div class="MsoNormal"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguaCJ6oMhsE6H7IRT4sNSNEYIgQtrZ3detBbB_dIZ35LUbifa2ggndX4A8qc6rKg1HmtOP6BCgSDkT4z0GEjPfWE8frkYF8d4NP_oJmWuFgzWlTUgsRhQpqaLXELNNfrwqp39_6YyXDNbM/s1600/IMG_7341.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguaCJ6oMhsE6H7IRT4sNSNEYIgQtrZ3detBbB_dIZ35LUbifa2ggndX4A8qc6rKg1HmtOP6BCgSDkT4z0GEjPfWE8frkYF8d4NP_oJmWuFgzWlTUgsRhQpqaLXELNNfrwqp39_6YyXDNbM/s320/IMG_7341.jpg" width="240" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcngHokZYJ8PTd_XnvINociGqINO4IdCB3CBTzMsoi6a4vhvaKbE6xAbkpia_0vP1PrmFm5-mAaxmXbCqVY0NBR79v9dUXoyEdRwixvvwifQTyUBEE0RCB-YTRd3d3C843C3UowDdCNX8i/s1600/IMG_7345.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcngHokZYJ8PTd_XnvINociGqINO4IdCB3CBTzMsoi6a4vhvaKbE6xAbkpia_0vP1PrmFm5-mAaxmXbCqVY0NBR79v9dUXoyEdRwixvvwifQTyUBEE0RCB-YTRd3d3C843C3UowDdCNX8i/s320/IMG_7345.JPG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRfVPCVdi4FsMRAQR-KnVrafkGj8H1S0jUUCeNGWlOKNm3xRdlk_eRMDW-IdomqKsOy-r72WeYl3nNLNE-dX7byEHrUDlg9EVhn6zCXdv0y4ExNtVOE5MzOi91uJ0w_NB_X4zfp_3ChoEd/s1600/IMG_7347.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRfVPCVdi4FsMRAQR-KnVrafkGj8H1S0jUUCeNGWlOKNm3xRdlk_eRMDW-IdomqKsOy-r72WeYl3nNLNE-dX7byEHrUDlg9EVhn6zCXdv0y4ExNtVOE5MzOi91uJ0w_NB_X4zfp_3ChoEd/s320/IMG_7347.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Mirei Takeuchi. Galerie Rosemarie Jager. Photos Isabelle Busnel</span></i></div><div class="MsoNormal"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiudPF7ujQof6vmx7VY0u63ZY8H4L89ZFirP2309H9IPYnDiwYXU9nQQw4GJC5m8_yQYZoTWgY0kPYIZKuVtsw1lT7t2xjREuByRK9HCk4_spZAXuVAY-B3uHAaFQNAiY7Rb4RKO2LHDqM1/s1600/IMG_7532.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiudPF7ujQof6vmx7VY0u63ZY8H4L89ZFirP2309H9IPYnDiwYXU9nQQw4GJC5m8_yQYZoTWgY0kPYIZKuVtsw1lT7t2xjREuByRK9HCk4_spZAXuVAY-B3uHAaFQNAiY7Rb4RKO2LHDqM1/s320/IMG_7532.jpg" width="240" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiudPF7ujQof6vmx7VY0u63ZY8H4L89ZFirP2309H9IPYnDiwYXU9nQQw4GJC5m8_yQYZoTWgY0kPYIZKuVtsw1lT7t2xjREuByRK9HCk4_spZAXuVAY-B3uHAaFQNAiY7Rb4RKO2LHDqM1/s1600/IMG_7532.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Maya Selway. Bishopsland Educational Trust. Photos Isabelle Busnel</span></i></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><span style="font-family: Arial;">I love objects whose function has been subverted or undermined:<o:p></o:p></span></div><div class="MsoNormal"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm3hNRm8AqKPiCZZKxRUW8CPppw3LCxSKIUxVhXgIIAmM-ZFRfIAhUX2tC-PqGbbQVm8usvO0OfJ8le1wWTOrbuuGLtbuemy4NLf2xNqZNEOE1IS5zfuZGdz8a6dK_VMVctRD4MBdKPPgz/s1600/Kjell+rylander+cups+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm3hNRm8AqKPiCZZKxRUW8CPppw3LCxSKIUxVhXgIIAmM-ZFRfIAhUX2tC-PqGbbQVm8usvO0OfJ8le1wWTOrbuuGLtbuemy4NLf2xNqZNEOE1IS5zfuZGdz8a6dK_VMVctRD4MBdKPPgz/s320/Kjell+rylander+cups+.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Kjell Rylander. Photo Annci Gustafsson from styleofdesign.com</i></span></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi97F897PYcezhCGw3bdimYKKPLtKZMhNX6RDxNCY5ExHBhow7zMYn6y4cMy7EFN6qZW8W1Lf4bfw-PTxAtONzHeRmNErgk1UqrqFf1CLB2YXkh4vf5bTQEnHoIDtUFe1vOj3jNzLOCZnRn/s1600/IMG_7378.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi97F897PYcezhCGw3bdimYKKPLtKZMhNX6RDxNCY5ExHBhow7zMYn6y4cMy7EFN6qZW8W1Lf4bfw-PTxAtONzHeRmNErgk1UqrqFf1CLB2YXkh4vf5bTQEnHoIDtUFe1vOj3jNzLOCZnRn/s320/IMG_7378.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Kjell Rylander. Gallery Kunst1. Photo Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizNBShT_zy54H6s_nx_K8LZ1g2la5isPPAHSA3T0Dfa7hEa7iYG81YFtnbMCcMLNptWZ1PTrQ_U7T2-pXlhDW2R5UL54W1uIJPNPuAc5Z_INul5CMxRnuNRuYScMQRrsG3SCkAQ8xhSHzR/s1600/IMG_7417.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizNBShT_zy54H6s_nx_K8LZ1g2la5isPPAHSA3T0Dfa7hEa7iYG81YFtnbMCcMLNptWZ1PTrQ_U7T2-pXlhDW2R5UL54W1uIJPNPuAc5Z_INul5CMxRnuNRuYScMQRrsG3SCkAQ8xhSHzR/s320/IMG_7417.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDkxF592oPqp1XkHOduzbC12wl_3n2UjrVPu8b6PX8IOQm_JuiNQHDCZegHTdJG-NJ42L_qA6v69F8vnEoyskFRzAO8IdvlUa33DPbeorDpL3026r59yHM2Uzh339iWgbQEcEbxPy8yYHm/s1600/IMG_7419.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDkxF592oPqp1XkHOduzbC12wl_3n2UjrVPu8b6PX8IOQm_JuiNQHDCZegHTdJG-NJ42L_qA6v69F8vnEoyskFRzAO8IdvlUa33DPbeorDpL3026r59yHM2Uzh339iWgbQEcEbxPy8yYHm/s320/IMG_7419.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Caroline Slotte. Galleria Norsu. Photos Isabelle Busnel</span></i></div><div class="MsoNormal"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjpbFq7YcasNU5mbBXoSe3zjsZMWEwgI7esmp_9GBEo0sR_OM1FZ6b0BoOSK4Qzfb3hE0M4oJ2t7IUDmZshwfJJi0dqRLj5uaLK7BkzdY-ob3CSRB_XTM4KpOXWjJlKC4xl2X-AvmndNDl/s1600/IMG_7542.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjpbFq7YcasNU5mbBXoSe3zjsZMWEwgI7esmp_9GBEo0sR_OM1FZ6b0BoOSK4Qzfb3hE0M4oJ2t7IUDmZshwfJJi0dqRLj5uaLK7BkzdY-ob3CSRB_XTM4KpOXWjJlKC4xl2X-AvmndNDl/s320/IMG_7542.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial;"><i><br />
</i></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTKn-1Y6t5JpnAV-iKTGM-TD89oEtr5JwrYT6XHdEapWVZYfbpuIdJ5ST5M_kYZSVkvajT7b9lgEAkddDOFrki33anJ4hzS9Y0z2TVp4Vmq7wLXQflp5cJfldWasW9eiTyaUecLUSnIU3U/s1600/IMG_7539.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTKn-1Y6t5JpnAV-iKTGM-TD89oEtr5JwrYT6XHdEapWVZYfbpuIdJ5ST5M_kYZSVkvajT7b9lgEAkddDOFrki33anJ4hzS9Y0z2TVp4Vmq7wLXQflp5cJfldWasW9eiTyaUecLUSnIU3U/s320/IMG_7539.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Ja-Kyung Shin. Galerie Rosemarie Jager. Photos Isabelle Busnel</span></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSBn9ZbR2YQKQFURsLWZvHRw4q7RnNmy1hy7J_Ye2725U7-iOrKa7_-tNxYujPgiYeweD5Tx29Tko4jEoTW22p6224uQ_3FUr5BwCsVOC4NkMjvWtnN_HtWUs9ilXSwmzZYQ6ghcd5AeJE/s1600/Ja-Kyung-Shin--Becherhand-1_2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSBn9ZbR2YQKQFURsLWZvHRw4q7RnNmy1hy7J_Ye2725U7-iOrKa7_-tNxYujPgiYeweD5Tx29Tko4jEoTW22p6224uQ_3FUr5BwCsVOC4NkMjvWtnN_HtWUs9ilXSwmzZYQ6ghcd5AeJE/s320/Ja-Kyung-Shin--Becherhand-1_2.png" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Ja-Kyung Shin. Photo Art Aurea</span></i></div><div class="MsoNormal"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRZAVrsA0v78P1hrIeehifntgYF2BiA1VnjAXQ7l1VFyim67qQ3niiuShFiPAg0dQuGDME88kB5WoMziGreLwbmwGRT9HRkp8TXEmoBs5hinMgm6mp8n32nc6jTsgCka2gqz34xPiW-6-8/s1600/IMG_7500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRZAVrsA0v78P1hrIeehifntgYF2BiA1VnjAXQ7l1VFyim67qQ3niiuShFiPAg0dQuGDME88kB5WoMziGreLwbmwGRT9HRkp8TXEmoBs5hinMgm6mp8n32nc6jTsgCka2gqz34xPiW-6-8/s320/IMG_7500.jpg" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Hilde de Decker. Galerie Marzee. Photo Isabelle Busnel</span></i></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">I love originality and creativity in the materials used:<o:p></o:p></span></div><div class="MsoNormal"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPSbcyvoPkkZe4ZTK2U1JoPPKF5ez5hCKoKGbJN-3aKo7IW4epTpH-qYz3NqN1RnBwcQpiNyTUv2SPoMzT58SzNNsOj7MdnBZ_bW_1QNFGSSvvzPtag3NtVwzjxVv5SMxCUTvD75wvPQG0/s1600/IMG_7440.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPSbcyvoPkkZe4ZTK2U1JoPPKF5ez5hCKoKGbJN-3aKo7IW4epTpH-qYz3NqN1RnBwcQpiNyTUv2SPoMzT58SzNNsOj7MdnBZ_bW_1QNFGSSvvzPtag3NtVwzjxVv5SMxCUTvD75wvPQG0/s320/IMG_7440.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Axel Russmeyer. Electrum Gallery. Photo Isabelle Busnel</span></i></div><div class="MsoNormal"><br />
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</div><div align="center" class="MsoNormal" style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsmEnKCcoUO2GWvjWFovnQlzueyLTREHNqRzAmKsppX7-YPzoVcXzEtw2oIVc3Td4xJbsasEZhzdmvFPbb1am0BoFpWInciXyg1nJf9GtZ___hmnDuRQPr9asmPR2ibEPiLZ3FGGCNOpqi/s1600/IMG_7410.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsmEnKCcoUO2GWvjWFovnQlzueyLTREHNqRzAmKsppX7-YPzoVcXzEtw2oIVc3Td4xJbsasEZhzdmvFPbb1am0BoFpWInciXyg1nJf9GtZ___hmnDuRQPr9asmPR2ibEPiLZ3FGGCNOpqi/s320/IMG_7410.jpg" width="240" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXk4tZPmzdAk3H9AO4Vamm1fMKZ7MqeI6C2_YtVX0yar4t2-ZO6NVD5YQNnqDjVGOXyvIK1lE_qdG-clR7eB_to_0o-w3wkw59tLBFMkYN4FJhT1rS6IjUxrUbQwDu9wIGujeQIABqM6Wl/s1600/IMG_7411.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXk4tZPmzdAk3H9AO4Vamm1fMKZ7MqeI6C2_YtVX0yar4t2-ZO6NVD5YQNnqDjVGOXyvIK1lE_qdG-clR7eB_to_0o-w3wkw59tLBFMkYN4FJhT1rS6IjUxrUbQwDu9wIGujeQIABqM6Wl/s320/IMG_7411.jpg" width="240" /></a></div><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Hanne Friis. Galleri Format. Photo Isabelle Busnel</span></i></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">I love when materials are used in experimenting ways, creating striking and beautiful works:<o:p></o:p></span><br />
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</div><div align="center" class="MsoNormal" style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglCc-r_zVIMBDZyoUKPCpaNvqrHu3AlZMPogqjBysTDCckwRkIJgwxMLMz-paH1PnCFx5IBJZtnYUqATIL-bIX8T6OskQWBzyZyUYtXhQF0CpbRV3S7qhF6x0T0rqXFtBKvOBRxFamIYen/s1600/IMG_7406.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglCc-r_zVIMBDZyoUKPCpaNvqrHu3AlZMPogqjBysTDCckwRkIJgwxMLMz-paH1PnCFx5IBJZtnYUqATIL-bIX8T6OskQWBzyZyUYtXhQF0CpbRV3S7qhF6x0T0rqXFtBKvOBRxFamIYen/s320/IMG_7406.JPG" width="320" /></a></div><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Sue Hawker. Glass Artists Gallery. Photos Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkZwcS69S-q7P6VyDDwp7vwv941lBtPlzBb9Mscxj3dwriCAuDwahb6C7LNmhbIhyvthxQnsCjPrPvSreEukkSFPo621wdYW1okF5dg_UnlLno5TWtr_v9v0FdMJW3dh05C1g6pG9OLGmB/s1600/IMG_7469.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkZwcS69S-q7P6VyDDwp7vwv941lBtPlzBb9Mscxj3dwriCAuDwahb6C7LNmhbIhyvthxQnsCjPrPvSreEukkSFPo621wdYW1okF5dg_UnlLno5TWtr_v9v0FdMJW3dh05C1g6pG9OLGmB/s320/IMG_7469.JPG" width="320" /></a></div><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Anne Marie Laureys. WCC-BF Gallery. Photos Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU4MsK0QH8tYFBtJY6VGSGUlZyQkB7tPLe6EqRGn4fIyNovVmc-uWU1UcDAr0PoeIxBncRKa3A9wH2EDGKoV29jtsyPyHU_3Y99kSTE8rv_ELHMgm91yZQVONOW1I-2QZQ9yg3QoEtNk92/s1600/IMG_7384.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU4MsK0QH8tYFBtJY6VGSGUlZyQkB7tPLe6EqRGn4fIyNovVmc-uWU1UcDAr0PoeIxBncRKa3A9wH2EDGKoV29jtsyPyHU_3Y99kSTE8rv_ELHMgm91yZQVONOW1I-2QZQ9yg3QoEtNk92/s320/IMG_7384.JPG" width="320" /></a></div><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Deirdre Hawthorne. Galerie Besson. Photo Isabelle Busnel</span></i></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><span style="font-family: Arial;">I love organic, underwater coral and reef inspired works:<o:p></o:p></span></div><div class="MsoNormal"><br />
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</div><div align="center" class="MsoNormal" style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgERa3U5WwT-v-lC06x8ePC_dOgWVkvNmZlcSKtEbvksEFbtgR8cJf9fYESYdD0-GZYtk9aBRGEVgx-MmQ82_r6WP59hK1wsMT9ftUGnzsX2eaRanQCxkYrrislDfqfVzPtXqNRbqCwPEm7/s1600/IMG_7352.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgERa3U5WwT-v-lC06x8ePC_dOgWVkvNmZlcSKtEbvksEFbtgR8cJf9fYESYdD0-GZYtk9aBRGEVgx-MmQ82_r6WP59hK1wsMT9ftUGnzsX2eaRanQCxkYrrislDfqfVzPtXqNRbqCwPEm7/s320/IMG_7352.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjif8JkkuBx4MeFgMKWgse-oeSjibKbdMjY9BTCysIS4fVcLXviXwi6quQyA5kyWQt4KL6VKPZgpfXkS7Gw2dtibYKv5uMfnK_t1P8l0lUfOG6DHFJM3a5Xs6B8JXkRoeDEIackUnL_oKDB/s1600/IMG_7355.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjif8JkkuBx4MeFgMKWgse-oeSjibKbdMjY9BTCysIS4fVcLXviXwi6quQyA5kyWQt4KL6VKPZgpfXkS7Gw2dtibYKv5uMfnK_t1P8l0lUfOG6DHFJM3a5Xs6B8JXkRoeDEIackUnL_oKDB/s320/IMG_7355.JPG" width="320" /></a></div><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Eva Zethraeus. Blas&knada. Photos Isabelle Busnel</span></i></div><div class="MsoNormal"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6yEtzZHDbiGT75NMfa3zHNvj5cj81bVqoN52CDOERdKUrN4oNxzpDqyOwrFpkuAO3v5lpf5otnR_6wWb86jd8x_3pOTKsA_MSB7nU__YWg5Ubw5YwiIl5sYcGHXSWbbl_ymBJ-lVJ9146/s1600/IMG_7364.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6yEtzZHDbiGT75NMfa3zHNvj5cj81bVqoN52CDOERdKUrN4oNxzpDqyOwrFpkuAO3v5lpf5otnR_6wWb86jd8x_3pOTKsA_MSB7nU__YWg5Ubw5YwiIl5sYcGHXSWbbl_ymBJ-lVJ9146/s320/IMG_7364.JPG" width="320" /></a></div><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Ruudt Peters. Galerie Rob Koudijs. Photo Isabelle Busnel</span></i></div><div class="MsoNormal"><br />
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</div><div align="center" class="MsoNormal" style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUTtECZZw2szJt4ujx7-XfT61IdWoGZA09W1AyBopYvhj_xABbizSSN3vA-myljnQqgjn_cCP8OMGKfhFzQxUgnAHDq5T2yw8ZW-tzio3IQB4U_4syzcfAtPE0rLgkzFIRfM48SZZ-ib9E/s1600/IMG_7369.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUTtECZZw2szJt4ujx7-XfT61IdWoGZA09W1AyBopYvhj_xABbizSSN3vA-myljnQqgjn_cCP8OMGKfhFzQxUgnAHDq5T2yw8ZW-tzio3IQB4U_4syzcfAtPE0rLgkzFIRfM48SZZ-ib9E/s320/IMG_7369.JPG" width="320" /></a></div><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Evert Nijland. Galerie Rob Koudijs. Photo Isabelle Busnel</span></i><br />
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</div><div align="center" class="MsoNormal" style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR6v53G0Sug3nYumsoCLJNv3oO-qQBLSau4JygZKFcuejGdrl9grtrvzYoosQVRRwsTU0OeRCN-WKils5BSz9C0KN-BRDxfLRPxzjf5QsTeFq3lfzT9U9kTciQBedJLYoDHQWGtTN2eY12/s1600/IMG_7375.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR6v53G0Sug3nYumsoCLJNv3oO-qQBLSau4JygZKFcuejGdrl9grtrvzYoosQVRRwsTU0OeRCN-WKils5BSz9C0KN-BRDxfLRPxzjf5QsTeFq3lfzT9U9kTciQBedJLYoDHQWGtTN2eY12/s320/IMG_7375.JPG" width="320" /></a></div><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Sidsel Hanum. Gallery Kunst 1. Photo Isabelle Busnel</span></i><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimAStaD-h5mSgjM72yGxGi_u1O6R2GrbaKxLHqCPmd0VoQnpm6WfpMo-rhR7kftBBaJBIJh4MkbTLVnSFiuxdyIlTH_HV6LDl2X1y2YUA6FkEAU3sY3ZX61_qZEwi9tsTiHcgq_yrFL0u0/s1600/IMG_7459.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimAStaD-h5mSgjM72yGxGi_u1O6R2GrbaKxLHqCPmd0VoQnpm6WfpMo-rhR7kftBBaJBIJh4MkbTLVnSFiuxdyIlTH_HV6LDl2X1y2YUA6FkEAU3sY3ZX61_qZEwi9tsTiHcgq_yrFL0u0/s320/IMG_7459.JPG" width="320" /></a></div><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Therese Lebrun. WCC-BF Gallery. Photos Isabelle Busnel</span></i></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">I don’t know anything about woodturning but I love those pieces where the artist must possess impressive skills to transform a log into those amazing wood objects: <o:p></o:p></span></div><div class="MsoNormal"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilernY43Xf0P10GSxN2598AXTirCQ2tVSBHeBEsDDo-tPrXSUL27p9QGHQ7sYbPrwMNr3fRjl63rq7DJlFzHU-iysQsVhHdEhy-3BthUWoH910hHB7_buCybpei-zZ0RZBe1eSPVcuvVLW/s1600/IMG_7393.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilernY43Xf0P10GSxN2598AXTirCQ2tVSBHeBEsDDo-tPrXSUL27p9QGHQ7sYbPrwMNr3fRjl63rq7DJlFzHU-iysQsVhHdEhy-3BthUWoH910hHB7_buCybpei-zZ0RZBe1eSPVcuvVLW/s320/IMG_7393.JPG" width="320" /></a></div><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Marc Ricourt. Sarah Myerscough Fine Art. Photos Isabelle Busnel</span></i></div><div class="MsoNormal"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXiZKKDoIyLlzAsh31sy6gMROrB-Agd7yhqId0BK5PfvaD1suGuOOvnBNZ4HbiyacU6j5UCr44ePZk2iIdjJPw1aD5qqxTpPqUNenAI2FsLHMmbP5e1bJ2Fy9K2gvfCMMHrd8FfGD4Gm2T/s1600/IMG_7395.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXiZKKDoIyLlzAsh31sy6gMROrB-Agd7yhqId0BK5PfvaD1suGuOOvnBNZ4HbiyacU6j5UCr44ePZk2iIdjJPw1aD5qqxTpPqUNenAI2FsLHMmbP5e1bJ2Fy9K2gvfCMMHrd8FfGD4Gm2T/s320/IMG_7395.JPG" width="320" /></a></div><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Christian Burchard. Sarah Myerscough Fine Art. Photos Isabelle Busnel</span></i></div><div class="MsoNormal"><br />
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<span style="font-family: Arial;">And finally, I love series and repetition of simple forms and shapes:<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div align="center" class="MsoNormal" style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs2fACha9r43afUoBsDxTUWT6ui5JGmbrjQNy2sHdMKzVGL6tWAIOTFiyawxYgOpK1tkoTXi5XJQwct483LINfbSVQhBEYz73msIHUF_HMl0MSF2olK_pU7agqQtB12WmWjVXGFTmS4C3N/s1600/IMG_7424.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs2fACha9r43afUoBsDxTUWT6ui5JGmbrjQNy2sHdMKzVGL6tWAIOTFiyawxYgOpK1tkoTXi5XJQwct483LINfbSVQhBEYz73msIHUF_HMl0MSF2olK_pU7agqQtB12WmWjVXGFTmS4C3N/s320/IMG_7424.jpg" width="240" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUUHayyewssbmJiVCv1f3FclVdbuLL5cLUQyrp4YtYBHpaX7S8AAuZGdwds2oZoM2zsdA0_hdTXMLSx8cXCcDE_-n8g9agB_i2Y8F-LumBwSPUC5dvqJZF6VcvJn-3KIU4vNkk8ICl3XmX/s1600/IMG_7427.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUUHayyewssbmJiVCv1f3FclVdbuLL5cLUQyrp4YtYBHpaX7S8AAuZGdwds2oZoM2zsdA0_hdTXMLSx8cXCcDE_-n8g9agB_i2Y8F-LumBwSPUC5dvqJZF6VcvJn-3KIU4vNkk8ICl3XmX/s320/IMG_7427.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwqzCpuMMjY3dPUwrZcB5wCIinHWzuuKxpVYAmdzOvJONU_Ew-LCCqxeYdA0mezT5I9eQmuZiaUpvChmmnRfgJxy3NNASYzfdexXya4qi6X9aeeUeQOLeqQ2t19BBYEOwVf391zzzlJLkC/s1600/IMG_7430.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwqzCpuMMjY3dPUwrZcB5wCIinHWzuuKxpVYAmdzOvJONU_Ew-LCCqxeYdA0mezT5I9eQmuZiaUpvChmmnRfgJxy3NNASYzfdexXya4qi6X9aeeUeQOLeqQ2t19BBYEOwVf391zzzlJLkC/s320/IMG_7430.JPG" width="320" /></a></div><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Natasha Daintry. Clare Beck at Adrian Sassoon. Photos Isabelle Busnel</span></i></div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com3tag:blogger.com,1999:blog-5373792131138526190.post-22590667951573722472011-04-21T04:29:00.000-07:002011-04-21T04:29:10.596-07:00THE METAL IS ALIVE BY WAYNE MEETEN<!--StartFragment--> <br />
<div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When studying for my HND at the Cass London Metropolitan University, students had the opportunity to choose between different optional modules in addition to the compulsory ones. One of those modules was called “Alternative Materials” (which in my opinion should have been called “Alternative Thinking” instead) and was taught by the designer/silversmith Wayne Meeten. His reputation was preceding him and some 2nd year students had warned me: he is really tough and makes students cry… As I was a “mature” student, I took this warning more as a challenge than a danger: me, crying? Never. I defiantly registered for this module.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The first two classes were awful: we had to show images that were inspiring us, and to present our sketchbooks. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Everything is too organised, too tight, too much in control. You have to free yourself. You will be one of my most difficult students</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”, he told me. Tears were very close but I managed to pull myself together and during the third class we had a little conversation where I told him: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I have spent 15 years working in finance, so Wayne, believe me, I am aware I have to venture into unknown ground. I just need time”…</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> This was the beginning of two very fruitful and challenging years of learning. He was tough and demanding, but fair and passionate. His teaching style didn’t work with everybody, but it definitively did for me and I think it must have worked for my class mates as well because I saw their work transform into wonderful ideas throughout the year. This is why, 3 years later and after completing my MA, I wanted to interview him and understand where his passion came from.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We met in his studio in east London and the first thing that struck me was the cleanness of the space: carpet and rubber mats on the floor, white towels everywhere and perfectly aligned shiny tools. Every hammer, file or stake has been customized to fit Wayne’s hand. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I want my tools to be part of me, they will outlive me. I take care of them, I look after them... And if a piece drops on the floor, it won’t bend or dent because of the rubber mats. It is like a safety net</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. Why all those white towels? “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Every time I heat the metal up, I put it into acid and then take it out into pristine water, then clean it with soap and white towels. The metal thinks I am really taking care of it and there is a dialogue between us: if it knows I am caring, it will want to become something beautiful</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. </span><o:p></o:p></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8o8XQvJzcqpH_izrp-pB1MWMysAU5mXMBJAgxvZvkeRoscq32FR9JpErEopedqB88NTefKBmjAgECW1d9xO78zpqY6HdAKWshW367nWUgEjmw6mnZkX1RqXUJqqmtQg8wJVi117Vl1TjC/s1600/IMG_6833.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8o8XQvJzcqpH_izrp-pB1MWMysAU5mXMBJAgxvZvkeRoscq32FR9JpErEopedqB88NTefKBmjAgECW1d9xO78zpqY6HdAKWshW367nWUgEjmw6mnZkX1RqXUJqqmtQg8wJVi117Vl1TjC/s320/IMG_6833.JPG" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Wayne’s studio. Photo Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"><br />
</span></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWOsEABoNyOz_5ks_aslVdeXGxaLB_nZHDoq2k1eg0HQTrgnlnipHMyKqsK5Ytq7P5C2MIpdABd2RVI_Olk5EFpgZX4m6IL4NdDFrz7t9OQ3PP9YFeJp23KbSY-Hzid_Y9OcW6Wij0xYpY/s1600/IMG_6834.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWOsEABoNyOz_5ks_aslVdeXGxaLB_nZHDoq2k1eg0HQTrgnlnipHMyKqsK5Ytq7P5C2MIpdABd2RVI_Olk5EFpgZX4m6IL4NdDFrz7t9OQ3PP9YFeJp23KbSY-Hzid_Y9OcW6Wij0xYpY/s320/IMG_6834.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Customized and shiny tools. Photo Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Wayne thinks that somehow the metal is alive and has a “God”. This strong belief may arguably have a scientific background: metal is made of molecules, it expands when you heat the metal up, it shrinks and cracks when you harden it. But it mostly stems from a metaphysical and spiritual point of view: metal and humans are made of the same particles and we are all part of a whole, the “Tao”. You must therefore listen to the metal: there is a moment when it starts splitting and at that very moment, the metal is “crying” to ask you to stop. If “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">you carefully watch it, listen to it, then you can literally hear at the sound of the hammer when the metal is getting hard and you know when it is soft</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">” says Wayne. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">To understand this particular bond between the material and the maker, one needs to dig a bit deeper into Wayne’s life. After having being badly beaten up during a street aggression and almost died at the age of 29, Wayne was introduced to Tai Chi during his recovery. The first year was mostly about learning the movements but during a workshop in the countryside, his teacher brought him very near to a huge tree and asked him to look at the scarred, marked and damaged bark. Then both of them walked away 500 yards and his teacher asked him to look again at the tree. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">That tree is you,”</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> he told Wayne. After years of therapy and plastic surgery, years of being ashamed of his scars, somebody was comparing him to this tree of life, damaged on the outside but majestic on the inside. This was one of the defining moments of Wayne’s life. He suddenly understood why he had been so inspired by Kandinsky, Egyptian art and 50’s American cars: they were all triangles, angles, and sharp, and that is exactly how he was feeling inside. After discovering Tai Chi, he started to take life drawing classes, to find inspiration in feminine curves, contemporary dance movements, flowing rivers, waterfalls and nature. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The shape I am creating now are really soft and organic</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”, he says. </span><o:p></o:p></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXUDRXcaNlefWxNhCJyBnSADfm25rtU8NR_jLTrjngs2ttWHQxwKlsuLgrbNL83AR8xdXTylJpLRHSdFbvkivymvS8gsfEyXESuZq88PfKmHgzRz8CQlNQPc38_wNp1qK2KLlZQTSUMjK_/s1600/wayne1c07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXUDRXcaNlefWxNhCJyBnSADfm25rtU8NR_jLTrjngs2ttWHQxwKlsuLgrbNL83AR8xdXTylJpLRHSdFbvkivymvS8gsfEyXESuZq88PfKmHgzRz8CQlNQPc38_wNp1qK2KLlZQTSUMjK_/s320/wayne1c07.jpg" width="265" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Chi Ball. Britannia silver. Courtesy of he artist.</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The second defining moment of his life was when he decided to go to Japan to learn a technique called mokume gane (folding, cutting and hammering together different layers of metals to reveal colours and patterns) with Japanese masters. He spent two years at Tokyo Geidai (University of Fine Arts and Music) as a visiting professor but had to learn Japanese first! Those two years were very demanding but acted as a revelation: he met masters that taught him not only technical virtuosity but also Japanese ancestral ways of thinking about metalworking practices. It was as if somebody suddenly expressed loudly what he had been feeling deeply inside for a while. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">You are more Japanese than Japanese</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">” was the most extraordinary compliment he ever received from his master. </span><o:p></o:p></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw_sBw46qptp3qe62cuZI4G9xsvRBePXA6Lwek83j3-3kLCAz834t709aw2KGiHcBJo8x0bl2iVjNxg3iFw6dhsDg1DTNXgG3X4ghFIvlGlbV9pb7VGMI2NrJhI-tsRE-BEQxK-ARnp_49/s1600/wayne.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw_sBw46qptp3qe62cuZI4G9xsvRBePXA6Lwek83j3-3kLCAz834t709aw2KGiHcBJo8x0bl2iVjNxg3iFw6dhsDg1DTNXgG3X4ghFIvlGlbV9pb7VGMI2NrJhI-tsRE-BEQxK-ARnp_49/s320/wayne.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: "Trebuchet MS";">Professor Norio Tamagawa with Wayne in Mr Tamagawa's workshop in Nigata, Japan. Courtesy of the artist.</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Tai chi and those two years in Japan changed his life forever and the Tao philosophy became indissociable from his relation to metalsmithing. To understand it fully, one has to look at him working on metal: bang, bang, kabang, pause, bang, bang, kabang, pause. Like a Tai Chi routine. A pause between each breath. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">There is a dialogue, a rhythm, a music, between me and the metal. Then the metal knows that it is me handling it</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">,” says Wayne. Like a dance, every stroke of the hammer has to be exact, precise and in the centre. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">If it makes a mark, you dent it and it becomes sharp</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">,” he adds. </span><o:p></o:p></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKBVlWBZ_0lTWAYDZFIzrHmShiikNqRER2UyWUkOEGbhsPYl2ysZALgKx-glGLCWXae8_nTd-el3npPggo1Ga3Pk5sYAr5YHj_3FT7T7oVeRDKAO1Or8K9SkoXHnd2DDIqHHl65cAyjkNj/s1600/IMG_6836.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKBVlWBZ_0lTWAYDZFIzrHmShiikNqRER2UyWUkOEGbhsPYl2ysZALgKx-glGLCWXae8_nTd-el3npPggo1Ga3Pk5sYAr5YHj_3FT7T7oVeRDKAO1Or8K9SkoXHnd2DDIqHHl65cAyjkNj/s320/IMG_6836.JPG" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Wayne working on his latest piece. Photo Isabelle Busnel<o:p></o:p></span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">To get to know the metal even more intimately, Wayne is usually buying silver in the form of grains that he will melt into a bloc and then hammer. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When you buy a sheet of metal from a bullion dealer, it has already been worked on by somebody else or a machine and I can’t have a proper dialogue with it, so when I buy a lump of silver, it doesn’t know me yet, which is why I am making my own metal and my own alloys</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">,” he says. Japanese metalworkers are, according to Wayne, the best in the world to make their own alloy because the scarcity of metal on their island have forced them to be experimental and creative in this field. Wayne has learned a lot in Tokyo about understanding the chemical formula of metals: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">this enables you to know how far you can push the material before it cries and breaks</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”, he says.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGnhuumKmMxgycEAv5et1WU12CiagoVrMhvPbFFEXj9is1s9hx45uroBzipRbfrXupA0-snkIziHGtLXE6wrMcmzMH4HXnCQqix7S_0J5HTE4r9dVb_JFjrK8ScG7QAth7x-mgLLan8sVm/s1600/wayne3a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGnhuumKmMxgycEAv5et1WU12CiagoVrMhvPbFFEXj9is1s9hx45uroBzipRbfrXupA0-snkIziHGtLXE6wrMcmzMH4HXnCQqix7S_0J5HTE4r9dVb_JFjrK8ScG7QAth7x-mgLLan8sVm/s320/wayne3a.jpg" width="263" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Inner Golden Facets. Truffle. Mokume Gane and silver. Courtesy of the artist.</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><i><span style="font-family: Arial;">(This piece is in he final of the Saul Bell International Design and Crafts award 2011 competition)<o:p></o:p></span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Wayne’s profound respect for metal is only one aspect of his Tai Chi and Tao spirituality of which his impressive skills and patience are another face. Wayne has spent 8 years at University and 2 years in Japan learning the fundamentals. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">You have to root yourself and grow like a tree. That way, you can become a stepping-stone for the next generation</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">” he says. This is something that our fast paced society has sometimes trouble to cope with. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Young people want to earn quick money, to become traders or rock stars but not to spend 10 years painfully learning a technique</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">,” he says. He is echoed by an interesting quote from Bruce Metcalf (a very thought-provoking jeweller/writer/curator/teacher whose </span><a href="http://www.brucemetcalf.com/index.html"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">website</span></span></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> is full of inspirational texts about craft): “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Basic article of faith in the Modernist academy was that careful, controlled work has no aesthetic potential. In Japan and Korea, mastery of technique is understood as evidence of spiritual maturity. To a Buddhist, work spent on attaining skill necessarily contributes to higher awareness. It is regarded as a spiritual discipline to have repeated the same act thousands of times, to have paid careful attention in years of work, and finally to have achieved perfection. Virtuosity is admired not just for its own sake, but because it demonstrates a religious accomplishment</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. This quote seems to have been written to describe Wayne’s work… One of his vases can take a month to make - 10 hours a day, six days a week - and that probably explains why he is sometimes so hard with students, as he wishes to teach the value of mastering their techniques whatever the material chosen.</span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Another thing he was always mentioning in his class: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">you are unique, and if you don’t believe in yourself, who will</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”? He was therefore pushing us to find the gem hidden deep inside ourselves, and didn’t let us go until he thought we had done the best we could which led some students to cry on a regular basis. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Tears are not a bad thing, they are cleansing. Students knew</span></i><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> I was opening up areas within them to allow them to grow. It was emotional because I was mirroring what they were thinking and feeling inside but they didn’t know how to express it</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">” he says. Looking at the inner quality rather than at the outside: a philosophy directly inspired from the Tao, the yin and Yang, the positive and the negative and the art of finding balance between them. </span><span style="color: #262626; font-family: Arial; mso-bidi-font-family: Verdana; mso-bidi-font-size: 13.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCe1gYMKygZB6EYxYf18U0tEgg1JumKxP5jdqzA5uqUkDIGwREEKEjxwUpKjhPZs6i_vl-bAu2lvMQys5GqY_z_4G_VThyY4fV3gTFf-jf8UP13bupu8QT_ObbKpINmbxP5BHHBNlwc48S/s1600/wayne-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCe1gYMKygZB6EYxYf18U0tEgg1JumKxP5jdqzA5uqUkDIGwREEKEjxwUpKjhPZs6i_vl-bAu2lvMQys5GqY_z_4G_VThyY4fV3gTFf-jf8UP13bupu8QT_ObbKpINmbxP5BHHBNlwc48S/s320/wayne-1.jpg" width="243" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Mother and child. Britannia silver. Courtesy of the artist.</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;"><br />
</span></i></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">This is why, according to Wayne, his vases do not need flowers: the beauty lies inside the forms, the curves and the sensuality of the silver alloy. The “unknown” and the mystery are inside. As he likes to say: “<i style="mso-bidi-font-style: normal;">my work</i> <i style="mso-bidi-font-style: normal;">goes up inside</i>”.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6FhaXTIz4se9RlWowoesUEClWOEr3vUpSzan3eLNXCsy8cnpL4oWljc_H_0hqr2-EIIZrm4ZTkCw6Q8nsD-Be4XABWmOYpkE1aRnVU7nW1C0OegtQ1GH49bsgj_4DPLjTsdbmdhLhIcx6/s1600/wayne3b-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6FhaXTIz4se9RlWowoesUEClWOEr3vUpSzan3eLNXCsy8cnpL4oWljc_H_0hqr2-EIIZrm4ZTkCw6Q8nsD-Be4XABWmOYpkE1aRnVU7nW1C0OegtQ1GH49bsgj_4DPLjTsdbmdhLhIcx6/s320/wayne3b-2.jpg" width="268" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Inside of the Inner Golden Facets. Courtesy of the artist.</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">The time spent interviewing Wayne about his life, his work and his Tai Chi practice helped me understand why he was so passionate (and sometimes hard) in his teaching. It also helped me to better understand his work: “<i style="mso-bidi-font-style: normal;">being a craftsman, an artist and a designer, I want to tell people in my own way a spiritual message through art about Tai Chi</i>” he said at the end of the interview. <o:p></o:p></span></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3MFqicc1VA5Ka1oNZe_EbFnZPqabOT253pk8szebbesBce-wjhZIsz_IeqYW-XGxLNpJ_cRLAyUHFSdHgvkHSaezBO7VzWjgPm_TAbXkXO_TfmXXCtsMqVJ9CBO39bfQGdWF3QcnUt2yv/s1600/wayne-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3MFqicc1VA5Ka1oNZe_EbFnZPqabOT253pk8szebbesBce-wjhZIsz_IeqYW-XGxLNpJ_cRLAyUHFSdHgvkHSaezBO7VzWjgPm_TAbXkXO_TfmXXCtsMqVJ9CBO39bfQGdWF3QcnUt2yv/s320/wayne-2.jpg" width="276" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Embrace within. Mokume gane and Britannia silver box. Courtesy of the artist.</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">The box in the above picture will act as a perfect conclusion for this portrait: it is made of mokume gane and raised Britannia silver, has a sort of yin and yang game playing between the two parts, is sensual and curvaceous, hides the unknown inside and has been virtuously crafted… All of Wayne’s philosophy in a box. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;"><br />
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</span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;"><a href="http://www.wvmstudio.com/">Wayne Meeten Studio website</a></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</span></div><!--EndFragment-->Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com2tag:blogger.com,1999:blog-5373792131138526190.post-21684566687144293242011-04-15T02:40:00.000-07:002011-04-15T02:55:56.326-07:00DIALOGUE COLLECTIVE AT SCHMUCK. PART II<div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">On March 9</span><sup><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;">th</span></span></sup><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">, I have posted an article about a collective of artists called Dialogue. I met them before they were heading to SCHMUCK in Munich (</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">which is the </span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-style: normal;">oldest exhibition of contemporary jewellery in the world</span>)</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">. You can find this article</span><span style="font-family: Arial;"> </span><span style="font-family: Arial;"><a href="http://thinkingthroughthings.blogspot.com/2011/03/dialogue-collective-x-at-schmuck.html">here</a>.</span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Having interviewed them on what they were planning to do in Munich, I ended my post with the following project: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And I am really interested to see how people will react to the three different spaces in Munich. I have asked Dialogue Collective to gather as much information as possible: pictures, people’s reactions, audience feedback and we have agreed to meet again soon to debrief. Rendezvous in a few weeks…”<o:p></o:p></span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As promised, we met again and they gave me a full debriefing of what happened in Munich. I have selected some of their pictures (with their permission) to illustrate the interview. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">IB: Did the exhibition attract a lot of people ?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">DC</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: It was a big success: around 200 people came to see us during the 3 days and we sold more pieces than last year, which is a good sign as well. Two amongst us have been selected by a gallery to be exhibited in COLLECT in May.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">IB: How did people react to the different spaces?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">DC</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: the Shoppery was right at the entrance so people gathered there first. It was very lively, like the kitchen in a house party where people hang around. After a while, they usually went checking the Gallery space and then wandered back. They were touching pieces, picking up stuff and were trying them. They seemed to feel comfortable.</span><o:p></o:p></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">IB: how was the atmosphere in the Gallery?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">DC</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: much quieter. People felt less inclined to touch pieces. They usually didn’t stay very long, but as they had already been in the shoppery first, they were probably less intimidated and some asked questions. </span><o:p></o:p></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">I</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">B: how did you manage to differentiate the Shoppery and the Gallery?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">DC</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: the Shoppery had price tags, pieces were displayed on tables sitting in paper drawn presentation boxes, we even had a fake till in cardboard and people were standing behind the tables. We think it was quite obvious. In the Gallery, the space was huge, there were no prices, no names and no explanation. Only one member of our team was staying there in case some visitors had questions. The Shoppery might be compared to the gift shop in a gallery or museum where people can buy souvenirs and postcards.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Images of the Shoppery:</span><o:p></o:p></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP17-ZqngBBSIpfJd9TzSx9QU4N6-gBpuLJ8zHXQiSwuqOGi1CzoUUd_Ppife0Nbvrkbi6n3sdI8e__r1CeYkAmAz0wegPN5dzdLSxaTyxDL9buxn0tCI6OEw-tCh8hZZa32-yh-2b7on8/s1600/fausses+boites.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP17-ZqngBBSIpfJd9TzSx9QU4N6-gBpuLJ8zHXQiSwuqOGi1CzoUUd_Ppife0Nbvrkbi6n3sdI8e__r1CeYkAmAz0wegPN5dzdLSxaTyxDL9buxn0tCI6OEw-tCh8hZZa32-yh-2b7on8/s320/fausses+boites.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial;"><br />
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</div><div class="MsoNormal"><span style="font-family: Arial;">Images of the Gallery:<o:p></o:p></span></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">IB: what about the games?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">DC</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: they were really successful. The choice of games was very good. We had them all the time during the 3 days and some people came back to play again. There was a kind of competition between some of the visitors as well. We had a sawing game (particularly liked by the jewellers), a throwing game, a chest game (a guy stayed 20 minutes to win it), a matchbox game (silver matches were randomly added to some boxes and people could win them) and plenty others. At the private view, we had to throw people out at 11PM!</span><o:p></o:p></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">IB: don’t you think those games were distracting people from looking at the works?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">DC</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: No it wasn’t, on the contrary it builds up a rapport with people that wouldn’t have happened otherwise: this is what Dialogue is all about. It was actually great fun: everyone enjoyed it, like a party, allowing more interaction with people. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">IB: is it becoming a kind of signature for Dialogue?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">DC</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: People’s feedback was that we were very different from the other shows in Munich. So, in a sense, you might indeed say games and fun are part of our signature. However, for the future events, if we don’t have games we will try to come up with something equivalent. It has to be done cleverly to avoid too much distraction and keep a connection with our aims in Dialogue.</span><o:p></o:p></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">IB: your logo was very strong and visual. How important was it?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">DC:</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> we did much better than last year. This time we had a very powerful logo but a lot of freedom in the show. We gave away flyers although communication is not easy in Munich: no website, programs distributed late … But with the X on its orange background, people recognised us easily and we were very pleased to see our badges worn by some people in the street! </span><o:p></o:p></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">I<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">B: did you give any explanation about the treasure hunt, which was the starting point of your show?<o:p></o:p></span></span></b></div><div class="MsoNormal" style="text-align: justify;"><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">DC</span></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: we displayed a board providing some explanation on the back of the entrance door, although we are not sure anyone read it. At the same time, we didn’t want to say too much as we prefer to leave doors open but not force people to enter. The “dialogue” occurs when people actually push the door and start asking questions, which they did a lot in Munich.</span><o:p></o:p></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">IB: anything you would like to improve in the future?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">DC</span></b><span style="font-family: Arial;">: we grow organically and we improve every time we organise a new event. This year we were much better organised and we had more energy and confidence, but we could have done better in terms of displaying names, artist statements and price lists in the Gallery space. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">IB: what next for Dialogue Collective?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">DC</span></b><span style="font-family: Arial;">: we are maybe thinking about having a Shoppery in London, as we invented the concept and would like to test it outside Munich which remains a special place. It could also be a pop-up shop with a different name. Munich 2012 is on the agenda as well as an event in Normandy (France) in July 2012. It is time for us to spread and maybe to have split Dialogue to deal with different issues, one with commercialisation for example. The time is right to expand further and to push the boundaries….<o:p></o:p></span></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal"><a href="http://www.dialoguecollective.co.uk/team"><span style="font-family: Arial;">Dialogue Collective website </span></a><span style="font-family: Arial;"><o:p></o:p></span></div><div class="MsoNormal"><br />
</div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com2tag:blogger.com,1999:blog-5373792131138526190.post-64153960210718644392011-04-05T07:56:00.000-07:002011-04-16T08:16:48.276-07:00MIXING OLD AND NEW<div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">An exhibition called “</span></span><span lang="FR"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Circuit céramique</span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">” held recently in the </span></span><span lang="FR"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Musée des Arts Décoratifs</span></span><span lang="FR"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">in Paris will be my starting point to reflect on a trend that has always fascinated me: mixing contemporary artefacts with permanent historic collections.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">One of the most well-known and controversial attempts is perhaps the Chateau De Versailles in France where 3 contemporary artists have been recently exhibited: Jeff Koons in 2008, Xavier Veilhan in 2009 and </span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Takashi Murakami</span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> in 2010. When asked by </span></span><a href="http://www.economist.com/blogs/prospero/2010/11/takashi_murakami_versailles"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The Economist</span></a> <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">in November 2010 why to confront a Japanese contemporary artist with an iconic French site, Jean-Jacques Aillagon, director of the Versailles museum replies: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I think that the presence of contemporary artworks in an historical setting, as that of the Château de Versailles, awakens the glance of the visitor who passes through the royal rooms. It makes him reflect on the perenniality of the artistic experiment, on the relations that the artists of today maintain with the artists of yesterday. It also allows the visitor [to become more committed to what he sees and] to avoid this terrible disease often seen in museums and in monuments, which is the lethargy of the glance”.</span></i></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial;"><i><br />
</i></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jeff Koons and</span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> Takashi Murakami’s exhibitions have led </span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">conservative groups to launch websites and petitions that defend the preservation of Versailles as a symbol of French heritage, “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">not a place to display contemporary culture</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”, which in their opinion “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">spoils the site</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. But both artists seemed to have genuinely been inspired by the historical site: “</span></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Contemporary art is so imprisoned in the present that juxtaposing new works with old ones allows you to rediscover a connection between history and the history of art. The baroque is the ideal context for me to highlight the philosophical nature of my work</span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”, </span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">says Koons. "</span></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I am the Cheshire cat that welcomes Alice in Wonderland with its diabolic smile, and chatters away as she wanders around the Château</span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">” says Murakami.</span></span><span lang="EN-US" style="font-family: Arial; font-size: 13pt;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 18.0pt; text-align: justify;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqSdRr29GK-yhu6oCkGaJ59ktAvcF3D-byw4H7qgQDG5zlHecZz7aWmqVz7r8ou22rkCeVD7zFnISHomERxgvZK2ZWEfpadAROqOOqf-_rKnga2Mlw0BMXAxf5bsETX1ksOI7PDJHuaVA0/s1600/jeff-koons-france-chateau-versailles-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqSdRr29GK-yhu6oCkGaJ59ktAvcF3D-byw4H7qgQDG5zlHecZz7aWmqVz7r8ou22rkCeVD7zFnISHomERxgvZK2ZWEfpadAROqOOqf-_rKnga2Mlw0BMXAxf5bsETX1ksOI7PDJHuaVA0/s320/jeff-koons-france-chateau-versailles-2.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: Arial;"><span class="Apple-style-span" style="font-family: Times;"><i><span lang="EN-US" style="color: #262626; font-family: Arial;">Jeff Koons. Photo: Thibault Camus (AP Photo), AFP</span></i></span></span></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPyhUEo7-CQ-oLVjhyphenhyphen9re6k7aODMz8MJtjHcOsOx6qW5i3RsIOt3BmOrosHFTC0UvNtNVfDtn3ylK1bwycrQ5cOIVsGlCtoFA7z8tAPY3ef1NH43xbYXYoA5PwOSmwtAqqedc3GG5tCapd/s1600/xavier+Veillhan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPyhUEo7-CQ-oLVjhyphenhyphen9re6k7aODMz8MJtjHcOsOx6qW5i3RsIOt3BmOrosHFTC0UvNtNVfDtn3ylK1bwycrQ5cOIVsGlCtoFA7z8tAPY3ef1NH43xbYXYoA5PwOSmwtAqqedc3GG5tCapd/s320/xavier+Veillhan.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="margin-left: 18.0pt; text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;">Xavier Veilhan. Photo Google Images</span></i></div><div align="center" class="MsoNormal" style="margin-left: 18.0pt; text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;"><br />
</span></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8z2iGZiB5_UhQMG_OIFwqA4pkdVQneiDd8A_25hbCeQgru43Dlfi7ho2nHODt6CQExyspWpZ6pC3trrcXchBUz4Ax6BvGAu_pbLTdCs8mgMqnEVVQPOU8AuQs4-IcdeAijar7h8n0EDTO/s1600/DELSAUX-VERSAILLESMURAKAMI_FLOWERMATANGO_lo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8z2iGZiB5_UhQMG_OIFwqA4pkdVQneiDd8A_25hbCeQgru43Dlfi7ho2nHODt6CQExyspWpZ6pC3trrcXchBUz4Ax6BvGAu_pbLTdCs8mgMqnEVVQPOU8AuQs4-IcdeAijar7h8n0EDTO/s320/DELSAUX-VERSAILLESMURAKAMI_FLOWERMATANGO_lo.jpg" width="246" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8z2iGZiB5_UhQMG_OIFwqA4pkdVQneiDd8A_25hbCeQgru43Dlfi7ho2nHODt6CQExyspWpZ6pC3trrcXchBUz4Ax6BvGAu_pbLTdCs8mgMqnEVVQPOU8AuQs4-IcdeAijar7h8n0EDTO/s1600/DELSAUX-VERSAILLESMURAKAMI_FLOWERMATANGO_lo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: #262626; font-family: Arial;">Takashi Murakami. Photo: Cedric Delsaux</span></i></div><div class="MsoNormal" style="margin-left: 18.0pt; text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I personally believe that this kind of confrontation is always thought-provoking and I don’t think it spoils historic collections. You can always skip contemporary artworks, avoid some rooms and enjoy the site. Or come back when the exhibition is finished… </span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And in a way, it is continuing the legacy of such places: on the Murakami exhibition leaflet, the Head of Events at Versailles writes that the Chateau “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">is a place known for its collaborations with some of the best creative people throughout history, including Molière, Lully, and Delacroix</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. He compares historic sites as “mille-feuilles” (a French pastry made of overlapping layers), which were built over the course of decades, and sometimes even centuries, through creative interventions.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And as shown in the pictures above, juxtapositions are sometimes very successful: colours, shapes, materials are very different but they clash, they emphasize differences, they communicate. Something is happening. I agree with Aillagon when he says that Versailles was designed for celebration and is not “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">a place for penitence</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. And both Koons and Murakami's art are joyful and colourful and fit well with the profusion of the quasi-baroque decorations of Versailles. For Veilhan, </span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">the crisp modernity of his pieces sharply contrasts with the surroundings, and makes a successful confrontation.</span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">They, in a way, break the barriers between cultural heritage and contemporary art audience and it is a fantastic </span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">way to reach different audiences and create new opportunities through the juxtaposition of past and present.</span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In the Paris’ “Circuit </span></span><span lang="FR"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Céramique</span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">” exhibition, contemporary ceramic pieces were spread over the permanent collection of the “</span></span><span lang="FR"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Musée des Arts Décoratifs</span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”, the French equivalent of the London V&A. A leaflet was needed to find your way in this treasure hunt, as some pieces were not easy to spot. A green line on the floor was therefore helping the visitor and added a fun element to the visit. </span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In the “circuit” (journey) contemporary works were dialoguing with the surroundings and the historical objects. Relationships between forms, historical references and sometimes more unconscious, emotional links built up and the viewer was solicited to use his sensibility to establish the connections. Works and displays have been carefully chosen to stimulate the dialogue between pieces from different periods (from Middle Ages to Art deco) and contemporary works.</span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This juxtaposition was a real success as it attracted two very different crowds: amateurs of antiques and historical artefacts discovering the contemporary ceramic production and amateurs of contemporary craft rediscovering the permanent collection they probably would never have visited otherwise. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Here are some photos of juxtaposition I particularly found interesting:</span><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj6_Y-H-3caA_T0RVcmgxSG6D_aknILycRnPrFR2DNBKNBeAMEVeJLTqQbM9M_x7vqlI0qjs8bfYXI_TUupE0DqrxhNUSPYImb4ySNaIWTRi64ZRB90tPCdoAWv-o1C3ky9iG_iWp-3Pjx/s1600/IMG_0147.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj6_Y-H-3caA_T0RVcmgxSG6D_aknILycRnPrFR2DNBKNBeAMEVeJLTqQbM9M_x7vqlI0qjs8bfYXI_TUupE0DqrxhNUSPYImb4ySNaIWTRi64ZRB90tPCdoAWv-o1C3ky9iG_iWp-3Pjx/s320/IMG_0147.jpg" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;">Michel Gouery. Photo Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOMXSosBchyphenhyphenGts7vub8LLHiKmeo7jweGklAu1NXID9AoXQ-UKERcd5y2-eg1kAb2gSd6iAh3ZcnpnQjH0AcW_3zADTaraTwsRCJDmQ_1vlZFjg2T7uKgm_3k_HdYI6exqtguCwqMQpPm7O/s1600/IMG_0176.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOMXSosBchyphenhyphenGts7vub8LLHiKmeo7jweGklAu1NXID9AoXQ-UKERcd5y2-eg1kAb2gSd6iAh3ZcnpnQjH0AcW_3zADTaraTwsRCJDmQ_1vlZFjg2T7uKgm_3k_HdYI6exqtguCwqMQpPm7O/s320/IMG_0176.jpg" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;">Gabrielle Wambaugh. Photo Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;"><br />
</span></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgebj_7admHPesJ9vBTd7x_bbLQ3WHOBXhc1SM6d0jkmxPIIbFkX8kB40uQJabGikbMekQKkjAKdoh2O8fA2qKZ4jCaV5dJbDJeNunKLpXghpmgB0Cmh5kTXGLbStmECp-E9Ma17WCByvcn/s1600/IMG_0183.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgebj_7admHPesJ9vBTd7x_bbLQ3WHOBXhc1SM6d0jkmxPIIbFkX8kB40uQJabGikbMekQKkjAKdoh2O8fA2qKZ4jCaV5dJbDJeNunKLpXghpmgB0Cmh5kTXGLbStmECp-E9Ma17WCByvcn/s320/IMG_0183.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;">Gabrielle Wambaugh. Photo Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKors64lLGEycKMLBJvBM-QgjrE7uO2z_5O4ETrSi1GUTbjpaXz-Z9IEHZ-jzmcsepFrlyRwrSrM8z_4LN0nppwUCES7gJPDVp5MAkhMqWWWr4K4jEH5N0YEcFnKTQktsWOhViDDKdeue0/s1600/IMG_0179.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKors64lLGEycKMLBJvBM-QgjrE7uO2z_5O4ETrSi1GUTbjpaXz-Z9IEHZ-jzmcsepFrlyRwrSrM8z_4LN0nppwUCES7gJPDVp5MAkhMqWWWr4K4jEH5N0YEcFnKTQktsWOhViDDKdeue0/s320/IMG_0179.jpg" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;">Patricia Glave. Photo Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJyluF4cawlcgOjJpCk8RlhBTsXHOY_iPdN5QDScZQ3CzxCgy9FXJUXmc9DSLdC1XYsWSOjsXvFI_672enQTuey23aw9ZQhZe-00yffOi7DQ6EVBeE3WTDVukTgX3oaRt4cDyvE62EzokE/s1600/IMG_0200.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJyluF4cawlcgOjJpCk8RlhBTsXHOY_iPdN5QDScZQ3CzxCgy9FXJUXmc9DSLdC1XYsWSOjsXvFI_672enQTuey23aw9ZQhZe-00yffOi7DQ6EVBeE3WTDVukTgX3oaRt4cDyvE62EzokE/s320/IMG_0200.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;">Xue Sun. Photo Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A stimulating experiment is to compare contemporary objects on their own (with “white cube” surroundings that generally characterize exhibitions in galleries) and the display in the museum: <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Wayne Fisher’s “Disques” are organic and mysterious and they echo admirably the white fluffy sheets of the baroque bed, but at the same time look like living creatures crawling in the intimacy of the bedroom. </span><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZD2wAd51smIlxggst_sbKwgRIj76cGM0xu7Gt6KQRCPdht_slZyvICe92vD_oZu-eMCTYvkgkMsTwjWPcHq0EfW_XqLAxnGSZVrz-wfJ4o7v_KhXW7lkjaATz6vAc6HEDq3eZ-QZzEMgo/s1600/IMG_6832.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZD2wAd51smIlxggst_sbKwgRIj76cGM0xu7Gt6KQRCPdht_slZyvICe92vD_oZu-eMCTYvkgkMsTwjWPcHq0EfW_XqLAxnGSZVrz-wfJ4o7v_KhXW7lkjaATz6vAc6HEDq3eZ-QZzEMgo/s320/IMG_6832.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtiv2qJ7pqe-dcvoIf_0Ttxso-SROcwsIe944rmdr7JKsTGHMXJ_3lriqbpUhvkKowLxqhSKquB_5_p2eDadcrVp-2TeOsaeITAUfsCPAtjtRLq6b-qsVl9kuIuGTa4WIfWyxr6dBJq-x1/s1600/IMG_0199.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtiv2qJ7pqe-dcvoIf_0Ttxso-SROcwsIe944rmdr7JKsTGHMXJ_3lriqbpUhvkKowLxqhSKquB_5_p2eDadcrVp-2TeOsaeITAUfsCPAtjtRLq6b-qsVl9kuIuGTa4WIfWyxr6dBJq-x1/s320/IMG_0199.jpg" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;">Wayne Fisher, Disque, 2010. Photos Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Ruth Gurvich’s vases are inspired by Chinese ceramics. At first glance, the viewer is reassured: Asian vases sit well in the antiques display but when looked closer, onlookers discover they are made of paper. Forms, materials, and decorations…they seem familiar but they aren’t. The juxtaposition with antiques is brilliant as it emphasizes and destabilizes our perception at the same time. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFzAiqHnBT2mEhNdBW3rTql0HP6Hu44aLdyTong4riQgFK2jf78hKW-1r28Ze0zOFdZvdnMoVvnR6SrS7KzdWmgmxKfFVJBv_vSnzYLYCYZwjo0GewxIbJGc2GlFoEKCBOdJ26LxwzX6nA/s1600/IMG_6825.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFzAiqHnBT2mEhNdBW3rTql0HP6Hu44aLdyTong4riQgFK2jf78hKW-1r28Ze0zOFdZvdnMoVvnR6SrS7KzdWmgmxKfFVJBv_vSnzYLYCYZwjo0GewxIbJGc2GlFoEKCBOdJ26LxwzX6nA/s320/IMG_6825.JPG" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisd-NNh_v0bfd7NWwlKOBaQKUiVUbbTG8u7tiHBh2pMNVVBPvh3YJ0hJmSsLnMBukZdXlIKidcxg5X7lvDmNQa2HKpaEF5l6F2OMNE1AMR92wQJ6M78FeTw1S5NQ0jjUQNoty4mZUFfCUj/s1600/IMG_0163.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisd-NNh_v0bfd7NWwlKOBaQKUiVUbbTG8u7tiHBh2pMNVVBPvh3YJ0hJmSsLnMBukZdXlIKidcxg5X7lvDmNQa2HKpaEF5l6F2OMNE1AMR92wQJ6M78FeTw1S5NQ0jjUQNoty4mZUFfCUj/s320/IMG_0163.jpg" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;">Ruth Gurvich, Vases “pleurs” (2001/2002) and “Lightscape” (2010). Photos Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sylvain Thirouin’s installation “Intrusions” is made of clay and represents manholes. I find them much more intriguing displayed in a Louis XIV living room than on a white floor as they are, according to the artist, a testimony of the </span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">past: spread on the luxurious carpet, they make a striking contrast with their dull colours and raw materials.</span><o:p></o:p></div><div class="MsoNormal"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit-c2j8deOz3HH81uOvE4-djGzqOuad0enCFcpPi1BvTeWO7N_-BvcWC0wdQ3Omupvrc6BBpq-BjcEq5Xpo0zPVAVCHvdcNOahZD-P1tBiTQU6oMo7gGYC4UKM7vy0FOYlXZqbNx_ePrRd/s1600/IMG_0181.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit-c2j8deOz3HH81uOvE4-djGzqOuad0enCFcpPi1BvTeWO7N_-BvcWC0wdQ3Omupvrc6BBpq-BjcEq5Xpo0zPVAVCHvdcNOahZD-P1tBiTQU6oMo7gGYC4UKM7vy0FOYlXZqbNx_ePrRd/s320/IMG_0181.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial;">Sylvain Thirouin, Intrusions, 2010. Photos Isabelle Busnel</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial;">Overall t</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">his exhibition resonated perfectly with my taste for displays mixing old and new which forces visitors to think outside the box and walk away from their comfort zone. But there is more: for me, “Circuit </span></span><span lang="FR"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Céramique »</span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> is a great illustration of what contemporary craft represents nowadays. Previously, craft stood for the decorative arts and was synonym with hand made luxury goods for use and display (inside buildings or on the body). The contemporary craft scene is completely different and I agree with Bruce Metcalf in his very interesting overview of the history of craft</span><span class="Apple-style-span" style="font-family: Arial; font-size: medium;"><span class="Apple-style-span" style="font-size: 14px;"> </span></span></span><a href="http://www.brucemetcalf.com/pages/essays/contemporary_craft.html">(<i>Bruce Metcalf website</i>)</a> <span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">when he says that with the Arts and Crafts Movement, William Morris created a new category of objects. According to Metcalf “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">they [contemporary craft objects] were theorized. They were both the product and subject of discourses</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. He then states that “</span></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Craft continues to be a social movement, often intuitive and without leadership. I see craft as a collective attempt to relocate personal meaning in a largely indifferent world. As a teacher and observer, I constantly see how craft functions as a vehicle to construct meaning, and how it gives substance and dignity and grace to individual's lives</span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”.</span></span></div><div class="MsoNormal" style="margin-left: 18.0pt; text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This is particularly obvious in this exhibition: contemporary ceramic objects might echo some historical artefacts in their materials, colours, shapes, textures but they strongly differ in their meaning and function. They are no more luxury interior décors or products of a trade but, quoting Bruce Metcalf’s words, rather “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">a combination of social awareness and respect for tradition</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”.</span><span lang="EN-US" style="font-family: Arial;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com0tag:blogger.com,1999:blog-5373792131138526190.post-32446829646451502642011-03-22T09:00:00.000-07:002011-03-22T10:02:12.804-07:00THE CONTEMPORARY ENAMEL PARADOX<div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">An intriguing exhibition about contemporary enamel is held at the moment and until May 28</span><sup><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">th</span></span></sup><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> at FLOW Gallery, Notting Hill, London. The show, called FUSED, is curated by Melissa Rigby, the Chairman of the British Society of Enamellers, and as described in <a href="http://www.flowgallery.co.uk/56.html">FLOW Gallery website</a>: </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">aims to challenge the pre-conceived ideas attached to enamel by questioning technique, process and aesthetic and to explore contemporary artist's voices within this ancient medium. “FUSED” brings together artists who use the traditional enamelling technique in new and exciting ways, creating a fresh visual language for this process. Their application of enamel gives an arresting beauty and unique patina to a diverse group of objects, panels and jewellery</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I am myself fascinated by enamel and use it in my jewellery. This exhibition is the occasion for me to reflect on this technique and on what I would call: “the contemporary enamel paradox”. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Using enamel is generally associated with three main characteristics: the possibility of adding colour to metal, the pursuit of a smooth, vitreous surface and a high level of technical skill. However, looking at the works displayed in the FUSED exhibition, I saw mainly white or colourless pieces, rough or granulated surfaces and an apparent lack of highly skilled techniques. Does it mean that enamel has to abandon its intrinsic characteristics to be labelled “contemporary”?</span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><o:p><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></o:p><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Out of 14 artists exhibited, 10 are using white enamel: some of them exclusively, some of them in the majority of their pieces. One artist is using silver and gold leaf and one is using over-firing brownish tones. The colour is predominant in only two artists’ work. Why should artists using a medium supposed to enhance colour not take advantage of this defining property?</span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A first clue to this contradiction can be found in the use of new alternative materials in contemporary jewellery. Enamel, coral and gemstones were produced and developed for the sake of colour, but today you can achieve coloured pieces with plastic, resin, powder coating or every kind of material available. Therefore, making a statement about colour is no longer a good enough reason to use enamel nowadays.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Another possible explanation might be the cultural and social value of colour itself. In his book “Chromophobia” (</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Reaktion Books Ltd, 2000</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">), David Batchelor writes: ”</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">chromophobia manifests itself in the many and varied attempts to purge colour from culture, to devalue colour, to diminish its significance, to deny its complexity</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. He sees two main reasons to this trend: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">in one, colour is regarded as alien and therefore dangerous; in the other, it is perceived merely as a secondary quality of experience, and thus unworthy of serious consideration. Colour is dangerous, or it is trivial, or it is both</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. He then goes one step further: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">to this day, there remains a belief, often unspoken perhaps but equally often unquestioned, that seriousness in art and culture is a black-and-white issue, that depth is measured only in shades of grey”</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">. As enamel is suffering from an “out of fashion” and what I usually call a “Faberge Egg” syndrome (I have noticed that enamel is commonly associated with those objects), contemporary practices may have been contaminated by this “chromophobia” and are maybe willing to step away from colours in order to gain seriousness and to clearly distance themselves from more traditional enamel works, which are usually very colourful.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Here are some pictures of the white works exhibited in FUSED:</span><o:p></o:p></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPy0hO-h63DecwU-SnyzunN_8jV3vfIapXx39IX84vSY-EHLHdGD0q2DBFHdcgWYL3FaxMVLsxpFJ6DYgZ9TQe1QDBU4XxjtNgSh35M5No5CCySHQPNVp37je8tgaVAjmT21pzjCw4bAxY/s1600/Carola-Bauer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPy0hO-h63DecwU-SnyzunN_8jV3vfIapXx39IX84vSY-EHLHdGD0q2DBFHdcgWYL3FaxMVLsxpFJ6DYgZ9TQe1QDBU4XxjtNgSh35M5No5CCySHQPNVp37je8tgaVAjmT21pzjCw4bAxY/s1600/Carola-Bauer.jpg" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Carole Bauer. Photo FLOW. Courtesy of the gallery.</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbSlSOinBVON3Uz9bD_waeMsml4XgajefHtbliwzxFAwWKBNKRFGoSH8eEEtaZQBoc26AWhAGSt_V1YNrc7LG9u4HaSfJuEOFt5b5NtEH6ZQJ2koaJBJV-3P_G7Mg8vHBh4HOSk3e5Qe6J/s1600/Karin-Johansson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbSlSOinBVON3Uz9bD_waeMsml4XgajefHtbliwzxFAwWKBNKRFGoSH8eEEtaZQBoc26AWhAGSt_V1YNrc7LG9u4HaSfJuEOFt5b5NtEH6ZQJ2koaJBJV-3P_G7Mg8vHBh4HOSk3e5Qe6J/s320/Karin-Johansson.jpg" width="316" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbSlSOinBVON3Uz9bD_waeMsml4XgajefHtbliwzxFAwWKBNKRFGoSH8eEEtaZQBoc26AWhAGSt_V1YNrc7LG9u4HaSfJuEOFt5b5NtEH6ZQJ2koaJBJV-3P_G7Mg8vHBh4HOSk3e5Qe6J/s1600/Karin-Johansson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Karin Johansson Photo FLOW. Courtesy of the gallery.</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeYhwHE15O99FaQ9azLLTw0hTKkT1iUH0JIpWJLBIKCsaBWMp_cfcFjyX985IFtR1sp8hOlwN1qp7seEngW2k_zy8pfu7qmRekfD4AiU4UssPI6xHIFzQL3Ho9soYl2b5qDz7e7iQ_ANQ0/s1600/LydiaFeastEnamelBrooch300dpi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeYhwHE15O99FaQ9azLLTw0hTKkT1iUH0JIpWJLBIKCsaBWMp_cfcFjyX985IFtR1sp8hOlwN1qp7seEngW2k_zy8pfu7qmRekfD4AiU4UssPI6xHIFzQL3Ho9soYl2b5qDz7e7iQ_ANQ0/s320/LydiaFeastEnamelBrooch300dpi.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Lydia feast. Photo FLOW. Courtesy of the gallery.</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A similar comment can be made about surfaces and textures, and I was struck by the fact that very few works displayed featured the smooth, vitreous and shiny aspect that we usually associate with enamel works. Again, artists seem to refuse the diktat of the good practices of enamel (the ones you find in books, websites or the ones you learn during workshops) to use this technique in a more experimental way. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Stacey Bentley is inspired by urban scenery and she explores the new possibilities of industrial liquid enamel. Her pieces are textured and grainy:</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0k4n4AYd47mddoYiJ1xPkbWuKB1K9GMkrh-hCop_k0tGX82awPx9WYdIqmOF7WJFqQwmnTyw6BgBTUpUV2erY3OLLwmQmaS2cKMomoWtZ0VyBLsxpvQUOktRG5PjZMZdklz4tqLjkKwGK/s1600/Stacey+Bentley+Textured+Enamel+Series+%25235%252C+Brooch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0k4n4AYd47mddoYiJ1xPkbWuKB1K9GMkrh-hCop_k0tGX82awPx9WYdIqmOF7WJFqQwmnTyw6BgBTUpUV2erY3OLLwmQmaS2cKMomoWtZ0VyBLsxpvQUOktRG5PjZMZdklz4tqLjkKwGK/s320/Stacey+Bentley+Textured+Enamel+Series+%25235%252C+Brooch.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Stacey Bentley. Photo FLOW. Courtesy of the gallery.</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Evangeline Long is inspired by corrugated metal structures and she over-fires enamel to achieve some aspects of erosion:</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvwHPwN4QKzId0vLHZFK4aPgled6KVsL6D5qwIgitKiJrNU5nBm4dbDssrDVBfUuO9wz6n_EdAbivCPIDE5cYMl6mmdHhnNE8vhZJEoS2DiIKVyXcgVv7hVTwK7chKKv57Qyy8DJvBBUL6/s1600/Evangeline-van-Long.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvwHPwN4QKzId0vLHZFK4aPgled6KVsL6D5qwIgitKiJrNU5nBm4dbDssrDVBfUuO9wz6n_EdAbivCPIDE5cYMl6mmdHhnNE8vhZJEoS2DiIKVyXcgVv7hVTwK7chKKv57Qyy8DJvBBUL6/s320/Evangeline-van-Long.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Evangeline Long. Photo FLOW. Courtesy of the gallery.</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kirsty Brown explores the deterioration of once treasured objects and applies enamel in layers over fabrics:</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgslq4Uv1EDJ_yyTmodvaS_gPV8Mjdge177kLGaij4W2g9Xknoqq_YC6Yvy07ptwAvGfRVpqs3tcUBR9pgIeZIl8j8lnYc0d1MCAoOtfHvsK6noqJMzQWwgQas0_ijWJoAO2hAB75TfTbni/s1600/IMG_6696.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgslq4Uv1EDJ_yyTmodvaS_gPV8Mjdge177kLGaij4W2g9Xknoqq_YC6Yvy07ptwAvGfRVpqs3tcUBR9pgIeZIl8j8lnYc0d1MCAoOtfHvsK6noqJMzQWwgQas0_ijWJoAO2hAB75TfTbni/s320/IMG_6696.JPG" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Kirsty Brown. Photo Isabelle Busnel.</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Monochrome works, highly textured and rough pieces: this exhibition requires to be open-minded and to put aside pre-conceived ideas about enamel. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The last characteristic I would like to mention is the generally high level of skill demanded by enamel techniques. In FUSED, no specific manual dexterity was obvious, no technique was breath taking. But it doesn’t mean that those works didn’t require high skills. The artist Jessica Turrell has recently completed a three-year research fellowship entitled “Innovation in Vitreous Enamel Surfaces for Jewellery”. The project was hosted by the Enamel Research Unit at the University of the West of England, Bristol and funded by the Arts and Humanities Research Council</span> </span><span lang="EN-US"><a href="http://www.uwe.ac.uk/sca/research/cfpr/research/enamel/Research_Projects/ahrcvitenamel.html"><span style="font-family: Arial;">(Project Website)</span></a></span><span style="font-family: Arial;">. </span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The initial stage of her project involved a comprehensive </span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">and wide-ranging visual and literature survey that reviewed the work of 175 jewellers from all around the world, and for whom enamel forms a significant element of their practice. Work was then allocated to one of three main categories:</span></div><div class="MsoNormal" style="text-align: justify;"></div><ul><li><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">“Skilled (fine)</span></i></li>
</ul><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Broadly work that concentrates on traditional enamelling techniques to create work for a main- stream or commercial market.</span></i><br />
<div class="MsoNormal" style="text-align: justify;"></div><ul><li><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">New</span></i></li>
</ul><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Where the work itself engages with contemporary ideas but where enamel is used simply to add a paint-like layer of colour to the surface of the piece using only basic techniques.</span></i><br />
<div class="MsoNormal" style="text-align: justify;"></div><ul><li><span style="font-family: Symbol;"><span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Innovative</span></i></li>
</ul><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Where the two practices overlap and the artist is able to demonstrate both a knowledge and understanding of the material and a desire to use enamel to explore contemporary aesthetics and concerns”</span></i><span style="font-family: Arial;">.</span><br />
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</span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Her survey findings give a very interesting panorama of contemporary enamel today: “</span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">There appears to be a divide between enamel work that is produced with high levels of skill but that essentially makes no reference to contemporary preoccupations, and enamel work that strives to be innovative in and of itself but which operates from an impoverished skill base and therefore often fails to exploit the expressive potential of the material</span></i><span style="font-family: Arial;">”. And she adds that: “<i style="mso-bidi-font-style: normal;">only a small number of British jewellers were identified whose enamel work fitted within the innovative criteria</i>”.</span><span style="font-family: Arial;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">I personally think that the artists featured in the exhibition FUSED belong to the innovative categories. And maybe the paradox I was seeing, where enamel has to abandon its intrinsic characteristics (colours, vitreous and smooth surfaces and apparent high level of skill) to be labelled contemporary is not a paradox but only a logical evolution of a technique that aims to make reference to contemporary practices. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">For example, instead of considering white as a non-colour, we can see it as an aesthetic experience. White is a fascinating colour (and I personally share this point of view. See my posts on </span><span style="font-family: Arial;"><a href="http://thinkingthroughthings.blogspot.com/2010/12/white.html">White</a>) and the vitreous aspect of enamel makes it particularly versatile and interesting. In his article “In the midst of colour. Reflection on colour’s inescapable presence” (<i style="mso-bidi-font-style: normal;">published in Metalsmith Vol 29,No 4</i>), Jamie Bennett says: “<i style="mso-bidi-font-style: normal;">Once a coloured material is no longer a given property of jewellery or metal, and now results from a conscious decision, we must understand the impact of that choice</i>”. He then says: “<i style="mso-bidi-font-style: normal;">Colour both expresses an idea and stands as an embodied idea […] and it remains an opportunity beyond framed language and social conditions”</i>. In that case, using white enamel is part of the artist’s statement and is used to convey ideas, messages or aesthetic considerations. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;"><br />
</span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Astrid Keller in her plates and vessels reproduces the traces left by the way people handle objects. She applies fine lines on the white surface to give the impression of an old object:</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq_YlsU8SeeZGLifNc_5IjzYn_I-fFKfSxvci4JaNxco0OxSsleC6LHqkPxIwgFEX9MZwpgYzFkd0hEIR4ig5rxrM4_0-t4aZ4K2hNuY7AeZO5E1OiSvUYsyIhUKwX915B5gechVjUTI8P/s1600/IMG_6680.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq_YlsU8SeeZGLifNc_5IjzYn_I-fFKfSxvci4JaNxco0OxSsleC6LHqkPxIwgFEX9MZwpgYzFkd0hEIR4ig5rxrM4_0-t4aZ4K2hNuY7AeZO5E1OiSvUYsyIhUKwX915B5gechVjUTI8P/s320/IMG_6680.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Astrid Keller. Photo Isabelle Busnel.</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Helen Carnac is fascinated with mark-making, uses the metal as a “white page” to experiment with lines and draws onto the industrial enamel surfaces using sgrafito techniques:</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpaMaR1JBWVETQPuu8s2rsGVbX8TO051pJI6C8x9W2b8dWvS3T_olYdOVKsFkkyegENTY1Da6k1kc74so9PRR6guPah5hCaQ_wuQCMx7QqQiGGKcMSaAXF7iudgVA2dyZy1L4bIMAwhf27/s1600/IMG_6704.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpaMaR1JBWVETQPuu8s2rsGVbX8TO051pJI6C8x9W2b8dWvS3T_olYdOVKsFkkyegENTY1Da6k1kc74so9PRR6guPah5hCaQ_wuQCMx7QqQiGGKcMSaAXF7iudgVA2dyZy1L4bIMAwhf27/s320/IMG_6704.JPG" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Helen Carnac. Photo Isabelle Busnel.</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Kye-Yeon Son explores positive and negative spaces through her branch structures. White enamel allows her to play with shadows and emphasizes the positive/negative game:</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPtuza-BuY-e28mnSKt-ZfolGLY_HQZqGZlpMoePTtsQEeF2bsoy79fhneVBAYUOxlOXC7hrzfVkWvM7hfqook7FL2HBDFKMEab3mEL-8q_eYWALJab6g9LNbpd3bBgxgiHLs-DoSvh0Nh/s1600/Kye-Yeon-Son.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPtuza-BuY-e28mnSKt-ZfolGLY_HQZqGZlpMoePTtsQEeF2bsoy79fhneVBAYUOxlOXC7hrzfVkWvM7hfqook7FL2HBDFKMEab3mEL-8q_eYWALJab6g9LNbpd3bBgxgiHLs-DoSvh0Nh/s320/Kye-Yeon-Son.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Kye-Yeon Son. Photo FLOW. Courtesy of the Gallery.</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Same arguments can be used regarding surfaces and textures: until recently, enamel’s surfaces were exclusively smooth and shiny but contemporary artists have discovered the endless potentialities of this technique and they use enamel to explore contemporary aesthetics: <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Kirsten Haydon has found a new process to create reflective surfaces by mixing vitreous enamel and road marking beads. The beads are fired into the surface of the enamel at high temperatures:</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ESwcg7LcRcMnty5855xAhF9sf8HmrTtNnBpYcd4OvXjAZ146iyUCPmhhbzcvXc94B8Ou_GjXkyzuwyMNZhJaf5q5eZii-W-pG0CAgC2zsXDdfFoJN91vUwYS5_xtOSYx1IiVmFYvsfMU/s1600/KirstenHaydon2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ESwcg7LcRcMnty5855xAhF9sf8HmrTtNnBpYcd4OvXjAZ146iyUCPmhhbzcvXc94B8Ou_GjXkyzuwyMNZhJaf5q5eZii-W-pG0CAgC2zsXDdfFoJN91vUwYS5_xtOSYx1IiVmFYvsfMU/s320/KirstenHaydon2.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Kirsten Haydon. Photo FLOW. Courtesy of the Gallery.</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Helen Carnac bowls are obtained by firing the enamel only once, then areas of the panels are ground and abraded to a matt finish in places, allowing the steel substrate to oxidise naturally, creating new relationships with the enamel: </span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhORZNbB9ovyz3oAwuLjESud_ByFH2-wMNl7S4aoXc7AZ_j_PmL7XwQW0Xml9M508mVCxe34hFQCFBxurkVFTlqMDyCwWkVnISYrdjeQkQ2-F393I0AJ_tbcQsA5oY-9K5ULhYAIAvmm8dj/s1600/IMG_6714.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhORZNbB9ovyz3oAwuLjESud_ByFH2-wMNl7S4aoXc7AZ_j_PmL7XwQW0Xml9M508mVCxe34hFQCFBxurkVFTlqMDyCwWkVnISYrdjeQkQ2-F393I0AJ_tbcQsA5oY-9K5ULhYAIAvmm8dj/s320/IMG_6714.JPG" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Helen Carnac. Photo Isabelle Busnel.</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Even if chance, surprise and randomness can play a role in the process of making, all those artists demonstrate a high knowledge and understanding of the material. The work sometimes looks simple and effortless but it generally requires a high level of skills. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span style="font-family: Arial;">Although there might be an apparent paradox in contemporary enamel, where artists consciously or unconsciously reject characteristics associated with traditional enamel (colours, surfaces and skills) to exist as contemporary artists, I believe it is not mainly that motivation that drives the enamellers featured in the exhibition FUSED: works clearly belong to Jessica Turrell’s categories of “innovative”, where understanding of the material and desire to use enamel to explore contemporary aesthetics and concerns are the main originality of those artists. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com1tag:blogger.com,1999:blog-5373792131138526190.post-58704175769144798502011-03-15T10:30:00.000-07:002011-03-15T10:30:09.175-07:00IO CE L’HO D’ORO (YEAH BUT MINE’S GOLD) BY BENJAMIN LIGNEL<!--StartFragment--> <br />
<div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I knew at first glance I was in front of a fascinating object when I met this pigeon at COLLECT 2010 in the Lesley Craze Gallery space. Let me introduce you to “Io ce l’ho d’oro” by the French artist Benjamin Lignel:</span><o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDBfPHgeanTXWDNhLNslqWQ3UIUyp14ASElAdVMdXQ7aXMR1oUhzpgeZD4hti9sOlZdk5TCZlxJMmjrXhbaB4Hvhaa5aWTjhDkAo_3082I8QFV7oxHVsOXU5xLeb0XkndQAzIGOZ-qv3R9/s1600/140.Io+ce+l%2527ho+d%2527oro.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDBfPHgeanTXWDNhLNslqWQ3UIUyp14ASElAdVMdXQ7aXMR1oUhzpgeZD4hti9sOlZdk5TCZlxJMmjrXhbaB4Hvhaa5aWTjhDkAo_3082I8QFV7oxHVsOXU5xLeb0XkndQAzIGOZ-qv3R9/s400/140.Io+ce+l%2527ho+d%2527oro.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDBfPHgeanTXWDNhLNslqWQ3UIUyp14ASElAdVMdXQ7aXMR1oUhzpgeZD4hti9sOlZdk5TCZlxJMmjrXhbaB4Hvhaa5aWTjhDkAo_3082I8QFV7oxHVsOXU5xLeb0XkndQAzIGOZ-qv3R9/s1600/140.Io+ce+l%2527ho+d%2527oro.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Io ce l’ho d’oro, 2007. Photo Enrico Bartolucci, Paris. Courtesy of the artist</span></i></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This work is labelled as: <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Io ce l'ho d'oro (yeah...but mine's gold)” 2007<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Beak extension for pigeon <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Fine gold 6,5 x 3,4 x 3,4 cm<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Benjamin Lignel describes it as “a</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">n experiment on the ambivalent use of accessories to either mock, or ape, the demeanour of our betters</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This project is a perfect illustration of Benjamin’s artist statement: trained in philosophy and literature, then art history at New York University, he then graduated in furniture Design at the Royal College of Art, London. This gave him an</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> “interest in the functional object, complicated by a penchant for art, and further perverted by sustained exposures to literary works”.</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">His approach is design-led and offers an “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">alternative</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">to our craft-based profession: as an extended family of individual objects that hope to tackle specific aspects of body adornment - with little concern for overall stylistic or technical homogeneity”.</span> </i><a href="http://www.klimt02.net/jewellers/index.php?item_id=10552"><span style="font-family: Arial;">(<i>Klimt02 website)</i></span></a></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">One specific aspect of body adornment that Benjamin is researching thoroughly in his last projects is to describe “<i style="mso-bidi-font-style: normal;">the changes and exchanges that the body tolerates, that its owner submits it to, sometimes encourages.</i>” He doesn’t like the word series (as he prefers to remain more ambiguous and address several themes at once in his projects) but the pigeon is part of a family of projects that tackle this subject of body’s alteration. In his publication “Benjamin Lignel / Comic Book” </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(</span><i><span lang="FR"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">self-published, second édition, June 2010</span></span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">)</span><span style="font-family: Arial; mso-ansi-language: EN-GB;"> he writes: “<i style="mso-bidi-font-style: normal;">While plastic surgery presupposes an ideal body type it strives to emulate, it in fact establishes a completely new aesthetic genre. Thus modified features can, and often do, convey something other than their intended message. This effect is never as strong as when surgery somehow misses the ‘natural effect’ (a contradiction in terms, some would say) and hits upon a super-natural effect: forms that are both excessive and idiosyncratic, common and strange.”<o:p></o:p></i></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Other projects revolving around this theme include:<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Gold Lingam</span></b><span style="font-family: Arial; mso-ansi-language: EN-GB;">, a project developed in response to Ruudt Peters’ invitation extended to over 100 artists to re-interpret this votive representation of the Hindu god Shiva. <o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Benjamin Lignel describes it as “<i style="mso-bidi-font-style: normal;">an educational toy for the 21st century man</i>”<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6AvHjTiYNMAp9DWJzv5ISEF9mMX1diRjA7_8fu8apX0Hl3TPLzCW1wwzaaNbKKq0LfqltQdtbVPQTpZ_8VTLm3Twv1SuDvMCXPoMkCLFW9jdYWWvKOIdkPZ5LwO7FPxFTQZNK8sDraHGi/s1600/172.+Lingam+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6AvHjTiYNMAp9DWJzv5ISEF9mMX1diRjA7_8fu8apX0Hl3TPLzCW1wwzaaNbKKq0LfqltQdtbVPQTpZ_8VTLm3Twv1SuDvMCXPoMkCLFW9jdYWWvKOIdkPZ5LwO7FPxFTQZNK8sDraHGi/s320/172.+Lingam+1.jpg" width="291" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Lingam, the collapsible version, 2009. Photo Enrico Bartolucci, Paris. Courtesy of the artist</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;"><br />
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</div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><span lang="EN-US" style="font-family: Arial; mso-no-proof: yes;"><!--[if gte vml 1]><v:shape id="Picture_x0020_3"
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</div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><br />
</div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Getting old sucks</span></b><span style="font-family: Arial; mso-ansi-language: EN-GB;"> : this piece was short-listed by Chi Ha Paura in 2010 for its ‘Body stories’ collection (it did not make it to the final selection of pieces produced by CHP) .<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Benjamin describes it as “<i style="mso-bidi-font-style: normal;">Brooches for mammal in the p.m., worn to signal some things other than protracted youth: feed, sag, and pride. (The pair)”.<o:p></o:p></i></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1F0KEqmaWI2NEZK4tlC9wEoUIbtrCJvm05bPm66gHL2eLMxYrNQujA0W7QFo3bIQeV52ZmxzMwmyadQ7ChLjFgPGF-MoAFRzsiOM0bwCCQKCM__99CRgsZK3bXJwnE0SAsV7n85M27dPs/s1600/142.+Getting+Old+Sucks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1F0KEqmaWI2NEZK4tlC9wEoUIbtrCJvm05bPm66gHL2eLMxYrNQujA0W7QFo3bIQeV52ZmxzMwmyadQ7ChLjFgPGF-MoAFRzsiOM0bwCCQKCM__99CRgsZK3bXJwnE0SAsV7n85M27dPs/s320/142.+Getting+Old+Sucks.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOGDjW8evC1PIFhNpLw51VpEe3EisIjWzWgB9N2RiBeMIf3gtInOy7sO2zbVIr-c8YYSYFTuikZQUQOEWpImrY0OSG1BtSeW8OxM1BV5CGeTm4Hi6Rk1O81RFI15stgr-T_DPS-CHwK6pi/s1600/femme+avec+getting+old+sucks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOGDjW8evC1PIFhNpLw51VpEe3EisIjWzWgB9N2RiBeMIf3gtInOy7sO2zbVIr-c8YYSYFTuikZQUQOEWpImrY0OSG1BtSeW8OxM1BV5CGeTm4Hi6Rk1O81RFI15stgr-T_DPS-CHwK6pi/s320/femme+avec+getting+old+sucks.jpg" width="261" /></a></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Getting old sucks, 2006-07. Photo Joel Degen, London (still life) and Elene Usdin, Paris (portrait). Courtesy of the artist</span></i></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span lang="EN-US" style="font-family: Arial;"><b>The ‘Post-Columbian gold’ series</b></span><span lang="EN-US" style="font-family: Arial;"> </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">was developed towards ‘Ultrabarocco’, an exhibition curated by Valeria Vallarta Siemelink as part of the Walk the Grey Area project (Mexico, May 2010). It was showcased alongside a headgear by another artist, Alex Burke, which completed the installation. Each piece was displayed in lieu of the body part it was supposed to enhance…This series take its cue from “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">both contemporary corrective practices, and pre-columbian gold ornaments - anthropomorphic add-ons which suggested a somewhat improved version of reality</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. Another project, “Redecoration II” follows a similar idea and was displayed at COLLECT 2010 next to the pigeon: I presume that “Redecoration II” is the feminine counterpart of the beak extension for pigeon</span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">…</span><o:p></o:p></span></div><div class="MsoNormal"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGG9dCvxd6ZVEkn2b3n6J5Hl_BuhlXZ3b717t-H_f7v5zO0gXnhmopzl3DwJSaYAjvX_8R8Rtz-bcFNxsuCz7SqR7zcAK1FFJ5pkOEp8wkJz8c9tOmew_eGZaccB6sBDZsVMez_DF_PghP/s1600/181.-Post-Columbian-Gold-%2528facebow%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGG9dCvxd6ZVEkn2b3n6J5Hl_BuhlXZ3b717t-H_f7v5zO0gXnhmopzl3DwJSaYAjvX_8R8Rtz-bcFNxsuCz7SqR7zcAK1FFJ5pkOEp8wkJz8c9tOmew_eGZaccB6sBDZsVMez_DF_PghP/s320/181.-Post-Columbian-Gold-%2528facebow%2529.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7XqN-fcEGVNVhWh_A3SFzHtvlcDtteN8CCiDJN-chIg63B2WUF0eDFyORoh3oiQ1Khv6Q6m0EBqLpfqHW0AugGF2KOEv_BVoSnjPtHy8SHoPpbqCYUE-EDXKvVvPuDByS2EVjPKDJr5fa/s1600/181.-Post-Columbian-Gold-%25282-pads%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7XqN-fcEGVNVhWh_A3SFzHtvlcDtteN8CCiDJN-chIg63B2WUF0eDFyORoh3oiQ1Khv6Q6m0EBqLpfqHW0AugGF2KOEv_BVoSnjPtHy8SHoPpbqCYUE-EDXKvVvPuDByS2EVjPKDJr5fa/s320/181.-Post-Columbian-Gold-%25282-pads%2529.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnTGVS_WLCjJ0MIw6WoKndURy30zYNRc102mFB4efL-GnXCSTxexSozRfAz7tGb_FBGnowZ_6tkjXnbxpO7bT-Xj0-Yv2uMT97iQq-S0FGkh72afngP9xDzakpk1kRHS7250WBwnWq8DsB/s1600/181.Post-Columbian-Gold-%2528padded-sheath%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnTGVS_WLCjJ0MIw6WoKndURy30zYNRc102mFB4efL-GnXCSTxexSozRfAz7tGb_FBGnowZ_6tkjXnbxpO7bT-Xj0-Yv2uMT97iQq-S0FGkh72afngP9xDzakpk1kRHS7250WBwnWq8DsB/s320/181.Post-Columbian-Gold-%2528padded-sheath%2529.jpg" width="213" /></a></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Post-columbian gold (facebow), 2010.</span></i></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Post-columbian gold (pads),2010<o:p></o:p></span></i></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Post-columbian gold (sheath),2010<o:p></o:p></span></i></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Photo Enrico Bartolucci, Paris. Courtesy of the artist<o:p></o:p></span></i></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGjZ0D-cI60-pNZGSi4fybDsmVmH99MtFLrE35P0NmmKiIxEKCzSoDXDIGxXDgq5HNmiJW8mzAMjAGjfqScfDOuxSXNr5Ju9GmZ_epQo0KtGPD1_TugRafk8fgv3gqNjRozdOoysdNQLMy/s1600/185.+Redecoration+II.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGjZ0D-cI60-pNZGSi4fybDsmVmH99MtFLrE35P0NmmKiIxEKCzSoDXDIGxXDgq5HNmiJW8mzAMjAGjfqScfDOuxSXNr5Ju9GmZ_epQo0KtGPD1_TugRafk8fgv3gqNjRozdOoysdNQLMy/s320/185.+Redecoration+II.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Redecoration II, 2010. Photo Enrico Bartolucci, Paris. Courtesy of the artist</span></i></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><br />
</div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">So having set the context of the beak extension for pigeon, let’s go back to it. While I find those explorations about body alteration very interesting, my heart goes first for the mocking bird. <o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Several layers of meaning can be found in this installation: first the title “Yeah, but mine’s gold” refers to men’s tendency to show off and to compare themselves with others (physically but also through material goods). I questioned Benjamin and he confirmed that the pigeon was male and that this detail was of great importance. Then the verbs in the subtitle have also been carefully chosen: to mock or ape. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This dual dynamic</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”, Benjamin tells me, “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">echoes mediaeval parodic practices as exemplified by mystery plays, and their reversal of the established order and values. Grotesque was an important element of these plays, in which, actors dressed to look like the social elite – the lord and the clergy – at its most caricatural took a trip down the gutter</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. Here the artist has chosen a pigeon, which is a nondescript bird, a kind of city’s vermin, to convey his message, and if you look closely to the beak, it is aimed to look like an eagle’s beak, one of the most noble and majestic birds on earth…</span><o:p></o:p></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHlWkKgzRfpmWnnynx2oSdX7Pfk2hjzPNgqHndHrosP7s_EnsLdR05P4Cu4kTMUHk5ategXHDhqsBJdtII7YMLUIxgDj204VFsKfCV-KX67C3X70RrZZtB0Rrtam1x-HHVZLXlI7WwRXrT/s1600/bec+or.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHlWkKgzRfpmWnnynx2oSdX7Pfk2hjzPNgqHndHrosP7s_EnsLdR05P4Cu4kTMUHk5ategXHDhqsBJdtII7YMLUIxgDj204VFsKfCV-KX67C3X70RrZZtB0Rrtam1x-HHVZLXlI7WwRXrT/s320/bec+or.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Photo Enrico Bartolucci, Paris. Courtesy of the artist</span></i></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><br />
</div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The verb “to ape” has been chosen by the artist to convey another idea: here he talks about social hierarchy and the fact that humans tend to emulate the social class they aspire to join. So there are different meanings possible and as a viewer you can make your choice: is this pigeon mocking or aping the eagle?<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The use of gold is important too: if you want to climb the social ladder, you might use visible signs like gold or expensive accessories. Gold is fascinating and spectacular. This beak is made in fine gold and the artist has made a “sport” version of it in 9-carat gold, still precious but more casual. And this beak is longer, strapped on the back of the head like a baseball cap and is worn by a blackbird… I personally find the idea to make a subtle variation of the pigeon’s beak extension brilliant!</span><o:p></o:p></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS1K4rbFq43D3lN6cFkVw5Uy-leyrxGOImm9Z9hq5KmbIrosv0zuaQT3IkQE1Lm9RWAqytQoTJyafm48zqVfawKiXzRL1ooA1iZH1xlY3MfeLOC1VSL6kGms57T2gaSmmBBwD4w5XLSmmq/s1600/170.+Io+ce+l%2527ho+%2528Sport%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS1K4rbFq43D3lN6cFkVw5Uy-leyrxGOImm9Z9hq5KmbIrosv0zuaQT3IkQE1Lm9RWAqytQoTJyafm48zqVfawKiXzRL1ooA1iZH1xlY3MfeLOC1VSL6kGms57T2gaSmmBBwD4w5XLSmmq/s400/170.+Io+ce+l%2527ho+%2528Sport%2529.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS1K4rbFq43D3lN6cFkVw5Uy-leyrxGOImm9Z9hq5KmbIrosv0zuaQT3IkQE1Lm9RWAqytQoTJyafm48zqVfawKiXzRL1ooA1iZH1xlY3MfeLOC1VSL6kGms57T2gaSmmBBwD4w5XLSmmq/s1600/170.+Io+ce+l%2527ho+%2528Sport%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Io ce l’ho d’oro (sport), 2009. Photo Enrico Bartolucci, Paris. Courtesy of the artist</span></i></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">I<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> really don’t know which one I prefer: the defiant pigeon or the slender blackbird… But they work very well together and are usually displayed in pairs. <o:p></o:p></span></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It brings the question of the display of such a work. As this “experiment” navigates loosely between art, design and craft disciplines, the environment in which the birds are displayed can give rise to different interpretation of the work. The first time I saw the pigeon was at COLLECT. It was displayed on the wall, highly perched, pairing with the blackbird sport version, with “Redecoration II” standing in the middle.</span><o:p></o:p></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1FkVmVzzdDNsTrdIHxK3Xn8oauE_PxVTQ7RzLmpq_CJLII0-Whw8iuRNHZUGoZvqYq1pUpT8fkvwWJ2QJ-NXGlnLMRg5izPyGe8VuqqOIAyjI1VrBXKg9tAGw5JbKBjK9TPTwmvskC3KF/s1600/Collect.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1FkVmVzzdDNsTrdIHxK3Xn8oauE_PxVTQ7RzLmpq_CJLII0-Whw8iuRNHZUGoZvqYq1pUpT8fkvwWJ2QJ-NXGlnLMRg5izPyGe8VuqqOIAyjI1VrBXKg9tAGw5JbKBjK9TPTwmvskC3KF/s320/Collect.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Photo Benjamin Lignel, courtesy of the artist</span></i></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This was, I think, too formal and had a “Museum-like” feeling. The connection between the pieces was also not obvious and the birds looked somehow lifeless. The mocking part of the message was, in my mind, also missing.<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The birds travelled to another exhibition called “Under the Counter” by the artists collective “Intelligent Trouble” </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://intelligenttrouble.wordpress.com/"><i>(website)</i></a>. Through the work of five artists the exhibition called “Jewellery conversation” sought to explore jewellery’s communicative role and potential in a wider social field.</span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The pigeon was therefore in conversation with the other pieces of the exhibition and he was standing on the top of a blackboard. </span><o:p></o:p></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify; text-autospace: none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR57_GdTABaMWUTb_a3_mO7psCUs6VX3y-jIlSTU3zgrXK_LdjdztJGf1Qa-lriWf-IwATSBrTGc82QZt8A2jED02qLsU4qxwwV8CAF3oV7kA068BNLUpp5RqfCu9u-T0pE0_75w5rHkfT/s1600/under+the+counter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR57_GdTABaMWUTb_a3_mO7psCUs6VX3y-jIlSTU3zgrXK_LdjdztJGf1Qa-lriWf-IwATSBrTGc82QZt8A2jED02qLsU4qxwwV8CAF3oV7kA068BNLUpp5RqfCu9u-T0pE0_75w5rHkfT/s320/under+the+counter.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJit3huPGoSNnZdDJbiQGZ3R2LcUCx6xdMbTnlmORwwq9QMEc140E1cxQHINGmNghvFFxyYoVKm43CIYFWsTnQjWByHOSU2M-0RNJWvRfz05HJzShoUOubjAX5cQgTh9ewJyQ0St7Xopoy/s1600/under+the+counter+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJit3huPGoSNnZdDJbiQGZ3R2LcUCx6xdMbTnlmORwwq9QMEc140E1cxQHINGmNghvFFxyYoVKm43CIYFWsTnQjWByHOSU2M-0RNJWvRfz05HJzShoUOubjAX5cQgTh9ewJyQ0St7Xopoy/s320/under+the+counter+3.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Photos from Intelligent Trouble website</span></i></div><div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: center; text-autospace: none;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I think this display was far more successful as the pigeon was integrated in the decorum as if it just landed here by mistake. And with a closer look, one could discover it was wearing a golden beak.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">According to Benjamin Lignel, the most successful display so far was on show at Galerie Jungblut, where he had his first solo show last November. There, he put the two birds on top of white columns two meters high: </span><o:p></o:p></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjUhfv4OKugEcCvQdVjjCb1QAJ5by-uWg1IOfCuJD13-tc2bsvc_Yuy4tDNmwpz77pR0jYccXNVjI83eTZOgFne9wSWEsDaamaU_HBB9ZRaTjca6IFTEYw1qD5mi8dzxSClTbVMEpIrJUm/s1600/Jungblut.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjUhfv4OKugEcCvQdVjjCb1QAJ5by-uWg1IOfCuJD13-tc2bsvc_Yuy4tDNmwpz77pR0jYccXNVjI83eTZOgFne9wSWEsDaamaU_HBB9ZRaTjca6IFTEYw1qD5mi8dzxSClTbVMEpIrJUm/s320/Jungblut.jpg" width="240" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;">Photo Benjamin Lignel, courtesy of the artist</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Here the birds majestically overlook visitors in their grandeur and they really are showing off. The white cube surroundings gives an Art Gallery feeling. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The last display I would like to mention is my favourite: Benjamin Lignel and 8 other artists have been invited by “Le </span><span lang="FR"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Musée </span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">de la Chasse et de la Nature, Paris” (Hunting and Nature Museum) to place their work in the permanent collection of the museum. The theme of the exhibition was: “Ghosts hunting” and people were asked to stay alert and be prepared to unusual encounters.</span><o:p></o:p></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtCoJVJiHGpNIh41ueVpEieieO2LsNH_A0icWvHFzIwXe3rbEs-tpQMQiEBAG688fpwC-qXC3eG9K24yxvgv7SV13IkyMq6Fa4nD_QtjycqV6BjQgGkKe3u3RnEtG0s4uu_qyVyd9p9B4E/s1600/Muse%25CC%2581e+de+la+Chasse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtCoJVJiHGpNIh41ueVpEieieO2LsNH_A0icWvHFzIwXe3rbEs-tpQMQiEBAG688fpwC-qXC3eG9K24yxvgv7SV13IkyMq6Fa4nD_QtjycqV6BjQgGkKe3u3RnEtG0s4uu_qyVyd9p9B4E/s400/Muse%25CC%2581e+de+la+Chasse.jpg" width="400" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-family: Arial; mso-ansi-language: FR;">Musée</span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-GB;"> de la Chasse et de la Nature, Paris. Photo Enrico Bartolucci, courtesy of the artist.<o:p></o:p></span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The pigeon can easily be missed – nothing apart from the beak itself, indicated a status different from that of its surrounding - but if you spotted it, you could almost hear it whisper: “Yeah, but mine’s gold!<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><!--EndFragment-->Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com0tag:blogger.com,1999:blog-5373792131138526190.post-47286944814189330482011-03-09T15:11:00.000-08:002011-03-10T06:49:33.655-08:00DIALOGUE COLLECTIVE X AT SCHMUCK<div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">If you go to SCHMUCK in Munich this year don’t miss the Dialogue Collective exhibition (for those who are not familiar with SCHMUCK, it is the oldest </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">exhibition of contemporary jewellery work in the world and it takes place since 1959 every year during the Munich International Trade Fair in March).<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The exhibition is called DIALOGUE X and will be</span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> housed in a working foundry. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirPVeh7G8ZHES8ozvCsQLKyDODwj0TTBSVWXYkbRk8TrYBp_4ZysP0oBOJiI-hj-hhPUL2TB1B1TKMzaUSPTVF6mPusgaTBr_uzmipgEiEJ_NG61IL17gmFpnKmYsllgekOA4ikENTc3PP/s1600/dialoguex-final-front-postcard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirPVeh7G8ZHES8ozvCsQLKyDODwj0TTBSVWXYkbRk8TrYBp_4ZysP0oBOJiI-hj-hhPUL2TB1B1TKMzaUSPTVF6mPusgaTBr_uzmipgEiEJ_NG61IL17gmFpnKmYsllgekOA4ikENTc3PP/s1600/dialoguex-final-front-postcard.jpg" /></a></div><div class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRCqgwOezz65MTkstAf9-R34FpRiDz4_2Vn91EWj6UK3WLMsUafQlSzMo9fk6QsY7YvYerELWsQvUHGi5RLlgoeyMKLsqJ91AVdRCq2w-5JT1mJaEDlbwCHB_17xhbnGRV7EyDQC2EIRfC/s1600/pv-invite-dialogue-2011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRCqgwOezz65MTkstAf9-R34FpRiDz4_2Vn91EWj6UK3WLMsUafQlSzMo9fk6QsY7YvYerELWsQvUHGi5RLlgoeyMKLsqJ91AVdRCq2w-5JT1mJaEDlbwCHB_17xhbnGRV7EyDQC2EIRfC/s1600/pv-invite-dialogue-2011.jpg" /></a></div><div class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Photos from the Dialogue Collective blog</i></span></div><div class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The press release states that Dialogue Collective is “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">a group of artists with a passion for Jewellery and Silversmithing in the broadest sense of these two disciplines. The Dialogue Collective consists of makers with a direct connection to London Metropolitan University aka The Cass, and invited guests. The remit is to develop new ways to create and show Jewellery and Silversmithing through making and discussion, bringing contemporary jewellery to new audiences</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; line-height: 28px;"><a href="http://goog_1228379607/">(<i>Dialogue Collective Blog</i>)</a></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It sounded promising but I wanted to know more: I had the opportunity to take part in one of their meetings and asked some basic questions: </span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">why a collective? How do they function? How do they develop new ways of making, thinking, showing?<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
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</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I was greeted with a glass of wine and some nibbles and the first thing I noticed was that those artists seem to have a genuine pleasure to work together. They insist on the fact they like to be in a group where people mix socially and where everybody knows each other’s work quite intimately. “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It is like carrying on the excitement we had in college</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">” says one of them. The connection is the London Metropolitan University though everyone can bring friends. But a condition is to be like-minded and “not too commercial” as this group aims to be innovative and to support artists that are stepping out of the usual jewellery and silversmithing’s comfort zone. They usually meet every week and one of them noticed, “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Working on a bench on your own can be very solitary. Every time I go to a Dialogue meeting I come out feeling very positive</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. What I found very refreshing with this collective is that they don’t take themselves too seriously: they are aware that Dialogue won’t bring them immediate fame and money but there is real group dynamics in the way they support each other’s projects and in the way they try to develop new ways to create and show their work.<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh78OAMNjPngFs0CDLrHVZUYAwMZeeHgQHnGN6TNAuC1qGRc46dOskF273OzxXM6szw5EYSQ-b80EV1_PdAjslJoj7gqL0xZzB1vmjgvFdc9RK-8s5KDA5Qul7SL7tLNKhR5rO6W6BFWiBY/s1600/IMG_6671.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh78OAMNjPngFs0CDLrHVZUYAwMZeeHgQHnGN6TNAuC1qGRc46dOskF273OzxXM6szw5EYSQ-b80EV1_PdAjslJoj7gqL0xZzB1vmjgvFdc9RK-8s5KDA5Qul7SL7tLNKhR5rO6W6BFWiBY/s320/IMG_6671.JPG" width="240" /></a></div><div class="MsoNormal" style="text-align: center;"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Dialogue Collective at work. Photo Isabelle Busnel<o:p></o:p></span></i></div><div class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">They usually work with set briefs. One of their previous exhibitions has been inspired by Delia Smith’s classic book “Complete Cookery Course”, and last year each member received a different secret present in the post as a starting point for their inspiration. For Munich 2011, each artist was given a brown bag of ten random directions. Their starting point on the map was Charing Cross and they all arrived at ten different locations in central London individually following their own ten directions. The final location for each was the starting point for the members’ own interpretation of their finished pieces for this show. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I then asked some of the group’s members how this “Treasure Hunt” did inspire their work. Interestingly, they all responded in very different ways. Two of them focussed on the feelings they had throughout their journey. One felt paranoid as he had the impression that he behaved strangely and that everybody was staring at him: his work includes CCTV features, hidden people… Another one felt uncomfortable during the journey and was happy to end by the river: her work is about the pleasure to end up in a pleasant environment. Some artists of the collective are storytellers and their work is about their journey. One of them ended up where she started and felt like “Hansel and Gretel” lost in the forest: her work will deal with the “circle as life” metaphor and will feature lamps, shades and bulbs going on and off. The other artist noticed everything that happened during her journey and her imaginative character “The Flying Fish Commando” will tell this story thanks to objects created for the exhibition. Another artist ended up in front of a free mason building and the </span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">outcome is a “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">range of exotically weird, bizarre creatures that move with articulated precision constructed with Masonic exactitude</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. The last interviewed member collected discarded objects she found on her way and transformed them into pieces </span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">of jewellery,</span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> giving them another life.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Obviously this “treasure hunt” was a very efficient way of arousing the members’ creativity and I was wondering how important those briefs are for the group. It appeared that they all like working with them as they feel certain nostalgia for the briefs they had to follow when they were in college. In real life, you are on your own and you have to set your own brief and it might be sometimes frustrating. And as their works are all very different, briefs are also a way of connecting them and making things more interesting by responding to a common theme in many different ways.<o:p></o:p></span></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhodELESPtgwNbxHnPZfA7n1Ug5i61c8kD7-yQmKYSiZTR8WP94hrA4MKvFZil_2w6cli27o41dBFZPtXZIcJN5LLUaVp3lS_-c12nHfbYcF2rQaFUFQvzOXADNDjhYS2py91MvTZrnv1nb/s1600/IMG_6672.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhodELESPtgwNbxHnPZfA7n1Ug5i61c8kD7-yQmKYSiZTR8WP94hrA4MKvFZil_2w6cli27o41dBFZPtXZIcJN5LLUaVp3lS_-c12nHfbYcF2rQaFUFQvzOXADNDjhYS2py91MvTZrnv1nb/s320/IMG_6672.JPG" width="240" /></a></div><div class="MsoNormal" style="text-align: center;"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Works inspired by the Treasure Hunt. Photos Isabelle Busnel<o:p></o:p></span></i></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
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</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I was convinced that group dynamics and set briefs are very interesting and challenging ways to stimulate creativity but I was then curious to learn on how the collective Dialogue actually tries to develop new ways</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> “to show jewellery and silversmithing […] and to bring them to new audience</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. <o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">One of their favourite themes seems to be the over-discussed / never-answered debate about: is it Craft or is it Art? But again they don’t take it too seriously. They are convinced there is no wall between the two but if acknowledged, things will become boring, as everything will be “grey”. As one needs black and white, they prefer to think there is a wall that they can climb or jump over…. I felt again a certain kind of nostalgia in this argument reminding me my time as a student when you could debate all night in the hope to change the world… <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">What seems to interest them is not to formulate answers but to debate about this “wall” and to test its limits. Therefore they seem to use different strategies: in their previous project Dialogue 9, they set a Pop Up jewellery shop showcasing “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">jewellery by members of the collective alongside an invited group of London based designers, all set the challenge to design and produce pieces of jewellery to retail for £20. Timed to coincide with London Jewellery Week, the event showed work by established makers alongside that of new designers and was focused on introducing contemporary jewellery to a wider audience</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.dialoguecollective.co.uk/home/exhibitions/pop-up-shop">(<i>Pop Up Shop Webpage</i>)</a></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHvIl0HhhOg1qW11q1ypqqRwA5VWq_NTly_VF9dBPCv0ZLDa7sVv_3K379Q-_m-U962BGHp1y7goobsDb51GcYI1gLTeoNhxzuwTWZtjcg2xhd38z_8ZhPdi6njcSdDxh1LBf7MRe-62w7/s1600/pop+up+shop+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHvIl0HhhOg1qW11q1ypqqRwA5VWq_NTly_VF9dBPCv0ZLDa7sVv_3K379Q-_m-U962BGHp1y7goobsDb51GcYI1gLTeoNhxzuwTWZtjcg2xhd38z_8ZhPdi6njcSdDxh1LBf7MRe-62w7/s320/pop+up+shop+1.jpg" width="320" /></a></div><div class="MsoNormal" style="text-align: center;"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Pop Up Shop June 2010. Photo Julia Patterson from the Dialogue Collective Website.</span></i></div><div class="MsoNormal" style="text-align: center;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The experiment was a great success and Dialogue was very pleased with people’s reactions: set in Columbia Road, the shop attracted a varied audience, interesting feedbacks and they sold many pieces.<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In Munich, they will display their work in a working foundry. They have already used this space for their 2010 SCHMUCK exhibition Dialogue 9. I have been there once in 2009 and I must confess the place is amazing and unique: the place is full of tools, dust and is lit with some spare bulbs coming from a very high ceiling. <o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5q6UR9Pdi5iCiq0uWIuXGbhVlSofvAfvM4PWRKmkDpxGkKpRIsA91sM-D7cZMzqr58uIW3VYr19w2iIFFj9GWzdW2P91UyLqTOk3RM6Et4JnbgjKaOIjHEV04_VhrdaWyGbrzfzYJCB4a/s1600/foundry+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5q6UR9Pdi5iCiq0uWIuXGbhVlSofvAfvM4PWRKmkDpxGkKpRIsA91sM-D7cZMzqr58uIW3VYr19w2iIFFj9GWzdW2P91UyLqTOk3RM6Et4JnbgjKaOIjHEV04_VhrdaWyGbrzfzYJCB4a/s320/foundry+4.jpg" width="320" /></a></div><div class="MsoNormal" style="text-align: center;"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">SCHMUCK 2010. The Foundry. Photos from the Dialogue Collective Website</span></i></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Dialogue Collective will separate this intangible environment in 3 different spaces: “Shoppery”, “Xhibition” and a space for games. Shoppery is a contraction of “shop” and “gallery” and has been thought as a hybrid space to play with the differences between a shop and a gallery. Each artist will display 2 collections: one for the Shoppery and one for the Xhibition. The first will feature repetition, price tags and less space where the second one will bear the usual codes of a gallery space. Is it Art or is it Craft? What is a shop and what is a gallery? Those are amongst the questions the collective wants to address to the public through those displays and people’s reactions will be invaluable clues. <o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The third space will be dedicated to games and this raised my scepticism: why games? Do they need games to attract people? Are games related to the exhibited pieces? Won’t it be confusing?<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">According to the Collective, for Art to work, it needs 3 components: the makers, the audience and the facilitators (shop, gallery, critics etc). And they consider games as a way of engaging the audience, of “facilitating” the contact between visitors and artworks. People will come to the foundry, maybe slightly intimidated, they will play simple games (like throwing paper planes in a bucket) and they will then feel at ease, ready to wander again through the different displays. And maybe they will see things they didn’t see the first time. That’s the whole idea. Again, it is not pretentious, just fun, easy and down to earth. <o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I am really interested to see how people will react to the three different spaces in Munich. I have asked Dialogue Collective to gather as much information as possible: pictures, people’s reactions, audience feedback and we have agreed to meet again soon to debrief. Rendezvous in a few weeks…<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
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</span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.dialoguecollective.co.uk/home-1">Dialogue Collective website</a></span><o:p></o:p></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com0tag:blogger.com,1999:blog-5373792131138526190.post-62183289557696691662011-03-01T08:12:00.000-08:002011-03-03T14:06:14.854-08:00BLOBJECTS AND BACHELARD<div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When researching for my Master, I realized that rounded objects and shapes endlessly attracted me. Something visceral was going on but what exactly?<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The book “Emotional Design” by Donald A. Norman (</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Basic Books, 2005</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">) gives an interesting insight. His theory is that humans have powerful brain mechanisms for accomplishing things, for creating and for acting and that these human attributes “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">result from three different levels of the brain: the automatic prewired layer called </span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">the visceral level</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">; the </span></i></span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">part that contains the brain processes that control everyday behaviour, known as the </span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">behavioural level</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">; and the contemplative part of the brain or </span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">the reflective level.” The visceral level is “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">pre-consciousness, pre-thought… It is about the initial impact of a product, about its appearance, touch and feel</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. The behavioural level is “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">about use, experience with a product</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.”… And “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">interpretation, understanding and reasoning come from the reflective level</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.” Each level plays a different role in the overall functioning of people. In his book, Norman shows that emotion and cognition work in tandem as we relate to products. He asserts that the emotional side of design is more critical than its practical elements and that attractive products work better.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We humans evolved to coexist in the environment of other humans, animals, plants, landscapes, weather and other natural phenomena” </span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">says Donald A Norman</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">. “As a result, we are exquisitely tuned to receive powerful emotional signals from the environment that get interpreted automatically at the visceral level</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. And as John Ruskin has written in “The seven lamps of architecture (</span><span class="BodyTextChar"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Adamant Media Corporation, 2000)</span></i></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">all perfectly beautiful forms must be composed of curves; since there is hardly any common</span></i><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> natural form in which it is possible to discover a straight line</span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. That is why I think that rounded and curvy shapes play at the visceral level and the reason might be as well, according to Natalie Augier</span></span><span class="MsoFootnoteReference"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(</span></span><span class="BodyTextChar"><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Woman: an intimate geography, Houghton Mifflin Harcourt, 1999</span></i></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">)</span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> because the first thing we see when we are born is “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">our mother ‘s face…human faces are round</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”; or, “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">it may have all began with fruits…fruit is round”…</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">or our</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> “reverence for light? The sources of all light, the sun and the moon are round</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”?<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But I had the confirmation that something was definitively happening with rounded shapes and objects when I read the last chapter of Gaston Bachelard’s book “The poetics of space” (</span></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Beacon Press,1994</span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">). This chapter is called “The phenomenology of roundness” and one has to pause here to understand what phenomenology means: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">in its most basic form, phenomenology attempts to create conditions for the </span></i></span><span lang="EN-US"><i><span style="text-decoration: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">objective</span></span></i></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> study of topics usually regarded as </span></span></i><span lang="EN-US"><i><span style="text-decoration: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">subjective</span></span></i></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">: consciousness and the content of conscious experiences such as </span></span></i><span lang="EN-US"><i><span style="text-decoration: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">judgments</span></span></i></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">, </span></span></i><span lang="EN-US"><i><span style="text-decoration: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">perceptions</span></span></i></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">, and </span></span></i><span lang="EN-US"><i><span style="text-decoration: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">emotions</span></span></i></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">.”. (</span></span></i><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Wikipedia</span></span></i><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">). <o:p></o:p></span></span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I this chapter, Bachelard is quoting</span></span></div><div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo3; text-align: justify; text-indent: -18.0pt;"></div><ul><li><span lang="EN-US"><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;"> </span></span></span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Karl Jasper, a philosopher: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Every being seems in itself round</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”,</span></span></li>
<li><span lang="EN-US"><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;"> </span></span></span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Van Gogh a painter: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Life is probably round</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”,</span></span></li>
<li><span lang="EN-US"><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;"> </span></span></span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Joe Bousquet, a poet: “ </span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">He had been told that life was beautiful. No! Life is round</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”</span></span></li>
<li><span lang="EN-US"><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;"> </span></span></span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">and La Fontaine, an inventor of fables: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A walnut makes me quite round</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”</span></span></li>
</ul><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">to justify the interest for a phenomenological enquiry such as roundness. According to Bachelard, “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">such images bear the mark of primitivity […] and do not stem from any earlier experience.[…]. If we submit to the hypnotic power of such expressions, suddenly we find ourselves entirely in the roundness of this being</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. </span><br />
<div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">So when Bachelard speaks about primitivity or hypnotic power, we are quite close from the emotional design of Donald A Norman. Bachelard states that</span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">everything round invites a caress</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">” or “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">images of full roundness help us to collect ourselves, permit us to confer an initial constitution on ourselves and to confirm our being intimately, inside</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. And Bachelard writes about a poem from Rilke “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">in this rounded landscape, everything seems to be in repose. The round being propagates its roundness, together with the calm of all roundness</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Therefore, theories about emotional design and phenomenology of roundness confirmed that rounded shapes and objects had a particular effect on human brain and that we might be viscerally attracted to them. <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And this is why a category of objects called “Blobjects” fascinates me as I am convinced that this design concept is a perfect visual implementation of the “phenomenology of roundness” described by Bachelard.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But what is a Blobject ?<o:p></o:p></span></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A Blobject is a design product, often a household object, distinguished by smooth flowing curves, bright colors, and an absence of sharp edges. The word […] is a contraction of "blob" and "object."<o:p></o:p></span></i></span></div><div class="MsoNormal" style="text-align: justify;"><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The origin of the term is disputed, but it is often attributed to either the designer-author Steven Skov Holt or the designer </span></span></i><span lang="EN-US"><i><span style="text-decoration: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Karim Rashid</span></span></i></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">. Author and design journalist Phil Patton attributed the word to Holt in 1993 in </span></span></i><span lang="EN-US"><i><span style="text-decoration: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Esquire magazine</span></span></i></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”. (</span></span></i><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://en.wikipedia.org/wiki/Blobject">Wikipedia</a>)</span></span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfluzVXSPRO0YkPk_puLX0sPNj4Dad-fKLXg_ONL68GXM09qdPAoyveKwlrvA8ueIjxPue1WgBOAsmxrSdwoAP9EOd5F_IO9jhNtBxhBoPGIMadH23h6B3LT1VGrkEqzX_0bKwzLWKCI2s/s1600/couverture+livre+blobjects.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfluzVXSPRO0YkPk_puLX0sPNj4Dad-fKLXg_ONL68GXM09qdPAoyveKwlrvA8ueIjxPue1WgBOAsmxrSdwoAP9EOd5F_IO9jhNtBxhBoPGIMadH23h6B3LT1VGrkEqzX_0bKwzLWKCI2s/s320/couverture+livre+blobjects.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i><span lang="EN-US" style="font-family: Arial;">Cover of the book Blobjects & Beyond (Google Images)</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Blobby objects of every kind were grouped for an exhibition in 2005 at the San Jose Museum of Art under the title: Blobjects & Beyond: the New Fluidity in Design. </span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In the book accompanying the exhibition (</span></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steven Skov Holt and Mara Holt Skov, Chronicle books, 2005</span></span></i><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">) </span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Holt</span></span><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> describes a Blobject as a designed object that brings together several of the following qualities: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">a pleasing plasticity of fluid form, a delicious sense of colour, a chance to exist at any scale, a heightened sense of flowing materiality and a powerful connection to our emotions, including a strong optimistic tendency”</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">. According to him, a Blobject is “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">always inviting, it encourages touch and interaction and it responds with softness of form, material and experience</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”… <o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> <o:p></o:p></span></span></i></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Here are some everyday examples of Blobjects:</span></span></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJu87jZpNO1k9Ut_NE9fr7vSdNdLlhB_JjARU7sSe4Z0FvRMixdDuuR1pkSuihlrUKQXQWX04obxkw6ouGdtilqFx4xVoGsIG3Dm8pSGZrur7KX2ReBcBZaqVnZsyeL9Xvt_x1MqNOiA6j/s1600/philou-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJu87jZpNO1k9Ut_NE9fr7vSdNdLlhB_JjARU7sSe4Z0FvRMixdDuuR1pkSuihlrUKQXQWX04obxkw6ouGdtilqFx4xVoGsIG3Dm8pSGZrur7KX2ReBcBZaqVnZsyeL9Xvt_x1MqNOiA6j/s320/philou-01.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i><span lang="EN-US" style="font-family: Arial;">Philou Shampoo (Google Images)</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><i><span lang="EN-US" style="font-family: Arial;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0HjjiqVt2aQf1900Ifl_l6gGAx9uS7DRcdqFZv7q1jly4SwUMzVO59NkQYF4FGqmNiLM-Y_MzluQfoI7Ou6_CrM9lt3qLbCg1TCxVMN_8n6wXW95H6KdTDTYKYUObsgTDBXKHbHgj_BNl/s1600/selfridges_birmingham_01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0HjjiqVt2aQf1900Ifl_l6gGAx9uS7DRcdqFZv7q1jly4SwUMzVO59NkQYF4FGqmNiLM-Y_MzluQfoI7Ou6_CrM9lt3qLbCg1TCxVMN_8n6wXW95H6KdTDTYKYUObsgTDBXKHbHgj_BNl/s320/selfridges_birmingham_01.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i><span lang="EN-US" style="font-family: Arial;">Selfridges Birmingham (Google Images)</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</o:p></span></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8LC3fBPujSovcWbMAs2NxqvAj1wqPlDDf6LsGLABCgjyRaMdC8c_zDpmMTe-EuGRBQhwNY1nFY-0Kkns5lLxjtUZTHSAeFYAEpAKM0R1ChzciCIUGO_z83l1nZWnzVu2BSD6cN9wZg4mA/s1600/lava_lamp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8LC3fBPujSovcWbMAs2NxqvAj1wqPlDDf6LsGLABCgjyRaMdC8c_zDpmMTe-EuGRBQhwNY1nFY-0Kkns5lLxjtUZTHSAeFYAEpAKM0R1ChzciCIUGO_z83l1nZWnzVu2BSD6cN9wZg4mA/s1600/lava_lamp.jpg" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i><span lang="EN-US" style="font-family: Arial;">Lava Lamp (Google Images)</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><i><span lang="EN-US" style="font-family: Arial;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq7LlVMP7pXuarSxsTM7uD6dhf4o9ujeal2g0GOciuN6Xn4MhEL6Vr2kVqAzMFNJS3V66Lnmwjbyr6p_8t9v7TS9HJJY4_Urh6hiU-fre24ZQLP8Yyos2uhkuUUcXcGluSxRKGrLGm-YPQ/s1600/volkswagen-beetle-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq7LlVMP7pXuarSxsTM7uD6dhf4o9ujeal2g0GOciuN6Xn4MhEL6Vr2kVqAzMFNJS3V66Lnmwjbyr6p_8t9v7TS9HJJY4_Urh6hiU-fre24ZQLP8Yyos2uhkuUUcXcGluSxRKGrLGm-YPQ/s320/volkswagen-beetle-2.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i><span lang="EN-US" style="font-family: Arial;">Volkswagen Beetle (Google Images)</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Karim Rashid is one of the key figures of Blobject design and in his book “I want to change the world” </span></span><i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(Univers , 2001)</span></span></i><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> he defines his work as “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">soft, friendly organic forms communicating tactility and expressing a strong visual comfort and pleasure</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">” and aims to create “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">products and furniture that must engage our emotional lives and increase the popular imagination and experience</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”.<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Here are some visual examples of Karim Rashid’s Blobjects :</span><o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcdiGEifIG_M4x-XfB1pkwPDNVtNPNxX_tdB7yWNTwcmHDhuxFXiYZA2u5LHkRw13DGhcY028u_4cBnzHeptDQAUXRdbnwk74Amyc3HIy5M-ZupU5H39zE6rVxn_65jRsH59xR_U3luMxH/s1600/Karim_Rashid_Zontik_Umbrella_Stand_hrn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcdiGEifIG_M4x-XfB1pkwPDNVtNPNxX_tdB7yWNTwcmHDhuxFXiYZA2u5LHkRw13DGhcY028u_4cBnzHeptDQAUXRdbnwk74Amyc3HIy5M-ZupU5H39zE6rVxn_65jRsH59xR_U3luMxH/s320/Karim_Rashid_Zontik_Umbrella_Stand_hrn.jpg" width="320" /></a></div><div align="center" class="MsoBodyText" style="line-height: 150%; text-align: center; text-indent: 1.0cm;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt; line-height: 150%;"> </span></i><i><span style="font-family: Arial; line-height: 150%;">Karim Rashid, Z</span></i><i><span style="color: #3b3b3b; font-family: Arial; line-height: 150%;">ontik Umbrella Stand</span></i></div><div align="center" class="MsoBodyText" style="line-height: 150%; text-align: center; text-indent: 1.0cm;"><i><span style="color: #3b3b3b; font-family: Arial; line-height: 150%;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdp_zqnvvU8JHCEhc79WgbruhPNcYbfDafRoNBhQdxrYhsVdtlpkMlcm7B5Wr88gMlRSJ-3MbhoNkqEjVMQ6N8wolbgG136_LX93eoAyREQXWTusxU6PDSbYmfhy-dyH5F97TQDkzVkUUu/s1600/contemporary-sofas-karim-rashid-offecct-orgy_ggmdi_1822.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdp_zqnvvU8JHCEhc79WgbruhPNcYbfDafRoNBhQdxrYhsVdtlpkMlcm7B5Wr88gMlRSJ-3MbhoNkqEjVMQ6N8wolbgG136_LX93eoAyREQXWTusxU6PDSbYmfhy-dyH5F97TQDkzVkUUu/s320/contemporary-sofas-karim-rashid-offecct-orgy_ggmdi_1822.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i><span lang="EN-US" style="font-family: Arial;">Karim Rashid, Orgy Sofa</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><i><span lang="EN-US" style="font-family: Arial;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn4cFYRFpPgn4zEenGtdOhFBe7bFRzqPXTDxILREP2t73ZMncG4VrmeutkAQ220AIconi7GWBCXgZMkjqMEdphV_UeqANq4Tr0fG8QERwlMbcEAkVdVm-wYcc01JXNizR9j76AAWqAom6L/s1600/blobulus-chair-karim-rashid1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn4cFYRFpPgn4zEenGtdOhFBe7bFRzqPXTDxILREP2t73ZMncG4VrmeutkAQ220AIconi7GWBCXgZMkjqMEdphV_UeqANq4Tr0fG8QERwlMbcEAkVdVm-wYcc01JXNizR9j76AAWqAom6L/s320/blobulus-chair-karim-rashid1.jpg" width="320" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><i><span lang="EN-US" style="font-family: Arial;"> </span></i><i><span lang="EN-US" style="font-family: Arial;">Karim Rashid, Blobulus Chair</span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">I don’t know if this Blobulus Chair will change my life but I particularly like it as it seems to be a perfect illustration of Bachelard’s quote: “<i style="mso-bidi-font-style: normal;">The round being propagates its roundness, together with the calm of all roundness</i>”…And when I look at it, I really feel like curling up on it…<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com0tag:blogger.com,1999:blog-5373792131138526190.post-91122757477175724122011-02-20T11:57:00.000-08:002011-02-20T11:57:38.574-08:00BRITISH ART ALL AROUND<!--StartFragment--> <br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“British Art Show” at the Hayward Gallery, “Modern British Sculpture” at the Royal Academy of Art, “Part I and II of Newspeak: British Art Now” at the Saatchi Gallery. British, British, British… The fact that three major London exhibitions have all recently focused on “Britishness” is striking. Is this the emergence of protectionism in Arts or a need to define the British national identity in a globalised world? I don’t pretend to answer this sensitive question but it is worth pointing out that something definitively seems to be happening. Aiming at “Thinking Through Things” as a French artist living in London, attempting to define a nation’s identity through art objects is a theme that fits well in my blog. This question is also in the spirit of the times, not only in Arts but in other aspects of life, as testifies the major debate launched last year by the French government on national identity and what it means to be French in a country that has become increasingly multi-cultural (Interestingly, this debate largely backfired as people initially supporting it in polls quickly changed their mind under the pressure from the media who criticized the government for stigmatizing foreigners).<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But back to the main subject: is there such a thing as British Art? This question was the title of a series of talks at the Saatchi Gallery in November 2010. The abstract of the talk was: </span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“With the opening of Newspeak: British Art Now at the Saatchi Gallery, and the British Art Show 7 at Nottingham Contemporary, the question of British Art is once again in the spotlight. Both exhibitions include a host of radically divergent artists connected by ‘Britishness’. Does this tag reveal anything more than shared geography? Artists Hew Locke and Barry Reigate, and journalist Louisa Buck, discuss the problematic concept of British Art as a coherent context for artistic production. Is there a particular British sensibility, style or technique discernable in contemporary Art produced in the UK today? Or, have we reached a point at which the idea of a national artistic identity has broken down leaving a multiplicity of artistic forms and languages?”<o:p></o:p></span></i></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This debate of what makes the Britishness of Art has even led to a project called "</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://greatbritishartdebate.tate.org.uk/">The Great British Art Debate</a>"</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> a partnership between Tate Britain, Tyne & Wear Archives & Museums, Norfolk Museums & Archaeology Service and Museums Sheffield, supported by The National Lottery through the Heritage Lottery Fund, and by the MLA’s Renaissance program. The home page of this project’s website states: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">through this site and a series of events and exhibitions nationwide, we invite you to explore and debate ideas around Britishness and Art. Four galleries are working together to use historic British Art collections to explore questions about nationhood and identity today</span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">”.</span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This website includes a debate section (available on Facebook, Twitter and Youtube) where one can read posts about questions such as: “Is the idea of British Art a British fantasy?” Martin Myrone, a Tate curator wrote: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Yes, but then again Britishness is a British fantasy! We like to think that we can detect essential British characteristics in the paintings and sculptures which happen to be produced here - but I think of it as a ‘Birds of Britain’ question… yes, there are plenty of sparrows in Britain, so sparrows are a very British bird, but that doesn’t mean we don’t get sparrows elsewhere…”</span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Andrew Bryant, a regular writer in the Tate website, also asks very relevant questions in one of his posts: “</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">What is British Art? Is it Art made by artists born in Britain? Because a lot of British artists live and work in Berlin or New York or in other places. Is it Art made by artists who live in Britain? A lot of those artists aren't British by origin but they live here and produce work here. Is it a certain style of Art, or Art that deals with particularly British topics? I wonder what the reason is for defining Art by nationality in any way. Perhaps British Art is a falsely manufactured 'brand' that makes us feel like we are all one happy nation when actually there are massive sections of the population who are increasingly left out and excluded. In fact, if there's one thing that defines Britain it must be diversity, both cultural and economic. Does British Art reflect all of this difference or are our social inequalities reinforced because of a lack of artists from social groups other than the white middle class?”<o:p></o:p></span></i></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I think that the idea of the Bristishness of Art actually leads to more questions than answers. But then, maybe we should be more interested in having the debate than obtaining answers? Let’s see how the exhibitions previously mentioned have tried to deal with the subject. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Here is an extract of the “Modern British Sculpture” exhibition from the </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: black;"><a href="http://www.royalacademy.org.uk/exhibitions/modernbritishsculpture/about-the-exhibition/">Royal Academy website</a>: </span></span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Through [exhibited] works, the exhibition examines British sculpture's dialogue within a broader international context, highlighting the ways in which Britain’s links with its Empire, continental Europe and the United States have helped shape an Art that at its best is truly international in scope and significance […]” The exhibition provides a view onto this period of modern British sculpture without attempting to be comprehensive or definitive in its treatment of the subject. As such, it represents a point of view about the work of the period and seeks to highlight certain ways of looking at sculpture by thinking about its relationship with the wider world.”</span></i></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As far as the “British Art Show” was concerned, curators Lisa Le Feuvre and Tom Morton </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">smartly avoided to define British and Britishness, a concept that has worried many of their predecessors, by opening up the exhibition to any artist working in Britain or any British artist working abroad.</span><i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></i><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Tom Morton encourages us in his catalogue essay to imagine Britain as a “geographically and psychologically unfamiliar place”.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In fact, both of them failed to convince me about Britishness in Art: could it be that no tangible sign of a national identity can possibly be found in a globalised western contemporary Art, end of the story?<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I can’t stop thinking about the series of thematic exhibitions held at the Saatchi Gallery in the past few years: “The revolution continues: New Chinese art”, “Unveiled: New Art from the Middle East” and “The Empire strikes back: Indian Art today”, where a strong sense of identity and shared concerns transpired, particularly in the excellent exhibition about the Middle East: the majority of artists exhibited there live or were born in a censored society and their works speak about fear, daily constraint of freedom and one should admire their bravery. Some of them had to conceal their identity, some had to show their work in secret and others refused to have their face revealed in photographs. In this exhibition, I truly felt the impact of the lack of freedom and the censorship in almost every artwork, an urge to use Art as a protest, and that, to me, created a very strong sense of identity. Well, I’m not sure this is the kind of sense of identity the thinkers of Britishness in Art have in mind…<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">So, is there such a thing as British Art? This is an interesting and perhaps controversial question to which I will leave everyone come up with his/her own answer...<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Being French and living and working in London as an artist, I can only feel and empirically confirm that there is a “je ne sais quoi” about Britishness in Art. The network of Art and Design schools, associations, government support, galleries, museums and public spaces dedicated to Art, Craft and Design where people work together and exchange ideas leads to the emergence of a community sharing some specific characteristics. Do I feel British or French when I create jewellery? This is a tricky question. Well, I belong to the British Craft community, having studied here, having exhibited in British Galleries, being a member of British associations. My network is mainly British, and I write my blog in English…<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><br />
</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The only thing I can say with certainty is that as far as cheese and wine are concerned, I remain French to the core!</span><o:p></o:p></div><!--EndFragment-->Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com2tag:blogger.com,1999:blog-5373792131138526190.post-60444249344259060792011-02-12T04:57:00.000-08:002011-02-17T09:52:49.238-08:00INTERVIEW WITH GRANT GIBSON, EDITOR OF CRAFTS MAGAZINE<div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBJYoM4YwBdQRXdzkWQs0bPAUy-G-05DIbn4-JKzOx73dCknw6RgzA2SYFvbuMbMwdq8x2ypexHJO2qZMwHqBKt-H8InT60GGXnf1A7ku1GRh_2Tay0cQlnQ4_kXDi0EFeiHVVpAO5veob/s1600/Portrait+Grant+Gibson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBJYoM4YwBdQRXdzkWQs0bPAUy-G-05DIbn4-JKzOx73dCknw6RgzA2SYFvbuMbMwdq8x2ypexHJO2qZMwHqBKt-H8InT60GGXnf1A7ku1GRh_2Tay0cQlnQ4_kXDi0EFeiHVVpAO5veob/s1600/Portrait+Grant+Gibson.jpg" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial;"><b><u><br />
</u></b></span></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt;">Grant Gibson portrait in CRAFTS magazine by Karen Caldicott<o:p></o:p></span></i></div><div class="MsoNormal" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Arial;"><b><u><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">I am an avid reader of the magazine CRAFTS. I was very lucky to meet its editor Grant Gibson at a private view at FLOW Gallery in London and when I timidly asked him if, for once, he would agree to be interviewed instead of interviewing people, he very kindly accepted. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">We met at the Craft Council and I asked him questions raised by some articles of the last CRAFTS issues. I would like to thank him again for his time and his approachability.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">Are the journalists writing for CRAFTS magazine artists themselves? <o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">It is a combination, really. Some of them are professional journalists, some are academics, few are makers (we would like to have more), but I think it is important in my opinion that we have a mix. The most important thing is actually that there is knowledge and that it reads well, so that we have a mix of ages and backgrounds. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">How do you choose the artists featured? Do you try to create a balance between the number of established artists and newcomers?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">Because we cover craft in its broadest sense, we try to get a mix between newcomers and established names and a mix of disciplines as well. We try to give the reader a sense of the variety and dynamism that exist within the sector and we try to mix it up and it is me who chooses. It means taking the wildest possible numbers of displays and people. You constantly try to publish things that you hope people will want to read.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">Crafts Magazine almost has a monopoly of publishing on craft in the UK. As a consequence, do you feel that you have a responsibility in the craft world as your magazine, in a sense, sets the trend?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">I think that regardless of whether we are the only craft magazine in the market (there are other ones but generally more specialised, e.g. on textiles, ceramics,...) you do feel a responsibility just by publishing something. You have a responsibility regarding people who are reading it and to the sector you are representing. So, yes it is a heavy responsibility, but it has been made easier by the fact that a lot of good work is going on and you have to reflect that and talk about it... and critique it as well because I think any discipline needs criticism to improve. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoListParagraphCxSpFirst" style="margin-left: 0cm; mso-add-space: auto; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">In your editorials, you often refer to government policies in the field of craft. In the last issue, there is a good example with “The age of the Craftsman”, an article by John Haynes, the current Coalition's minister of state for further education, skills and lifelong learning. Are you not annoyed by the lack of action and the seemingly stagnating situation? <o:p></o:p></span></b></div><div class="MsoListParagraphCxSpLast" style="margin-left: 0cm; mso-add-space: auto; text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">A reason to publish that text by John Haynes</span><span class="Apple-style-span" style="font-family: Arial;"> was that I am very intrigued by how the craft world will respond to it. But it‘s there and in print now, and in 4 or 5 years time we can have a look and see what happened. There is a piece coming from Tanya Harrod in the next issue that is a response to it and we will see. But the reason to put it in here was that I went to the talk he gave at the RSA and I think it is fascinating that a government talks about craft. And it’s not just him there who is talking about craft: there is Matthew Crawford’s book (The Case for Working with Your Hands), an article in GQ and on one level I think it is very positive that the government talks about the word "craft", a word that has had some negative content, particularly in this country.</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">I'm not saying it is my job to include everything that John Haynes agrees with, but the magazine in general should be a forum for opinions, and what we are trying to do is reflect a diverse range of them. It seems quite important at the moment to see what the government says, and it is my duty to reflect that. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">This is also the reason why we have published the text by Mike Press “What craft has given us” </span><span class="Apple-style-span" style="font-family: Arial;">in the magazine's "Archive" section</span><span class="Apple-style-span" style="font-family: Arial;">. This piece was written in 1997 when the Labour government came to power when we had all this optimism, a lot more optimism than there is at the moment.</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">But yes, further education is still having distinct difficulties, so the reason to publish those pieces is basically to show a kind of diverse range of opinions.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">And we are very lucky because we have 30 years of very high quality magazine and great writing behind us. </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">Is the UK particularly hit by the crisis in education? And how will it affect the craft sector?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">Yes, I think there are issues and they will emerge in the years to come, and we will see what kind of makers we will produce. I have attended a couple of recent addresses and the position is “I love the arts, I love the crafts, I love culture but we have to cut in terms of funding”. We are in a very particular moment and decisions have been taken in the arts all across the board. When I arrived here 3 years ago, what struck me most was that the craft sector was rather similar to design in the mid 90’s. There are a lot of extremely talented people doing fascinating work who don’t get the recognition that their talent deserves. What we are trying to do is highlight as many people as we can. </span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">Now, about the changes in education, craft is very affected because it is a quite expensive thing to run, you know, with the tools and equipment… But I went to the London Design Review last week and this sector is also talking about funding issues. We will have to see how that affects the quality of the production of craft and design arts in the years to come. I don’t think it is going to be very positive.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">At the moment, books, articles, surveys often sing the praises of the "one-off", the hand made, its beauty and the satisfaction it brings, but it seems that design and art are the main benefactors from this trend: design gets "crafty", and art is rediscovering materials and techniques associated with craft. However, the true makers of original, hand made and unique objects do not seem to really catch up. Why?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">I don’t know. I am wary, to be honest with you, of categorizing stuff, I don’t like it. But I think it’s ultimately to the benefit of the craft sector that the art world and the design world are reconsidering the roles of making. Let’s take Ted Noten for example: do we call him a designer or a craftsperson? How do you define him? He is exhibited in COLLECT, but he has also been profiled in design magazines.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoListParagraphCxSpFirst" style="margin-left: 0cm; mso-add-space: auto; text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">Nowadays, the word craft is overused in many situations; do you think it harms its significance and what it represents? (I am referring to articles such as "The beauty of the bike" or Tim Clement’s portraits of London makers). Isn’t the meaning of craft becoming more and more confused? Perhaps we should use another word, like Applied Arts? <o:p></o:p></span></b></div><div class="MsoListParagraphCxSpLast" style="margin-left: 0cm; mso-add-space: auto; text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">Here is my take on this: I think in the past the sector has been too lost worrying about terminology. So I think it is going to reach out to the broadest possible audience and make people appreciate the skills that go into the things that are made. And my feeling is that they have to worry less. The bike is an interesting story because it was really about broadening this magazine and looking at "making". The bike story is about things beautifully made. In this country, in the past 15 to 20 years, we have moved away from "making" but I think it is important that we re-emphasize its importance. Now, one could spend time debating whether this is craft or not craft, but it becomes counterproductive. So I am reasonably laid back by definitions.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">And what we are trying to show in the magazine, (and what Sennett’s book was about) is how notions, ideas of craft seep into everyday life or the things we use, or the things we are sitting on… That intrigues us and I think we must, from time to time (not all the time) broaden out and investigate that a little bit. And that is why we are doing that.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">The resurgence of interest in activities like knitting seems to be part of this Zeitgeist moment. But is it doing any good to craft or, on the contrary, is it a caricature of what people think it is? Can everybody become a craftsperson?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">Dr Jo Turney’s article “Fashion victim” was talking about examining why knitting has become fashionable and suggesting that it is a fleeting thing that will fade because “real” craft is tricky and it takes time </span><span class="Apple-style-span" style="font-family: Arial;">(10,000 hours according to Sennett)</span><span class="Apple-style-span" style="font-family: Arial;"> and skills, whereas those knitting groups are mainly media things. We published it in the magazine because it is an interesting point of view and what we are trying to do is have an essay or an opinion piece in each issue. If something is going on which is craft related which has gone out, left the sector and is out there floating about and has become popular for whatever reason, then I think the magazine has an obligation to examine it, which is what it is about.</span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">Anyway the notion of people being more interested in “how to make” and “why to make” is something that should be encouraged because the way you are arguing it seems to me that the craft puts up this wall and you can’t be a craftsperson until you have studied hard or spent your 10,000 hours… The Bike guy for example is a consumer, he is a buyer. He wants to buy a bike and he wants to buy a bike made by the best people in the world, and I think we should be encouraging that because if he thinks about a bike, he might then think about something else that is hand made and belonging to “the craft world” by your definition. So, I think it is important that the magazine tries to drag as many people in and popularize the subject.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">So, is everything related to "making" benefiting the crafts world?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">The notion of people reconnecting with "making", how things around us are put together and made is very important. We can take that into food, there are parallels with campaigns by Jamie Oliver to encourage people buying food from a cellophane package and to understand what it is and what they have in their plate. I think this notion of increasing the knowledge and understanding of the things around us and how they get into our house or into our workplace is a good thing and will benefit the applied artists, as you call them, in the long run. <o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">It is a long-term view but not very original as Sennett earlier broke the ground with his book. I took the job when it was published and I was intrigued by the level of debate but slightly wary of the fact that it was quite internalized: people from inside the sector talking to each other and not looking out. Yes, to my mind this notion of looking outward can only benefit the sector. The craft sector needs to reach out.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">Is it a direction where you want to push the magazine?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;"><br />
</span></b></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">One has to be careful with that because people are in the main buying the magazine because they want to look at beautifully made objects. It is a subtle question of balance: you try to introduce this notion of where craft is at the moment in a slightly different way, but you don’t turn the magazine into that entirely because it is not what people want to read. As a magazine editor, y</span><span class="Apple-style-span" style="font-family: Arial;">ou need to give the readers not only what they want but to push them along with you into thinking about other things.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">Mike Press in 1997 advocated a challenge of craft education and describes the craft graduate as a creative and critical thinker who researches and reflects using hands and brain in tandem. Don’t you think this reflection in action is underestimated in our society?<o:p></o:p></span></b></div><div class="MsoListParagraphCxSpFirst" style="text-align: justify;"><br />
</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 0cm; mso-add-space: auto; text-align: justify;"><span lang="EN-US" style="font-family: Arial;">It is why the Sennett book is so important for a wider understanding of how the "thinking through your hands" can influence the way we work, and Matthew Crawford makes a similar point in his book as well. It seems to me that this notion of provenance of hand making is really important (and I don’t see it as a Zeitgeist moment, as a Zeitgeist moment will move on), and I tend to feel that more and more people will become more and more interested in where things are made, how they were made, and this presents craft with quite a big opportunity. Even global brands, such as Coca Cola, jumped in the bandwagon and in their advert last Christmas were showing people working in the factory, making the drink. This is no coincidence because they are witnessing the way consumers begin to think, and they want to get in on that. The important thing for craftspeople is that their voice gets heard, so it is not just global brands like coca Cola or Levis leaping on that trend. The craft world must seize that moment. <o:p></o:p></span></div><div class="MsoListParagraphCxSpMiddle" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">Don’t you think we are losing time and energy trying to define the concepts of art, design or craft? Don’t you think that perhaps objects speak for themselves? <o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">It seems to me that categories are created up to a point by medias because they need definitions, but also by auction houses because works dubbed as "fine arts" can add a few zeros to a price tag. In a</span><span class="Apple-style-span" style="font-family: Arial;">ll the magazines I have done I have never tried to spend a lot of time defining categories (in Blueprint we did everything from interiors to architecture, photography and films). Some people will always categorize things and some won’t. In Glenn Adamson’s book “The Craft Reader” there is an interesting section devoted to that argument but I feel that this debate has run as far as it can go and from a personal perspective, I don’t really think we must spend a lot of time on it in the magazine. </span><span class="Apple-style-span" style="font-family: Arial;">The boundaries are dissolving but I think there is still some way to go.</span></div><div class="MsoNormal" style="text-align: justify;"><br />
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</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">What are the next directions for CRAFTS magazine?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">It is less about subject matters and more about how one reaches people. I am reasonably comfortable with what we cover and the way we cover it, and we are quite fortunate to have some very good writers in the craft sector. If one looks at the art or design world, there is a lot of debate about the quality of criticism, so we are lucky to have some very good critics for this magazine and it’s a pleasure to publish.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">In my mind the next challenge is trying to get the word out to as many possible people as one can. How to encourage more and more people to subscribe to the magazine but also to think about craft in the making.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial;">How is the magazine doing in this recession climate?<o:p></o:p></span></b></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">We are doing OK. In the middle of the recession, it has been a tricky time for magazines across the board but we have done all right, which I think shows that there is more and more interest in the subject.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-family: Arial;">I was slightly nervous when I made my first editorial 3 years ago, and I made it quite clear I wasn’t Glenn Adamson or Tanya Harrod. I have been writing about design and architecture and there is a bit of crossover, but what really struck me about the craft world is that people are very welcoming and seem to really enjoy having somebody from the outside coming in. They are happy to absorb external influences and that can only be to its benefit. It has been a genuine joy to edit CRATS magazine.<o:p></o:p></span></div></span><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSdWl4vhUI1FXLAThLFSgTnLGp_P-sCjFmOzmBlEMWflcGbhUFnx9EMEpAm_43x49_k3Zp_xUr8cAUw4YvZf4yG0va6hdvzzd_9xtxZtPxUZqDDI4PkaBJuoY8mOjxMtJuhuw9zybMYKLW/s1600/last+issue+crafts.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSdWl4vhUI1FXLAThLFSgTnLGp_P-sCjFmOzmBlEMWflcGbhUFnx9EMEpAm_43x49_k3Zp_xUr8cAUw4YvZf4yG0va6hdvzzd_9xtxZtPxUZqDDI4PkaBJuoY8mOjxMtJuhuw9zybMYKLW/s1600/last+issue+crafts.jpg" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial;"><br />
</span></div><div align="center" class="MsoNormal" style="text-align: center;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt;">Last issue of CRAFTS magazine<o:p></o:p></span></i></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div align="center" class="MsoNormal" style="text-align: center;"><i><span lang="EN-US" style="font-family: Arial; font-size: 10pt;"><a href="http://www.craftscouncil.org.uk/crafts-magazine/">CRAFTS magazine website</a><o:p></o:p></span></i></div>Isabelle Busnelhttp://www.blogger.com/profile/05611981016580924457noreply@blogger.com1