On the occasion of the publication of the book ROTA NAV TIKAI ROTA / JEWELLERY IS NOT ONLY JEWELLERY /, which summarises the history of the PUTTI Art Gallery and contemporary and conceptual jewellery over a span of 20 years, the gallery is organising its final international exhibition:
The unifying elements of the exhibition are NATURE and VIEWPOINT.
This exhibition is a story of the symbiosis between human and natural creativity as embodied in the language of jewellery’s form and materiality. It is about centuries-long relationships in which the student has learned from the teacher until at one point, the student feels so accomplished that they run away from the teacher, even arrogantly mocking the teacher. But now, the student humbly seeks their way back, realising that they cannot survive alone and without guidance.
Humans and nature speak to one another with the language of creativity because it is the only one that can be mutually understood without words. The artist notices/captures the signs that have been left and dispersed, and turns them into ornaments – accentuates that which would otherwise have gone unnoticed.
The artist does this with their hands – through touch, craftsmanship, and the use of natural materials and elements. The viewer/wearer sees themself in the jewellery as if in a mirror. They see what they need at that moment in order to go forward: beauty, challenge, perfection, chaos, thorns, threads, a moment of muffled silence among the noise… Another point of view. Because to see things better, sometimes you just have to look at them differently.
Exhibition’s set design: Sintija Jēkabsone
Artists in the exhibition:
ALINA CARP / Romania/, ANA CARDIM /Portugal/, ANDRIS LAUDERS /Latvia/, ANNA HEINRIHSONE /Latvia/, ANNETTE DAM /Denmark/, ARIEL LAVIAN / Israel/, ARTEMIS VALSAMAKI /Greece/, BARBARA UDERZO /Italy/, CHAO-HSIEN KUO /Finland/, CLARA NIUBÒ /Spain/, CORRADO DE MEO /Italy/, EERO HINTSANEN / Finland/, EMMANUEL LACOSTE /France/, EUGENIA INGEGNO /Italy/, EVE MARGUS /Estonia/, FELIEKE VAN DER LEEST /Norway/, GIGI MARIANI /Italy/, GUNTIS LAUDERS /Latvia/, HENG LEE /Taiwan/, ISABELLE BUSNEL /UK/, JULIA MARIA KÜNNAP /Estonia/, JURGA LAGO /Lithuania/, KRISTIINA LAURITS /Estonia/, LIISA HASHIMOTO /Japan/, MAIJA VĪTOLA–ZITMANE /Latvia/, MARIA ROSA FRANZIN /Italy/, MARIA VALDMA-HÄRM /Estonia/, MARIE-LOUISE KRISTENSEN /Denmark/, MÄRTA MATTSSON /Sweden/, NICOLAS ESTRADA /Colombia/, NÓRA TENGELY /Hungary/, RÉKA LŐRINCZ /Hungary/, SARA BARBANTI /Italy/, SARI LIIMATTA /Finland/, SIMEON SHOMOV /Bulgaria/, TANEL VEENRE /Estonia/, TED NOTEN /The Netherlands/, RO STUDIO /Latvia/, VALDIS BROŽE /Latvia/, VITA PUKŠTAITĖ-BRUŽĖ /Lithuania/, YOJAE LEE /South Korea/
From May 17 to June 15, 2024.
“When I close my eyes, I see a window. Outside, the world is waiting for me: there is a sunny and peaceful morning, a magnolia tree is stretching its branches full of flowers, I hear the happy voices of my kids playing outside, and my cat waits nearby for my caresses. This is the peaceful place where I would like to live, at least in my imagination. My jewellery reflects the inspiration coming from this strong connection with the good side of existence – with nature, kids and animals – and I always choose to believe that finally, beauty will save us from all the bad things.”
krp1@yahoo.com
1. BLACK BEAUTY, brooch, 2024, Brass mesh, resin, pigment, spinel beads
2. FREE SOUL, necklace, 2024, Brass, gold leaf 24 k, resin, glass beads, pearls, coral
Art is the lung that guarantees us all a place in the historical time of our own existence and with a joint mission: the awakening of our consciousness to the crucial need of safeguarding the symbiotic balance between the human race and terrestrial biodiversity. Jewellers are responsible for the art of detail, which explains, with great precision, the intimately quantum articulation between the micro and macrocosm. Or better yet, between the intelligible metaphysical universe that underlies the process of artistic inspiration and the tangible universe manifested in objects created by the dimension of density in concrete: exhalation. The concept of jewellery participates as a particle of luminous expression in the brilliant amplitude of the Creator’s breath and invites reflection: jewellery is everything that we value, or devalue; by social convention, it mirrors us as a society consumed by the false shine of power, a pathology that has led us to the total devaluation of true human values. We are the jewels in our treasure chest: inside.
anacardim@gmail.com
1. IT’S SUPPERTIME!, WASH YOUR HANDS AND COME ALL TO THE TABLE , 2024
The greatest ornament in the world, in my opinion, is nature itself – in any season and anywhere in the world. It’s a source of inspiration for all creative people, I think. We have enough of it, for now. Being in the wilderness helps one make choices, feed the imagination, and create Characters (at least in my head). Having a Character in mind is very important when making jewellery. Even if it’s just a very simple geometric shape, I can see some sort of Character in it. For a unique piece of jewellery, the embodiment of a Character is a must.
andris.lauders@gmail.com
1. RINGS IN THE WATER, ring, 2024, gold 999, silver 925, hematites
2. RINGS IN THE WATER, necklace, 2024, gold 999, silver 925, hematites
Rain is the most common form of precipitation, and consists of individual drops of water. The approximate intensity and type of coming rain can be determined by the clouds from which it is expected. On warm and humid days, heavy rain can be expected from cumulonimbus clouds, whereas light rain showers are usually caused by nimbostratus clouds.
Rain is water droplets that have condensed from atmospheric water vapor and then fall under gravity.
One wants to be happy when it’s raining.
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Humans have an urge to collect and categorise things from nature – but since nature is in constant process, growth and movement, it cannot always be clearly categorised or put into a box.
mail@annettedam.dk
1. OUTGROWING #1, necklace, 2022, Oxidized silver, copper, enamel, ruby, pearls, silk thread, plastic box, silicone, resin, lacquer
2. OUTGROWING #2, brooch, 2022, 14K gold, oxidized silver, copper, ruby, pearls, silk thread, plastic box, silicone, resin, lacquer
I live on one of the mountains surrounding Jerusalem. Until recently, the view from my window was the forest full of trees and life. But now, after the fires, all that is left is scorched earth; all the forests in the mountains around me have burned; everything is black, sooty, lifeless, dead.
Nature has not yet recovered…
Neither have I…
34ariel@gmail.com
1. SCORCHED EARTH, necklace, 2023, Branches, nest, copper
2. SCORCHED EARTH, necklace, 2023, Branches, copper
By nature, every human being is a creator.
As the caregiver nature can be to us, it is absolutely impossible for humans to exist without it; yet on the other side, nature is wholly independent and capable of surviving without humans.
Being nurtured by its power, we can expand and open our creative selves.
On a personal level, art jewellery nurtures a relationship between body and mind, and the combination of both create a meaningful artwork. An imprint of existence.
What is your imprint?
es.miarte@yahoo.gr
1. CAUGHT IN THE ACT, brooch, 2020, Copper, silver, acrylic colour, dental FX
2. FIRE, brooch, 2022, Copper, silver, bronze, acrylic colour
The nature that materialises in my jewellery is an unspoilt and wild nature that grows and evolves autonomously, free and independent of any human will. Some shapes look like enormous oversized flowers, as if they were trees or gigantic creatures that have nothing to do with decoration, even though they sometimes incorporate small recognisable elements such as murrine and crystals or miniature flowers. The material that forms my “still life-landscape” is made of polymers, with the addition of other materials such as fused glass or crystal and some hard stones.
barbara@uderzo-designer.it
1. BLOB chromatic density WILD VEGETATION, ring, 2024, 925 silver (oxidised metal), various reused plastics, Black stone, handcrafted fused glass
2. BLOB abstracta PAINTER’S PALETTE, earring, 2021, various plastics, crystals, brass structure with stainless galvanic treatment, silver pin and butterfly closure
My works express the simple happiness of everyday life that I hold dear, and they are the cherished moments translated into the language of jewellery. The natural environment in Finland provides endless fuel to my creativity, and I find inspirations in different seasons. Through my jewellery, I aspire to unveil the often-overlooked beauty and wonder in daily life, encouraging viewers to pause and appreciate their surroundings. My works are very sculptural, and the light often plays a pivotal role in them. My jewellery is always skilfully made with a delicate touch and shines with effortless elegance.
chao@chaoeero.com
1. SUNBEAMS, necklace, 2021, 925 silver
2. SUNBEAMS, brooch, 2022, 925 silver, 24K gold foil
Celebrate temporality, the transience of beauty, of life. The fragility of ephemeral.
Celebrate temporality, the transience of beauty, of life. The fragility
of the ephemeral. The instant of an expired cycle. Or briefly infinite. Who
knows. Maybe there is no end, maybe just a beginning. Incoherence made
ritual. The happiness of being alive, of being love, of being emotion.
hola@claraniubo.com
1. BÚCAR ESTRANGER, brooch, 2022, Metal, fabric, linoleum, paint and alpaca
2. MOC DEL CAMI, brooch, 2022, Cork, wood, paint, tiles and alpaca
When, many years ago, I happened to see a section of the trunk of a centuries-old sequoia in an American museum, I was amazed: it was a robust tree even before the appearance of Christ on earth. This detail struck me greatly and became fixed in my memory. Years later, while crossing a stretch of rainforest in South America, the sense of majesty and the energy that emanated from it brought to mind the memory of the age of the ancient sequoia. Every time I think about how ancient these “Monuments of Nature” are, and how short our life is, I wonder how we can, today, ignore the sacredness of this value and the relationship that binds our existence to them. Compared to the past – when man found material in the woods and forests to build his shelters, food and natural medicines – today he looks at the forests with fear for their future and reflects on how fundamental it is to protect their integrity and usefulness. My work, “Amazon, Land of Fire”, is intended to be a reflection on human greed which, in some areas of the world, is progressively destroying the roots of the earth and its ancient arboreal ecosystem through fire and irresponsible deforestation.
corradodemeo@hotmail.com
1. AMAZON- LAND OF FIRE I, brooch, 2023, Metacrylate, paper, wood, acrylic paint, steel, silver, oxide
2. AMAZON- LAND OF FIRE II, brooch, 2023, Metacrylate, paper, wood, acrylic paint, steel, silver, oxide
My work is deeply rooted in nature, drawing inspiration from my upbringing in the rustic landscape of eastern Finland. I create original shapes and forms that have been filtered through my imagination and expressed with my signature style. In every curve and contour, my jewellery encapsulates the essence of a time and place, challenging viewers to delve into layers of their own memories. The combination of animal- and plant-like shapes creates objects that appear to be plucked from nature rather than meticulously crafted by human hands. I aspire to create jewellery that transcends its ornamental function and can be appreciated as a miniature sculpture that fosters a deeper connection between the wearer and art.
eero@chaoeero.com
1. DROP DEAD GORGEOUS, bracelet, 2023, 925 silver
2. DROP DEAD GORGEOUS, ring, 2024, 925 silver
In the 4th century, the monk Evagrius Ponticus wrote a collection of texts in which he described the main evil thoughts or temptations that everyone should avoid so as not to offend God. In the 13th century, Thomas Aquinas refined this list to what we now call “the seven deadly sins”: lust, gluttony, greed, sloth, wrath, envy and pride. The purpose of the list was to establish a set of rules for the clergy in their quest to preserve ideal religious behaviour. In Lacoste’s view, it is the seven original sins that have shaped human weakness, for we would not be who we are today if it were not for these sins. Each piece of jewellery is combined with a sculpture that embodies a part of the female body. In Lacoste’s work, the relationship between the object and the human body is more than just aesthetic, since each of the objects simultaneously serves as a physical instrument of punishment if the wearer succumbs to the sin in question.
contact@emmanuel-lacoste.com
1. AVARICA (GREED), THE SEVEN DEADLY SINS collection, 2008, Sculpture: resin, industrial paint. Object: gold-plated metal, crystals and semi-precious stones, mink fur
2. GOURMANDISE (GLUTTONY), THE SEVEN DEADLY SINS collection, 2008, Sculpture: resin, industrial paint
Object: 100 carats lemon citrine stone, gold-plated silver
Through symbolic jewellery, such as anatomical hearts and hands, I explore the dialogue between humanity and natural creativity. The hearts embody tangible symbols of universal pain woven into the nuances of the human experience. Embroidered with countless beads, the hands represent the connection with divine creativity, manifesting a creative force beyond the human. These pieces communicate without words, offering symbols of beauty in chaos. Beads, like scattered signs in nature, become ornaments that highlight often overlooked details. Stitched hands serve as a bridge between the human and the divine, conveying creative inspiration from a greater source. In this context, the jewellery becomes a representation of sacred symbols, narrating archetypal stories interwoven with human experiences and the connection with the divine creativity that permeates our existence.
eugeniaingegno@gmail.com
1. RUBEDO, brooch, 2022, 18kt gold, beads
2. ALBEDO, necklace, 2023, 18kt gold, beads
“Puude taga metsa nägema / Seeing the wood for the trees” is an Estonian proverb that expresses a situation where someone is very close to a goal or solution, but still cannot reach nor find it.
In the darkest moment, deep into both the abyss and ignorance, the darkness of the soul offers transcendence. As we look into the depths, the depths return our gaze and ask: What do you see? What are you holding on to?
eve.margus@artun.ee
1. ABYSMAL, brooch, 2021, Carved basalt, oxidized silver
2. PRIME, brooch, 2018, Carved gabbro, oxidized silver
“Being creative and making things with your hands is one of the best things a human can do. It makes the world better, more interesting, and more beautiful. I can turn the ideas in my head into reality by shaping them in materials with my own hands. It makes me very happy. I wish everybody could be able to do this!”
felieke@feliekevanderleest.com
1. BLUE-TAILED SINGING TRUMPET, ring, 2021, textile, oxidized silver, glass beads
2. SINGING TRUMPETS, necklace, 2021, textile, oxidized silver, magnets
“An Italian ensconced by emotions” is how GIGI MARIANI, an Italian contemporary jewellery artist living and working in the city of Modena in northern Italy, could be described.
Mariani works with precious metals and uses antique and unique goldsmithing techniques such as niello, which give the jewellery a special and very personal touch. “It is rare to find this technique used in Italy, so I am very proud to be keeping this tradition alive.” This method achieves the strong and weighty coal-black texture that is characteristic of Mariani’s jewellery, and resembles miniature frozen lava fields. In the process of creation, lava has broken out of the volcanic throat with immense emotional force and then frozen en route so that every possible gradation of emotions can be carved from it. The most fascinating aspect of the jewellery is the hidden precious metals. On the coal-black and rough lava-like surface, gold and silver have torn scars, seethed, and sometimes gone over the edges.
Fluid associations, multiple meanings, and room for endless interpretation… these are the sensations and mind games that Gigi Mariani’s work evokes.
info@gigimariani.it
1. DUE, ring, 2023, silver, gold 18K, niello, patina
2. -1, ring, 2023, silver, 18kt yellow gold, niello, patina
Nature is my inspiration and one of my greatest teachers. In order to create something, I need to be in the silence of nature from time to time. Being there allows me to access thoughts and feelings that are deep inside me; and the more I look, the more I see…
Symbols, metaphors and images just appear in front of my eyes – all I have to do is take note of them and turn them into jewellery.
I like to work with my hands; I like to see the results and know that everything depends solely on me. Beauty makes me feel good and happy about life.
I feel that many people have lost their connection with the natural world. I invite them to return to their roots through my jewellery.
lauders@lauders.lv
1. LIZARD AND WIZARD, ring, 2023, garnet , topaz , silver 925
2. MOON FISH, brooch, 2024, topaz, ebony, mammoth tusk, silver 925
In 2015, I joined the PADAN Asang School as an art teacher. This school is a cultural experiment that is deeply rooted in the indigenous Bunun people of Taiwan. It brought me from the city into the heart of nature.
I still remember the first time I followed the school team to the Mali mountains to study the migration paths of the Kaohsiung Bunun people and the old tribes. Walking along the mountain paths, I found that moss and lichen grow arbitrarily on stones and tree trunks, showing their vigorous vitality – perhaps in these places without human damage, they can coexist and prosper together. For the pieces in the jewellery series “A Piece of Mountain”, I created layers of fern from brass and used enamel to create the colours of the land.
hengleejewelry.tw@gmail.com
1. A PIECE OF MOUNTAIN – DAVALLIA MARIESII, broach, 2021, Brass, copper, enamel
2. A PIECE OF MOUNTAIN – ADIANTUM CAPILLUS-VENERIS, brooch, 2020, Brass, copper, enamel
In my work I revisit the classics with silicone. Jewellery has always been inspired by nature but one period fascinates me the most: the Art Nouveau period and particularly the amazing work of René Lalique. He was inspired by plants, animal, flowers, insects and his jewellery is a beautiful ode and symbiosis between Art and Nature. Those 2 brooches are part of a new collection that draws inspiration from his work. They are partly made of silicone (my favourite material) but I use fabric and cotton thread too to add some interesting new textures.
busnelisabelle@gmail.com
1. LAW OF ATTRACTION, brooch, 2023
Silicone, rhinestones, cotton thread, fabric, metallic and plastic pin
2. DINNER IS READY, brooch, 2023
Silicone, rhinestones, cotton thread, fabric, metallic and plastic pin
The door of a human heart can only be opened from the inside.
/William Holman Hunt/
juliamaria@kynnap.ee
1. LET ME PAINT YOU GREEN, earrings, 2020, nephrite, gold 18K
2. HOW MUCH TIME DO WE HAVE, ring, 2022, rock crystal, 18k white gold
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Touching the ground with my hand, I look and smell and realize the temporariness of my needs. Culture is left behind and nature takes over. Nature takes back what belongs to it.
To create and to give up.
The earth is black and heaven is here – it is that simple.
kristiina.laurits@gmail.com
1. `HEAVEN IS HERE` III, brooch, 2023, Soil, silver, eggshell, lack, paint, blueberry flour, rose quartz
2. `HEAVEN IS HERE` I, brooch, 2023, Soil, silver, eggshell, lack, paint
I always get inspired by walking outside, looking around at parks, buildings, houses and so on. The character of parks – subtle movements and balance – is reflected in my jewellery works and objects. I am also attracted by little seeds, buds, fresh leaves just coming out, and the mosses that grow along the waterside. The organic variety of nature – its different shapes and forms, seasonal changes – is so fascinating.
As for my jewellery, I hope that people feel happy and smile when wearing it.
hinge@sage.ocn.ne.jp
1. BLUE-ROOFED HOUSE, necklace, brass, acrylic paint, silcer 925
2. GREEN MOSS, brooch, 2021, silver, acrylic paint
I prefer to work with natural materials, such as bone, wood, horn and mother-of-pearl. For me, nothing can top the richness that nature creates and provides. Wood, horn and bone are materials with their own particular texture and warmth, and sometimes they come with small defects and cracks. This adds an extra layer to the process when making new work – it reminds me that I can’t control or influence everything because there is always a chance that something unexpected will surprise me. Everything is cyclical and every end is a new beginning – just as an apple blossom comes to bear fruit, so in human life each stage is replaced by the next…with the exception that human life is only one brief moment in the eternal power of nature that surrounds us.
maija.viitola@gmail.com
1. IN THE DEEP OF MY SADNESS, ring, 2023, Hand-carved camel bone, silver, nacre, garnets
2. “FROM THE EARTH YOU CAME, FOR THE EARTH YOU MUST REMAIN”, brooch, 2024, Hand-carved camel bone, pink ivory wood, pearls and silver
Each object created contains a path of research that arises from knowledge, life experience, observation of reality, and the historical moment – using materials that can make the thought it is built upon clearer. Each author is a universe unto themself; if they work with sincerity of soul, they will try to make quality prevail in the research of their forms and in the techniques used. An important principle for everyone who works in the field of contemporary jewellery is to be recognisable among the countless proposals that multiply every day. I try to be faithful to my constructive thinking that has developed over all these years, and hope that I have been able to transmit this philosophy of life to all my students.
mariarosafranzin11@gmail.com
1. RITA, brooch, 2024, silver, resin, red coral
2. CALDER, necklace, 2023, Chain, silver, resin, niello
The series Cemetery of Words is part of a larger installative environment – a kind of performative library where actions have been stored within matter in the form of jewellery and installation. The action with the books was like an act of euthanasia. The motifs, words and excerpts of texts used in the works refer to the perception of a certain sense of inevitability – the loss of a method of fixing texts, including some texts which were inaccessible to many just a few decades ago.
My practice centres around the relationships between spatiality, memory, and the individual, and is explored through the poetics of jewellery art. I explore how identities emerge and how relationships are set and stored as poetic images in space and memory, consciousness or cognition. The wearer of a piece of jewellery carries a message, and together with the installative space, the jewellery transforms “words” into something wearable that reflects from the personal to the general, from the worn item onto the wearer, and from there, onwards and onto a casual stranger.
mariavaldma@gmail.com
1. CEMETARY OF WORDS, brooch, 2023, porcelain, silver 925
2. CEMETARY OF WORDS, brooch, 2023, porcelain,gold 585, silver 925, epoxy
I am constantly fascinated by the potential of artistic jewellery as miniature wearable sculptures. I love moving around in the cityscape. I get a feeling of calmness when the buildings and systematic chaos of the city surround me – the kind of feeling others refer to and get when being in a natural setting… In the streets I look for details – I collect “fragments” from the urban space and “parts” of conversations that materialise as building blocks and translate impressions into distinctive expressions. The works selected for this exhibition are loosely inspired from the first Covid lockdown, when I suddenly walked the city streets totally on my own. At home, at my workbench, new species began to evolve…
I believe we humans need to recognise and care for all kinds – big and small, known and unknown…
ml@m-lo.dk
1. CONDUCTOR, brooch, 2021, wood, copper, silver 925
2. SUMMER22, brooch, 2022, Milliput, silver, wood, plastic, steel
In the intricate tapestry of human existence, the relationship between humanity and nature is a multifaceted one defined by a myriad of emotions, experiences, and perceptions. Like most people, I find myself drawn to the natural world, captivated by its ineffable beauty and boundless complexity; yet certain parts of nature and its forces also scare and intimidate me. In my art and in my personal voyage of trying to understand what it means to be human, I seek to capture the essence of this complex relationship – to distill the paradoxical interplay of awe and apprehension. Each piece is created with a play between attraction and repulsion, and contains a tension between fear and fascination of the natural world and its creatures.
*Marta used spiders because they bring luck.
marta.mattsson.art@gmail.com
1. INSIDE, brooch,Copper electroformed spider, cubic zirconias, lacquer, resin, silver
2. PARROT, brooch, Cicada wings, lacquer, resin, pigments, silver
The themes that I draw inspiration from are directly connected to the humanity and sensitivity of those who observe my artwork. My pieces do not aim to defend or take a stance on issues that are undoubtedly central and significant in my country and continent. Instead, they represent the pure and unfiltered vision of an artist who strives to offer fresh perspectives using the tools provided by my artistic practice. Each piece of jewellery holds great power and worth in my eyes. Encapsulated within my work, it is a poetic gesture that emerges through the interpretation of my profound and meaningful artistic reflections. These reflections are conveyed through an intimate dialogue between the object and the viewer’s gaze.
nicolas@nicolasestrada.com
1. BLACK ENGINE, necklace
2. REVOLVER, necklace, 2020. gliding 18k, silver 925
In the context of jewellery, humans are the link between nothing and something. Humans are able to give meaning to things and transform raw materials into masterpieces. Their intellect induces change. Creativity is an unstoppable process, just like evolution.
The field of jewellery is also constantly evolving. Metal can change its form a thousand times, reflecting the current state of technology, science and society. But change is only perceptible if there is something to change from. There is always a part that is constant while the other half changes. In my most recent work, metal is a human-made variable that requires human power, experience, knowledge, etc. to transform, whereas pearls – with their puritan naturalness – represent eternal permanence.
tengelynora@gmail.com
1. ASSIMILATION, series STRONG, brooch, 2024, patinated copper, freshwater pearls, , stainless steel, silver 925
2. INTEGRATION, series STRONG, brooch, 2022, patinated copper, freshwater pearls, silver 925, stainless steel
By now I think a lot of us have experienced gratitude towards nature. We realize that without nature’s energy of unquestioning, unintentional intention, we could almost not exist. Not to mention its contribution to supporting the needs of our physical bodies. I believe that more and more people are realizing the power and joy in cooperation. In my work I often use both natural and man-made materials as a kind of cord documentation, showing, as a fact, that it is present in our world. It is not my intention to qualify this fact, rather I like to invite the recipient to question, to wonder, to enjoy and love the world. In my experience, loving connection is an easier, more fearless path to good will – good intention.
Nature, with its boundless beauty and unfathomable complexity, works without bias or judgment. It neither celebrates nor condemns our actions; it simply exists. I love the example it sets for me.
lorinczrekaweb@gmail.com
1. YOU AND ME, brooch, 2024, akoya pearl, freshwater pearl, silver, tape, epoxy resin
2. MORE IS ENOUGH, necklace, 2024, akoya pearl, freswater pearl, silver, strass, painted metal part
The jewellery pieces in the MY* PATH SYMBIOSIS collection play with the contrast of materials. They consist of natural stones that have been polished to a mirror finish, as well as rough and untouched raw materials, thereby suggesting the magnetic pull between the two. At the same time, this duality represents the range of material possibilities, where beneath a seemingly shabby crust, surprisingly unique veining shines in the core | monumental form | scratched silver as a symbol of perfection in which the artist is aware of his ability to lovingly polish the piece to high gloss, but nevertheless leaves it in its original state, laying down his DNA in the marks left by the jeweller’s tools | an open and breathing reverse side that gives a glimpse “inside” the piece and allows light to break through the stone’s network of cells.
info@rostudio.lv
1. BAREFOOT IN THE WET MOSS, ring, 2024, silver 925, moss agate
2. HANDS FULL OF MUD, ring, 2024, silver 925, dendrinic agate
Nature is a great source of inspiration for my artistic research – the charcoal I use in my jewellery is obtained from the wood of dead trees in my family’s orchard. It’s fundamental to me to give importance to a crude material, to transform a scrap into something precious and to extend the life cycle of this natural element.
info.sarabarbanti@gmail.com
1. COLLAGE, necklace, 2020, charcoal, resin, silver, steel, magnet
2. MIRROR, brooch, 2020, charcoal, paper, silver, pure gold, steel
People can’t survive without their teachers… Other species. Individuals of other species are our teachers. But too many of us keep on ignoring Them.
If we ruin the shared environment, we will ruin ourselves, too. How difficult is this to understand? What use is there for money from fame if there is no longer any life left?…or at least, no one from the human species left living.
sariliimatta1977@gmail.com
1. POISONED WATERS, bracelet, 2021, amazonite, glass beads, metal pins, thread, plastic toys
2. SOS, necklace, 2021, glass beads, metal pins, a plastic toy, velvet ribbon
Nowadays, with our hectic everyday lives – deadlines, targets, charts, all the fuss about money – it’s all just a stupid game, and we don’t realise that part of us is burning. We cut and sell the trees…then come the floods and the warming. We kill the wild animals and destroy their habitat, but can you imagine if they were all to disappear? Stop for a while; listen to the birdsong; sit in the shade under a tree; jump into the ocean and see that little fish just behind the plastic bottle; calm down, slow down. It’s free. Enjoy. Don’t you feel happier now? You don’t need a pill that makes you feel happier – you need to notice the things that are not created by industry. Take a look at these miniatures and they’ll turn into a key that unlocks this magical world. They have been created to remind you to take the dose of nature you need.
simoshomov@gmail.com
1. ANTI GRAVITY, earrings, 2023, silver 925, 24k gold plate, black oxidation
2. “ASK HIM, HE KNOWS EVERYTHING”, ring, 2022, Silver 925, 24k gold plate, black oxidation
Wooden medieval religious sculptures, especially the carvings of cloth, have been a major fascination of mine. In these carvings, I worked with the illusion of soft/hard.
tanel.veenre@gmail.com
1. THE WILL XX, necklace, 2016, white gold covered wood, silver
2. THE WILL XXI, brooch, 2016, Wood, silver
Ted Noten, known for his playful and unconventional influence on the field of contemporary jewelry, never considered there to be a separation between the field of fine art and conceptual jewelry. It is all content and language. Jewelry is Notens most devious tool, it is a means to seduce his audience, drawing us in closer until the true intention and provocative nature of his work is unavoidable. Noten ‘attacks’ convention though the eyes of an artist; commentating on our society and using jewelry as his ‘weapon’.
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1. SUNGLASSES FLOCKT, necklace
2. NECKLACE WITH INSECTS, object (wall piece)
The “TIMELESS” series is made of watch crystals and black and gold framework.
There are no dials or hands – there is time and space, which are important to us. Appreciate the rhythms and shapes that emerge by paying closer attention to what is around us…to how the environment and people help us to create and see many new things. Finding our own rhythm, and surrendering to it; it is different from the one we are often living in.
valdisbroze@gmail.com
1. ARC, from the series TIMELESS, brooch, 2024, oxidised silver, watch glass
2. TIMELESS, earrings, 2023, oxidised silver, watch glass
Short story about brooches: Plants like a persons with charakters,
individuality, social connections, hierarchy. In Lithuania language we
have some poetry names of plants, for example – “Tears of rabbit” or
“Noblewomen” ( it is lot. “Centaurea). For Your exhibition I choose
plants wich have associations with Ryga in my mind.
vita@vitapukstaite.lt
1. DAUCUS, brooch, 2023, silver 925, copper, iron
2. Centaurea, brooch, 2023, Copper, enamel, iron.
Outside and inside.
Do you know that wherever you go or wherever you are, you are often with something that is not very noticeable? They are insects. Although an insect exists as a familiar being, we often ignore this. Its value is only acknowledged when drawn together with a flower or when ornamented within jewelry. My work begins from a straightforward point of view. Each and every part of an insect’s body, consisting of six legs, two feelers and an exoskeleton… My desire is to express it the way it synchronises and integrates with my imagination. The discomfort resulting from being overly specific and explicit is expressed through the use of exaggerated size and unique texture. People see what they want to see. It is possible that my work could cause discomfort among some viewers, and fascination among others.
leeyojae@naver.com
1. BEETLE, brooch and object, 2021, frog skin, leather, sterling silver, brass, polymer clay, oxidized
2. MANTIS, brooch and object, 2024, frog skin, leather, sterling silver, polymer clay oxidized goldplated
Una Meistere
13 May 2024
Is Anyone Here?, a jewellery exhibition at PUTTI Art Gallery / 16 May–15 June
On 16 May, the PUTTI Art Gallery will open its final international exhibition. Titled Is Anyone Here?, the show will feature 40 artists who have been represented in both group and solo exhibitions over the gallery’s more than 20 years of existence. The exhibition will be accompanied by the release of the book Jewellery Is Not Just Jewellery, which summarises the history of the gallery and the contemporary and conceptual jewellery that it has featured over a period of 20 years.
The title of the exhibition is symbolic, as it embodies the ability to notice and comprehend what is so vividly captured in miniature form by contemporary jewellery – an art form that has always stood out for its ability to provoke and encourage the viewer/wearer to discover new perspectives on a seemingly familiar world, materials and forms. The title also alludes to a quite existential question: What is left when something is over? Moreover, is the end really “the end”, or is it part of a continuous process of transformation and creation?
To see better, sometimes you just have to look at something differently. And that is exactly what this exhibition offers – while symbolically bringing to the end one important stage, it takes us back to a relative beginning, a surreal space where the past is intertwined with the present and the future, and all possibilities/ideas are equally present. Some of them have already been captured – materialised in pieces of jewellery – while others still wander ethereally in an environment that resembles a visionary forest or meadow. They are here; you just have to be able to spot them.
The unifying elements of the exhibition are NATURE and one’s POINT OF VIEW. In fact, the exhibition is much like an observer’s meditative experience in which human and nature meet in relative silence and converse in the language of creativity…simply because it is the only one that can be understood without words. The exhibition is a story about receptiveness and the senses that we have either lost or that have been dulled down to almost nothing as a consequence of our alienation from nature, but which we must be able to recover in order to survive in this complex world. It is the story of the artist who still has this sensitivity, who notices/captures the marks left and discarded by nature and turns them into jewellery…who highlights the otherwise unnoticeable. The artist does this with their hands – through their touch, craftsmanship, and the use of natural materials and elements. The viewer/wearer sees the world magnified through these pieces of wearable art; moreover, when one looks upon them, they just might see themselves, as in a mirror. One sees what one needs at that moment to move on, be it beauty, challenge, perfection, chaos, thorns, threads, a moment of muffled silence amid all the noise…
Each of the 40 artists represented in the exhibition has their own point of view, and together they form a subtle web consisting of both visible and invisible worlds, as well as the often elusive (and perhaps only just perceptible) strings that connect the two.
Heng Lee. Necklace. "A Piece of Mountain – Heart of the Land IV", 2022
Hong Kong-based jewellery artist Heng Lee creates visually delicate, almost magical jewellery that resembles miniature forest fragments. It appears as if she’s zoomed-in on a specimen, then encapsulated it in brass, thereby capturing and encouraging us to notice movement and/or patterning which we might otherwise simply miss in the overwhelming number of shades of green we see in nature. In Lee’s jewellery, a fern becomes a work of art, a miniature object that unfurls its leaves within the wearer…and, perhaps, may even bloom at some point.
Lee reveals that her truest connection to nature occurred when she was an art teacher in Taiwan at the PADAN Asang School, a cultural experiment that is deeply entwined with the indigenous Bunun people.
Heng Lee. Brooch. "A Piece of Mountain – Davallia mariesii", 2021
“I still remember the first time I followed the school team to the Mali mountains to study the migration paths of the Kaohsiung Bunun people and the old tribes. Walking along the mountain paths, I found that moss and lichen grow arbitrarily on stones and tree trunks, showing their vigorous vitality – perhaps in these places without human damage, they can coexist and prosper together. For the pieces in the jewellery series ‘A Piece of Mountain’, I created layers of fern from brass and used enamel to create the colours of the land,” writes Lee.
Marta Mattsson. Brooch. "Parrot"
Swedish jewellery artist Marta Mattsson focuses on the emotional aspect of people’s relationship with nature. Often, during a few hours of a nature walk, it is possible to experience all the basic emotions – from joy to fear, disgust, surprise, and even sadness. Nature encourages us to let go, to be who we are in the moment, and at the same time, to observe how our moods and feelings change as we interact with nature. In nature, everything is in constant motion – something is born and something dies. Some win and some lose, some flourish and some wither, but at the same time, there is an incredible harmony…because in nature, everything is exactly as it should be.
Mattsson’s jewellery is also a part of nature – she works with insects, animal remains and other bio-matter; she also uses spiders a lot because they bring good luck. Her jewellery seems to continue the infinite cyclicality of nature in which life is replaced by death, which again becomes the source of new life. In Mattsson’s jewellery, the transience of the life of the butterfly takes on a poetic timelessness.
“In the intricate tapestry of human existence, the relationship between humanity and nature is a multifaceted one defined by a myriad of emotions, experiences, and perceptions. Like most people, I find myself drawn to the natural world, captivated by its ineffable beauty and boundless complexity; yet certain parts of nature and its forces also scare and intimidate me. In my art and in my personal voyage of trying to understand what it means to be human, I seek to capture the essence of this complex relationship – to distill the paradoxical interplay of awe and apprehension. Each piece is created with a play between attraction and repulsion, and contains a tension between fear and fascination of the natural world and its creatures,” states Mattsson.
Sara Barbanti. Necklace. "Collage", 2020. Photo: Paolo Terzi
Aesthetic existentialism is also a hallmark of the jewellery of Italian artist Sara Barbanti – she makes her pieces from charcoal extracted from the wood of dead trees in her family’s orchard. “It’s fundamental to me to give importance to a crude material, to transform a scrap into something precious and to extend the life cycle of this natural element,” says Barbanti. Her jewellery highlights the texture of a seemingly lost time, allowing the imagination to wander through fragments of each individual’s own memories. Charcoal, which was once a tree and then, eventually, fire, holds the secret of transformation – the ruins of ancient civilisations, or perhaps the childhood memory of finding mom’s secret chocolate stash…it all depends on what we are ready to see at that moment – both in ourselves and around us.
Valdis Brože. Brooch. From the series “Timeless”
In his jewellery series “Timeless”, Latvian artist Valdis Brože explores the relativity of time and its illusory nature. The sense of time and its passage can seemingly completely change depending on whether you are in a natural environment or in the city. A rushed gaze can simply drift – like the landscape passing by the window of a moving car; whereas if you stop, you’ll notice meadows with dandelions bursting into spring bloom and the filigree flouring mounds of bird cherry trees. Brože’s jewellery is made of watch crystals and black or gold elements. The pieces are laconic but also saturated – like the infinite possibilities offered by each individual moment. “There are no dials or hands – there is time and space, which are important to us,” writes Brože, encouraging us to appreciate the rhythms and shapes that surround us in our daily lives – the harmoniousness of its flow or, on the contrary, its chaos…to find and capture our own rhythm and try not to “fall out” of it, while noticing how different it is from the one we often live in on a daily basis.
Eero Hintsanen. Bracelet. "Drop Dead Gorgeous". 2023. Photo: Chao-Hsien Kuo
The relationship between time and place is also the focus of Finnish artist Eero Hinsanen’s work. His pieces are inspired by the rural landscape of eastern Finland, where he grew up. Memories, although seemingly rooted in a specific place and time, change and transform over the years. Reality mixes with imagination and, like stories retold from one generation to the next, they “grow” thicker with detail, sometimes – to effect, sometimes – not quite. And, depending on one’s point of view, they can also change roles.
“In every curve and contour, my jewellery encapsulates the essence of a time and place, challenging viewers to delve into layers of their own memories. The combination of animal- and plant-like shapes creates objects that appear to be plucked from nature rather than meticulously crafted by human hands. I aspire to create jewellery that transcends its ornamental function and can be appreciated as a miniature sculpture that fosters a deeper connection between the wearer and art,” writes Hintsanen.
Annette Dam. Necklace. OUTGROWING #1, 2022. Photo: Dorte Krogh
Meanwhile, Norwegian jewellery artist Annette Dam focuses on movement and the absurd human desire to constantly categorise and put things into “boxes” in an attempt to mimic the belief that one has understood something. Her jewellery is an ode to the Socratic “I know that I know nothing”, encouraging us to remain open to a process in which nothing, and no specific knowledge, is ever exhaustive. “Contemporary artists are also often in a state of process, growth and movement, using their creative skills to reflect and potentially express a critical angle on their surroundings. I find it interesting and inspiring to see jewellery artists materialise their voices, thereby adding their narrative to the tale of our times,” says Dam. The stylised elements of nature – a leaf and a flower – in her necklace have ironically grown out of/outgrown the box in which someone has tried to put them. They obviously don’t fit – just like the many stereotypes, supposed taboos, or so-called self-evident truths of contemporary society.
Barbara Uderzo. Ring. “Wildvegetation", 2024. Photo: Andrea Ferrero
In the jewellery of Italian artist Barbara Uderzo, the natural, the untamed and the wild fuse with the artificial. They are like two coexisting opposites constantly challenging each other. The lava that flows from a volcano destroys everything in its path, yet it also creates new forms. It is impossible to try to stop it or stand in its way, much like trying to change the bed of a river. Nature is the best teacher of humility, and if its lessons are long ignored, it can become downright radical. On her work, Uderzo writes: “The nature that materialises in my jewellery is an unspoilt and wild nature that grows and evolves autonomously, free and independent of any human will. It is lush, growing on itself to form an intricate and wonderful fabric. It is a nature of lights, colours and shadows…dark and opaque areas, others transparent or frothy…and more vibrant zones.” Uderzo’s jewellery is a stylised and impenetrable landscape where no one has set foot…a jungle of the subconscious mind that is both terrifying and seductive. Nevertheless, it can become a worthy companion for the journey.
Guntis Lauders. "Lizards and Wizards".
Latvian jewellery artist Guntis Lauders also makes no secret of the fact that nature is one of his greatest teachers. “Nature is my inspiration and one of my greatest teachers. In order to create something, I need to be in the silence of nature from time to time. Being there allows me to access thoughts and feelings that are deep inside me; and the more I look, the more I see… Symbols, metaphors and images just appear in front of my eyes – all I have to do is take note of them and turn them into jewellery. I feel that many people have lost their connection with the natural world. I invite them to return to their roots through my jewellery.”
Unlike with other art forms, in the field of contemporary jewellery, the echo of the world’s current affairs and the narrative of its events are much more subdued and seemingly invisible. Works of contemporary jewellery are more like small allegorical poems that speak to the senses in the language of material and form. Like nature, they directly train one’s sensitivity – to see, to notice, to think. To look at a drop of water, a grain of sand, the veining of a tree leaf, or a miniature fragment of the world through a kind of magnifying glass, thereby glimpsing the otherwise unnoticeable. Almost anything can become its source material; in this sense, contemporary jewellery has no limits.
Nicolas Estrada. Bracelet. "Balsillas", 2019. Photo: Joan Soto
The themes that I draw inspiration from are directly connected to the humanity and sensitivity of those who observe my artwork. My pieces do not aim to defend or take a stance on issues that are undoubtedly central and significant in my country and continent. Instead, they represent the pure and unfiltered vision of an artist who strives to offer fresh perspectives using the tools provided by my artistic practice. Each piece of jewellery holds great power and worth in my eyes. Encapsulated within my work, it is a poetic gesture that emerges through the interpretation of my profound and meaningful artistic reflections. These reflections are conveyed through an intimate dialogue between the object and the viewer’s gaze. – Nicolas Estrada
Ariel Lavian. Necklace. "Scorched Earth", 2023
The poetry and miniature form of contemporary jewellery is vividly embodied in Israeli artist Ariel Lavian’s very personal work titled “Scorched Earth” – birds’ nests containing crushed eggshells from which chicks will never hatch.
“I live on one of the mountains surrounding Jerusalem. Until recently, the view from my window was the forest full of trees and life. But now, after the fires, all that is left is scorched earth; all the forests in the mountains around me have burned; everything is black, sooty, lifeless, dead.
Nature has not yet recovered…
Neither have I…,” writes Lavian.
Sometimes it’s just one step from a thriving, flourishing and fully functioning world to one that is nothing but rubble. Just one single foolish act. This applies to everything – both human relationships (individuals, communities, countries) and our relationships with nature, of which we are a part. By upsetting the balance in nature, we upset the balance in ourselves. By distancing ourselves from nature, we draw away from ourselves. By destroying nature, we destroy ourselves. By listening to nature, we listen to ourselves. By looking into nature, we see ourselves. By conversing with nature, we converse with ourselves. By taking care of nature, we take care of ourselves. When we shout at nature, we shout at ourselves. By belittling nature, we belittle ourselves. By loving nature, we love ourselves. It is precisely so simple, and yet so complex.
Marie-Louise Kristensen. Brooch. "Conductor", 2021. Photo: Dorte Krogh
Danish artist Marie-Louise Kristensen writes: “I believe we humans need to recognise and care for all kinds – big and small, known and unknown…”Otherwise, the question Is Anyone Here? may not be answered. Because there will be no one to answer and no one to hear the answer. And no one to ask the question.Is Anyone Here? is actually a very crucial question because it teaches gratitude, humility and responsibility, all at the same time…towards those with whom we are together.
