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December 8, 2014 - February 14, 2015
From December 8, 2014 until February 14, 2015
at Art gallery PUTTI
Contemporary jewellery exhibition
If you ever
If you knew
Winter holds in itself an end of a period and a beginning of a new one, it is seen as a point of reference – in nature, society, our minds and hearts. We look back at the events of the year from different perspectives, assessing our growth and achievements. But our hearts don`t speculate, our hearts simply want to be close to each other – in endless closeness.
Days go in haste and spin whirlwinds until we notice that another year has passed. We remember then how important, at least once in a year, it is to stop, take a peaceful breath, collect your thoughts and give joy – with the use of words, actions or gifts, to say thank you for everything and make your loved ones feel loved and appreciated.
A contemporary jewellery exhibition “Endless closeness”
will take place in Art Gallery PUTTI from December 8, 2014 until February 14, 2015. Different Latvian and international jewellery artists will present their works, expressing their winter feeling. Exhibition participants are several Latvian and international jewellery designers: Guntis Lauders (Latvia), Māris Auniņš (Latvia), Māris Šustiņš (Latvia), Valdis Brože (Latvia), Andris Lauders (Latvia), Liisa Hashimoto (Japan), Rallou Katsari (Greece), Nikolajs Balabins (Russia), Gigi Mariani (Italy), Isabelle Busnel (England), Reka Lorincz (Hungary), Julia Maria Kunnap (Estonia), Heng Lee (Taiwan).
We invite you to visit the exhibition to enjoy winter and celebration feeling, and maybe to find amongst these jewellery pieces the special one, which would express – if only, if you ever new, what you mean to me…
Andris Lauders (Latvia)
My works – functional jewellery is made of silver, with gold additions. The technique implies that first, from gold and silver plates an ornament is created, and heat is applied from below. Since gold has a higher melting temperature than silver, the hard gold plates can sit into the softer silver plates thus fixing the ornament design. Smaller pieces of jewellery are initially formed in wax and then cast. The largest – made of components and brazed together, leaving a hollow middle. This reduces the weight of jewellery and allows it to be worn daily. Mammoth bone is cut, carved and put into his jewelry, but with the help of silver wire additional dotted accents or other ornaments are formed.
The presence of historicism is presented in my works. However, from all cultures, the ancient Egyptian jewellery has the dominant effect here. My jewellery traditionally has a narrative, but handwriting is developing in the direction of simplicity. Simple geometric shapes are mainly used in my artworks.
Gigi Mariani (Italy)
My work has a design and an informal basis. I try to transfer everyday emotions into my jewellery in a spontaneous way. I use the jewel as a painter uses a canvas to express his feelings. Each work tells the story of a life, of love, identity and quest. This contrast between geometric form and material texture allows me to develop works that are unique and sculptural, in which niello is the pictorial material applied to canvases of silver and gold.
Guntis Lauders (Latvia)
There are no specific national features in my works – they are open to the world.
I don’t especially try to find symbolic elements – they just come to me. During my studies I have absorbed many impressions from other cultures.
Nature influences me the most. I like cutting the grass. In summer I go to the countryside. I don’t work there but gather a huge luggage of information. It all gets mixed in my head and finds expression in my jewellery later.
Heng Lee (Taiwan)
In the ´Floral embroidery – Pixels´ series, I have enlarged the embroidery pattern which surfaced in Photoshop as a decorative garment on a dress. By magnifying the image, pixels of the pattern weakened, and became similar to a mosaic image. As the image was magnified, the borders went out of focus, leaving hand-embroidery to be the highlight of it all.
I mixed stitching methods, richer and more delicate colors to highlight the flowers and the beauty of embroidery.
Isabelle Busnel (Great Britain)
I want my jewellery to arouse interest and intrigue by creating a gap between appearance and reality, thus establishing a unique relationship between the wearer, the viewer and the maker.
I have been using a variety of materials in my work so far, mainly metals, powder coating, enamel and rubber in a versatile, deceptive and unexpected way.
White is the predominant colour of my work.
Magnets allow me to create jewellery that plays hide and seek with body and clothes.
I believe jewellery is the most powerful, yet underrated, means of communicating visually between people: I want to promote jewellery as a catalyst of social interactions, as intriguing objects generally reveal interesting persons.
Julia Maria Kunnap (Estonia)
We are living at the time when everyone ceaselessly has something to say, when everyone has a message, a statement, at least a comment. I want to experience and to reflect. No words, no sound, only the smell of falling water. If one watches, touches and squeezes a crystal far too long, the fingerprints will get deep enough to be noticed. As much as I am fond of the symmetry of crystals, I am fascinated about the idea that these crystals can never melt in the way I carve them. All my works have been made in a simple way – just grinding and polishing, sometimes a bit of gold is added to attach the stone to a wearer.
Liisa Hashimoto (Japan)
I gather my inspiration for making jewellery during long walks. I like to walk in parks, wander by old buildings, factories. Often my attention is attracted to rusty things, as different tools, playground equipment, ladders – these objects make me think about the time that has past.
During these walks I draw my inspiration also from nature – leaves, seeds, buds, little moss that grow by riverside. I like the organic forms in nature, they are so diverse, and no two forms are the same.
I mostly make my jewellery works from silver, copper and brass, all pieces are handmade. I like to create my jewellery in a way that would make people smile.
Māris Auniņš (Latvia)
Until I get the desired result, there is a lot of dust, chippings and mess. That’s the way how these stones are born – each of them is unique, I wouldn’t be able to cut another one the same way. Sometimes when I start polishing the stone I have no idea what will come out of it at the end.
Unexpected patterns that appear in the polishing process are great – that’s the essence of the nature.
This time is my time but who knows, maybe after 500 years my works will be regarded ethnographic.
Māris Šustiņš (Latvia)
My favourite material is silver – It is fabulous! Silver is always the same – today or a thousand years ago. I add gold to compositions to make them “tastier”. Usually there are no straight geometrical shapes, lines, or angles in my jewellery, works are plastic, close to natural shapes.
I like to work in wide amplitude – from the most delicate jewellery pieces to large metal forms.
Nikolai Balabin (Russia)
My main source of inspiration is nature, stories and history. I to use oxidized silver and gold foil in my works. I approach jewelry design process with attention and consideration.
Rallou Katsari (Greece)
Walking towards unknown caves, without knowing the way but only the beginning, I enjoy the journey and feel impatient to face the colour each time on my way to the exit…
Reka Lorincz (Hungary)
Jewellery design means the interpretation of today’s world to me, a sort of communication between the outside world and that of my own – making the invisible visible. Through my jewels I am contemplating the tangled variety of the universe. Heaps of emotions and thoughts pass through my mind through the impulses of the environment which I examine and turn them into objects.
I am intrigued by the street – what is the meaning of things I see?
Through my objects I mainly tried to reflect the difference between that of the shown and the real world which can sometimes look appealing, fake or even dangerous.
Valdis Brože (Latvia)
I work with colour. Sometimes I juxtapose rather risky tones. Why? Maybe it is because of our climate and the grayness around. Colours add joy to my jewellery.
I don‘t create similar items. I like to come up with new ideas all the time. Only some elements, details can look alike in one jewellery collection.
I have spent a lot of time studying books of anatomy in order to know better the human hand. This knowledge is needed when making two finger rings.
Of course, I am influenced by the things around me but I even cannot name my favourite artists. I like lots of different things.
Katya Shehurina (https://www.katyakatya.co.uk/)