• Gruppenausstellungen 2015: Schmuck @ Hermanus Fynarts

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    Zum ersten Mal nahmen acht Schmuckkünstler an dem weithin beliebten Hermanus Fynarts Festival teil. Die Künstlerinnen stellten ihre Kreationen für 10 Tage in einem kleinen, gemütlichen und hellen Raum im Hotel The Marine aus. Jeder der Schmuckkünstlerinnen war zumindest einmal auf Dienst, und konnte somit mit den vielen sehr interessierten Besuchern engagieren. Die Ausstellung kreierte viel Bewusstsein rund um die Existenz von zeitgenössichem Kunstschmuck in Südafrika.

     

    http://www.hermanusfynarts.co.za/ 

    http://www.hermanusfynarts.co.za/event/jewellery/

     

    Jewellery @ Hermanus Fynarts Festival
    Jewellery @ Hermanus Fynarts Festival

    Gruppenausstellungen 2015: Grafen/Graven

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    Personal der Abteilung für Visuele Künste an der Universität Stellenbosch nahm an dem jährlichen Woordfees der Universität mittels einer Gruppenausstellung teil, präsentiert von der Galerie GUS in Stellenbosch. Die dargstellten Arbeiten zum Thema Grafen/Graven waren enorm vielfältig und verliehen der Ausstellung somit einen sehr interessanten Charakter.

    Grafen/Graven = 

    grave, graf, graff, grab, grêf, grav, gröf, grafa, graph, grav, grāv, gräv,greɪv, gravis,græf; ghrebh, grā′vən, graven, grafen, grafan, grabą, grabō
     
    carve, engrave, etch, incise, fix, impress, imprint, inscribe, stamp, fix permanently
    solemn, sedate, somber, sober, impress, dangerous, serious, severe, grievous, dignified, heavy, slow, serious, important, significant, critical, pressing, threatening, dangerous, vital, crucial, acute, severe, urgent, hazardous, momentous, perilous, weighty, leaden
    dig, excavate, burial, death, extinction, catacomb, cinerarium, crypt, mausoleum, ossuary, sepulcher, sepulture, tomb, vault, pit
    loss of memory, self-imposed silence, unmindfulness, unknowing, forgetfulness, loss of knowledge, entanglements, catastrophes, repressive, prescriptive
     
    kerf, graveer, ets, inkerf,  afdruk, graveer, stempel, besadigde, somber, ernstig, swaar, waardig, stadig, beduidende, druk, dreigend, ernstige, dringende, gevaarlike, belangrike, gewigtige, drukkend
    grawe, uitgrawe, begrafnis, dood, uitwissing, katakombe, grafkelder, mausoleum, knekelhuisje, graf, sepulture, kluis, put
    verlies, vergeet, selfopgelegde stilte, onbekende, verlies van kennis, verstrengeling, katastrofes, onderdrukkend

     

     (c) Prof Keith Dietrichs, Abteilung für Visuele Künste, Universität Stellenbosch. 2015

     

    Grafen/Graven

     

    Gruppenausstellungen 2015: Wir 6

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    Als Teil des 2015 Woordfees der Universität Stellenbosch taten sich sechs Goldschmiede aus dem Boland Gebiet des Umfeldes Kapstadt zusammen um die neuesten Kreationen zu präsentieren. Die Ausstellung unter dem Titel ‘Wir Sechs’ fand in der Galerie Lilly Friedlaender in Stellenbosch statt, und wurde über 10 Tage hin sehr gut von lokalen und internationalen Gästen besucht, die allesamt von der Vielfalt und Qualität der dargestellten Arbeiten beeindruckt waren.

     

    Ons Ses - Exhibition poster

     

    Ons Ses - The artists. (c) Ons Ses. 2015.

     

    Gruppenausstellungen 2015: Precious Obsession – Eine Kunstschmuck-Veranstaltung

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    Am 5 März diesen Jahres veranstaltete Precious Obsession, eine Gruppe talentierter und enthusiastischer Kunstgoldschmiede aus Südafrika ihre zweite Veranstaltung im Foyer der Galerie Brundyn, Kapstadt. Die Veranstaltung wurde als Teil der bekannten und beliebten Cape Town First Thursdays Abende konzipiert (http://www.first-thursdays.co.za/).

    Die Veranstaltung wurde gut besucht und ermöglichte Besuchern sich mit den Kunstgoldschmieden zu unterhalten, Wein und Kaffee sowie Feinschmeckerhäppchen zu geniessen und der Musikgruppe zu lauschen.

     

    Precious Obsession @ Brundyn

    Precious Obsession @ Brundyn

     

    Precious Obsession @ Brundyn. (c) Precious Obsession 2015.

    Precious Obsession @ Brundyn. (c) Precious Obsession 2015.

     

    Um auf dem Laufenden zu bleiben, besuchen sie Precious Obsession auf Facebook: https://www.facebook.com/pages/Precious-Obsession/694939710584293 

    Us 16 – A short outline of the key ideas behind the ‘Us 16′ body of work (English only)

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    Us 16

    The body of work around Us 16 centres on the notion of community. Within any community such as a family, circle of friends, or team of any kind, there is usually a common denominator, some shared biology, topography, value, interest, background, experience, aim, skill, context or philosophy which acts as a binding agent between or common denominator for the individuals making up the group. This common denominator frequently influences what type of individual fits into the company, and whilst an individual’s behaviour is either explicitly or subconsciously shaped by the specifics of the group, the individual also influences the fabric of the group as a whole in turn. The dynamic within any community is consequently a complex synergy, shaped by both the bigger unit and the individual.

    Despite the bigger web of dynamics, however, each member of a group is still a distinct individual with a specific personality, background, opinion, set of skills, and strengths and weaknesses[1]. This microcosm often influences or even determines the various roles individuals can assume within a group, and it plays a role in the dynamic and nature of one-on-one interactions with other group members, resulting in a wide array of possible intra-personal forces. A group’s diversity and richness, but also its tensions and occasional discord stem (in part) from the basis that group members in the end are relatively autonomous and complex entities.

    Bringing these notions into the specific body of work, it becomes apparent that the 16 pieces form a little community which is grounded on various common denominators: all pieces are rings, all have been fly-pressed in terms of their production technique and they are all based on a coherent, singular design approach making use of formal elements such as ovals and widening tubular shapes. Visually the design methodology plays with colour, density, dimensionality and tensions between flowing forms and clean, sharp edges.

    Seen as a whole, the collection of rings assumes a strong presence without negating the uniqueness of the individual pieces. Similar to human members within a group, each ring has a different character, determined by strengths and weaknesses, colour, detail and relative boldness. Also like with individuals in any group, there are those which are more accessible and those which cannot be summed up after a first glance; there are those which are highly likable and those of which one is perhaps not quite sure or convinced. Furthermore, each ring strikes up a different interaction with its neighbours, depending on who those are, resulting in a wide range of possible sub-dynamics within the overall collection. Ultimately, however, the collection of rings is bigger than the mere sum of its constituents in isolation, a trait which is arguably the most enigmatic of any group.




    [1] Of these elements, personality is arguably the most influential one. One of many approaches to the understanding and classification of personalities was developed by Isabel Myers-Briggs & Katherine Briggs. The Myers-Briggs personality type indicator is founded on Jung’s theory of personality types, seeking to group personalities according to perception (ways of becoming aware of things internal & external) and judgement (ways of reaching conclusions about the gained perceptions). Differentiating between introversion and extraversion, sensing and intuition, thinking and feeling, as well as judging and perceiving, the Myers-Briggs approach differentiates between 16 basic personality types, which ties in neatly with the chosen focus for Us 16 (http://www.myersbriggs.org/my-mbti-personality-type/mbti-basics/home.htm?bhcp=1 – accessed 26 May 2015). 

    ‘Himmlische Zierde’ – Kunstschmuckstück in Metalsmith Magazin zitiert

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    In der Juniausgabe des Amerikanischen Magazins Metalsmith (einer wohlbekannten Publikation zum Thema Schmiederei und Schmuckherstellung) stellt die freischaffende Journalistin Leslie Jordan Clary eine Sammlung Bilder dar, die sich auf Kunstschmuckstücke zum Thema ‘Himmlische Zierde’ beziehen.

    11 Schmuckkünstler wurden um ein Foto eines Stückes gebeten, darunter meine Anstecknadel “Momentaner Einklang”. Metalsmith Magazin, Jun1 2015, Vol 35, Nr 3, p 20 – 23:

    Metalsmith article June 2015_35-3

    Zeitgenössischer Kunstschmuck nun bei The Oculus in Kapstad zu sehen

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    The Oculus, ein Spezialist für moderne Sonnenbrillen auf der Ecke der Strassen Strand und Chiappini in Kapstadt, stellt nun auch zeitgenössischen Südafrikanischen Kunstschmuck aus, zusammengestellt von Precious Obsession, der unlängst gegründeten Gruppe von Schmuckkünstlern.

     

    Von der Facebookseite The Oculus:

    Here at The Oculus, we believe that contemporary jewellery art is something that needs to be promoted in South Africa since it is such a unique platform. Creating artistic statements within the sphere of ‘jewellery design’ allows for connotations of wealth, rarity, value and also the relationship with the wearer and the body to be used in interesting and experimental ways and also contested with subjective artistic commentary. One could say that specifically South African artists have so much to comment about this country’s different traditions, perceptions of value and the variety of cultures, as well as its rich history in the role of provider of raw materials for the fine jewellery industry and the controversy surrounding it. The Oculus is proud to showcase PRECIOUS OBSESSION. Watch this space…
    Photo: Here at The Oculus, we believe that contemporary jewellery art is something that needs to be promoted in South Africa since it is such a unique platform. Creating artistic statements within the sphere of 'jewellery design' allows for connotations of wealth, rarity, value and also the relationship with the wearer and the body to be used in interesting and experimental ways and also contested with subjective artistic commentary. One could say that specifically South African artists have so much to comment about this country's different traditions, perceptions of value and the variety of cultures, as well as its rich history in the role of provider of raw materials for the fine jewellery industry and the controversy surrounding it. The Oculus is proud to showcase PRECIOUS OBSESSION. Watch this space...

    Gruppenausstellungen 2014: Precious Obsession – Eine Kunstschmuck-Veranstaltung

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    Drei professionelle Schmuckkünstler haben sich vor einer Weile zusammengetan um die allererste Kunstschmuck-pop-up-Veranstaltung zu präsentieren. Die Precious Obsession Veranstaltung fand im Truth Cafe in der Buitenkantstrasse in Kapstadt am 20. November 2014 statt.

    Ziel der Veranstaltung war es, Kunstschmuck einem breiteren Spektrum von Leuten darzubieten und somit Wissen und Akzeptanz zu festigen. Der Abend erlaubte den Besuchern persönliche Gespräche und Begegnungen mit den 20 Schmuckkünstlern und ihren Arbeiten, und dies alles in einer unkomplizierten und informellen Atmosphäre.

    Der Abend brachte enorm viele Besucher und weitere solche Veranstaltungen sind für die nähere Zukunft geplant.

      

    Precious Obsession Information Poster. (c) Precious Obsession, November 2014
    Precious Obsession Informationsposter. (c) Precious Obsession, November 2014

     

    Truth Cafe, Buitenkant Street, Cape Town during the Precious Obsession pop-up event on 20 November 2014. Photo: Ms Kruger
    Truth Cafe, Buitenkant Strasse, Kapstadt am Abend der Precious Obsession Veranstaltung am 20 November 2014. Foto: Fr Kruger

     

    Exhibition detail at Truth Cafe, Buitenkant Street, Cape Town during the Precious Obsession pop-up event on 20 November 2014. Photo: Ms Kruger
    Ausstellungsdetail, Truth Cafe, Buitenkant Strasse, Kapstadt am Abend der Precious Obsession Veranstaltung am 20 November 2014. Foto: Fr Kruger

     

    Gruppenausstellungen 2014: 55 Künstler / Colliers

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    Im November diesen Jahres taten sich Tinsel und die Galerie Liz Loubser in Johannesburg zusammen und präsentierten 55 Colliers von 55 Südafrikanischen Schmuckkünstlern. Jedes Collier ist ein Unikat und wurde handgefertigt. Die Eröffnung am 8. November begeisterte Gäste mit einem kunstvoll zusammengestellten Exponat.

    55 Künstler / Colliers - Detail der Ausstellung, November 2014. Foto: Liz Loubser Galerie / Tinsel

    55 Künstler / Colliers – Detail der Ausstellung, November 2014. Foto: Liz Loubser Galerie / Tinsel

     

    55 Künstler / Colliers - Detail der Ausstellung, November 2014. Foto: Liz Loubser Galerie / Tinsel

    55 Künstler / Colliers – Detail der Ausstellung, November 2014. Foto: Liz Loubser Galerie / Tinsel

     

    55 Künstler / Colliers - Detail der Ausstellung, November 2014. Foto: Liz Loubser Galerie / Tinsel

    55 Künstler / Colliers – Detail der Ausstellung, November 2014. Foto: Liz Loubser Galerie / Tinsel

     

    Gruppenausstellungen 2014: Zwischen den Zeilen in Johannesburg

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    Die letzte Edition der Ausstellungsserie Zwischen den Zeilen eröffnete am 23 August 2014 in der Liz Loubser Gallerie in Risidale, Johannesburg. Besucher genossen die Eröffnung und waren reichlich beeindruckt von den zur Schau gestellten Arbeiten. Das wunderschön gestaltete Exponat endete am 5 September 2014.

     

    Zwischen den Zeilen, Liz Loubser Gallerie, August 2014. Foto: Liz Loubser Gallerie

    Zwischen den Zeilen, Liz Loubser Gallerie, August 2014. Foto: Liz Loubser Gallerie

    Ausstellungsdetail - AnGelas Schmuckstücke. Liz Loubser Gallerie, August 2014. Foto: Liz Loubser Gallerie

    Ausstellungsdetail – AnGelas Schmuckstücke. Liz Loubser Gallerie, August 2014. Foto: Liz Loubser Gallerie

    Ausstellungsdetail - Maikes Schmuckstücke. Liz Loubser Gallerie, August 2014. Foto: Liz Loubser Gallerie.

    Ausstellungsdetail – Maikes Schmuckstücke. Liz Loubser Gallerie, August 2014. Foto: Liz Loubser Gallerie.

    Ausstellungsdetail - AnGelas Schmuckstücke. Liz Loubser Gallerie, August 2014. Foto: Liz Loubser Gallerie

    Ausstellungsdetail – AnGelas Schmuckstücke. Liz Loubser Gallerie, August 2014. Foto: Liz Loubser Gallerie

    Ohrringe werden für Modefotografie verwendet

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    Anfang des Jahres vereinten Modefotografin Marguerite Oelofse und der Berliner stylist Julius Forgo ihre kreativen Kräfte für ein paar Modefotos in Kapstad. Einige meiner Schmuckstücke wurden als Accessoirs gewählt und eines der Fotos wurde in dem on-line Magazin Superior Mag im August veröffentlicht: 

    http://www.superior-mag.com/2014/magazine-photography-fashion-editorial-marguerite-oelofse-dunes-valley/

    Gruppenausstellungen 2014: Zwischen den Zeilen in Windhoek, Namibia

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    Die Fine Ounce Goldschmiedegruppe präsentierte vom 30.6. bis zum 9.7. die erste internationale Gruppenausstellung in der Omba Galerie in Windhoek, Namibia. 120 Schmuckstücke waren zur Besichtigung und zum Verkauf in der wunderschön restaurierten, hellen ehemaligen Fabrikhalle ausgestellt – alles zum Thema “Zwischen den Zeilen”. Die Ausstellung wurde von vielen, vielen Gästen besucht, darunter der Frau des Deutschen Botschafters in Namibia. Ausserdem wurden verschieden Artikel zu der Ausstellung, bezw. zu den Künstlerinnen in den Medien gebracht, und die zwei Namibianischen Fine Ounce Mitglieder (Frieda Lühl und Angela Tölken) gaben 3 Radiointerviews.

    Artikel aus: Die Republikein, 3 Julie 2014

     

    Artikel aus: Die Allgemeine Zeitung, 4 Julie 2014

     

     
    Artikel zu Angela Tölken. Überschrift. Die Allgemeine Zeitung, 18 July 2014

     

    Haupttext, Die Allgemeine Zeitung, 18 Julie 2014



    Die letzten Gruppenausstellungen in den Medien

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    Die letzten zwei Ausstellungen der Fine Ounce Goldsmiths’ Collective fanden viel Anklang in den Medien.

    Die erste der beiden Ausstellungen fand in Durban in der Imbizo Galerie statt, und endete am 31.7.2014. An dieser Gruppenausstellung nahmen verschiedene Künstler teil, u.a. Fine Ounce. Die Eröffnung wurde mit einer Mode- und Schmuckschau gefeiert.

    Article from Life and Lifestyle


    Die zweite Ausstellung fand in der Omba Galerie in Windhoek, Namibia statt und repräsentiert damit die erste internationale Ausstellung der Fine Ounce Gruppe. 120 Schmuckstücke waren zur Besichtigung und zum Verkauf in der wunderschön restaurierten, hellen ehemaligen Fabrikhalle ausgestellt – alles zum zentralen Thema “Zwischen den Zeilen”. Die Ausstellung, welche vom 30.6. bis zum 9.7. lief, wurde von vielen, vielen Gästen besucht, darunter der Frau des Deutschen Botschafters in Namibia. Ausserdem wurden in den Medien verschiedene Artikel zu der Ausstellung, bezw. zu den Künstlerinnen gebracht. Die zwei Namibianischen Fine Ounce Mitglieder (Frieda Lühl und Angela Tölken) gaben zusätzlich 3 Radiointerviews, eines davon eine Stunde lang beim Deutschen Höhrfunk.

     

    Artikel aus: Die Republikein, 3 Julie 2014

     

    Artikel aus: Die Allgemeine Zeitung, 4 Julie 2014

     

     
    Ausführliches Expose zu Angela Tölken. Artikelüberschrift, Die Allgemeine Zeitung, 18 Julie 2014

     

    Haupttext, Die Allgemeine Zeitung, 18 Julie 2014

     

    Die Ausstellung in Windhoek war die erfolgreichste Ausstellung der Gruppe, und wird im August/Septemter in der Liz Loubser Galerie in Johannesburg, Südafrika zu besichtigen sein um den dortigen Fans der Gruppe die Gelegenheit zu bieten, die Unikate der 8 Mitglieder zu besichtigen und erwerben.



    The words we use become the homes we live in – Artist’s statement pertaining to the series Between the Lines (English only)

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    As an avid reader and a keen, yet critical listener I have for quite some time been aware that words and phrases have an effect on my emotions and psyche, especially when originating from lyrics and literature. Only fairly recently, however, have I come to realize that everyday words relating to myself (irrespective of whether they originate from myself or from others), have a profound (long-term) impact on my Self. Put differently: I have come to believe that the effects of words incrementally amalgamate into a house or home for the psyche.

    A house, usually understood as a three-dimensional structure enclosing and structuring space, essentially constitutes a protective and enabling shelter for its occupants. In order to transform the mere structure into an abode for living in, a house’s inhabitants usually leave a personalized imprint on it, be it through practical and / or decorative means, consequently giving meaning and purpose to an otherwise empty shell. By doing so, the occupants of a house inevitably represent and express themselves. A home, either as a specific arrangement of rooms or simply as a particular place / space, can thus be understood as a room for and a room of the Self, — a space which empowers the Self whilst at the same time mirroring the Self in various ways. Since the Self is affected by its physical surroundings as much as it shapes that very environment, a complex inter-relation ensues.

    The concept of an inter-relation between the Self and its surroundings can be extended to the realm of the psyche. Words relating or referring to the Self have an impact on it which I believe solidify into a specific frame-of-mind over time, subsequently influencing the beliefs, actions and vocabulary employed by the Self. The effects of words thus amalgamate into a structure around the psyche, and thus by extension into a house / home1.

    Throughout the body of work presented as part of the Between the Lines series, the house constitutes the main visual element, representing a “contour around an interior”2. As a shape, the house has retained key archetypal elements such as windows and / or doors and containing walls. Nonetheless it can be interpreted on various different levels: as an architectural study, a 3-dimensional exploration of structure, an interplay of surfaces and spaces, a container of memory or as a symbol of home, self, family and inter-personal experiences where walls enclose either lovingly and protecting, or threatening and debilitating3.

    As small objects the houses dwell on detail, and they are not overtly demanding attention. As such they reflect the private and the hidden of everyday existence4. Their purpose is to facilitate the representation and

    “(…) interpretation of the closest, the concrete, the everyday. For in the proximate, the daily, the apparently small, there is hidden (…) the metaphysical; the here-and-now is the place where meaning is disclosed, where our existence must find interpretation, if it can find interpretation at all. That is what dwelling, or the space of dwelling, is: something proximate, daily, apparently small (…)”5.

    Not only do the houses or dwellings advance the interpretations of everyday, private experiences, but also a process of coming-to-terms-with, acceptance and closure. Since being construed as pieces of jewellery (meant to be worn on bodies moving through different environments and contexts), the houses, however, also cut across “the dividing lines between private and public, interior and exterior”6,mediating between inner and outer realities.

    The notion of words eventually forming a home for the psyche provides me with an apt visual vocabulary to explore various experiences with words relating to my Self, all the while trying to visually capture the deeper, more complex connotations of what is being ‘said’ between the lines and eventually effected. Whilst the auto-biographical nature of the subject matter is not without its challenges, it does tie in with my ever-present, underlying interest in jewellery as a means of self-portraiture.

     

    1 Words or a space, however, are not the only elements to constitute a home. Similarly to a home providing room for the Self in its various manifestations, so does the human body ‘provide room’ for the Self. The conceptual likeness between body and home allows for interesting parallels to be drawn, such as the strong visual correlation between the key elements of a human face (eyes and mouth within a frame), and the key Gestalt elements of a house (windows and a door within a frame). As with the home, the human body is inevitably utilized as a means of self-expression and its configuration has a marked influence on the Self and vice versa, again resulting in an inter-relation between the Self and that which surrounds it.

    2 Miniature art, in Veiteberg, J. (ed.). 2012. Konrad Mehus. Form follows fiction. Jewellery and objects. Stuttgart: Arnoldsche Art Publishers. p 75.

    3 Ibid.

    4 Ibid.

    5 Paul Tillich quoted from Abercrombie, S. 1990. A philosophy of interior design. Oxford: Westview Press, in Miniature art, in Veiteberg, J. (ed.). 2012. Konrad Mehus. Form follows fiction. Jewellery and objects. Stuttgart: Arnoldsche Art Publishers. p 75.

    6 Miniature art, in Veiteberg, J. (ed.). 2012. Konrad Mehus. Form follows fiction. Jewellery and objects. Stuttgart: Arnoldsche Art Publishers. p 75.

    Gruppenausstellungen 2014: Metaal met Taal

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    Zum Anlass des diesjährigen Stellenbosch Woordfees  (Fest der Worte) veranstalteten sechs Goldschmiede aus der Umgebung eine Gruppenausstellung zum Thema Metaal met Taal  (Metal und Sprache). Die Ausstellung fand in der Lilly Friedlaender Gallerie vom 5. bis zum 16. März statt.

    Jedem der sechs Künstler war es selbst überlassen, wie das Thema zu interpretieren ist, und das Gesamtbild ergab eine interessante Mischung von wort-wörtlichen und akstrakten Interpretationen. Durch meinen eher akademischen Hintergrund bedingt entschied ich mich für das Abstrakte und setzte mich mit Rhytmus, Mustern und Wiederholungen der Sprache, aber auch mit der Spannung zwischen dem Präsenten und dem Abwesenden auseinander.

    Gruppenausstellungen 2014: Ethereal Material

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    Vom 28. Februar bis zum 2. März 2014 präsentierten Personalmitglieder und Magisterstudenten der Abteilung für Kreativen Schmuckentwurf und Metaltechniken der Universität Stellenbosch ihre neuesten Werke im Bereich Autorenschmuck. Die Gruppenausstellung fand im Rahmen der Messe des Cape Town International Design Indaba statt.

    Jeder der 6 Schmuckkünstler hatte einen eigenen Schaukasten, und die ausgestellten Arbeiten ergänzten einander ausserordentlich gut.

    Zuspruch der lokalen sowie auch internationalen Besucher war äusserst positiv, und es gingen viele Nachfragen bezüglich weiterer Informationen und Kontakte ein.

     

    Ethereal Material - DI stand 2014
    Ethereal Material – Stand bei der Messe des Design Indaba 2014.
    Foto: Carine Terreblanche

    Ethereal Material - DI stand 2014 - AnGela

     

    Metaal met Taal – Gruppenausstellung als Teil des Stellenbosch Woordfees

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    Zum Anlass des diesjährigen Stellenbosch Woordfees  (Fest der Worte) veranstalteten sechs Goldschmiede aus der Umgebung eine Gruppenausstellung zum Thema Metaal met Taal  (Metal und Sprache). Die Ausstellung fand in der Lilly Friedlaender Gallerie vom 5. bis zum 16. März statt.

    Jedem der sechs Künstler war es selbst überlassen, wie das Thema zu interpretieren ist, und das Gesamtbild ergab eine interessante Mischung von wort-wörtlichen und akstrakten Interpretationen. Goldschmiede mit einem eher akademischen Hintergrund entschieden sich für das Abstrakte indem sie mit Worten in den Titeln spielten (wie im Falle von Carine Terreblanche), oder sich mit Rhytmus, Mustern und Wiederholungen der Sprache, aber auch mit der Spannung zwischen dem Präsenten und dem Abwesenden auseinander setzten wie in meinem Falle.

     

    Ethereal Material – Gruppenausstellung bei der Design Indaba Messe 2014

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    Vom 28. Februar bis zum 2. März 2014 präsentierten Personalmitglieder und Magisterstudenten der Abteilung für Kreativen Schmuckentwurf und Metaltechniken der Universität Stellenbosch ihre neuesten Werke im Bereich Autorenschmuck. Die Gruppenausstellung fand im Rahmen der Messe des Cape Town International Design Indaba statt.

    Jeder der 6 Schmuckkünstler hatte einen eigenen Schaukasten, und die ausgestellten Arbeiten ergänzten einander ausserordentlich gut.

    Zuspruch der lokalen sowie auch internationalen Besucher war äusserst positiv, und es gingen viele Nachfragen bezüglich weiterer Informationen und Kontakte ein.

     

    Ethereal Material - DI stand 2014
    Ethereal Material – Stand bei der Messe des Design Indaba 2014.
    Foto: Carine Terreblanche
    Ethereal Material - DI stand 2014 - AnGela
    Schaukästen von AnGela und Carine Terreblanche.
    Foto: Carine Terreblanche
    US DI stand 2014
    Graphischer Hintergrund des Standes.
    (c) Chantal Curtis, Tinkerdesign

    2013 Beijing International Jewelry Art Exhibition – erste internationale Gruppenausstellung für AnGela

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    Mit grosser Freude nahm ich die Mitteilung zur Kenntniss, dass meine Arbeiten zur 2013 Beijing International Jewelry Art Exhibition eingeladen wurden.

    Die Ausstellung, organisiert vom Kommittee der Internationalen Designwoche Peking, repräsentierte 329 Schmuckkünstler aus der ganzen Welt und fand im Chinese Millenium Monument statt, wo sie vom 24. September bis 12 Oktober 2013 lief. Jeder mitwirkende Schmuckkünstler erhielt zum Dank einen farbigen, 240 Seiten starken Katalog.

    2013 Beijing International Jewelry Art Exhibition – erste internationale Gruppenausstellung

    , Ausstellungen, Gruppenausstellungen.

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    Im August 2013 erhielt ich die Mitteilung, dass ein paar meiner neueren Arbeiten zur 2013 Beijing International Jewelry Art Exhibition eingeladen wurden. Damit nahm ich zum ersten Mal an einer internationalen Gruppenausstellung teil.

    Die Ausstellung, organisiert vom Kommittee der Internationalen Designwoche Peking, repräsentierte 329 Schmuckkünstler aus der ganzen Welt (wovon 2 aus Südafrika stammten) und fand im Chinese Millenium Monument statt, wo sie vom 24. September bis zum 12 Oktober 2013 lief. Jeder mitwirkende Schmuckkünstler erhielt zum Dank einen farbigen, 240 Seiten starken Katalog.

     Mehr Informationen sind unter http://www.futuredesign.cn/ erhältlich.

    Zwischen den Zeilen – Gold of Africa Museum

    , Ausstellungen, Gruppenausstellungen, News-Blog.

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    Die Fine Ounce Goldschmiedegruppe stellte am 3. Oktober 2013 Schmuckarbeiten zum neuen Thema “Zwischen den Zeilen” aus. Die Ausstellung fand im Gold of Africa Museum in Kapstadt statt, und war der Oeffentlichkeit für zwei Wochen zugänglich.

    Wie auch schon bei vorigen Ausstellungen waren die Arbeiten von hoher Qualität und repräsentierten die äusserst verschiedenen Ansätze und Persönlichkeiten der 8 Gruppenmitglieder.

    Die Arbeiten werden in 2014 nach Durban, Windhoek (Namibia) und Johannesburg reisen.

    Between the Lines exhibition

    Das Leitkonzept wurde auch bei der Gestaltung in Betracht gezogen. Hölzerne Rahmen wurden in Reihen angeordnet aufgehängt. (c) Mathias Tölken 2013

    Between the Lines exhibition detail

    Detail der hölzernen Rahmen in denen die Schmuckarbeiten angeordnet wurden. (c) Mathias Tölken 2013

    Fine Ounce Goldschmiedegruppe bereitet sich auf neue Ausstellungsserie vor

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    Aufbauend auf den Erfolg der letzten beiden Ausstellungsserien ist die Fine Ounce Goldschmiedegruppe nun mit den Vorbereitungen fuer die 2013/14 Saison beschäftigt. Das neue Thema ‘Zwischen den Zeilen’ lässt viel Freiraum für persönliche Interpretation und bietet ausserdem interessante Ausstellungsmöglichkeiten.

    Obschon die neue Ausstellungsserie noch finalisiert wird, sind ein paar Gallerien schon bestätigt: das Gold of Africa Musuem und die Kalk Bay Modern in Kapstadt, sowie die Gallerie Liz Loubser in Johannesburg. Momentan unterhandelt die Gruppe ausserdem mit Gallerien in Durban, Windhoek und Franschhoek.

    Wichtiger Meilenstein erreicht – Portfolio bei Klimt 02 veröffentlicht

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    Im Juni diesen Jahres erreichte ich einen wichtigen Meilenstein bezüglich der internationalen Repräsentation meiner Arbeiten: mein Portfolio wurde bei Klimt 02 veröffentlicht. Klimt 02 ist eine Gallerie in Barcelona, so wie auch das führende internationale Forum für Kunstgoldschmiede, und Schulen / Gallerien welche sich auf Kunstschmuck spezialisieren. Klimt 02 redigiert den Inhalt der Webseite und repräsentiert zu jeder Zeit eine genauen Eindruck der internationalen Szene.

    Die Veröffentlichung meines Portfolios hat inzwischen zwei Einladungen zu Ausstellungen zur Folge gehabt: eine in London, und eine in Peking. Die Letztere habe ich angenommen und bin nun dabei, die nötige Logistik zu organisieren. 

    Breath of Fire – Rust-en-Vrede

    , Ausstellungen, Gruppenausstellungen.

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    Am 21 Mai 2013 eröffnete Hennie Meyer, erfolgreicher Südafrikanischer Keramikkünstler, die letzte Ausstellung der Hauch von Feuer Ausstellungsserie in der Rust-en-Vrede Kunstgalerie in Durbanville. 

    Die Ausstellung überzeugte durch ihre Effektivität, Einfachkeit und Genauigkeit, wodurch der gereifte Ansatz zur Materie der Fine Ounce Goldschmiedegruppe zum Ausdruck kam. Wie auch in vorigen Ausstellungen der Serie sind die (neuen) Arbeiten mit viel Anklang betrachtet worden.

    Rust-en-Vrede opening

    Rust-en-Vrede. (c) Mathias Tölken

    Rust-en-Vrede opening
    Rust-en-Vrede. (c) Mathias Tölken
    Rust-en-Vrede opening
    Rust-en-Vrede. (c) Mathias Tölken

    Rust-en-Vrede opening

    Rust-en-Vrede. (c) Mathias Tölken

     

    Hauch von Feuer – is art

    , Ausstellungen, Gruppenausstellungen.

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    Der 2. Teil der Fine Ounce Ausstellungsserie zum Thema “Hauch von Feuer” fand in der Gallerie is art in Franschhoek statt, wo die Arbeiten 2 Wochen lang zu besichtigen waren. Auch dieses Mal gab es wieder viel Lob und Anerkennung für die Arbeiten und deren Präsentation.  

    Hauch von Feuer – 30 on Roodebloem

    , Ausstellungen, Gruppenausstellungen.

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    Zum Anlass des 2. Jubiläums ihres Bestehens startete die Goldschmiedegruppe Fine Ounce mit einer Ausstellungsserie zum Thema “Hauch von Feuer” in die 2012/2013 Saison. Die erste Ausstellung fand im Studio 30 on Roodebloem in Woodstock statt, wo sie 2 Wochen lang zu besichtigen war und viel Anklang fand.

    Die ausgestellten Arbeiten der 8 Schmuckkünstler wurden alle ausschliesslich mit Hand gefertigt und repräsentierten ein grosses Spektrum an Stilen, Materialien und Interpretationen die dennoch in ein stimulierendes und zusammenhängendes Ganzes einmündeten.

     

    Exhibition set-up at 30 on Roodebloem. (C) Frieda Luhl 2012.

    Ausstellung bei 30 on Roodebloem. (C) Frieda Luhl 2012.

    Detail of exhibition set-up at 30 on Roodebloem. (C) Frieda Luhl 2012.

    Detail der Ausstellung bei 30 on Roodebloem. (C) Frieda Luhl 2012.

    Detail of exhibition set-up at 30 on Roodebloem. (C) Frieda Luhl 2012.

    Detail der Ausstellung bei 30 on Roodebloem. (C) Frieda Luhl 2012.

    Ausstellungsserie nimmt bald ihren Lauf

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    Als Mitglied der Fine Ounce Goldschmiedegruppe werde ich demnächst meine neuesten Arbeiten zu dem Thema “Hauch von Feuer” bekannt stellen.

    Die Erste der 5 Ausstellungen wird am Abend des 8. Novembers in Kapstadt bei 30 on Roodebloem eröffnet, wo sie bis zum 22. November zu besichtigen sein wird.

    Die zweite Ausstellung beginnt mit einer Eröffnung am Sonntag den 25 November bei IS Art im Le Quartier Francais in Franschoek. Für die dritte Ausstellungen bleiben die Arbeiten bei IS Art, werden allerdings in den jährlichen Weihnachtsmarkt mit aufgenommen.

    Früh im neuen Jahr geht es dann weiter mit der vierten Ausstellung als Teil der internationalen Design Indaba Messe in der Messehalle in Kapstadt, wonach die Auststellung weiter zieht in die Rust-en-Vrede Gallerie nach Durbanville.

    Es ist auf jeden Fall empfehlenswert die Ausstellung mehrmals zu besuchen da die Arbeiten sich immer wieder ändern werden.

    An investigation of roundness: Artist’s statement pertaining to the Breath of Fire series (English only)

    , Betrachtungen, Inspiration, Angewandte Forschung.

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    Since the Fine Ounce Goldsmith Collective will launch its 2012/13 exhibition series (entitled Breath of Fire) with the first show at Merchants on Long on the 8th of November, I would like to share some of the thinking behind my body of work for the exhibition series.

    The underlying concept of my current work can be described as an ‘investigation of roundness’.

    On a conceptual level, the idea of a circle is most intriguing. A circle (which is mathematically defined as a “simple closed curve” (http://en.wikipedia.org/wiki/Circle)) divides a two-dimensional plane into an interior and an exterior, the latter arguably being defined by the positive space inside, and the former by the negative space around it. Depending on what each space is “filled with” or utilized for, an interesting play of tensions develops: The circle can either be interpreted as a hole (defined by what is not there, i.e. the removal, circumscription or non-existence of material), or as a disk, sphere or convex/concave lens (defined by what is there, i.e. the presence of material), or a ring (where the actual dividing line between negative and positive space harbours the matter or substance). Either possibility of interpreting a circle results in a rich array of further contemplations for me:

    Holes might become entry and exit points to something, perhaps allowing travel through time and space by means of a wormhole, or simply acting as a tunnel or funnel – guiding matter (or the absence thereof) between two end points. Since holes are defined by what is not there, they present an insubstantial presence of some sort, and therefore a wonderfully intriguing contradiction. Holes also act as interfaces, mediators and connectors, for they inevitably provide access to, reveal and incorporate what lies beneath, beyond or behind them.

    Disks, spheres or lenses on the other hand grow into the third dimension, and so have the ability to gain a life of their own. A suspended sphere, for example, can mutate into a drop until the precise moment in time when the original sphere is substituted by two smaller, separate spheres. Alternatively, spheres can harbour detail, surprises or even secrets, whilst semi-spheres become bowls or vessels, containing or spilling their contents.

    Circles, however, not only have a conceptual, mathematical, geometrical or material aspect to them, but also a symbolic one. As a symbol, the circle often has significant meaning attached to it.

    In Japanese, for example, the word for ‘circle’ is ‘Ensō’, which represents both a common object of Japanese calligraphy, as well as a concept strongly associated with Zen. As a Zen symbol the circle signifies absolute enlightenment, strength, elegance, the universe and the void (also called ‘Mu’ in Japanese, meaning negative (http://en.wikipedia.org/wiki/Mu_(negative))). In Zen Buddhist painting, ‘ensō’ is also understood as the moment when the mind is able to let go and simply allow the body/spirit to create. The Zen circle is usually brushed onto silk or rice paper in one flowing movement, expressing the movement of the spirit at that time. Zen Buddhists believe that “the character of the artist is fully exposed in how she or he draws an ‘ensō’. Only a person who is mentally and spiritually complete can draw a true ‘ensō’”. Some artists will practice drawing an ‘ensō’ daily, as a kind of spiritual practice (http://en.wikipedia.org/wiki/Ens%C5%8D).

    Some Buddhist artists paint an ‘ensō’ with an opening in the circle, whilst others complete it. For the former, the opening may express various ideas; such as that the ‘ensō’ is not separate, but rather a part of something greater or that imperfection is an essential and inherent aspect of existence. The principle of controlling the balance of composition through asymmetry and irregularity (i.e. the denial of perfection) is an important aspect of the Japanese aesthetic (http://en.wikipedia.org/wiki/Ens%C5%8D).

      

     

    Calligraphy by Kanjuro Shibata XX. Enso ca. 2000 (http://en.wikipedia.org/wiki/Ens%C5%8D).

     

    The notion of “denying perfection” in association with a circle (a potentially perfect entity) represents another intriguing apparent paradox for me.

    Circles, however, not only represent insight, grace and the universe such as for Zen Buddhists. As something elemental, circles also refer to strength, balance, regularity and rhythm, as well as to eternity, cyclic change, repetition and the recurrence or passing of time. Watches and clocks in the Western world are, for example, fitted with circular faces, hinting at the circular/cyclical passing of time, whilst the traditional Chinese calendar represents another example of cyclical time-passage marking.

         

     Two Chinese calendars with their two interacting cycles (the 12 animals of the Zodiac interacting with the 5 elements respectively) (http://www.infoplease.com/calendar/chinese-zodiac.html; http://www.china-family-adventure.com/chinese-zodiac.html; http://library.thinkquest.org/05aug/01351/festive.htm).

     

    The symbolic content of a circle (i.e. its reference to enlightenment, elegance, mental/spiritual completeness, eternity, change and the passing of time), combined with the many conceptual notions named at the onset, result in the circle being a fascinating enigma for me. Many facets of both the symbolism and the conceptual content have found their way into a very experimental approach to my current work, consisting entirely of (ear)rings.

    On a formal and technical level I allow myself to be guided entirely by the truly endless number of interpretations and mutations of a basic circle, by the vast possibilities presented by materials, colours and their interplay, and by the resulting changes in the pieces’ expressive qualities. In every piece I play with repetition, contrasts, opposites and tensions in some way, often utilizing an element of surprise to engage the wearer/viewer. Lastly, my use of colour and titles is determined by associations with “fire” and “dragons”, playing on the subtle link between my pre-occupation with circles and the fact that we presently find ourselves in the Year of the Dragon according to the Chinese calendar.

    Roundness series 1

    Investigating roundness I. Details from Breath of Fire series, 2012 by AnGela.

      

    Roundness series 2

    Investigating roundness II. Details from Breath of Fire series, 2012 by AnGela.

      

    Roundness series 3

    Investigating roundness III. Details from Breath of Fire series, 2012 by AnGela.

     

    A universal validity of jewellery? (English only)

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    One of the most important international events pertaining to contemporary jewellery is Schmuck, an annual, specially curated show coinciding with the International Trade Fair in Munich, Germany. Besides trying every year to have enough really innovative work on hand to apply for the show, I always look forward to the catalogues of Schmuck, for they are a rich source of stimulation and inspiration on various levels. The catalogue for 2012 proved no different.

    This year’s selection for Schmuck was made by Viennese jewellery collector Dr. Karl Bollmann, who mentions the following in his curatorial statement: “Anyone who thinks jewellery is essential, more than a reflection of vanity, elitism and exploitation, is bound to have doubts. Was Kant right to say that jewellery was detrimental to true beauty? Isn’t any attempt to embellish the personality a striving for false appearance? Can and should externals reflect the inward person?” The collector goes on to clarify: “I took on the task of making this [jewellery] selection because I wished to find out, perhaps one last time, whether jewellery that has substance, exists. If it did, it would express something of universal validity” (Schmuck 2012. Munich: Gesellschaft für Handwerksmessen).

    This got me thinking..… To me, the notion of a “universal validity” of jewellery, or then the possible lack thereof, is an interesting and challenging question, not least because I am a jeweller and like to think of my work as having some validity. When, why and to whom would jewellery be essential? What would “essential” mean in this context? Is jewellery, or any other form of adornment or embellishment, really only an attempt to falsify appearances, or is it an attempt to externalize something internal?

    Before attempting to formulate an opinion on the above, I should probably mention that I tend to engage with this question from the perspective of the maker or the artist, and not necessarily the wearer, for I do not generally wear jewellery. Why, you ask? Mostly out of habit – when working physically in a studio it is not practical to wear jewellery, and so, over the years, I have come to know myself as ‘unadorned’.

    Thus, from the perspective of the maker, I tend to agree with the following notion by influential artist jeweller Fritz Maierhofer: “is it not true that one of the origins of art lies in what we have trivialized as ‘self-adornment’, the first form of individualisation which brings us to maturity as complete beings?” (Koschatzky, G. & Aigner, C. (eds). 2006. Fritz Maierhofer – Jewellery and more! Stuttgart: Arnoldsche). Whilst I observe around me that wearing jewellery is a means to individualize and complete the Self, as an artist jeweller I strongly feel thatcreating jewellery makes me a more complete being. To me, creating jewellery is a means to investigate and reveal the internal structures and invisible dynamics of the Self and, perhaps more so, an attempt to communicate my existence as a human being in a sincere, truthful manner, which happens to be visual and tangible.

    Bollmann in a way echoes this notion of self-communication in his summary of the jewellery he was presented with: “everything was represented, everything that could be thought and felt, and that never ceases to be thought and felt around the world” (Schmuck 2012. Munich: Gesellschaft für Handwerksmessen). All of the pieces Bollman engaged with represented for him something that essentially spoke of being human, which referred to the intellectual and emotional capacities of human beings, two of the perhaps most defining attributes of being human.

    Every Schmuck artist communicated his/her existence as a human being through his/her work, and inevitably so, I believe. For in creating (which is always in some way related to making oneself vulnerable, exposing oneself), we bring our history, baggage, hopes, fears, thoughts, emotions, opinions, strengths and weaknesses to the table, consciously or not. We acknowledge, celebrate, question, interrogate, humour, encourage and portray what it means to be human. Even our choice of medium refers to something inherently human: by choosing jewellery as a means of expression, the body, or at the very least the presence of another being, is brought into the equation. By inviting, reaching out to or perhaps even relying on somebody else to partake and share in our creative expressions, we arguably reveal another essential aspect of being human, namely that we are not islands.

    Perhaps, then, it is safe to propose that as long as every creative is completely true to him/herself within his/her creative context – being courageous in the earliest sense of the word, namely ‘telling the story of who one is with one’s whole heart’ (Brown, B. 2010. TED Talk: The power of vulnerability [Online])- (s)he cannot but “pull the strings” of another human being; our creations cannot but gain some degree of universal validity. Does that then not give jewellery its essential quality, for both maker and wearer?

     

    “everything that could be thought and felt, and that never ceases to be thought and felt around the world”

     

    Kim Buck: “Pumpous II”. Ring/ring. 2011. Feingold, montiert, gepresst. Fine gold, assembly and pressure. 50x40x20mm. Schmuck 2012. Munich: Gesellschaft für Handwerksmessen, p 32.
    Shunho Cho: “Thorn (inside)”. Brosche/brooch. 2011. Silber, Holz, Acrylfarbe. Silver, wood, acrylic paint. 130x125x70mm. Schmuck 2012. Munich: Gesellschaft für Handwerksmessen, p 34.
    Ursula Guttmann: “Escapade”. Halsschmuck/necklace. 2010. Silikon/silicone. 700x350x10mm. Schmuck 2012. Munich: Gesellschaft für Handwerksmessen, p 39.

     

    Kazumi Nagano: “Brosche/brooch”. 2011. Bambus, Nylon, Gold. Bamboo, nylon, gold. 110x900x50mm. Schmuck 2012. Munich: Gesellschaft für Handwerksmessen, p 62.
    Carine Terreblanche: “Round and round”. Ring/ring. 2011. Holz, Email/wood, enamel. 60x60x20mm. Schmuck 2012. Munich: Gesellschaft für Handwerksmessen, p 82.

     

    Angela wird Mitglied einer Gruppe von Goldschmieden

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    Es freut mich, berichten zu können, dass ich im Mai dieses Jahres Mitglied einer kleinen Gruppe von Kapstädter Goldschmieden werden durfte.

    Die Gruppe unter dem Namen Fine Ounce Goldsmiths‘ Collective besteht aus 8 selbstständigen Goldschmieden und enstand Ende 2011. Die Gruppe strebt danach, die Kunst des handgefertigten, zeitgenössischen Schmucks anzupreisen und zu etablieren. Die Stärke der Gruppe liegt in dem Können, der Kreativität und den jeweiligen Stilrichtungen der einzelnen Mitglieder. Fine Ounce liegt es daran, Bewusstsein und Verständnis für den vielfältigen Schöpfungsprozess hinter handgefertigten Unikaten zu entwickeln, und diesen Stücken somit einen gebührenden Status zu zu weisen (http://www.fineouncegoldsmithcollective.blogspot.com/).

    Jede Woche veröffentlicht ein Mitglied der Gruppe einen kurzen Text als ‚blog‘. Es geht in diesen Texten primär darum, den Leser mit den vielfältigen und weitläufigen Aspekten des kreativen Schöpfungsprozesses bekannt und vertraut zu machen, und um ein paar Einblicke in die Inspiration und das Denken des jeweiligen Künstlers zu gestatten.

    Die Gruppe veranstaltete Ende 2011 eine sehr erfolgreiche Serie von Ausstellungen unter dem Titel ,56 Ringe‘, und ist zur Zeit dabei, eine weitere Serie von Ausstellungen in und um Kapstadt zu organisieren.

    Self – reflection, representation, expansion

    , Ausstellungen, Einzelausstellungen.

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    Zwischen dem 7. Februar und dem 1. März 2012 stellte ich die neuesten Stücke meiner derzeitigen Arbeitsserie als Teil meiner 4. Einzelausstellung aus. Die Ausstellung unter dem Namen Self – reflection, representation, expansion, fand in der Rust-en-Vrede Galerie der Durbanville Kulturvereinigung statt.

     

    Jewellery as reflection (English only)

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    Being a rather academically and philosophically inclined person, I enjoy reading all kinds of written material on contemporary jewellery to engage and stimulate my own thinking about and writing on the subject matter.

    One of the most important international events pertaining to contemporary jewellery is Schmuck, an annual specially curated show coinciding with the International Trades Fair in Munich, Germany. Besides trying every year to have enough new work on hand to apply for the show, I always look forward to the catalogues of Schmuck, for they are a rich source of stimulation and inspiration on various levels.

    Over the recent two years a very noticeable shift has taken place within the realm of contemporary jewellery as subjectively represented by Schmuck: overtly conceptual, highly intellectualized content seems to become less prominent, whereas more emotional work (for lack of a better word), with a strong sense of beauty is becoming all the more prevalent.

    As Rüdiger Joppien, curator of Schmuck 2011 mentions in this statement, “jewellery has become an important segment of contemporary art to an extent unthinkable just a few decades ago. It combines design, aesthetics of materials, artisanry, experimentation, research, zeitgeist, worldview – in short there is hardly any other activity so suitable to reflecting the state of our world” (Schmuck 2011. Munich: Gesellschaft für Handwerksmessen. Page 9). If a less intellectualized approached to jewellery becomes apparent, what then does it reflect about “the state of the world”, and us as creators?

    I believe that the jewellery we make (and here I am specifically referring to that kind of jewellery which is created in total artistic freedom and independence of mind, i.e. not necessarily the often rather predetermined work we create for commissions) reflects in part the opportunities, multiplicity and complexity of the world around us, but even more so us as individuals. For many of us, creating jewellery is a means to engage with what it means to be a human being in this time and age – we bring our hopes, fears, thoughts, emotions, opinions, strengths and weaknesses to the table, consciously or not, and so attempt to deal with what we perceive around us: constant flux, increasing uncertainty & unpredictability, instability, decay. The decisions we make whilst creating a piece of jewellery, from choosing an idea or design to selecting the appropriate technique, material, colour, size and function all reveal something about us as individuals, and by implication about our view of the world and our place in it. As Fritz Maierhofer, a seminal European jewellery artist aptly put it: “My language – imagery – is formed from observations, reflections and experiences, and perhaps also from my longings and desires” (Koschatzky, G. & Aigner, C. (eds). 2006. Fritz Maierhofer – Jewellery and more! Stuttgart: Arnoldsche.)

    Perhaps then it is not surprising that jewellery artists from around the world gradually move towards a more feeling, expressive, moody aesthetic, often strongly connected to or associated with elements derived from nature. Generally, pieces concern themselves more with fragility and fragmentation (reflecting or referencing the external world), but also with positive human notions such as joy, memory, celebration, belonging, harmony and balance (perhaps counter-acting the realities of the external world). The fact that many of the pieces are characterized by “a return to careful craftsmanship” only accentuates the overall perception that there is a “rise of a new aesthetic concern” (Joppien, R. in Schmuck 2011. Munich: Gesellschaft für Handwerksmessen. Page 9) to which I certainly look forward.

     

    Photo: Angela Tölken

    Self [reflection] [representation] [expansion] – Artist’s statement (English only)

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    The complex process of expressing myself creatively is an intensely personal one and my works are strongly auto-biographical, albeit from hindsight. My jewellery inevitably refers to my personality and my context, acting as both a lens and a mirror – reflecting characteristics of my Self yet also acting as a window through which I discern hitherto unnoticed facets of my inner and outer reality.

    My strongly visual and tactile perception of the world around me is foregrounded in my current work. I do not set out with predefined, premeditated theoretical concepts, but rather design intuitively, allowing shapes/forms to freely emerge on paper. The subsequent development of such forms is solely determined by formal, aesthetic and technical considerations.

    As I translate chosen shapes into different materials, connotations and associations emerge which allow me to develop an understanding of what might have inspired that particular amalgamation of lines, colours and textures in space. It is thus only as forms evolve into three-dimensional objects that they start to suggest their own meaning, appearing to visually recollect, interpret, combine and express various of my sensory and emotive experiences. I work backwards, so to speak, or, in semiotic terms: I create signifiers (objects) based on formal and aesthetic considerations, which then slowly evolve into signifieds (concepts presented by the objects).

    It is through these visual and tactile interpretations of memories that I understand my work in terms of self-reflection, -representation and -expansion. The pieces are the clear result of my creative process and my methodology behind it, whilst they mirror my character traits, typify my Self and reference my past. Also, the pieces form a tangible analogy to my ever-present personal tendency to reflect, contemplate, wonder and philosophize. In a way, my pieces expand my cognitive and emotive activities – allowing my Self to spill into a tactile and visual space which allows me a fuller treatment and investigation of my on-going play with questions and answers.

    Whilst my work is neither as experimental nor as overtly conceptual as much of European, Asian and American contemporary jewellery currently is, it precisely captures today’s underlying notions of innovative art jewellery “[which] is strongly marked by emotions, personalities and gender, links between the old and the new, and also an emphasis on the aesthetics of materials” (Wolfgang Lösche, Head of Department for Fairs and Exhibitions, Handwerkskammer München und Oberbayern, in his preface to the catalogue of Schmuck 2010, Munich’s annual international competition and show for contemporary jewellery). My pieces are evocative, distinctly feminine and they reveal an express interest in the enormous formal and technical potential of metal. In using the here and now to recollect and interpret past moments, I connect past and present, creating something new from something old, yet with an inevitable reference to my African context.

     

    AnGela, October 2010

    Reflections of Self: Jewellery and chains of meaning. An independent essay accompanying the solo show ‘Self’. (English only)

    , Betrachtungen.

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    We perceive the world in terms of language – indeed the entire process through which we make sense of experience, emotion and objects, are intrinsically bound to linguistic structures. It is not only that we give voice to thoughts and emotions through language, it is also the way by which we explain, categorise and understand our physical and metaphysical experiences and surroundings. As a result of the linguistic process, we are able to derive meaning to not only better understand the world in which we find ourselves, but also to identify and establish the locality of the ‘self’. Through this we are enabled to come to terms with and make sense of all that constitutes the vast concept of ‘self’. In this regard, a ‘process of placement’ marks the experience of ‘self’ as complex and limitless.

    A ‘process of placement’ is essentially a process of meaning-making, where meaning is obtained through our creation and interpretation of signs. By semiotic definition a sign consists of both signifier (the ‘form’ of the sign, be it a sensory perception or a material object) and signified (the concept the ‘form’ eventually represents). Signs make sense only in relation to one another, and what eventuates is a potentially eternal back and forth reflection of meaning within a limitless chain of signifiers. This relation between sensory perceptions and forms of meaning-making is of special significance to Angela Tölken’s work.

    The creative process of Tölken employs elements of the free associative method of psychoanalysis. Free association was initially used in aforementioned field to guide subjects in relating anything that came to their minds during an analytic session without censoring their thoughts. The use of this technique was intended to aid in discovering notions that the subjects developed in their unconscious minds.

    Contemporary psychoanalyst Christopher Bollas draws a direct comparison between psychoanalysis and the act of entering into an artist’s workplace. He views both practices as processes to which subjects can surrender themselves, and through which the subject’s notion of self can be articulated. Bollas acknowledges the influence of free association on creative expression and compares the artist’s expression to the wide range of human emotions that colours and changes the subject’s internal canvas. In the same way that free associative writing can provide signifiers of the unconscious sign systems, the artistic process can produce signifiers to aid in the intricate meaning-making process. In the context of Angela’s work, her final jewellery piece is the product of an entire chain of associations of which a series of sub-processes are the links – each one being a signified of the previous and a signifier of the next. In this series of free associations, each concept and its visual counterpart leave a trace in an ever-complex unconscious canvas.

    Tölken’s initial pencil-on-paper designs follow a free associative approach. Shapes and ideas flow unrestricted as reflections of her unconscious mind. Upon completing this step, she reworks these drawings on paper by adding colour and texture – once again relying on the associations called forth in the moment of creation. The next step involves a more controlled conceptualisation and elimination process, but even in this Angela tries to be led by the process and the designs themselves. They are then reworked on paper at least once more to add technical detail. After this, depending on the need of the design, she interprets some ideas three-dimensionally in paper. Through this process the models inevitably evolve through further interpretation. Only then will Tölken begin the manufacturing process in metal.

    Angela’s interpretation of the two-dimensional drawings or three-dimensional paper models remains loose and open to the influences of her unconscious. In Tölken’s own words: “Even though I have a specific idea regarding what I would like to achieve with a piece, I let myself be preceded and led by the piece i.e., I let it become what it wants to become – I merely give the piece what it needs.” The ‘origin’ of her entire expression (her unconscious mind) and the ‘end’ (her final piece) are central to her creative methodology.

    All pieces on exhibition are personal and intuitive relics of meaning originating somewhere deep within herself – directed towards this place as well as to each other. Angela’s artworks are the tangible jewellery pieces on display, but along with this are the invisible chains of meaning smithed in her unconscious.

     

    Marnell Kirsten – Jewellery designer and freelance researcher