The continuation of my thesis is based on material experiment. Next collection was the NEW INFERNO. To use a worn Peel-off face mask in jewelry was again a challenge. Instead of brooches, necklaces are created that are very personal and intimate. I have used some old glass or plastic jewelry beads, and a golden old brooch. Personal and unique are also precious stones, which stand here for my innner side. Thus, in every piece of jewelry is a part of me.
This results in signals, that the wearer of jewelry transmit to the observer. Jewelry signals are a part of our lives. They embody communication and artistic intent.
The nature has perfected its forms about milliards of years; to imitate its creations is for me natural. I´m interested in deals with interaction between living and non-living elements and systems. The transformation is about the symbiosis of these two systems.
The transformation of animals in art ; pre-historical animals, totem animals or insects. These nature creations transform our human being. Our inner life and soul.
In collection TRANSFORMATION, I was inspired by natural stones, again, and biological forms. I have transformed the form of living animals in jewellery pieces, by using fluorite, topaz, aragonite, lapis lazuli, aquamarine, garnet, amber, pearl, silver and copper.
From 2008-11, I have found Deconstruction and partition systems for myself . Silver and gold. Glass and gems. Construction and emotion. Deconstruction and structure. In and between. Forms twist their way out from the inside. They lift off the skin of the jewelry piece, exposing the structure, they create a second skin around the new volume. The structure breaks down, the surface fills up with forms that are then put under tension by being twisted to each other and to the piece. Between inside and out, original and addition, structure and facade. Pure form is interrogated in a way that reveals its twisted and splintered structure. This apparent chaos actually constructs the body of the jewelry pieces. The internal disorder produces the bar even while splitting it. It is actually constructed out of fragments of that world. The surface is a side effect of the dialogue between internal twisted geometry and external geometry.
The scent of jewellery – a collection from 2008 to 2011
I always try to find some new approach to research and experiment between different areas.
I think about the connection between scent and jewellery. How much smell influences our life and our sympathies to others, our thinking and our emotions?
Wearing perfume will be like wearing jewellery. Wooden pieces are impregnated with a mixture of ethereal oils and bee-wax to make a new dimension and an experience which has his origin in Pomander (or musk apple). The relation between jewellery and perfume is very close.
In the middle Ages, the ladies and lords of the Provence carried small pendants filled with musk or amber which were called “Pomander “. Magic forces were ascribed to this pendants and it is said that they protected its bearer.
In times of pestilence, pomander was worn or carried in a vase, as a protection against infections, or merely as a useful article to soothe bad smells.
Ceremonies, Amulets, Perfumes
To reassert tribal needs and memories
You can see the jewel
But if you close your eyes
You can “only” smell it
Smells like sweet moschus
Like memories.
Emotion is a memory of scent
Scent is a memory of emotion
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