Seed to Silver by Franklin Bernal Montenegro

seed to silver

4-6 FEBRUARY 2011, NEW DELHI, INDIA

JOINTLY PRESENTED BY

MAIN SPONSOR

MINISTRY OF TEXTILES Govt. of India

seed to silver

4-6 FEBRUARY 2011, NEW DELHI, INDIA

JOINTLY PRESENTED BY

MAIN SPONSOR

MINISTRY OF TEXTILES Govt. of India

As part of its efforts to bring crafts into the mainstream of life, World Crafts Council aims to strengthen and improve the livelihood of craftspersons through sustainable livelihood programmes. WCC is organizing an International jewelry summit titled abhushan - Design Dialogues in Jewelry, that will be held in New Delhi from 4th to 6th February 2011 at Hotel Ashok. ABHUSHAN â&#x20AC;&#x201C; Design Dialogues in Jewelry is intended to capture the diversity, symbolism and artistic form in jewelry and pay homage to craftspersons from all over the world. The focus is on innovative design that is rooted in tradition and yet breaks through conventional boundaries, thereby enhancing the charm and glamour of the jewelry. The summit is a concerted effort to harness the demand potential of craftsmanship in domestic and international markets in jewelry. It is a platform for artists, artisans, designers, scholars and students, to exchange ideas within the confines of traditional and modern, functional and aesthetic, in jewelry design.

World Crafts Council Auras Corporate Centre, III Floor 98A, Dr. Radhakrishnan Salai Mylapore, Chennai - 600 004 Ph: +91 44 2847 8500; Fax: +91 44 2847 8509 Email: wcc.sect.in@gmail.com Website: www.worldcraftscouncil.org

Preserving culture, propagating creativity The Ministry of Textiles has a strong focus on steering the nation's textile industry towards global excellence and is committed to making India one of the top textile industries in the world. Towards this objective, we encourage, support and provide assistance to nongovernment organizations and key stakeholders who share our vision in facilitating and promoting the exports of textiles and also ensuring the welfare of weavers and artisans. Our efforts are spearheaded by the Secretary for the Ministry of Textiles, Smt. Rita Menon, who is ably assisted in the discharge ofduties by Sh. S.S.Gupta, Joint Secretary. I am delighted that the Ministry of Textiles is associated with Abhushan, the international convention facilitated by the World Crafts Council, and I am confident that the event will promote the cause of the famed arts and talented artisans of our nation. I wish Abhushan the very best.

Dayanidhi Maran Honâ&#x20AC;&#x2122;ble Union Minister of Textiles

Spearheading Causes, Sustaining Crafts We are very happy to be associated with â&#x20AC;&#x153;Abhushan: Design Dialogues in Jewelryâ&#x20AC;?, jointly organized by the World Crafts Council and the Development Commissioner (Handicrafts), Ministry of Textiles, Government of India. The Ministry of Textiles has always perceived the crafts sector as a vital area for the development of the country, not only because of the economic potential, but also because of the heritage that the sector has passed on through generations of our proud and ancient history, and the cultural diversity and significance it symbolises in various forms in the vastly different regions of our country. We are supportive of the agenda of the World Crafts Council that focuses on bringing crafts into the mainstream of life, and to empower craftsmen with the necessary skills and expertise to earn and sustain a comfortable livelihood. I am sure Abhushan will be a great success. I wish the organizers all the very best in their laudable cause of working for the upliftment of crafts and craftspersons.

Rita Menon Secretary, Ministry of Textiles Govt. of India

Seed to Silver The World Crafts Council presents Abhushan, an international jewelry summit focused on “Tradition & Design: Dialogues for the 21st Century.“ Participating in the exhibition are world-renowned jewelers, deeply rooted in rich tradition while successfully interweaving dialogues in contemporary design. The symposium has many parts: a seminar featuring talks and interactions on current trends in jewelry, a crafts jewelry bazaar, a designer gallery showcasing exclusive jewelry in contemporary design, Jeweled Treasures—an exhibition and sale of precious jewelry from India, and Seed to Silver—a curated exhibition representing jewelry from the six regions of the World Crafts Council (North America, Latin America, Europe, Asia Pacific, Africa, and India). Seed to Silver, as the name suggests, evokes innovative transformations in jewelry from diverse material. The idea is to transform source (paper, plastic, wood, recycled material, metal, fiber) to exquisite pieces of jewelry. This catalogue showcases jewelry pieces that are testimony to successful design innovations. Featured at the curated exhibition are works from world-renowned museums. Participants include Ursula Neuman (Curator, Jewelry Museum of Art & Design, New York), Alberto De Betoloza (Director, Division of Crafts, Uruguay), Dr. Martina Dempf, Ms. Anne Leclerq and Ms. Nina Linde (World Crafts Council, Europe), Dr. Kevin Murray (Independent Curator and Writer on art and jewelry, Australia), Paola Manfredi (Design Consultant, Lusaka, Zambia), and the Delhi Crafts Council. As President of the World Crafts Council, I am proud of the opportunities this curated exhibition brings to our local craftspeople and designers. It is my hope that participants take back from the exhibition inspired ideas to work with in the future. From seed will surely evolve the finest silver. This catalogue is a bringing together of exquisite pieces of jewelry from across the world. In it are snapshots that I hope will carry memories of the exhibition forward, and help create an idiom of jewelry design that is fresh, socially relevant, innovative, and infused with culture.

Usha Krishna President World Crafts Council

Designing a Global Event It is my privilege to present Abhushan - Design Dialogues in Jewelry, an international crafts summit which focuses on jewelry. Every aspect of this event is unique, beginning with the unconventional, ecofriendly material from which the jewelry is crafted – terracotta, wires, natural fiber, wood, beads, stones, thread, paper and recycled material. Each form of craft is rooted in its own symbolism and its artistic form and there are myriad such crafts around us. Abhushan captures the essence of this diversity and presents it on a single platform. Abhushan will explore the transformation of commonplace material into exotic jewelry and showcase the craftsmen who bring about this magic. More importantly, it will bring together people from different walks of life – artisans, experts, students, scholars and designers who will be sharing their thoughts and experiences with one another. A 3-day seminar, Seed to Silver exhibition, crafts jewelry bazaar, designers' gallery, jewelled treasures and a craft exchange program – Abhushan packs in as much action and information as is possible in a week. My heartfelt thanks go to the Ministry of Textiles and to all our sponsors who have supported us in this endeavor. As we raise the curtains on this prestigious event, we invite the world to come over, participate, interact and take away learnings of magical craft forms and great memories.

Nina Kothari Chairperson abhushan

World crafts council North America

Ursula Ilse-Neuman Born in Germany, Ursula Ilse-Neuman lives in New York, where she is curator of jewelry at the Museum of Arts and Design. She champions creativity worldwide, focusing in her exhibitions, writings and lectures on the interweaving of tradition and innovation in craft, the decorative arts and design. Her numerous exhibitions and publications include Defining Craft: Collecting for the New Millennium (2000); Corporal Identity: Body Language (2003); Radiant Geometries: 15 International Jewelers (2003); Zero Karat: the Donna Schneier Collection of Non-precious Jewelry (2005); Glass Wear: Glass in Contemporary Jewelry (2008); Inspired Jewelry from the Museum of Arts and Design collection (2009); Space-Light-Structure: The Jewelry of Margaret De Patta (forthcoming); Multiple Exposures: Jewelry and Photography (forthcoming). She holds an MA in the History of Decorative Arts from the Cooper-Hewitt Museum / New School, and completed doctoral studies (ABD) at the Bard Graduate Center for Studies in the Decorative Arts and Design. She is a member of the Board of Directors of Metalsmith Magazine and her other professional affiliations include the International Curators Association (ICOM), Art Table, and the American Museum Association (AMA).

United by Diversity: Jewelry from the United States Contemporary American jewelry is a reflection of the United States itself—a cultural melting pot that is still bubbling. The twenty jewelers in this exhibition create works that reflect a distinct sense of the nation and its diversity. They live and work in widely different geographic settings—from urban centers on the East and West Coasts to the plains of the Midwest, and from Alaska's arctic coastline to the mesas and desert of the Southwest —yet they are all part of America's multicultural society and vibrant art jewelry scene. The turbulent years following World War II spawned dramatic changes in jewelry making in the United States. Across the country, universities and art schools emphasized self-expression, individualism, and, in sharp contrast to the anonymity of labor on an assembly line, one maker taking sole responsibility for the creation of an object from concept to completion. As artists implemented these radical ideas, a new form of jewelry emerged, and the studio jewelry movement was born, the underlying tenets of which continue to inspire jewelers around the world. The jewelry on view in this exhibition embodies the basic ideals of the studio jewelry movement. Each one-of-a-kind object expresses the artist's unique viewpoint and his or her mastery of technique and medium. Jewelry incorporating everyday and found objects is presented alongside that built from high-tech synthetics through computeraided design. Similarly, sophisticated technical innovations appear alongside skillful demon-strations of traditional jewelry-making techniques. Virtuosity is not an end in itself for these artists who use their mastery of media and method to convey ideas—social, political, cultural, and personal—that are relevant in our world today. Individually and collectively, these small-scale sculptures affirm that concept and workmanship triumph over the value of the raw material—whether precious or nonprecious—from which a piece of jewelry is made. Some of the artists in United in Diversity are at the height of careers that have stretched over several decades; others are at earlier points in their careers but have 12

already made significant contributions to the field. Graduates of demanding university programs, many share their knowledge of materials and techniques, teaching and encouraging younger generations of students to take pride in creating their own distinctive visual language. It is a particular honor to showcase United by Diversity through the World Craft Council in India, an organization with a long tradition of facilitating international cultural exchanges. Our hope is that our contribution to Seed to Silver will stimulate the interchange of ideas among artists internationally and serve as a catalyst for future collaborations. Ursula Ilse-Neuman Curator of Jewelry Museum of Arts and Design, New York

Jamie Bennett Jamie Bennett received his M.F.A. degree from the State University of New York at New Paltz, where he is currently a professor of art and heads the jewelry program. One of the world's preeminent enamelists, Bennett is known for his painterly use of color and ornament and for his refinement and invention of enameling techniques in order to produce distinctive muted colors and matte finishes on electroformed structural bases.

Stone Ridge, New York

Artist's Statement Images from nature have been sustained in jewelry in all cultures and time periods and were probably the first instinctive â&#x20AC;&#x153;jewels.â&#x20AC;? Enameled jewelry in particular has been a primary medium for representing botanical and other natural forms. I am interested in how various cultures throughout history have represented and mediated nature away from its natural state. I believe these interpretations are done to make nature resonateâ&#x20AC;&#x201D;whether through oppression, perfection, or imitation. It is clear that the mediation of nature has a transcendent capability. The floral images in my own work are dislocated and botanically inaccurate, a subjective quality that appeals to me. I am more interested in the liberty I have to concoct and unravel whatever I work from than I am in mimicking it. The idea that representations of nature are cathartic, and function in place of the experience of nature itself, is strangely satisfying and reassuring to me.

Posteriori #19 (brooch), 2008 Enamel, gold, copper 3 ¾” x 2 ½” Courtesy of the Sienna Gallery

Posteriori #22 (brooch), 2009 Enamel, gold, copper Courtesy of Sienna Gallery

Urban Traces #1 (brooch), 2006 Enamel, gold Collection of Anat Shiftan

Mosaic Scenarios #9 (brooch), 2005 Enamel, gold, copper Courtesy of Sienna Gallery

Melanie Bilenker Melanie Bilenker graduated from the University of the Arts in Philadelphia in 2000 and continues to work at the school. She has gained an international reputation for her finely rendered images using fragile lines made from her own hair. Her use of hair to capture moments in everyday life is an updated interpretation of the longestablished tradition of incorporating hair into jewelry as a way of remembering a loved one.

Maintains studio in Philadelphia, Pennsylvania

Artist's Statement Memories are uncertain. For many years, I had a vivid memory of being stung by bees. All of the details remained; I was about five years old, I had just picked a bunch of red clover, and I sat near a hive attached to a bench at the public tennis courts. Then a few years ago, I realized that no family member had ever mentioned this story. I asked my mother. It never happened. Was it a childhood dream, a story that I had made up? The Victorians kept hair in lockets and painted miniature portraits with ground hair and pigment to secure the memory of a lost love. In much the same way, I secure my memories through photographic images rendered in lines of my own hair, the physical remnants. Roland Barthes wrote about photography, "The photograph does not call up the past. The effect it produces upon me is not to restore what has been abolished (by time, by distance) but to attest that what I see has indeed existed. I see not a memory . . . but reality in a past state: at once the past and the real." Roland Barthes describes photography as evidence that "this-has-been." I take comfort in recreating what has been, and by making that evidence tangible, "what I see has indeed existed." All everyday moments, as insignificant as they may seem, occur only once. I do not reproduce events, but quiet minutes, the mundane, the domestic, the private, the ordinary moments of human life.

A Day For a Bath (brooch), 2005 Gold, silver, ivory, resin, hair 1 1/16” x ⅞”x ½” Courtesy of the Sienna Gallery

After a Bath (viewfinder), 2007 Gold, ivory, resin, hair Courtesy of Sienna Gallery

Yawn (brooch), 2010 Gold, resin, hair Courtesy of Sienna Gallery

Itch (brooch), 2010 Gold, resin, hair Courtesy of Sienna Gallery

Robert Ebendorf Robert Ebendorf has been a pioneer and leading figure in American studio jewelry for nearly fifty years. After receiving an M.F.A. from the University of Kansas in 1963, Ebendorf established himself as an innovative jeweler by abandoning gemstones and precious metals for discarded remnants in 1967, for his first solo exhibition. Currently Belk Distinguished Professor at the East Carolina University School of Art in Greenville, North Carolina, Ebendorf is one of Americaâ&#x20AC;&#x2122;s premier jewelry artists, celebrated for his imaginative combination of disparate materials.

Maintains studio in Greenville, North Carolina

Artist's Statement The creativity of my jewelry lies not simply in the intellectual repositioning of familiar objects but in more physical transformations of material that, in the end, astonish the viewer. And it is exactly this sense of astonishment that gives my works their value. It is the profound incongruity between what they are made from and what they are now that so engages the imagination. My jewelry and objects are not simply about refashioning the mundane. They reaffirm the value of that which otherwise might be without value. By reassessing the meaning of artifacts of daily life, my creations often reverse the idea of what is precious. If one of the purposes of artistic expression is to locate and reaffirm values in our world, then my work is all the more relevant as a mode of contemporary expression.

Blind Justice (brooch), 2009 Crushed aluminum drink can, scrap metal, rhinestones, tin Courtesy of the Artist

Coming Together (neckpiece), 2003 Mixed media: a collection of found objects and fabricated shapes 11â&#x20AC;? x 8â&#x20AC;? Courtesy of the Artist

Double Crossed (neckpiece), 2002 Tin, copper, wood, shell, found materials Courtesy of the Artist

Iris Eichenberg Iris Eichenberg graduated from the Gerrit Rietveld Academie in Amsterdam in 1994 and is currently artist in residence and head of the Metal/Jewelry Department at Cranbrook Academy of Art in Michigan. Eichenbergâ&#x20AC;&#x2122;s most recent series of works, inspired by the material remnants of Western and Eastern European immigration to the New World, center on the experiences of loss, dislocation, and resettlement. Artist's Statement Tenement /Timelines, New Rooms, and Flowers and Birds of Michigan are series of work made about and in the United States during the last five years. Seemingly unconnected, these bodies of work capture as their subjects various stages of understanding, relating to, and becoming part of a new culture, language, and emotional realm. In Tenement Timelines, I traced back, or aimed to trace back, the remnants of European immigrants in the United States. After living here a few years, I came to realize that what I once noticed as remnants are the threshold of America. In New Rooms, I had to walk the journey of an immigrant myself, confused by objects and interiors, a reversal of the present. I found myself seeing the Old World in the New World with different eyes. I came to the conclusion that what I earlier appreciated as my comfort zone for creating something materially did not provide me with the right tools any more. Maintains studio in Cranbrook, Michigan

One could call the Flowers and Birds of Michigan series an escape into nature, the nature that is so palpable in American suburbia. Fleshy flowers, both seductive and repulsive, and birds that damage the cages they are captured in, framed in order to expose their beauty, but not surviving the act of being presented in this boarded enclosure. For someone used to an urban life, the confrontation with nature is not as banal as the title tries to imply. Loss and beauty live in one house.

Necklace, from the Flowers and Birds of Michigan series, 2010 Copper, gold plated Courtesy of Ornamentum Gallery, Hudson, New York

New Rooms (brooch), 2008 Wood, cotton (embroidery cross stitch) copper, brass, enamel 7.1” x 4.7” x 1.6” (18 x 12 x 4 cm) Collection of the Artist

Brooch, from the Tenement Timeline series, 2007 Leather, brass, fabric Courtesy of Ornamentum Gallery, Hudson, New York

Chatelaine, from the Tenement Timeline series, 2007 Silver, plastic, bone Courtesy of Ornamentum Gallery, Hudson, New York

Arline Fisch Arline Fisch, a world-renowned jeweler and professor of art at San Diego State University, is a director and vice president of the World Crafts Council and a trustee of the American Craft Council. She earned an M.A. in art from the University of Illinois in Urbana and attended the Kunsthaandvaerkerskolen (School of Arts and Crafts) in Copenhagen, Denmark. Fischâ&#x20AC;&#x2122;s pioneering use of textile techniques to create jewelry from knitted metal wire was an important innovation that has exerted a major influence on the course of contemporary jewelry. Her works with knitted and crocheted metal wire explore notions of pliability, solidity, and transparency using a range of vibrant colors.

Maintains studio in San Diego, California

Artist's Statement Knitting and crocheting in fine silver and color coated copper wire have been the focus of much of my work in the past decade. I am intrigued by the idea that metal can produce structures that are soft and pliable yet maintain their three-dimensional form without additional support. The transparency of the work is a visual asset in that it allows me to make large and dramatic pieces that neither burden nor overwhelm the wearer. Color has also become a major feature of my knitting and crochet work. Coated copper wires are available in wonderfully vibrant colors that increase in intensity when combined and overlapped. Fine silver can be used in combination with these coated copper wires to achieve softer and subtler color.

Knitted Bracelets (3), 2009 Coated copper wire, machine knit, crochet edges Various Sizes: 3” – 6” Collection of the Artist

Orange Leaves (necklace), 2009 Sterling, fine silver, coated copper, stone beads, twisted wire Collection of the artist

Lace Halo (necklace), 2005 Fine silver crochet, sterling frame, pearls Collection of the artist

Thomas Gentille For more than five decades, Thomas Gentille has resolutely explored concepts, materials, and techniques that reflect his training as an abstract painter at the Cleveland Institute of Art as well as his knowledge and love of architectural form and space. He has invented new techniques, primarily employing materials that have little or no traditional association with jewelry—from natural woods to acrylics to aluminum, bronze, and eggshell inlay. In 2001, he was the first American to be awarded the Herbert Hofmann Prize in Munich and in 2006 he was selected as the contemporary Modern Master (“Klassiker der Moderne”), in recognition of a lifetime of contributions to art jewelry. Artist's Statement India. Although I have never been to India, I am happy to have my jewelry shown there. I prefer to have my work speak for itself. It is my hope that it will resonate with you, tell you wonderful stories. For jewelry is, after all, a most wonderful language.

Maintains studio in New York, New York

Brooch, 21st century Aluminum Collection of the artist

Brooch, 20th century Cherry wood, ebony, plywood 1.4” x 5.6” x .4” (36 x 142 x 11 mm) Collection of the Artist

Brooch, 21st century Synthetic resin, graphite Collection of the artist

Lisa Gralnick Lisa Gralnick earned her M.F.A. from the State University of New York, New Paltz, in 1980, with a focus on gold- and silversmithing. Thoughtful and thought-provoking, Gralnick has been a leading figure in contemporary jewelry since the 1980s and is currently a professor of art at the University of Wisconsin, Madison. In her recent work, she explores the relationship between gold’s lore and history as an artistic medium as well as the function it serves as a commodity in today’s world.

Maintains studio in Madison, Wisconsin

Artist's Statement The Gold Standard, a seven year, three-part project, explores various issues through study of one elusive material. Part I: Commodification and Sensible Economy presents faithful plaster castings of recognizable commodities—a sink, a gun, a book. After translating each object’s value into a precise weight in gold on a given day, I fabricated a section of these phantom objects in gold using that exact quantity of material. For Part II: Phenomenology and Substantialism, I purchased discarded gold jewelry—objects stripped of their sentimental meaning and trapped in a phenomenological limbo. Intending to melt and recycle this gold into new objects for Part III, I documented these highly charged personal artifacts by making white plaster castings of them, three-dimensional positive reproductions of the jewelry minus the gold, an odd twist on signification. Part III: Transubstantiation and the Historicized Object, exploits artworks as evidence with which to renegotiate history. My interest is primarily in the nature of disiecta membra, or severed leaves of text, implying destruction and incarnation. These eclectic works, made from the recycled gold of Part II, can only be defined as genuine forgeries, fictionalized, historicized curiosities based on mercurial and unreliable models of the past.

The Gold Standard Part I: #19 (Gun) (object), 2010 Plaster, gold, acrylic Courtesy of the Artist

The Gold Standard Part II (original jewelry property of Susan Cage) (object), 2006 Plaster, acrylic, gold fragment, parchment paper 20” x 19” x 6” Courtesy of the Artist

Daniel Harmon Jocz Daniel Harmon Jocz earned his M.F.A. in sculpture from the University of Massachusetts, Amherst in 1969 and turned to making jewelry in the 1980s. He never took a formal class in metals, and traces his interest to a love of metal and working in miniature. His style has changed considerably since the early days of his artistic career, shifting from geometric abstractions, to lifelike forms, to playful art inspired by images from popular culture. Jocz admires jazz music’s improvisational rhythms, and believes a similar “chaotic order” can be found in his own jewelry.

Maintains studio in Cambridge, Massachusetts

Artist's Statement When I began making jewelry twenty years ago, turning sculptural ideas into functional wearable form drove my aesthetic. Color—through married metal components—was just a bit player in my thinking. As my work progressed through the years, painted, flocked, anodized and sometimes enameled color began taking on a supporting role in brooches and bracelets. Now, in my latest work, rich auto body lacquer has taken a leading role, the color brashly announcing itself, driving the composition. I am amused by this unexpected colorful turn. enclosure. For someone used to an urban life, the confrontation with nature is not as banal as the title tries to imply. Loss and beauty live in one house.

Inconstancy of Memory (rings), from the Candy Wear series, 2008 Soldered hollow silver construction, rayon flock, silver pink rayon flock, nickel orange rayon flock Courtesy of Ornamentum Gallery, Hudson, New York

Medusa (bracelet), from the Aluminum Three Ways series, 2004 Carved anodized aluminum Courtesy of Ornamentum Gallery, Hudson, New York

Orange Explo (bracelet) from the Aluminum Three Ways series, 2004 Formed aluminum, flocked aluminum, rayon, rubber 6.5â&#x20AC;? x 4â&#x20AC;? Courtesy of the Ornamentum Gallery

Light Green with Red Ball (tiara), from the Candy Wear series, 2000 Copper, sterling silver, rayon flock Courtesy of Ornamentum Gallery, Hudson, New York

Stanley Lechtzin and Daniella Kerner Stanley Lechtzin earned his M.F.A. from Cranbrook Academy of Art. One of Americaâ&#x20AC;&#x2122;s leading technological innovators and inventors, in the 1960s Lechtzin adapted the nineteenth-century electroforming process to make large, yet lightweight jewelry at the Tyler School of Art in Philadelphia.

Maintains studio in Elkins Park, Pennsylvania

His wife and artistic collaborator, Daniella Kerner, received her M.F.A. from the Tyler School of Art at Temple University. Together, in the late 1970s, the two pioneered the use of computers to create art jewelry. Through their technical advances and artistry, computer-aided design and computer-aided manufacture (CAD/CAM) have expanded the jewelry vocabulary and introduced a new class of shapes and materials that allows the creation of jewelry without the touch of the human hand.

Artist's Statement The exploration of digital technologies entered our practice in 1978, and our digital work has developed along with the evolution of this new medium. New technologies and materials offer unique qualities that often lead to new insights. We strive to impart personal values using materials, processes, and technologies that today are used mechanically and anonymously by industry. We intend to act as interpreters of today's technology and demonstrate that human values are in control of this new medium. That our art is worn becomes a point of departure. Engaging in problem solving, we seek unique systems for the attachment of jewelry to the body that require thoughtful interaction by the wearer and the viewer. Rather than look upon Digital Manufacture (DM) as a tool, we hold that DM is a new medium that provides new materials and the tools with which they are manipulated. Beginning with a concept and developing it within the solids modeling program, we use this new medium to explore meaningful and unique forms. Computer-aided design (CAD) is employed to design and model the objects, while tangibility is imparted through utilizing any number of available 3D printing systems. While the digital environment enables a seamless work flow, our collaboration is not a division of labor that is codified. The synergy in creating a work is rewritten, and with each new project we redefine the nature of our collaborative effort. Attempting to describe a perfect partnership is as difficult as describing a perfect love. As each otherâ&#x20AC;&#x2122;s witness, confidant and critic, we are in complete accord on the principles that guide our work and lives, having shared a "life as work and work as life" ethic for more than thirty years. 30

Bracelet #28F, 1988 CAD/CAM, acrylic, aluminum Collection of the Artists

Plus-Minus Brooch #58F-2, 2000 CAD, rapid prototype, stereolithography, epoxy, cast gold Collection of the Artists

Pynch #72 F (brooch), 2010 3D print, buna “N” rubber “O” ring. CAD 4.75” x 4.75” Collection of the Artists

Bruce Metcalf Bruce Metcalf earned his M.F.A. degree at the Tyler School of Art at Temple University and currently teaches at the University of the Arts in Philadelphia. His figurative work, which he concluded in 2002, examined social, moral, and political issues. His creations have a distinct visual language, often drawing upon imagery from popular culture and art history. He employs various materials, including wood, metal, and Plexiglas, and a range of techniques, to push the boundary between jewelry and sculpture.

Maintains studio in Bala Cynwyd, Pennsylvania

Artist's Statement I have been exploring lush primeval imagery in jewelry for seven years now. My medium of choice has been painted wood. Between airbrushing, hand painting, layering, and sanding, I am able to create surfaces ranging from ultra-slick to mottled and crusty. Lately, I have become more interested in contrasting painted surfaces with natural wood and yellow gold. Itâ&#x20AC;&#x2122;s not the grain of the wood that I find compelling, but the subtle textures and colors of woods like holly and boxwood. While the range of contrast is narrower, I find low-key painted surfaces work very nicely with wood and gold. And, from time to time, I use a found object as the key color.

Champion (figure pin and wall-mounted stand), 2001 Pin: carved boxwood, maple, brass, linen, 18k and 14k yellow gold, string Stand: painted basswood and copper electroform, brass Collection of the Artist

Fruitlips (brooch), 2005 6â&#x20AC;? x 3.5â&#x20AC;? Painted wood, 23k gold leaf, brass Collection of the Artist

Willow Bough Necklace, 2004 Painted maple, 24k gold-plated brass, 23k gold leaf, composition leaf, holly Collection of the Artist

Rocket (brooch/pendant), 2007 23k gold-leafed birch plywood, 18k yellow gold, painted Collection of the Artist

Verma Nequatewa (Sonwai) Verma Nequatewa, also known by her Hopi name, Sonwai, learned her craft as an apprentice to her uncle, the renowned Native American jewelry artist Charles Loloma. Using a variety of inlay and metalworking techniques, Nequatewa works primarily in 18 karat gold and native stones, but also incorporates diamonds, colored pearls, and fossilized ivory into her jewelry. Nequatewa now maintains her studio on a Hopi Reservation in Arizona.

Maintains studio in Holbrook, Arizona

Artist's Statement My life and my jewelry have been greatly influenced by two things. First, I have had the good fortune of growing up on the Hopi Reservation, where I continue to live. This enables me to witness the grandeur of the landscape on a daily basis and to be involved in the ceremonial activities that frequently take place here. The second major influence on my life and my jewelry has been my uncle, Charles Loloma.

Bracelet, 2002 18k gold with inlay of turquoise, fossilized ivory, coral, ebony, lapis, gold Collection of Judy Cornfeld

Bracelet, 1999 18k gold with inlay of fossilized ivory, woods, coral, turquoise, lapis, gold Collection of Judy Cornfeld

Untitled (bracelet), 1992 18k gold, coral, white coral, turquoise 2 5/8” x 3 x ¾” (6.7 x 7.6 x 1.9cm) Promised gift of Barbara Tober

Harold Oâ&#x20AC;&#x2122;Connor Harold O'Connor has been educated internationally at art schools in the United States, Mexico, Denmark, Finland, Germany, and Austria. A practicing goldsmith for forty years, he is interested in contrasts between textured and smooth surfaces. He has experimented with various techniques to produce interesting surface effects, including casting, reticulation (a method of texturing metal), and mokume (a Japanese technique of laminating metals to create surface patterns). Most recently, O'Connor has inlaid pieces of granulated metal in rock as a further study of surface differences and has used stones such as spectrolite to impart color effects under different lighting conditions. Maintains studio in Salida, California

Artist's Statement I work on themes inspired from my interactions with society, nature, and travels to exotic places. My training and interests are international in scope. Integrating ancient metalworking techniques such as granulation, lamination, and reticulation with contemporary forms is of particular interest to me. With each new series comes the challenge of design development and methods required to execute the designs. After forty-eight years, I still practice what I love to do.

East-West (brooch), 2000 Silver, 18kt and 24kt gold Collection of the Artist

New Zealand Beach Pebbles (necklace), 2008 18kt gold, silver, 24k gold Collection of the Artist

Bound (ring), 2001 Silver, 18kt gold, amber Collection of the Artist

Geode (ring), 2006 Silver, agate 2.2” x 1” x 1.2” (55 x 25 x 30 mm) Collection of the Artist

Marjorie Schick Since earning an M.F.A. with distinction in jewelry and metalsmithing from Indiana University, Marjorie Schick has followed a uniquely independent course in exploring new sculptural jewelry forms that extend into the space around the body. Her unmistakable “stick” forms combine the discipline of abstract sculpture with an affinity for the human form that has gained her worldwide recognition. She views the body as "living sculpture," and her creations also function as independent sculptural statements.

Maintains studio in Pittsburgh, Kansas

Artist's Statement From my first exposure to Professor Alma Eikerman’s three-dimensional approach to jewelry in 1963, I found unconventional materials offered me a challenge and an opportunity to expand on what I understood jewelry to be. As I moved forward in graduate school, I began to question traditional ideas about the size, wearability, and materials of jewelry. In 1966, at the end of my M.F.A. program at Indiana University, I found my direction in the works of sculptor David Smith by wondering what it would be like to put an arm or head through one of his works. I have been exploring the boundaries and fusion of jewelry, sculpture, and painting ever since. It has been my goal to create sculptural forms for the body that stimulate the senses of sight, touch, and sometimes sound, as well as to make the wearer keenly aware of her or his own body and the space surrounding it. No one who wears my body sculptures or even looks at them in a showcase can be neutral about them, and that is exactly the reaction I want: jewelry is about the environment of the individual and the world that person encounters wearing it.

Bands of Rings (9 rings), 2006 Painted wood, plastic laminant; cut, constructed, glued and painted Collection of the Artist

Golden Dragon (elbow armlet and stand), 2005 Armlet: painted papier-mĂ˘chĂŠ; Stand: painted wood and plastic laminant Collection of the Artist

Riser (armlet with stand), 2004 Painted wood and plastic laminant Collection of the Artist

Joyce J. Scott Joyce J. Scott supplemented her M.F.A. in crafts from Instituto Allende in Mexico with further study at Rochester Institute of Technology in New York and Haystack Mountain School of Crafts in Maine. Her exuberant beaded sculptural forms and neckpieces are provocative and confrontational, addressing contentious political and social issues such as gender, race, and class struggle. Born and raised in Baltimore, Joyce is a descendant of African-Americans, Native Americans, and Scots, and she uses a unique African American quilting technique—the peyote stitch—to string beads together. Her work is colorful, sculptural due to its dense texture, and distinguished by its strong social undercurrent. Artist's Statement As a visual and performing artist who uses pop culture as one of my constants, I find wonderment in the everlasting silliness of humanity. Maintains studio in Baltimore, Maryland

I am a great example of this, someone who is mesmerized by life’s gifts to me. Luxuriating in the beauty creativity commands. A squanderer at worst, novice at best, this pursuit is my testament. Beadwork allows for the very best form of improvisation. Immediate, non-toxic, cost effective, meditative, in fact, downright fun. Art is my best voice. It’s saving me from a life of criminality.

Family Swimmers (neckpiece), 2009 Peyote-stitched glass beads, thread Courtesy of Mobilia Gallery

For Him (neckpiece), 2004 Peyote-stitched glass beads, thread Courtesy of Mobilia Gallery

Virgin Virgin of Guadalupe (neckpiece), 2009 Peyote-stitched glass beads, thread 12.5” x 8” x 1” Courtesy of Mobilia Gallery

Kiff Slemmons Kiff Slemmons, a self-taught metalsmith, extracts her materials from the world at large and makes visual references that inject wit and metaphor into her work. Earning a B.A. in art and French from the University of Iowa, she has been influenced by the chance and transformation of Dada and Surrealist theory and the structure of Constructivism. Equally important to her is the love of language, tools, and the printed word that she acquired from her father, a newspaper publisher and editor. Artist's Statement The materials I use are often found or discarded. They were used in the hand or made by hand. Changing the context of these materials expands their metaphoric possibilities.

Maintains studio in Chicago, Illinois

In Mourning Sun, a tribute to Plains Indian culture, black pencils replace the white bones used in the original breastplates made as symbolic armor against deadly bullets and arrows. Wooden rulers so often used to measure angles and straight lines are cut and framed in Paisley to form curvilinear patterns, both an unexpected use of rulers and an unexpected material for paisley. In Key Points, the Neolithic stone points were made by hand in North Africa as necessary tools for survival. They have been put back into another form of arrow in these pins, where their reference to a past history functions to animate the present, invoking the handwork skill and aesthetic design of the points beyond their end use.

Mourning Sun (neckpiece), 2004 Silver, pencils, beachstones, horsehair, leather, coin with detachable "Black Sun" brooch 23" x 10" x 1/4" Collection of Susan Beech

Key Points (3 brooches), 2009 Silver, Neolithic stone points Collection of the artist

Paisley (neckpiece), 1998 Silver, wooden ruler 9" x 7 3/4" x 3/16" Collection of Anita Kaplan

Jennifer Trask Jennifer Trask received a B.F.A. in metalsmithing at the Massachusetts College of Art, and an M.F.A. at the State University of New York at New Paltz. She produced jewelry that reflects her passion for the inherent beauty of natural materials. Her work includes fragments of nature such as butterfly wings and peacock feathers, and she is able to mix and shape antlers, animal bones, and teeth into stunning, delicately carved compositions.

Maintains studio in New York

Artist's Statement My work embodies a peculiar romanticized vision of the natural world in objects that betray a very human concept of separateness, of dominion over nature. Our relationship with nature is precarious. We admire it, we attempt to collect, contain, and regulate it.

Lunaria Necklace is an early transitional piece with traditional metalsmithing techniques delineating a subjective taxonomy of natural materials intended to focus the viewer on the notions of value and beauty. Stylistically influenced by the ornamental instrumentation of early sciences, as well as methodologies of collection and display, hand engraving in the form of Latin species name, chemical notation, or place of origin, refers to the scientific method of classification, and documentation appears on the reverse. Allegory, Queen Anneâ&#x20AC;&#x2122;s Lace, and Vertebrata Vine, objects comprised mainly of bone, all delve deeper as objects that have been freed from the wunderkammer. Used to express definitive physical sensation and emotional sentiment (e.g. â&#x20AC;&#x2DC;bone wearyâ&#x20AC;&#x2122;), bone is considered the absolute reductive essence of our physical selves. Bones linger, incorporating evidence of what we ate, how we worked, injuries, illnesses, and environmental conditions during a given lifetime. Lead, copper and iron, among other metals, bind to our bones as obscure mementos of our experiences. So the questions I ask are these: What do we carry with us in our bones? Literally, and metaphorically? What would we see if we could view concepts and ideals, not just the objective physicality? 44

Queen Anne's Lace Brooch, 2010 Steel, sewing needles, silver, gold, bone, rubies, resin Collection of Jeannine Falino

Allegory Neckpiece, 2009 Found and altered antler, bone from deer, antique household items and jewelry approx. 30â&#x20AC;? top to bottom Collection Marion Fulk

Vertebrata Vine (necklace), 2008 Silver, gold, snake vertebrae, moonstones Rotasa Collection Trust

Denise Wallace Denise Wallace, a Native Alaskan jewelry artist, studied at the Institute of American Indian Arts in Santa Fe, New Mexico, in the late 1970s. Together with her husband, Samuel Wallace, she works to produce jewelry predominately inspired by the people, animals, and folktales of Alaska and the Bering Sea. She maintains and modifies a walrus-ivory carving tradition, using fossilized ivory, silver, gold, and richly colored stones, and is best known for her depictions of the people, animals, symbols, and folk tales of her native Aleut culture. Artist's Statement My work is a direct reflection of my home, my ancestors, and my connection to the world. My husband and I create work that blends our individual interests and knowledge. We have encouraged our children to find their way along this path of creativity and connections as well. Maintains studio in Hilo, Hawaii

Old Bering Sea Necklace, 2008 Sterling silver, 14k gold, semi-precious stones Collection of the Artist

Seal with re-moveable bone seal, 1987 Sterling silver, semi-precious stones 2.5â&#x20AC;?X 1.75â&#x20AC;? Collection of the Artist

Maori Woman #5 (brooch), 1998 Silver, gold, semi-precious stones Collection of the Artist

Nancy Worden With an M.F.A. in jewelry and metalsmithing from Central Washington University, Nancy Worden has turned to jewelry making to interpret the events in her life for more than three decades. Worden intertwines an exploration of materials from contemporary American culture and an intensive study of the history of jewelry design, borrowing design elements from Native American squash blossom necklaces, Art Nouveau masterpieces, Egyptian broad collars, and African amulets. The end result is a narrative work that reflects an American womanâ&#x20AC;&#x2122;s point of view, with a nostalgic reference to older jewelry traditions. Maintains studio in Seattle, Washington

Artist's Statement My artwork is a response to specific events in my life. From these events, I try to distill the essence of my experience into something universal to all human experience, or at least to the American women of my generation. In other words, it is my intent to suggest a story that the viewer will recognize. The major themes that have defined my work over the last thirty years are politics of materials, visual metaphors, a personal narrative, reference to historical jewelry, and movement. I often incorporate found objects from contemporary culture to provide the work with a specific time and place as well as to serve as a vehicle for color.

Fortitude (necklace with stand), 2006 Copper, silver, mica, steel, lexan, paper, rivets, electroformed beads, PMC beads Collection of the Artist

Exosquelette #2 (necklace with stand), 2003 Silver, copper, bone beads, nickel, glass and wood clothes pins, electroformed and assembled with tube rivets. 24.5” x 8.5” x 1” Collection of the Artist

Lifting Weights (neckpiece), 2004 Silver, 14k white gold, brass, horn, bone, ebony, lead, steel, glass taxidermy eyes, cotton cord Collection of Susan Beech

Jan Yager After receiving her M.F.A. from Rhode Island School of Design, Jan Yager began her artistic career as a masterful goldsmith. Quite by accident she became a political activist and began to collect items she found on the sidewalks near her studio in Philadelphia. She has used urban cast-offs such as crack vials and urban flora such as the parslane weed, which grows through cracks in the pavement, to create jewelry that comments on contemporary society. Artist's Statement I want my work to be rooted in history, yet undeniably of its place and time. After a wide search for inspiration, I narrowed my focus to the sidewalk outside my studio. The City Flora / City Flotsam series that emerged presents sharp contrasts—but the reality is that they are two sides of the same coin. Both are evidence of the circuitous routes of trade that shaped the Americas. Tiaras, which are rooted in the ancient Greek practice of placing laurels upon the heads of victors, grew into an icon of British royalty. My American version, The Tiara of Useful Knowledge, focuses on the importance of plants and is modeled after plants growing in the vacant lots near my studio and home. Of the ten plants, an ant, and a pebble that are portrayed in the individual pieces of jewelry that make up the tiara, the Potato Leaf brooch symbolizes biodiversity. Native Americans cultivated over three thousand varieties of potatoes at the time of the Spanish Conquest in the sixteenth century. Only a few varieties were shipped to Europe, spawning the monoculture that led to the Irish Potato Famine in the nineteenth century. Yet another brooch in The Tiara of Useful Knowledge portrays the lowly lamb’s quarters plant. Considered by some to be the “world’s worst weed,” since one plant can yield nearly 170,000 seeds capable of surviving seventy years of dormancy, the lamb’s quarters plant is also thought to have potential for the future because it is one of the first plants to grow back in disturbed soil and is more nutritious than many commercial food crops. Maintains studio in Philadelphia, Pennsylvania

The American Deal neckpiece references twenty-first century African Maasai beaded collars and the seventeenth-century European tubular glass beads favored by slave traders. It is composed of found plastic crack cocaine vial caps and used insulin syringes and speaks of the impact of drugs both legal and illegal, and new forms of bondage—this time chemical. 50

The American Deal (neckpiece) from City Flotsam: The Philadelphia series, 2005 1,431 found plastic crack vial caps, 10 used insulin syringes, 2 sterling silver cast crack caps, steel wire Collection of the Artist

The Tiara of Useful Knowledge from City Flora: The Philadelphia series, 2006 Tiara (assembled): Ragweed (brooch), oxidized silver, gold Clover (brooch), oxidized silver, gold Lambâ&#x20AC;&#x2122;s Quarters (brooch), oxidized silver, 18k and 14k gold Plantain Blossom (stick pin), oxidized silver, 18k and 14k gold Switch Grass (brooch), oxidized silver, 18k and 14k gold Potato Leaf (brooch), oxidized silver, 18k and 14k gold Rye Grass (stick pin), oxidized sterling silver, gold Prickly Lettuce (brooch), oxidized silver, gold Crab Grass (brooch), oxidized silver, gold Ant (tie tack), oxidized silver, 18k and 14k gold Pebble (pendant), oxidized silver, gold Tobacco Blossom (brooch), oxidized silver, 18k and 14k gold Headband, oxidized silver, 18k and 14k gold Collection of the Artist

World crafts council EUROPE

Martina Dempf Europe is a place of a long tradition in jewellery in general â&#x20AC;&#x201C; and especially in modern artistic jewellery since more than 50 years. The selection was done by a team consisting of Anne Leclercq (Belgium), Nina Linde (Denmark) and Martina Dempf (Germany). The curators wanted to show the great diversity of modern jewellery and artistic concepts in Europe. The team did not intend to set up definitions, but to leave space for posing questions of what jewellery is at the beginning of the 21st century. In accordance with the concept of ABUSHAN, we focused our selection on artists which work with material that has no economic value in the first place. As a challenge to traditional notions of preciousness these art pieces gain their value through artistic imagination and skilled transformation of economically non-precious material into jewellery. This includes the question of the borderline between jewellery as an applied art and fine art, which is discussed widely in art forums in the Western World. A clear definition of what is jewellery is difficult to make, and has to be decided individually for each piece by understanding its context and the makerâ&#x20AC;&#x2122;s intention. This also includes the different approaches and attitudes towards jewellery as well as diverging aspects when wearing jewellery or looking at jewellery worn by other people. After having shortlisted thirty artists, we selected twelve artists from eight European countries. Our main focus was their capability of contemporary artistic expression in jewellery and their skills and culture of making the piece. These main criteria do include a significant and visible quality of transforming material through artistic imagination and concepts into a piece of jewellery. January 2011 55

Christine Keyeux Artist's Statement Music arises from beauty that gains resonance. Then came a time when to make these waves blend into legible harmony, man had at his disposal paper in order to save his art from forgetting and to preserve its faithfulness. Christine Keyeux has gone in the opposite direction; she has given the paper its own music by covering it with forms and tones presented for all to see. Instead of a revenge of the malleable material on the cleverly reticulate sound, I consider it is a desire to confer a new life to paper, succeeding in its vocation to fix the sound, the letter and the spirit, and then met the obligation where it was long confined in an utilitarian world out of emotions. Sad paper, hard-working material for which, because of constraints, salvation is different from the fatal outcome of being confided to the crusher, the pestle or the fire, unless you find final refuge under the dust of libraries. Finally, Christine came releasing the anonymous vegetal peel from the ancestral enslavement and left the door wide open to the precious and useless universe of a glistening beauty. To the edge of its third life, the paper stops working hard and becomes a picture, a jewel, an ornament; it enjoys happy days and gets out of its depth. Lofti Akalay

Collier Plumes, 2009 35 cm diameter Spun paper, pasted, punched out, knotted together

Collier Dentelle, 2010 18 cm long Paper, spun and crocheted

Collier Etolie, 2010 18 cm long Paper, folded and plaited

Felike Van der Leest Artist's Statement Animals have a special place in Felieke van der Leest's heart. Living close to a Zoo her passion for animals probably started in her childhood just like her love for crocheting in textiles. Combining this with precious metals and plastic toy animals, she developed her own idiom in contemporary jewelry and art objects. Apart from the obvious fun, her work sometimes shows an unexpected serious side. Current issues such as the environment, dealing with animals and all kinds of social problems are touched upon. In this way Van der Leest, like Jean de La Fontaine in his famous fables, shows us the other side of the coin. Felieke van der Leest is a trained metalsmith and graduated from the jewelry department at the Academy of Fine Arts in Amsterdam, the Netherlands. For more than 14 years she has been working as an artist-designer making colourful and humorous jewelry and small objects. The last few years she has also been working together with her cousin (NeefNicht Design) in making larger art pieces for public buildings. In 2008 she moved from the city of Amsterdam, the Netherlands, to the countryside of Western Norway.

Pregnant Koala Bearmaid, object with brooch,2007 (object) 15 x 13 x 5.5 cm , (brooch) 11.5 x 4 x 3.5 cm, Textile (angora/wool, polyester/polyamide, viscose, felt), plastic animals, plastic beads Technique: crocheting, knitting

The Game of the Cheetahs, necklace,2008 25 x 32 x 2.5 cm Textile (polyester/polyamide, viscose, felt), plastic animals, glass beads, oxidized silver, gold Techniques: crochetwork, metalsmithing, bead weaving

The Outsiders, earrings, 2008 4 x 2.5 x 2 cm each Plastic animals, gold (yellow, white, red), textile (viscose), oxidized silver, Crochetwork, metalsmithing

Gemma Draper Artist's Statement Gemma Draper did her Masters at the Cranbrook Academy of Art and graduated in Art and Design from Escola Massana. Her work can be seen at various institutions like Rotasa Foundation, CODA Museum and Young Talent Collection FranĂ§oise van den Bosch Foundation. She has had two solo exhibitions in GotĂŤborg and Amsterdam and group exhibitions in Tokyo, Padova, Stockholm and Chicago. She has also given lectures and taught at various workshops. She works as an independent artist in her studio in Barcelona.

E is for Fullness, Brooch, 2008 7.5 cms x 18 cms x 3.5cms Two found objects ( knobs) in wood , enamel, nickel silver, steel wire

Elaborate and resilient and clear vĂ¤li , Necklace, 2007, 30 cms x 50 cms x 3cms Faceted and painted wood , magnesite beads, oxidated silver

Washed hallmark , Brooch, 2008 12 cms x 8cms x 3.5 cms Linoleum, reconstructed wood, mica sheets, smocked quartz beads, brass wire, silver, steel wire

Iris Bodemer Artist's Statement By grouping the most recent works together under the title "Ingredienzen" (Ingredients), Iris Bodemer pursues a topic that has been adumbrated in earlier groups of works time and again and now is becoming the central theme: the interplay between the different types of material, the combination of the ingredients which may subsequently merge and form a conglomerate, an entity. It requires a great deal of experience in handling and experimenting with the most diverse materials to capture and deploy the subtle nuances, the balance and the deliberate imbalance in the effects created by each type of material. There are stronger and weaker materials some of which immediately release emotions and some of which come to be perceived as smooth and harmless. Some of them seem to be infinitely heavy while others evoke pure lightness. Gold foil can either appear noble and precious or, if used differently, resemble crumpled up aluminum foil while a household foil may as well convey a spirit of equanimity that is not affected by time and change. In Iris Bodemer's works, pearls, gold, gemstones, wood, branches of corals, finds, pieces of fur and many other ingredients show their peculiarities and particularities. They are identical with themselves and, at the same time, they are part of the overall design and of the structure developed by the artist. This creates a tension similar to the dense and concentrated effect evoked by the combination of drawing and jewelry. It is the whole set of ingredients that provides the added value, without any one of them getting lost. Each element can be distinctly identified but it is only in their togetherness that they are more than each of them alone. Cornelie Holzach 2008

Untitled, brooch 2008, 15 x 26 x 2 cm, Horse hair, tourmaline

Untitled, brooch 2008, 12 x 7 x 1 cm Fur, aquamarine, copper

Untitled, brooch 2008 11 x 10 x 2,5 cm Wood, stoned wood, amber, gold 750, nails, staples, oil paint, hemp

Janna Syvänoja Artist's Statement “The process of making my jewellery pieces out of recycled paper, involves a slow, “natural” technique. By curving each slice of paper around the steelwire, one by one, one after another, it is as if the piece grows into its shape by itself. This way the character of wood, paper’s original material, is preserved in the piece - as is also the association to the whole organic world, the way it builds itself, being in constant change, traveling in time. Printed paper has also an additional reality, the information it contains. Now, one can only see separate words and letters, that have been transformed into graphical patterns on the surface of the piece. The previous content of the material referred to communication between people – message and expression. A piece of jewellery is worn for the same purpose.”

Brooch 2009, 6 x 17 x 5 cm Recycled paper, steelwire

Brooch 2010, 5 x 15 x 4.5 cm Recycled paper, steelwire

Brooch 2009, 6 x 12 x 4 cm Recycled paper, steelwire

Jorge Manilla Conciente in consiente “He understood that modelling the incoherent and vertiginous matter of which dreams are composed was the most difficult task that a man could undertake, even though he should penetrate all the enigmas of a superior and inferior order (…)” Jorge Luis Borges, The Circular Ruins. ...The creations express a different and deeper reality in another language. Primarily derived from the Mexican culture, the specific symbolism creates a language of images that hand a different form of perception to the Western spectator... . ...The jewel-objects of the Mexican designer Jorge Manilla seek possible answers to questions that reach to the searching man throughout his life claims. Moreover, it seems, at first glance, these creations are created directly in the dream world of an artist-shaman Dream forged from dust, they appear as plastic constellations of symbols and metaphors, a personal microcosm far from the 'knowable' reality. Dream images that condense to a mythical or spiritual dimension revealing to those who learn to decipher the symbolism. The creations speak of a 'different' and 'deeper' reality in a different language. Mainly from the Mexican culture, it creates a visual language specific symbols field, the Western viewer a different form of perception empowering ... ...The syncretism of Indian and Catholic religion has a translation into symbolic objects carry loaded, pregnant with meanings. Evelien Bracke

Yesterday and today, 2010 13 x 55 x 7 cm steel, tarmac burning and stitched leather, assembly wood

Please don't take away my heart, 2010 10 x 62 x 7 cm leather, wood, bronze, cotton thread, tarmac burning wood and stitched and burning leather, blackened bronze

Why not, 2010 17 x 72 x 6 cm Leather and steel burned and stitched leather, riveted steel

Katharina Dettar Artist's Statement Memories, remembering, remembrance, evokingâ&#x20AC;Ś Referring to the past and rebuilding it. Talking about the past, what happened and what could have happened, the thousand and one possibilities of living. How each ephemeral moment becomes eternity. How various objects can help to bring back memories, to save them from fading into oblivion. Converting moments into eternity, is that possible? The past kept in the memories, rebuilt by remembering, is present in the materials wearing away as time goes by. Defeating death. When working out my pieces I search for memories and remembering. These two ideas are directly linked to lived experience, the past. They are charged with opposing concepts and materials. They are antagonistic, but within this great difference there is a close relationship; one would not exist or work without the other. They need each other. Eternal and ephemeral, general and individual, light and heavy, life and deathâ&#x20AC;Ś Paper is a fragil, light and ephemeral material, and one may think that once worn out and damaged it already has completed its communicational function: its graphic contents has already penetrated into individual or collective memory. Reusing it and converting it into a jewel gives it another opportunity of communication. It is a very lightly workable material, porous and capable to absorb wax, paraffin and pigments easily. It may be able to give body and volume, I'm able to find the searched shape.

Memento mori 1, 2009 11 x 10 x 6 cm, paper, Mixed media - photography, wax and paraffine, pigment, serpentine stone and silver.

Memento mori 2, 2010 16 x 7 x 8 cm Mixed media - paper, photography, wax and paraffine, pigment, wood and silver. .

Memento mori 3, 2009 10 x 13 x 7 cm Mixed media - paper, photography, wax and paraffine, pigment, thread, horn and silver.

Mette Saabye Artist's Statement A treasure is something valuable. Sometimes, it is something we keep and store away because it brings back memories and we carry its value in our hearts. Other treasures represent a regular transferable value, which we generally accept as being valuable. Value can vary from viewer to viewer as we interpret the value of materials according to individual references and our cultural and social background. What has value in your realityâ&#x20AC;Śâ&#x20AC;Ś?

A Home, Necklace, September 2006 10 x 45 x 2 cm. Cotton, made out of a mortgage deed cotton & 925s.

Daisy, Necklace, September 2006 25 x 25 x 4 cm. Stamps, papier machĂŠ & silk.

Rainbow, Necklace, September 2006 20 x 40 x 2 cm. Stamps, papier machĂŠ & silk.

Ramon Puig Cuyas Artist's Statement Scientists pretend to represent the world with the least ambiguity and mistake from the rational thinking, artists also pretend to represent the world, but they deliberately exploit the ambiguity of intuition. lf in the remote origins of jewellery, the amulet and the talisman wanted to connect the man with nature and the transcendent universe through the forces of magic, today jewellery pretends to do it through a new humanism that should integrate art and science values. A jewellery that must help to experiment new ways of thinking and living both to the creator and to the bearer. This should be the function that really conditioned the creation of the contemporary jewel. Creating is my way of satisfying an indefinable need to transform, construct, illuminate, to turn the invisible into the visible and to be able to do so with my own hands. The act of creation is as though a journey to conquer an innermost sense of freedom, and to satisfy a deep desire to feel myself alive. I am impelled to commence each new work by the need to respond to a challenge, that of turning a pre-feeling into a real feeling. Planning and constructing is to live the experience of some moments of fullness and emotion.

PRIMACOLOR Series: 2009. 9,5 x 5,5 x 2 cm. Silver, nickel silver, plastic, enamel, acrylic painting.

PRIMACOLOR Series: 2009. 8 x 9 x 2 cm. Silver, nickel silver, plastic, enamel, acrylic painting.

PRIMACOLOR Series: 009. Silver, nickel silver, plastic, enamel, acrylic painting.

Sophie Hanagarth Artist's Statement The book of Enoch relates how the angel Azazel taught men how to make swords, the shield and breastplate: he showed them the metals and the art of working them and of making bracelets and ornaments, the way to outline the eyes with antimony and embellish eyelids with shadow, and the most beautiful and precious stones, and all the colour dyes, and the world was transformed. Sophie Hanagarth unceasing explores the paradoxes of the material. Fascinated by fleeting, unpredictable movements, she has elected to formed steel, the tacks, laminated metal strips tins, scalloped bottle caps, in order to create soft yet violent bodily adornments, undulating and uncertain. In turn breastplate, armour, shell or cage, her jewels extend and prolong the body, supernumerary organs designated to exhibit fertility, to protect or display the quiver of desire at the very spot of the most fragile and exposed parts of the body. In this way, she brings to light the innermost secrets of the flesh or displays what is modestly hidden from view: the uterus or genitals thus unveiled reveal a new significance which makes them both magical and religious, comforting and sublime. The bells, pompoms, tears or grenades sewn on to costumes in days gone by become votive offering, relics, gris-gris or sarcophagi, imprisoning parts of the body while simultaneously exhibiting them like a Blessed Sacrament. Having lost through the transmutation of metal their relationship with blemishes, blood and sperm, these ornaments prolong and deify the body, incongruous embellishments of a carnal envelope exhausted to the rank of glorious body. Dominique Paquet

"Trap" from the "Irons" study. Bracelet, 2009. 8.5cm x 7cm x 2cm Forged iron

"Balls" from the "Family jewel" study. Necklace, 2000. 82cm x diam. 1-3.5cm Cut silicone cut, steel

"Shity medal" from the "Still living" study. Brooch, 2006 12cm x 3,5cm x 3,5cm Stamped recycled tin can (iron), leather

Tasso Mattar Artist's Statement Tasso Mattar studied Social sciences at the University of Cologne, Germany and at the Jewellery- and Object design College of Design, Pforzheim Studio Cologne, Germany His Studio is at Artà, Mallorca, Spain He has had several exhibitions such as Jewellery Redefined, Crafts Centre London, GB Intern. Jewelry Art Exhibition Tokyo, Japan, Joieria Europea Contemporanea Barcelona, ELes Capitales Européennes, Centre Pompidou, Paris Crafts Exhibition, Olympic Games Lillehammer, Norway. Ornaments from here and there Lausanne, Switzerland. He has held workshops at Limitations, Bezalel Academy of Art Jerusalem, Israel, The Roots, Lasalle College of the Arts and Design, Singapore, The Message in Everyday Objects SNAG Conference, Cincinati, USA Jewellery making without target group, Ars Ornata Europeana, Cologne, D Childhood, Southcarelien Polytechnic Lapeenranta, Finland, Workshops Medium Jewellery, Artà, Mallorca, Spain. In his international workshops he uses a method which stimulates the creativity and promotes the development of ideas. Caused by a special approach of seeing everyday objects, the participants experience a new aesthetic view during the workshop. Unexpected objects are springing up and will be converted to fantastic jewellery. Languages spoken: English, German, Spanish.

Chained man, brooch, 2008 8 x 6 cm Iron plate and wire, sewn by hand

Bomber and ruins, neckpieces, 2008 6 x 8 cm Iron plate and wire, each sewn by hand

Decoration Day, neckpieces, 2008 6 x 8 cm Iron plate and wire, each sewn by hand

Topias Alm Artist's Statement I start working without any plans, and let the first step lead to the second. Sometimes I have vague wishes about how things should work out, but everything changes on the way and theyâ&#x20AC;&#x2122;re not so important in the end. The materials I choose are simple. They make it possible to materialize impulses with speed. I compose with these materials, but tend to leave things quite raw and honest. Iâ&#x20AC;&#x2122;m not conceptual, I rarely work with conscious thoughts of references, but of course they are there somewhere. I have no aim to comment on history, but of course I do, everything around me shapes both me and what I make.

Necklace. Title: Summer series no. 6,2009 Dimensions: 55 x 20 x 10. Wood, cotton, paint, tape. TCourtesy of Galerie Rob Koudijs.

Brooch. Title: 7 series no.2, 2010 Dimensions: 17 x 12 x 5 cm. Wood, iron powder, wood glue, cotton, steel, shellac Courtesy of Galerie Rob Koudijs.

Brooch. Title: 10 series no. 6, 2010 Dimensions: 15 x 5 x 4 cm. wood, steel, brass, shellac. Courtesy of Galerie Rob Koudijs.

World crafts council AFRICA

Paola Manfredi Africa is a vast and highly diversified continent although it is often referred to as a sort of undifferentiated entity, thus overlooking the distinct histories, the regional differences and the varieties of cultures of its many communities, nations and states. Abhushan - Africa has tried to highlight a few aspects of African rich diversity and creativity, each selection epitomising a strand in such vast and complex idiom of body adornments. Traditional forms coexist with new ones, traditional skills like the glass beads are worked in innovative ways, without compromising their own identity. Designer interventions on traditional techniques and aesthetics add new striking dimensions. Traditional, often anonymous, craftspersonâ&#x20AC;&#x2122;s works are presented along with the creations by individual artists/designers. The exhibition focus on the variety of materials used: seeds, pods, fibres, threads, wires, grass, wood, metals, stones, glass, plastic, nylon, horns, bones, shells, eggshell, corals, fish scales, paper, leather, textiles â&#x20AC;Śand anything recyclable, bottle caps or cansâ&#x20AC;&#x2122; top, plastic shopping bags or slippers, virtually anything that might catch the fancy of the designer/artisan with a remarkable ability to twist or to manipulate the original use. To scan such a vast continent for selecting the pieces has proved to be very challenging, mainly because of communications problems as, in many parts of Africa, internet is still either poorly accessible or too exorbitant to transfer images! The countries, artists and artisans represented in the Africa section are: Egypt with silver jewellery works by Azza Fahmy West Africa with traditional jewellery from the Tuareg and the Fulani communities and with designer adornments in cotton prints, cotton yarns and seeds 83

Ghana, famous for its recycled glass bead production, features the works by Akwele Suma Glory and pieces collected in markets. East Africa is represented with a few traditional pieces from Turkana and Toposa in Kenya. Rwanda presents an interesting association between traditional basketry techniques used for adornments made by Rwanda Art organization of women and the intervention on these pieces with silver parts by Martina Dempf from Germany. Namibia presents jewellery of hand made beads from ostrich eggshell, by the San people of the Kalahari desert, one of the most ancient culture on Earth. Zambia presents adornments made with a variety of seeds, pods and wires by artist Agnes Yombwe and glass beads jewellery made by women from â&#x20AC;&#x153;Magic Hands of Africaâ&#x20AC;?, an NGOs working at improving livelihood in the slums area of Lusaka. South Africa features just a few elements of its rich multicultural society: the famous traditions of beadworks by the Ndebele, Xosa and Zulu communities is presented by craftswomen working at the African Art Centre in Durban. Eugenie Drakes and Beauty Maswanganyi present a selection of their designer approach with traditional techniques and aesthetics. Madagascar presents the works made with natural materials such as seeds, horns, pearls, raffia, black corals, fish scales by Annie Prebay Ranarivelo : A-ni-Ra.

Egypt Azza Abdel Monem Fahmy

Artist's Statement She graduated in Interior Design from the Faculty of Fine Arts and studies jewellery craft at the City of London Polytechnic before becoming the first female apprentice to several of the best jewelers in Cairo. Her stydle is original, unique and timeless, mixing ancient skills with modern craftsmanship. Her jewellery is an internationally recognized brand.

Sufi Necklace, 2002 Material: Silver- Gold- Semi precious stones Dimensions: length 48cm, width 6 cm

Sahara Necklace, 2004 Material: Silver- Gold- Semi precious stones Dimensions: Length 45cm, Width 15cm

Poetry Adorned Necklace, 2010 Material: Silver- Gold- Semi precious stones Dimensions: Length 56cm, Width 3.5cm

Rumuz Necklace, 2010 Material: Silver- Gold- Semi precious stones Dimensions: Length 42cm, Width 5.5cm

The Crescent Necklace, 2010 Material: Silver- Gold- Semi precious stones Dimension: Length 68cm, Width 3.5 cm

Gibran Necklace, 2003 Material: Silver- Gold- Semi precious stones

Mud Houses Brooches, 1990 Material: Silver- Gold- Semi precious stones

Palm Tree Earrings, 1980 Material: Silver- Gold- Semi precious stones

Ibn Hazm Earring, 2010 Material: Silver-Gold- Semi precious stones Dimension: length 6cm, Width 3.8 cm

Ornament Necklace Material: Silver-Gold- Semi precious stones Dimension: Length 44cm, Width 5cm

Akwele Suma Glory Ghana

Artist's Statement From tradition to the contemporary: - My jewelery creation reflects my vision of wearability and style enhanced with timeless aesthetic. An exploration of neutral forms combined with delicate textures and highly nuauced sculptural element. It is therefore no gain saying, that my work is a close collaboration between man and nature. “My creations are meant to be warned, touched and thoroughly enjoyed. Each piece has a story, a history and a meaning”

Triangle Trade Material: Old Aggrey Beads (trade beads) Dimension: N.L-21

Red Seal Red dominant of various beads on raffia Dimensions: L. 1”x 11”x 5”

Adopted Bead from all over the world captured in three dimension broken up by ebony beads with silver, copper and brass embossed. Dimension: Adjustable (variable)

Networking European glass bead chips interwoven with recycled glass beads discs from Ghana, interspaced with seed beads. Dimensions: N.L-.20”, Br.L-9.5”, Er.L-2.7”

Cock Crow Patterned carved bone (Kenyan) and wired wire cock spaced with red recycled glass beads on raffia Dimension: N.L 20

Warrior Palm kernel shell empowered by old red glass beads, hints of recycled glass beads on ridge terracotta black wood beads. Dimensions: N.L 36” Er. L. 4.5

“An-I-Ra” Madagascar

Artist's Statement Anira’s real name is Annie Ranarivelo. She was born in Madagascar. At twenty, she flew to Paris and to Egypt to discover the world… An astonishing universe unfolds in front of her, which will change her life for ever: the pyramids, the Nile, the desert, the monasteries, the Coptic music, the siestas in the mosques… and old ruined princesses. From the bazaar, the traders would send fragments of old potteries, Greco-Egyptian and “mameluk” ones. The princesses, with their innate taste and an extraordinary talent, would convert these fragments into the most remarkable ornaments. Anira’s destiny was set: looking at these jewels, made of materials which were neither gold nor silver, but fragments of ancient and rich civilisations and symbols of higher spiritual values, she understood that her aim in life would be to create “Beauty”. She designs and crafts exquisite pieces to enlighten the soul of who’s wearing them and to disclose another world that can transform life. She spent three years in Indonesia, where she rediscovered her true Malagasy identity and then she went back to Madagascar, to live as much as possible in touch with the heart and soul of its amazing people, with their rich and ancient civilisation. Thus Anira lived among her people to discover her own deep roots. She also discovered sites out of this world that became her universe : the wild elements of nature, seeds of all kind of shapes and colours, fibres of uncommon trees, black corals, teeth of caiman, backs of moray-eels, large scale-fishes, … In touch with the craftsmen, she has learned the skill of forging beauty with her own hands and the spontaneous authentic creation.

Madagascar dans tous ses états. (All the states surrounding Madagascar) Shells,raw stones,semi-precious stones

Madagascar dans tous ses états. (All the states surrounding Madagascar) Green and brown quartz, zebu horn

Madagascar dans tous ses états. (All the states surrounding Madagascar) Zebu horn and rock crystal.

Madagascar dans tous ses états. (All the states surrounding Madagascar) Black seeds, oyster shell buttons, zebu horn

Madagascar dans tous ses états. (All the states surrounding Madagascar) Raw rock crystal, forest seeds, raw sea stone, white coral

Madagascar dans tous ses états. (All the states surrounding Madagascar) Fish scales and fish bobes; small natural black seeds.

Madagascar dans tous ses états. (All the states surrounding Madagascar)

The Omba Arts Trust Namibia

The Omba Arts Trust is a social enterprise governed by a Board of Trustees and managed by a Director and five full-time employees. Operational costs are covered by income generated from sales and rentals. Outside funding is sourced for development and training activities.

The Omba Arts Trust works in partnerships with several local Non Government Organizations and networks.

Pearls of the Kalahari is a range of ostrich eggshell and glass bead jewellery designed in collaboration with Ju|â&#x20AC;&#x2122;hoan San women from Namibia and Botswana and Mickael Kra, a Paris-based designer of couture jewellery. A chance meeting of Annette Braun from the German Church Development Services (EED) and Kra in Senegal, gave birth to the idea of an up-market branded range of jewellery produced by San women with design input from African-born Kra. This fusion of ancient techniques with contemporary design has resulted in a unique collection of jewellery that is glamorous, yet rooted in the traditional culture of the San in Namibia and Botswana. The logistics of launching this unique range of designs produced to exacting requirements is in itself admirable given the remote location of many of the producers. The San women who have attended three workshops in Namibia and Botswana have enjoyed sharing their techniques and creativity with Kra. In return, he has been inspired by the beauty of the materials they use giving a new aesthetic to their traditional skills.

Namasha Bandolero Supreme Black Natural color ostrich eggshell beads and glass beads

Nyae Nyae Bracelet M 'Ivory' Natural color ostrich eggshell beads Namibian Roll Bracelet Natural color ostrich eggshell beads

Triple Med Necklace Natural color ostrich eggshell beads

Nyae Nyae Necklace 'Ivory' Natural color ostrich eggshell beads

Namibian Roll Necklace Natural Natural color Ostrich eggshell beads

Xoan Double Medallion Bandelero Natural color ostrich eggshell beads

African Art Centre South Africa Durban

During the past 50 years the African Art Centre has provided thousands of artists and craftspeople with opportunities for self-employment and the realization of their talents. Originally a project of the South African Institute of Race Relations, the Durban African Art Centre has, since 1984, operated as an autonomous, non-profit organization. For the first three decades of its existence, it was guided by the late Jo Thorpe, who virtually single-handed, put Durban on the map as an important centre of black artistic development. Today operating from premises in Florida Road, Durban the African Art Centre has adapted to the changed political, economic and artistic landscape and expanded its operations. It is proud to be recognized as the longest surviving South African organization involved in the development and promotion of black artists and craftworkers. The number of artists and crafters ‘discovered’ has increased exponentially over the fifty years as have the returns they have realized through their talents. Development and training programs have grown in number and scope and reached ever widening groups of individuals and communities, both in the geographical and sociological sense. Many African Art Centre artists have achieved international acclaim – Azaria Mbatha, Tito Zungu, and Reuben Ndwandwe – but thousands have had their lives dramatically improved through the recognition of their talents.

Alexia Mkhize

Love letter Necklace, 2010 Glass beads and fhread Diameter: 22 cm Courtesy: African Art Centre

Dumisile Mathe

Multistrand Necklace, 2010 Fabric, thread and glass beads Diameter:L 22 cm Courtesy: African Art Centre

Ntombi Mbambo

Beaded Necklace Thread and glass beads Dimensions: 17 x 25 cm Courtesy: African Art Centre

Eunice Mace

Beaded leaf necklace Thread and glass beads Dimensions: 15 x 22 cm Courtesy: African Art Centre

Beaded rope and beaded ball tassels necklace Fabric, thread and glass beads Dimensions: 12 x 33 cm Courtesy: African Art Centre

Beaded rope and beaded ball tassels necklace Fabric, thread and glass beads Dimensions: 12 x 35 cm Courtesy: African Art Centre

Maningi Mbonambi

Beaded love letter appendages necklace Thread and glass beads Dimensions: 15 x 27 cm Courtesy: African Art Centre

Ntombizonke Hlambisa

Beaded necklace Fabric, thread and glass beads Dimensions: 15 x 22 cm Courtesy: African Art Centre

Thembi Phakathi

Beaded rope and square flabs necklace Fabric, thread and glass beads Dimensions: 14 x 34 cm Courtesy: African Art Centre

Kenya Sudan

All items are collected between 2006 and 2008, except No.3, by me and Dr. Harald MĂźller-Dempf. All are in use until today. They reflect a picture of the traditional and contemporary jewellery art of the pastoral Toposa and Turkana, which have kept their own way of life and authentic style until today. Martina Dempf

Toposa Sudan by Lokupe Loitakol

Necklace for men, 2008 Antique Venetian glass beads Dimensions: 24 cm Courtesy: Martina Dempf

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Toposa Sudan

Pendant for unmarried women, 2008 Glass beads on goat leather Dimensions: 32 cm Courtesy: Martina Dempf

Turkana Kenya

Pendant for traditional doctorâ&#x20AC;&#x2122;s wife, 1986 Glass beads, palm nuts, bottle tops, key Dimensions: 22 cm Courtesy: Martina Dempf

Wrist-knife for men, 2006 Scrap iron, goat leather, used as a weapon and bracelet Dimensions: 15 x 17 cm Courtesy: Martina Dempf

Necklace for unmarried women, 2006 Glass beads on plastic Dimensions: 20 cm Courtesy: Martina Dempf

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Eugenie Drakes South Africa Rosebank

Artist's Statement My focus is on sustainable business so I work with producer groups throughout Southern Africa working on product development, business development and market access. The product we carry is all traditional inspiration but contemporary expression. We work with wood, telephone wire, paper, grass, ostrich eggs, buttons, tin, sisal, seeds, silver, copper wire amongst others. The quality of the work is very high as I work the high end of the market, however many of the producers we work with are rural. Beauty Maswanganyi who has worked with me since 2002 is an amazing beadworker and we design and make pieces together. The jewellery on display is from a collection which Beauty Maswanganyi and I designed and made for the live broadcast from Lagos of the Face Of Africa finals in February 2010. From this range which was specifically designed for Ramp we worked on a smaller range for sale.

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Beauty Maswanganyi & Eugenie Drakes

Face of Africa Collar (cuff), 2010 Glass beads, plastic beads, ribbon. Courtesy: South Africa

Face of Africa Collar (necklace), 2010 Glass beads, plastic beads, ribbon. Courtesy: South Africa

Face of Africa Cowrie (necklace), 2010 Cowrie shells, Glass beads, Bone beads, jidida Courtesy: South Africa

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Beauty Maswanganyi & Eugenie Drakes

Face of Africa Cowrie (bracelet), 2010 Cowrie shells, Glass beads, Bone beads Courtesy: South Africa

Face of Africa Cowrie (necklace), 2010 Cowrie shells, Glass beads, Bone beads, jigida Courtesy: South Africa

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Face of Africa (wood necklace), 2010 Hand made indigenous wood beads from Mozambique, plastic beads, bone beads Courtesy: South Africa

Craft Group Limpopo

Recycled bottle tops, wood beads, leather thong Courtesy: South Africa

Rebecca Olivia Moore & women from informal settlement - Swaziland

Handmade ceramic button Recycled bottle top, Jacaranda wood ring Courtesy: South Africa

Handmade ceramic buttons Recycled bottle tops (coca cola) Courtesy: South Africa

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Rwanda Artist's Statement All works designed by Martina Dempf together with the below mentioned woman artists: Dafan Mukantabashwa Virginie Uwizeyimana Pelagie Nyirahabineza Alphonsine Urayeneza Valentine Nyirakimony and are produced in co-operation with Rwanda Art, under the guidance of Louise Gerard Umugiraneza. The grass used is papyrus swamp grass, in natural colour and natural black dye. Martina Dempf

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Umuraza W’igicona 2, 2010, Medallion Grass, Sterling silver, Japanese cotton string Dimensions: 10 x 10 cm Courtesy: Martina Dempf

Amatana, 2010, Necklace Grass, Sterling silver Dimensions: Length 50, disks 4 x 4 cm Courtesy: Martina Dempf

Ingembe 1, 2009, Necklace Grass, Sterling silver Dimension: Length 45 cm Courtesy: Martina Dempf

Imiambi 2, 2010 Collier “Cone 2“ Grass, Sterling silver Dimension: Length 45 cm Courtesy: Martina Dempf

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Zambia Agnes Yombwe

Artist's Statement â&#x20AC;&#x153;I never in my sweetest dreams ever planned to make jewelry.The idea came from Mr and Mrs.Sardanis when we went to visit them at their Chaminuka Lodge. They asked me to make small tems like jewelry to sell to their guests at their lodge. I felt a a kind of happiness that I can not explain and I took up the challenge and i have never looked back ever since......... I am mostly inspired by the environment.........that is what i see around .Discarded things also inspire me as materials for my creations plus the Zambian Culture and Traditions especially of the Bemba from the northern province of Zambia. There is an accepted way of doing things ,which I also subscribe to. You do this, maybe.........that will happen..........this won`t work if you take this LINE. Sequence of things Form certain PATTERNS in our life. It is a matter of finding out more when the unexpected happens that will help us balanceâ&#x20AC;?.

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Issoufou Amadou

Boat Pendant Material: Silver, onyx, ebony, black glass beads Courtesy: Craft Council

Kader Ouedraogo

Pendant Material: Silver, cornelian, black glass beads Courtesy: Craft Council

Earrings Material: Silver, onyx Courtesy: Craft Council

Murielle Bossyut

2 Necklaces Material: Printed cotton beads, assorted seeds, wooden beads. Courtesy: Craft Council

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Agnes Yombwe

Necklace, 2007 Material: Tree bark, wooden beads and cotton string Dimension: 18 x 28 cm Courtesy: Artist’s Collection

Muzauli Inspirations - Necklace, 2007 Material: Muzauli seed, its pods and fish line. Dimension: 40 x 5 cm Courtesy: Artist’s Collection

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African Star - Necklace, 2007 Material: Assorted seeds and reeds. Dimension: 42 x 8 cm Courtesy: Artist’s Collection

A United Africa - Necklace, 2010 Material: Electricity wire outer plastic coverings, mungogo seed, copper wire, xhosa cloth, thread, needle and plastic pipe tube. Dimension: 18 x 28 cm Courtesy: Artist’s Collection

Y.Y. Mix - Necklace, 2007 Material: Bamboo, reeds, tree bark, copper wire, wire, canned drink bottle top, seed pod and cotton string Dimension: 45 x 50 cm Courtesy: Artist’s Collection

Earrings, 2007 Material: Copper wire, wire, canned drink top Dimension: 9 cm Courtesy: Artist’s Collection

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GAFREH and Farafina TignĂŠ

Necklaces & belt Material: Recycled plastic bags and plastic slippers Courtesy: Craft Council

Farafina TignĂŠ

Necklace Material: Black leather, shells, painted bone beads Courtesy: Craft Council

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Necklace Material: Glass beads, copper wire Courtesy: Craft Council

Artist: Unknown

Bracelet Material: Brass - Golden Courtesy: Craft Council

Talismanic Ring Material: Silver Courtesy: Crafts Council

Earrings - Twisted hoop Material: brass : golden Courtesy: Craft Council

Bracelet Material: Glass beads Courtesy: Craft Council

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Artist: Unknown

Sacred Mosque Ring Unknown Material: Silver Courtesy: Paola Manfredi

Necklaces Cooperative ZOODO – Material: Cotton yarn beads – natural dyes Courtesy: Craft Council

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Necklace Material: Glass beads Courtesy: Craft Council

Artist: Unknown

Earrings Material: Assorted seeds and beads. Dimension: 9 cm Courtesy: Craft Council

Earrings Material: Assorted seeds and beads. Dimension: 11 cm Courtesy: Craft Council

Earrings Material: Assorted seeds and beads. Dimension: 10 cm Courtesy: Craft Council

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World crafts council Asia pacific

Dr Kevin Murray Through our individual acts of hospitality, we contribute to sustaining a common world. Each culture has its own way to welcome the returning traveller, visiting dignitary, tourist or a simple stranger at the door. Across the Asia Pacific, the act of bestowing a garland is a widespread greeting. Garlands adorn this world, from the jasmine malai of Thailand to the pandanus salusalu of the Pacific. But now, hospitality wanes. With urbanisation and migration flows, our world is increasingly located in a crowd of strangers. Thereâ&#x20AC;&#x2122;s less space or time for the niceties of welcome. In order to preserve this human connection, jewellers are playing an important role by adapting the traditional garland to contemporary conditions. The works chosen for this exhibition feature emerging and established contemporary jewellers who have developed the garland in different ways. Some of substituted the floral elements with materials distinctive to their own place, including recycled materials. Others have explored alternative ways in which jewellery can connect people together. Welcome Signs: Contemporary Interpretations of the Garland will hopefully be the beginning of a series of jewellery exchanges across the Asia Pacific region. For more information, see http://welcomesigns.craftunbound.net. This is supported by Arts Victoria. Dr Kevin Murray is Adjunct Professor of RMIT University and online editor of the Journal of Modern Craft.

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Australia Marian Hosking Hosking is an Australian ‘Living Treasure’ known for the way she interprets nature experientially into silver.

(L) Necklace, 2010 Mallee gum buds, flowers, nuts 925 silver, sapphire beads 440 x 80 x 15 mm

(R) Gum nuts chain, 2010 Heat coloured 925 silver 440 x 45 x 10 mm

Australia Katheryn Leopoldseder As marigold garlands can be recycled as dyes, this work gathers cups left over from the Christian sacraments in a poetic association of beauty and waste.

For God so loved the world…, 2008 490 recycled communion cups, fresh water pearls, 18ct gold, gold plated sterling silver, stainless steel L 260 x W 8 x H 3 cm

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Australia Roseanne Bartley This necklace is constructed from walks within a particular suburb of Melbourne

Recycled neckpiece

Australia Regine Schwarzer The mineral wealth that constitutes the national bounty is here presented as an individual garland.

Necklace, 2008 Royal Jewels, chabazite in basalt, cubic zirconia, sterling silver 23 x 23 x 1.4 cm

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Australia Liz Williamson Williamson is an Australian â&#x20AC;&#x2DC;Living Treasureâ&#x20AC;&#x2122; for her textile work, but here applies these techniques to jewellery.

Loop series, wool and leather cord

Japan Yuri Kawanabe Kawanabe interprets the handcrafted ceremonial decorations that have inspired her throughout Asia.

Whirly halo neckpiece, 2004 Aluminium, silver 40 x 49 x 9 cm

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Fiji Gina Narayan Narayan explores her Fiji-Indian identity through combination of tokens from her family history.

Coral and silver coin

Black onyx and shell

Pandanus open-plaited necklace and belt

Pandanus pouch necklaces

Malaysia Edric Ong This fashion designer incorporates natural fibres including pandanus, made by the Malay women of Kota Samarahan, Sarawak in East Malaysia; and the Orang Asli women of Carey Island, Selangor in West Malaysia.

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New Zealand Niki Hastings-McFall Hastings-McFall re-creates the lei with disposable soy sauce plastic fish.

Too much sushi lei, 2008 Sterling silver, plastic 1000 x 400 mm

New Zealand Fran Allison Transposes the European tradition of the doily to the Pacific tradition of the lei.

Doily Daisy Chain

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Thailand Vinit Koosolmanomai These necklaces are made from bells and have been designed for blind people to wear.

Two necklaces, Jewelry for blind, 2009 Iron bell, cord, threading H 30 x W 15 x D 1.5 cm

Thailand Winita Kongpradit Kongpradit re-creates a traditional Thai â&#x20AC;&#x153;Phuang Malaiâ&#x20AC;? from images of contemporary life.

Other Self Coloured zinc, paper, found object, resin 70 cm

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Indonesia Grees Manupassa Manupassa interprets traditional garland materials of jasmine and orchid in filigree.

The Mighty Simplicity, Necklace, 2010 Sterling silver 925, circon, and pearls

Indonesia Fryza Pavitta This piece is designed to be shared among a group of people in order to distribute the Sumba myth of the cosmos.

Sumbanese Narrative Contemporary Jewellery, 2009 Various material 40 x 56 x 2 cm

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Indonesia Aulia Amanda, Annisa Fardan Nabila, Anastasia Sulemantoro, Emeraldi Kumastyo Paramaeswara, and Maria Yosepha. This sphere is divided into eight pieces, representing regions of Indonesia and wind directions associated with Eastern spiritual philosophy. The word PALAPA comes from Sumpah Palapa from Patih (vice regent) Gadjah Mada who has swore not to eat palapa fruit (nutmeg) before he could unite Nusantara - a term used by Indonesian people to define Indonesian archipelago.

Palapa, pendant Rosewood and etched brass 6.4 cm

Germany Sam Tho Duong

In Der Ruhe Liegt Die Kraft â&#x20AC;&#x2DC;Power lies in silenceâ&#x20AC;&#x2122; Garland Steel wire and toilet paper

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Korea Lim Hyo-Jung Lim creates garlands that give ceremonial beauty to otherwise disposable foods.

Garlands for objects (no fruit)

Korea Yun Sang Hee Jun Sang Hee applies Ottchil (Asian lacquer) to create extraordinary forms that both protect and attack.

Wood, Ottchil, 2009 925 silver, gold-plating, gold-leaf 572 Ă&#x2014; 249 Ă&#x2014; 74 mm

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Taiwan Yu-Fang Chi Chi applies the textile technique of lace to create delicate adornment.

Lace

Kuwait Mariam Hamad Ali Habib Ghaith Al-Ghaith Golden Ivory/Millennium Wings

Thailand Saovaluck Pannont Necklace inspired by Lanna culture

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World crafts council latin america

Alberto de Betolaza Alberto de Betolaza was born in Montevideo (Uruguay) in 1955. He graduated from the University of Architecture in 1980 and was employed at the Ministry of Industry and Energy in his country. He began to work with artisans in 1991 and, in 1998, was appointed as Director of the Handcrafts Department, in charge of the development of the handcraftsâ&#x20AC;&#x2122; sector. Trying to improve the access to different markets and to spread Uruguayan crafts as an expression of the Uruguayan culture, many artisans have received economic support from the Ministry, enabling them to exhibit their products in regional and international fairs. In 2009, during the WCCÂ´s International Board held in Havana (Cuba), Mr. de Betolaza was elected President of the WCC Latin American Region. In addition to his activity in the handcrafts sector, he has been a Professor of Architectural Project and History of Modern Architecture at the University of Architecture in Uruguay for the last thirty years.

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Latin America, its jewels and the use of accessories A Note on the Continent’s Geographical Location: Latin America is located in the Western Hemisphere, from 35º West at the Easternmost tip of Brazil, to 117º West in the frontier between Mexico and the United States, that is 32º North and constitutes, at the same time, the Northernmost tip of the continent. Its Southernmost tip, “Tierra del Fuego” (an island shared by Argentina and Chile), is 55º South. Latin America includes all South American countries (except Guyana and Surinam), all Central American countries, Mexico and the Caribbean Islands, with a Latin culture and language. A Word on its Name: The name “Latin America” is a successful contribution of the French, who in the 19th century wished to minimize Spain and Portugal’s influence in the continent and replaced the names of Spanish America or Ibero America, more common till that moment. In that way, French language and culture, with the same Latin roots as Spanish’s and Portuguese’s were included in the continent´s name. A Word on the History of America’s Discovery: The continent’s native inhabitants developed different cultures. The most well known, due to their social organization and architectural achievements, were Aztecs in Mexico, Mayas in Central America and Incas in the Andean region of South America. America’s discovery in 1492 was actually a mistake. Christopher Columbus left Spain searching a way westward to the Indias and he died thinking he had succeeded. Although he was wrong, the new land was immensely rich in any kind of resources but mostly in precious metals, determining its immediate colonization by the European monarchies. A Word on Latin American Jewelry and Accessories: Since Prehispanic times, precious metals have been employed to make accessories mainly with religious goals, but as personal ornaments as well. In parts of the continent where there were no

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precious metals, other natural materials that were available were used, even if they were less enduring and sophisticated. The use of accessories to enrich human lives, in a spiritual or material way, is a necessity that has been covered employing a very wide range of materials such as vegetal fibers, grains, wood, leather, bones and horns, textiles, metal and stones of different types. Jewelers, metalworkers and artisans in the 21st century apply their minds to develop objects of many different kinds, sometimes respecting traditional materials and technics; other times, following only contemporary designs, but always showing, in a way or another, their cultural heritage.

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Argentina Valeria Lajara

A Note on the Artist At 20 years old, Valeria attended a course on native pre-hispanic textiles. Since that date, she became interested and learned a lot about textiles and tapestry in the northern part of Argentina, in Bolivia and Peru. She has specialized in double tubular fabrics – called “Pampas fabric” – and, since 1998, has been teaching how to do it in many Argentinian Schools of Crafts. She has participated in many exhibitions and fairs and her textiles have been awarded in many contests all along her country. A Note on the Piece: Ladies’ Wide Belt It has been made in mercerized colored cotton thread, woven on a native loom, to get the double tubular fabric called “Pampas fabric”. At each end it has 35cm fringes.

Wide belt made for the Argentinian Bicentennial (1810 – 2010) using a tubular “Pampa” technic with buckle in silver.

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Argentina Juan Carlos Pallarols

A Note on the Artist At Juan Carlos Pallarols was born in the Province of Buenos Aires and was the son of a well-know Catalan silversmith. Since he was very young, he began to learn how to work on metals, a passion that would last during his whole life. His training, in the bosom of his family, with his father and grand father, both excellent metalworkers, painters and designers, and his innate curiosity made him a self -- taught artist. He has received many prizes along his life. His pieces have a lot of prestige in his country and abroad and have been given to important public figures like King Juan Carlos from Spain, and Popes Giovanni Paolo II and Benedictus XVI. A Note on the Piece: Set of two silver pens: They have been made in 925/000 silver 100% forged and chiseled by hand. The decorative motifs are different: one imitates a woven vegetal fiber and the other is decorated with grapes. Set of cuff links: They have been made in 925/000 100% forged and chiseled by hand with a grapes motif as decoration.

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Argentina Daniel Henri Bordarier

A Note on the Artist Daniel was born in Paris in 1944. He travelled to America and lived in Peru and Brazil, where he began to work with his hands. During his second trip to Peru and Brazil, he discovered natural materials like stones and vegetal fibers, and continued to improve his manual skills. He arrived in Argentina in 1984. He went back to France and in 1987 settled down in Buenos Aires, where he began to devote all his time to inlaid technics in silver. He sells all his pieces in Buenos Aires and, in 2005, his metalwork has been awarded a special mention at the First Handcraftsâ&#x20AC;&#x2122; Biennale in Buenos Aires. A Note on the Piece: This piece, made in 925 silver, shows a pre-hispanic design of a frog from the Northwest part of the country. The frame from where it hangs is a frog in shape as well and has a black tourmaline set in its center. The pre-hispanic part has been made out of a piece of casuarina tree and the frog has inlaid many small stones like turquoise, chrysocolla, malakite, unikat and lapis lazuli. The necklace has been made in rawhide leather from the Argentinian Pampas.

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Argentina Daniel Pereira Capel

A Note on the Artist He has been participating in several national and regional handcrafts fairs, where his pieces have been distinguished by local Jurys. A Note on the Piece: Daniel is an artisan, who is worried about what to do with waste materials, especially plastics that are very difficult to decompose. In his pieces, he uses 925 silver and different types of colorful acrylics. In this case the red parts were recycled from the back headlights of an old car. To obtain the other colors he used plastic lighters, small plastic ice cream spoons and every item in acrylic scattered in the environment and could be recycled. This piece can only be conceived in an urban context, where the consumption society gives rise tons of garbage. Even if he recovers the use of elegant Art Nouveau curves and colors, his design is personal and unique.

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Argentina Americo Bezenzette

Wide belt made for the Argentinian Bicentennial (1810 - 2010) using a tubular “Pampa” technic, with a buckle in silver.

Argentina Villanueva Martos

Set of necklace and bracelet made in a textile technic called “macrame”.

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Chile Guillermina Antunez

A Note on the Artist She studied arts at the Catholic University in Chile and specialized in sculpture. Later, she began to learn the art of jewelry with important Chilean metalworkers. Since 12 years ago, she has her own workshop, where she teaches all she has learned. In 2004 she participated in “South Project”, an Australian issue sponsored by Craft Victoria and the city of Melbourne and in Art Makers in Residence Program. She has exhibited her pieces in many important Chilean art galleries. A Note on the Pieces This set of jewels has been made with stones and pebbles that were rocks at their origin, but rolled and eroded in their way from the Andes mountains to the Pacific Ocean, where they finished their softening and polish process. As they are witness to the landscape and its history, each stone has a secret. The artist’s role consists of a minimum intervention, to allow a slight change form the land to the body. Necklaces, rings, earrings, brooches, “tupus” (a typical “mapuche” jewel) and the bear stones as jewels – speak of the land and evoke their original landscape.

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Chile Lorenzo Cona

A Note on the Artist Lorenzo Cona is a Mapuche artisan. A Note on the Pieces He employs traditional techniques and, at the same time, makes innovations to traditional handcrafted pieces.

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Chile Marcelo Romero Montalva

A Note on the Artist He was born in the Chilean southern city of Osorno. As a child, he already showed a great interest in arts and other creative activities. When he was 20 years old, he took a course to become a metal worker with an outstanding jeweller from Temuco. Thereafter he begun to develop a career as an independent jeweller. He has participated in many fairs and exhibitions, and from 2008 he works for the Fair Trade organization. In 2009, one of his pieces was awarded the Chilean Award of Excellence. In 2010 his pieces were exhibited in the Chilean Pavilion at the Shanghai International Fair in China. A Note on the Pieces The material that characterizes his creations comes from a big tree that is called “araucaria araucana” or “pehuén”. He works mainly with distressed silver and copper , creating his own designs of simple forms, where different materials, textures and forms are combined to give to life pieces of jewelry that are searching to express their identity and original values.

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Chile Nicolas Hernรกndez

A Note on the Artist He is a gold and silversmith and a designer, graduated from the Pontifical Catholic University of Chile. A Note on the Pieces Traditional materials such as silver, copper and semiprecious stones together with wood, leather and resins give shape to a series of jewels that emphasize design. Form, textures and colors express a concept inspired mainly by architecture and its details.

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Chile Paula Leal

A Note on the Artist Paula is a designer and architect, who in 2007 began to work with artisans living in Rari, a villaje near Santiago, the capital city of Chile. Since then, she has taken part in exhibitions, fairs and Seminars, which has allowed to take this craft out of the folkloric background, taking it into the design and exhibition one. A Note on the Pieces The pieces designed by Paula are made in horsehair completed with silver. Her creations have a typical feminine delicacy and sophistication, but the kind of objects she designs are the result of an architectâ&#x20AC;&#x2122;s point of view, an architect who lives in an urban environment. Her pieces were given the UNESCO Award of Excellence in 2008 and 2010.

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Chile Pilar Labra

A Note on the Artist She is a young designer. A Note on the Pieces The jewels are made of silver and pieces of felt that remain when artisans cut the brim of the “huaso” hat. The “huaso” is a traditional character in Chilean folklore. In feast and rodeos he wears luxurious clothes, that a felt hat round off. This hat comes from a combination between a Spanish one and the cup that is common in Maule and Colchagua, central regions of the country. It is made of sheep woolen cloth or of rabbit skin, has straight brims, rounded and flattened crown, very similar to the hat worn in Córdoba (Argentina).

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Chile Walka Workshop Claudia Betancourt and Ricardo Pulgar

A Note on the Artist Walka workshop was born in 2003 and was the first to make a substantial innovation in Chilean handcrafts preserving traditional materials and using them in avant - garde designs. The word “walka” comes from the Aymara dialect and it designates the sacred necklace that mothers present to their daughters for their rituals. Claudia´s family has a long experience working horns. A Note on the Pieces “Walka Workshop” makes delicate and unique jewels, that are 100% handmade. All jewels reflect the organic shape of materials: ox horns, horsehair, precious metals, gems and lapis lazuli.

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Equador Liz Ordoñez Mata

A Note on the Artist Liz Ordóñez is an artist, who participated in painting exhibitions in his country before starting. In 1999, she graduated from the Designing School, University of Azuay, in Cuenca, and began to work as a jeweler. She produces original- authored jewelry, using ancient techniques and transforming them in contemporary jewelry. A Note on the Pieces With her “tiaras” or “diademas” she wants to retrieve the headdresses and other hair accessories that women wear in different cultural groups on the coast, in the mountains and in the eastern part of the country. Liz analyzes the forms and how their structure can express images from nature as well as popular artists´ feelings. She has identified some “motifs”, that characterize the popular art because of their meaning and formal richness and, starting with those motifs, she has brewed new objects with new ways of wearing them and new cultural values. She has chosen thread as a tipological element in each of her pieces, as it represents the material worked by handcraft women from Ecuador to make different fabrics that will be used to make clothes and specially, the “toquilla” straw that is used to make the famous “Panama hat”.

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Equador Tania Francisca

A Note on the Artist Tania Francisca went from design to the jewelry field. She began her career at the Designing School, University of Azuay, in her native Cuenca. Next, she graduated from the Instituto Poligrofico e Zecca Dello Stato “Art of Medals School” in Rome (Italy). She produces original- authored jewelry, using ancient techniques and transforming them in contemporary jewelry. A Note on the Pieces Tania Francisca, it is of paramount importance to convey meaning, getting the essential cultural aspects to transmit specific messages from a context where materiality becomes a key element in the development to the jeweler itself, from a constructive perspective with expression that responds to the concept of art and the current way of thinking. The collection Tania presents in New Delhi is called “Silver Identity”.

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Paraguay Estación A

A Note on the Artists Severiana Riveros, Quirino Torres, Oscar Ortega, Gabriela Frers. “Estación A” is a private non-profit organization created in 1999, whose main goal is to promote the socio-cultural, economic and environmental richness from Paraguay. There is a group of people, composed of artisans and designers, who have contributed to give shape to new products that integrate traditional techniques, such as “filigree” and “ñanduty”, in a new concept, more adapted to the international markets. A Note on the Pieces Ñanduti and filigree, a new design that combines two traditional techniques from Paraguay. Award of Excellence by an international jury in Chile. “Filigree” is a technique where silver threads are used, allowing translucency and transparency. Through a long and refined design, the filigree combines the lightness and lace, with the strength of silver. It originates from ancients time, the Etruscans were using it in the eighth century BC, and was also crafted by the Egyptians. From the second half of the eighth century BC, the filigree's technique has been included in many of the jewels in Etruria (pre-Roman civilization). The “ñanduti” is a handmade fine lace, whose name, in the Guarani language, means "spider web" for its resemblance, in the tissue of the thread. This craft, with Spanish reminiscence and derived from the Tenerife lace, was developed in Paraguay, adopting characteristics, through the creativity of their artisans. These weavers, inspired by the shape of animals and plants of the environment, have created numerous "samplers" which are elaborating fine clothes, linen items and fashion accessories, among others.

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These pieces promote traditional techniques which are revitalized and, at the same time, use local materials. In November this earrings, representing Paraguay, were given the UNESCO Award of Excellence in Santiago (Chile).

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Peru CITE Joyería Catacaos - Piura

A Note on the Artists Orlando Ramos Sosa, Leonidas Flores Cortez. The “CITE Joyería Catacaos – Piura” is a Jewelry Center for Technological Innovation, located in the North Pacific Coast of Peru. Its main goals are: to increase the competitiveness, to improve th technological level, the quality, productivity and the capacity of innovation of Catacaos’ jewelry companies in order to add value to the chain of jewelry production. In that way the CITE will contribute to improve jewels exports and, at the same time, its sales in the domestic market. A Note on the Pieces Mr. Orlando Ramos Sosa is exhibiting two necklaces made in silver. One is called “Tumi” and is inspired in the ceremonial knife used in the northern coast of ancient Peru, made out of a single metal piece. The other one is called “Fresa” , the Spanish word for “strawberry”. Mr. Orlando Flores is exhibiting a necklace called “Meeting” and a set of jewels called “Salomé´s leaves” that consists of a necklace, a pair of earrings and a brooch. Both artists live in Catacaos and work filigree in the traditional way. Filigree is an antique technique to make jewels, that consists of knitting delicate gold or silver threads. (Other metals like copper or bronze can also be used). They belong to a group of artisans in filigree that began to receive training to improve their pieces´ quality, price and design, to obtain a competitive product, adapted to the international market´s trends.

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Leonidas Flores Cortez

Orlando Ramos Sosa

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Uruguay Adriana Lluviera

A Note on the Artist Adriana worked as an architect’s assistant at the Uruguayan Building School. Then she got her degree in “metalworking” from the Uruguayan School of Crafts “Pedro Figari”. Besides a participation in several Uruguayan fairs and exhibitions, her pieces have been exhibited in international events such as L´Artigiano in Fiera (2004 and 2006), FERINART in San Juan of Puerto Rico (2006), FEIARTE in Porto Alegre (Brazil, 2008 and 2009), and at the International Handcrafts Fairs of Buenos Aires and Córdoba (Argentina). A Note on the Piece In searching to transmit a traditional identity in her jewels, she began to include in then some parts made in a traditional technique called “guasquería”, that consists of braiding thin rawhide leather straps, called “tientos”. The “gaucho”, traditional inhabitant of the Argentinian and Uruguayan prairies, used this material that is still found in common tools that are used in rural areas. Adriana highlights the beauty of rawhide leather, combining it with Uruguayan semiprecious stones, such as agates and small pieces of 925 silver.

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Uruguay Denise Lasnier

A Note on the Artist Denise was initiated in jewelry by a friend of hers, who was a metalworker. Since 2002, she has been participating in Uruguayan Fairs and Exhibitions and she sells her pieces in trendy shops in Montevideo. In 2010 she began to participate in regional Fairs (Porto Alegre and Curitiba, Brazil). Her jewels have also been exported to Germany and Spain (Barcelona). A Note on the Piece Her spirit of research made her explore the combination of irregular volumes made in silver with horseskin, a raw material that is not usually used in jewelry. Her 925 silver necklace has been completely handmade, using the following techniques: piercing, welding, grinding and polishing. The colored horsehair can be seen through the organic shapes of the holes and is protected by the silver mesh.

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Uruguay Nilda Echenique

A Note on the Artist Nilda had been devoted to textiles until she discovered the magic of metals. She is more concerned about how to express what she has inside her than in marketsâ&#x20AC;&#x2122; requirements. Thus, her production is very personal and very meaningful. She was selected to participate in the Uruguayan Stand at Frankfurt Ambiente Fair (Gerrmany, 2001) and she participated in the 16th Ibero American Handcrafts Exhibition in Santa Cruz of Tenerife (Spain, 2008). She was award the Uruguayan Handcrafts National Prize in 2007. A Note on the Piece Silverâ&#x20AC;&#x2122;s ductility gives a large field of research. She likes to work different kinds of scrolling works, using acids to get different colours. She also likes to investigate into the dialogs established between silver, as a cold metal, and other warm materials like wood.

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Uruguay Luciana Trabucco

A Note on the Artist Since 2002, Luciana has been taking her degree at the Uruguayan School of Fine Arts. In 2005, she got her degree in “Metalworking” at the Uruguayan School of Crafts “Pedro Figari” and founded her workshop called “Luciana Trabucco – author’s jewels”. In the last five years her pieces have been exhibited in several Uruguayan fairs and exhibitions; in 2009 and 2010, she successfully participated in “L’ Artigiano in Fiera” (Milan, Italy). A Note on the Piece Normally, her jewels, made in silver, are very simple in shape, almost “minimalist”. This time, however, she has developed a new concept, incorporating leather, a noble and simple material, to obtain a new contemporary and sophisticated piece of jewelry.

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Uruguay Adriana Perna

A Note on the Artist Adriana Perna is a psychologist and a kindergarten teacher. As a complement, she has taken courses on ceramics, textiles and painting. She has always been interested in art and all creative aspects that can improve human behaviour. As she has always been fascinated by precious stones, in 2003, she began to learn how to work with metals to make jewels. She began to work as a jeweler and to use the classical Uruguayan semiprecious stones and to research the use of new stones and how to enhance their beauty. She founds her workshop in 2007, that she calls “Arte Scaffo”. She sells her pieces in many important shops. She has participated in the Uruguayan Stand at La Foire de Paris and at Tendence Fair in Frankfurt (2010). In 2010, one of her pieces was awarded a honorable mention at the Uruguayan Handcrafts National Prize A Note on the Piece This unique piece has a high personal and symbolic meaning for Adriana. As in almost all of her creations, the stone has the leading role and is, at the same time, the jewel’s most fragile part. In this case, the blue chalcedony , in the shape of a rose, is protected and covered by a sheet of textured silver, slightly opened to let it be seen. The observer must stare at it to discover the stone is there, but only a part of its nature can be seen, in a contrast’s game of brightness and shadow.

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Uruguay Liber Uriarte

A Note on the Artist He attended the Jewelry Course at the Uruguayan Crafts School “Pedro Figari” from 2001 to 2004. At the same time, he received a formation in arts and silk screen printing. He has participated in some regional fairs (Córdoba and Buenos Aires in Argentina) and has begun to export in partnership with the Italian organization CTM Altromercato. A Note on the Piece His collar and ring compose a set made in silver and wool felt. As sheep grow free in Uruguayan countryside, wool is one of the most typical natural raw materials. The artisan uses it to make felt by hand and combines its warmth and rustic character with silver’s elegance and brightness. In order to achieve this sensation, he uses metal in a very simple and proper way, trying not to impose it over felt, but to accompany and highlight it.

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Uruguay Yanina Borloz Gómez

A Note on the Artist Yanina Albornoz graduated from the Uruguayan University School of Design in 2000 and she attended the course “Tecnico addetto alla lavoraziones orafa” at the “Ente di Formazione I.RI.GEM.S.C.AR.L. in the city of Rosà (Veneto, Italy). She works as a designer and as a teacher at the Uruguayan Universitary School of Design. A Note on the Piece The piece exhibited here belongs to the collection called “berá”, a word used by the “Charrúas” (people that lived in the territory that belongs today to Uruguay) to name the American oistrich, called “ñandú”, a big bird still very common in the Uruguayan countryside. In fact, her jewels are inspired in the ostrich’s nest that protect its egg’s shell. Her pieces are made in 925 silver welded and tied with settings in the shape of a mesh, that lodge the shell fragments.

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Uruguay Pallas - Testa Workshop

A Note on the Artist Pallas and Testa are a couple of artisans that began to work together in 1998. They usually sell their pieces in Uruguay and in some International Handcrafts Fairs in Argentina (Buenos Aires and Córdoba) . Besides many awards gotten in regional events, they have been awarded the Uruguayan Handcrafts Prize in 2009 and the UNESCO Award of Excellence in 2010. A Note on the Piece Marcelo Pallas and Liliana Testa combine their technical skills to work two noble materiales such as ceramics and silver. They have been researching into the innumerable possibilities to assembly these two elements. In some part of the research, they arrived to stoneware, a harder waterproof paste, with no pores at all. As the pieces must be baked at 1200 – 1230ºC,colours keep unalterable. Stoneware is a very suitable material for jewelry because it is hard and that it allows a good quality of finishing. Their pieces take the shape of fishes, and they are decorated with different colours, inspired by the Uruguayan master painter Joaquín Torres García.

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World crafts council india

Indian Jewelry Collection Indian jewelry has long been an iconographic representation of physical appeal, intending to adorn both body and soul. Material evidence suggests that for thousands of years, Indian men and women have adorned themselves from head to toe with different kinds of natural materials. Jewelry designs, methods of decoration and the use of materials have varied during different periods in history. The Indian collection focuses on folk and tribal jewelry that continue to exist as living traditions. Examples from the northern, southern, western and eastern regions of the country have been selected to illustrate regional stylistic differences. Literary works along with images of sculptures and paintings will be the visual and textual aids to engage the viewer who will be guided through sections focusing on specific parts of the body.

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Crafts Council India