Noel Guyomarc’h has been active in the field of jewellery for over 25 years. In 1996, he opened his own gallery dedicated to promoting national and international contemporary jewellery. He has organized or curated over 90 solo and group exhibitions, some of which have travelled throughout Canada and the United States. A member of a number of international associations, Guyomarc’h is regularly invited to sit on juries and to lecture, and has acted as an appraiser for The Montreal Museum of Fine Arts. Since 2002, he has been a board member of the École de Joaillerie de Montréal, and from 2006 to 2012, served as its president. His work in the field of contemporary jewellery has received international recognition, while his activities have been the subject of numerous articles.
1979 | Montreal, Canada
SILVIE ALTSCHULER
Fowl, 2015 Brooch_ 18kt gold, pine cone, acrylic paint, steel
Silvie Altschuler graduated with a BA in literature from McGill University, Montreal. From 2003 to 2006, she subsequently studied at Alchimia in Florence, under Manfred Bischoff. Galerie Noel Guyomarc’h hosted her first solo exhibition in 2008. Her work has been showcased in many exhibitions in Europe and in Canada, including Yield at Harbourfront Centre, curated by Melanie Egan in 2011 and The Canadian Mosaic of Metal at The Toronto Pearson Airport, curated
by Aggie Beynon, held during the 2013 SNAG Conference. Silvie’s work is very spontaneous—she insists on letting it speak for itself. She distrusts words, calling them “training wheels for cowards”.
Ela Bauer was born in Poland and grew up in Israel. After completing her education at the University of Jerusalem, she studied jewellery-making at a vocational school. In 1990, she entered the Gerrit Tietveld Academie, in the Netherlands, where she graduated in 1995. She continues to live and work in Amsterdam. Bauer has taken part in many individual and group shows around the world. Her work can be found in many museum collections: the Museum of Arts and Design (New York City); the Grassi Museum (Leipzig,
Germany); the Dänner Sammlung (Munich, Germany); the Hiko Mizuno Collection, Tokyo, Japan; and the Textile Museum (Tilburg, the Netherlands). Inspired by the internal and external aspects of the human form, Ela Bauer works with silicone rubber, intrigued by its tactile qualities, plasticity and colour potential.
1948 | Pennsylvania, United States
Mosaic Scenarios 12, 2015 Brooch_ Enamel, silver
JAMIE BENNETT
1960 | Warsaw, Poland
ELA BAUER
Untitled, 2015 Necklace_ plastic, silicone
Jamie Bennett lives in Stone Ridge, New York, where he is Professor Emeritus in the Art Department of the State University of New York at New Paltz. From 2008 to 2010, his work was the subject of a museum retrospective that travelled throughout the United States. His jewellery is featured in the collections of over 25 museums worldwide. In 2009, he was honoured by the American Crafts Council as an Eileen Webb Fellow, and in 2011, was awarded his third fellowship by the New York Foundation for the Arts.
He strongly believes that in the “mediation” of nature there exists a potential for transcendence. In his most recent work, one finds careful, minutely detailed renderings of what could be living motifs, but, paradoxically, are artificial and fragmented into unlikely abstracted topographies.
Elizabeth Boyd Hartmann is a contemporary jewellery artist from Detroit, Michigan. Her studio practice is rooted in process and material exploration. Her recent work, “Cellula Praecursoria”, incorporates slip-cast porcelain and electroformed copper. The work is biological, informed by cells, malignancies and the experience of caring for her husband during his cancer treatment and subsequent stem-cell transplant. She has a BA in Jewellery Design from Central Saint Martins, London, England; a BFA from the University of
Michigan Penny W. Stamps School of Art and Design; and an MFA from Cranbrook Academy of Art. Elizabeth has a studio in Metro Detroit and continues to exhibit both locally and internationally.
1968 | London, Great Britain
Each Other, 2014 Vessel_ Vitreous enamel on steel
HELEN CARNAC
1984 | Detroit, United States
ELIZABETH BOYD HARTMANN
Cellula Praecursoria, 2015 Necklace_ copper, lacquer, silk, plated base metal
Helen Carnac is an artist, maker, and curator who lives and works in London, where she set up her studio in the early 1990s. She originates projects using design methodologies rooted in an acute awareness of physical location, place and working practices. She works extensively in the United Kingdom and the United States. Her recent projects include “Walking/Talking/ Making” (UK, 2010); “Marking Place” (Sint Lucas, Antwerp, 2011); “Intelligent Trouble”
(The Institute of Making, Kings College London, 2011); “The Tool at Hand” (Milwaukee Art Museum and touring, 2011/12);”Drawing, Permanence and Place” (Kunstverein, Coburg and touring, 2012); “Side by Side” (Siobhan Davies Dance, London, UK, 2012) and most recently “Edge and Shore” (2015) Dovecot, Edinburgh, and Arnolfini, Bristol. She is a Fellow of the Royal Society of Arts. Her work can be found in national and international collections.
At the age of 19, Matthieu Cheminée moved to Taos, New Mexico, where he developed a fascination with Native American jewellery. Over a period of seven years, he studied Navajo, Zuni and Hopi techniques. He then moved to Mali, West Africa, to study the techniques of Fulani, Bambara and Touareg jewellers. Cheminée has lived in Montreal for 17 years. On arrival, he enrolled in a jewellery school to obtain a more classical training. For the past 15 years, he has taught and led work-
shops in addition to travelling regularly to West Africa to continue his research. His book Legacy: Jewellery Techniques of West Africa presents the techniques and biographies of a number of remarkable craftspeople. In 2014, with Tim McCreight, he created the Toolbox Initiative, an organization to aid West African jewellers.
1983 | Granby, Canada
Structure1, 2015 Brooch_ wood, paint, lacquer, pearls, nylon, cotton thread, resin
GABRIELLE DESMARAIS
1970 | Paris, France
MATTHIEU CHEMINÉE
Untitled, 2015 Bracelet_ sterling silver, 18k gold, diamonds
A 2010 graduate of the École de joaillerie de Montréal, Gabrielle is remarkable for her artistic and aesthetic vision. In France, in 2009, she participated in Willemijn de Greef’s workshop; in 2010, she took part in Le Labo, a workshop facilitated by Noel Guyomarc’h; and in 2011, she attended the Alchimia School, in Italy. Gabrielle has participated in numerous national and international exhibitions, including the 2014 SIERAAD International Jewellery Art Fair, Amsterdam, and in 2013, Joya Barcelona.
Following “Bijoux contemporains hors du commun”, an exhibition curated by Diane Charbonneau, decorative arts curator, and Noel Guyomarc’h, the Montreal Museum of Fine Arts purchased one of her works. “Ce qui n’est pas là”, a joint exhibition with Anne-Marie Rébillard, at Galerie Noel Guyomarc’h in 2013, led to articles in Metalsmith and Art Jewelry Forum.
Following her apprenticeship as a goldsmith in Neugablonz, from 1987 to 1993 Bettina Dittlman studied with Professors Hermann Jünger and Otto Künzli at the Academy of Fine Arts in Munich. From 1989 to 1991, she studied at SUNY/New Paltz, under Jamie Bennett and J. Fred Woell. Her works have been presented in solo and group shows in Europe and North America, and have been acquired by a number of museum collections. Michael Jank studied design in Munich and engraving and photography
at the State University of Oregon. His work has been exhibited frequently. Bettina Dittlman and Michael Jank have collaborated on the Foreverrings collection since 1998. “Bettina Dittlmann and Michael Jank forge rings. Unpolished, archaic and monumental. The technique is timeless, the surface structure arising solely out of the actual process of making”.
1960 | Oil City, United States
Diamond Web Brooch, 2012 Brooch_ Oxidized silver, 4.45cts diamond slices, 18k palladium, 10k white gold, stainless steel
SANDRA ENTERLINE
1972 | Mühldorf, Germany 1964 | Passau, Germany
BETTINA DITTLMANN & MICHAEL JANK
Foreverrings, since 1998 Rings pure silver, pure gold, pure iron, pure copper
Sandra Enterline graduated from the Jewelry and Metalsmithing Program of the Rochester Institute of Technology in 1980. She went on to earn a BFA in Metalsmithing from the Rhode Island School of Design in 1983. She lectures on her craft and conducts metalsmithing workshops. Enterline’s award-winning work has been featured in solo and group exhibitions worldwide. Her many honours include two National Endowment for the Arts Fellowships (1988 & 1992); the Gold Award, “Ornament
Magazine, Excellence in Jewellery Winner”; Smithsonian Institution Craft Show (2005); Grand Prize Winner, “Crocker Kingsley 73rd Exhibition,” curated by Gladys Nilsson, Crocker Art Museum; and a nomination for the National Design Awards, Smithsonian, Cooper Hewitt, National Design Museum (2003). Her pieces can be found in national and international museum collections.
Aurélie Guillaume’s work celebrates the history of enamelling and its longstanding tradition of storytelling. Using traditional techniques, her work revives the medium in a contemporary context informed by street art, comics, pop art and counterculture. Through this process, her illustrations transcend the two-dimensional realm of paper and are given new life in the physical world as wearable objects. Guillaume studied jewellery design and metalsmithing at the École de joaillerie de
Montréal and at NSCAD University. Her work has been exhibited in numerous group exhibitions across North America and in Europe, including SNAG’s “Momentum Student Exhibition” in Boston. She received the BKV Prize presented by the Bavarian Crafts Council in Germany. Most recently, she was selected as the winner of the L.A. Pai Gallery’s 12th National Student Jewellery Competition, in Canada.
1972 | Mainz, Germany
Delft Blue Garden, 2015 Necklace + Object_ Deft Blue Fayence by De Porcelyne Fles Delft (NL), nylon thread
GÉSINE HACKENBERG
1990 | Montréal, Canada
AURÉLIE GUILLAUME
When I crush ants I feel happy, 2015 Brooch_ Enamel on copper, sterling silver, fine silver, powder coating, steel, micro glass beads.
Gésine Hackenberg lives and works in Amsterdam, the Netherlands. She trained as a goldsmith in Germany and studied jewellery design at the former Fachhochschule für Gestaltung Pforzheim. In 2001, she received her degree from the Gerrit Rietveld Academie, in Amsterdam, and in 2013, her Master of Arts from the MAD-Faculty in Hasselt, Belgium, where she is currently a professor. Since 2008, she has taught technical metalsmithing at the VakschoolEdelsmeden in Amsterdam. She has been the recipient
of three grants from The Netherlands Foundation for Visual Arts, Design, and Architecture, as well as other awards, including the Scholarship for Modern Silver from the Stokroos Foundation, in 2010. Her work is published in numerous international publications and belongs to several museum collections.
Rebecca Hannon completed her undergraduate degree at Rhode Island School of Design in 1995 and went on to work as a professional goldsmith in New York City. After a thorough professional education she decided to focus solely on her practice and enrolled in the Akademie der Bildenden Künste in Munich, Germany, where she studied under Otto Künzli. Subsequently, she taught, and with support from a Fulbright grant, was a member of a professional jewellery collective in Munich, from 2000 to 2005. She now
maintains her own workshop, participates in international exhibitions and teaches full-time at NSCAD University, Halifax, Nova Scotia.
1961 | Leiden, The Netherlands
Red Lantern, 2014 Necklace_ Taiwanese porcelain, sterling silver
PETER HOOGEBOOM
1973 | Washington DC, United States
REBECCA HANNON
Circle Crown of Thorns, 2015 Necklace_ Laminate
Peter Hoogeboom is a graduate of the Gerrit Rietveld Academie, in Amsterdam, where he still lives and works. The first jewellery artist to apply contemporary techniques to porcelain, his work has been shown in a number of international exhibitions and can be found in numerous private and museum collections. According to Hoogeboom, “we have been using clay to adorn ourselves since the dawn of humanity.” In his work, he strives to
reintroduce the concept of clay as body ornament; he uses it in its fired state, which in contemporary design is generally reserved for the production of ceramic vessels. Instead of working with large ceramic beads—the way clay has traditionally been used—in each new collection since 1995 he has discovered techniques for creating supple and wearable ceramics.
Heejoo Kim obtained her BFA and MFA degrees from Kookmin University, Seoul. In 2008, she spent a semester at Pforzheim University, Germany, which she found to be a defining experience. At Le Arte Orafe School and Academy, in Florence, she was the recipient of a First Prize, the 2011 Preziosa Young. She was also one of the 2014 finalists for the Art Jewelry Award, which is conferred on emerging artists. She has participated in numerous international exhibitions, and her
works are to be found in several private and museum collections. Heejoo Kim feels a deep connection to her electroforming process, describing the wax object in the bath accumulating its metal layers as “life creation” —the passage of time represented in the thickness of piled layers, birthing works with a powerful, eternal vitality.
1982 | Seoul, South Korea
Transitions in Red, II, 2015 Necklace_ Velcro
YONG JOO KIM
1983 | Seoul, South Korea
HEEJOO KIM
Untitled, 2015 Brooch_ enameled copper
A native of Seoul, Korea, Yong Joo Kim graduated from the Rhode Island School of Design with an MFA in Jewelry and Metalsmithing, in 2009. Most recently, she won the prestigious SAC Artist Award from the Society of Arts and Crafts. In 2013, her work was selected for TALENTE, an international competition in Munich, Germany. In 2011, she received the Adrianna Farrelli Prize for Excellence in Fiber Art from the Philadelphia Museum of Art Craft Show, and in 2012, the NICHE award in the category “Jewelry:
Sculpture to Wear”. She was recently invited to speak at the SNAG Boston Conference as an Early Career Artist and at SOFA Chicago as a 2013 SNAG Emerging Artist. Her work has shown at museums and galleries worldwide.
Seulgi Kwon received her BFA and MFA in Metalwork and Jewellery from Kookmin University, Seoul, Korea. Her work has been exhibited internationally in Australia, Canada, Germany, Italy, Japan, Korea and the United States. Kwon’s sculptural forms are made with silicone, thread, pigment and paper. The end result reveals the lightness of intricately coloured and patterned silicone, capturing the translucence of glass. Her innovative techniques and talents have earned her numerous awards and honours,
including the prestigious BKV Prize, Munich, Germany; the Cominelli Foundation Award, Fondazione Cominelli, Italy; the Excellent Achievement of MFA, Kookmin University, Seoul, South Korea; the International Craft Exhibition ITAMI Prize, Hyogo, Japan; the Talente Award, Kunstoff Prize, Munich, Germany; Graduate Metal XI, Adelaide, Australia; and the Art Jewelry Forum Award, USA.
1968 | Liestal, Switzerland
The Great White North Series, 2015 Ring_ Sterling silver, aquamarines
PETRA LUZ
1983 | Seoul, South Korea
SEULGI KWON
Eve Who Loved The Shadow, 2015 Brooch_ Silicone, pigment, fabric
Petra Luz began her career in 1988 in her native Switzerland. During a four-year apprenticeship, she learned a variety of jewellery-making techniques and studied gemstones, metals and design. After her training, she worked in small studios, perfecting her craft. One of these jobs led her to Montreal, where she decided to make her home. She then began to produce her own jewellery. Most of her pieces are unique, made of precious metals, with the occasional addition
of gemstones. Her openness to and awareness of daily events provide inspiration, which she translates into minimalist and abstract jewellery
Paul McClure received his training at NSCAD University, Halifax (BFA, 1989); the Escola Massana, Barcelona; and the National College of Art and Design, Dublin (MA, 1999). His work is represented in private and public collections in Europe and North America. In 2015, McClure received the Saidye Bronfman Prize, a Governor General’s Award, the highest distinction given to a Canadian visual artist. McClure’s work is sculptural, with ornamentation of the body and jewellery’s relationship
to it as his central themes. Inspired by the fields of biology, pathology and genetics, as well as anatomical, microscopic and digital imaging of the human body, his work reflects our increasingly digital and biotechnological understanding of mortality. In wearing his jewellery, the invisible body becomes visible adornment.
1962 | Camden, United States
Splitsies, 2015 Sculpture_ Porcelain enamel on steel
MYRA MIMLITSCH GRAY
1967 | Toronto, Canada
PAUL McCLURE
Flora Series : Sprout, 2015 Brooch_ Sterling silver, 3D printed nylon
Myra Mimlitsch-Gray earned her MFA from the Cranbrook Academy of Art in 1986, and her BFA from the Philadelphia College of Art in 1984. The recipient of many awards, she is currently a professor at the State University of New York at New Paltz. In 2014, the Metal Museum, in Memphis Tennessee, named Mimlitsch-Gray “Master Metalsmith” and presented her first museum retrospective, “Staging Form”. Her work has been featured in solo exhibitions at Sienna Patti Contemporary, the Wexler Gallery, and the
John Michael Kohler Arts Centre, among others, and is currently on view at the Museum of Arts and Design, New York, the Boston Museum of Fine Arts, and the Yale University Art Gallery. Her work is included in many museum collections and has been the subject of numerous publications.
Pierre-Yves Paquette received his training at the École de joaillerie de Montréal, where he learned the foundations of his craft from some of Montreal’s finest jewellers. He graduated with honours in 2000 and now teaches at ÉJM. Paquette’s technical skill and artistry bring his unique, elegant creations to life. His singular style is rooted in the ancient Japanese technique of mokume gane, and features strong lines that are both simple and complex. Each object is fashioned by drawing
Generation 2, 2014 Brooch_ silver, resin, mirror, pink quartz
1970 | Haarlem, The Netherlands
KATJA PRINS
1976 | Sherbrooke, Canada
PIERRE-YVES PAQUETTE
Untitled, 2015 Pendant_ 18k grey gold, sterling silver, diamonds, rubber
upon a concept, an idea, and each piece is an expression of artistic form in relation to the body.
Upon graduating from the Gerrit Rietveld Academy in 1997, Katja Prins opened her own studio in Amsterdam, the Netherlands.
Paquette has received many honours, including a 2012 NICHE Award. He has also had the privilege of designing the 2010 medal for the prestigious Prix du Québec.
She has had solo and group exhibitions in Europe, USA, Canada, Asia and Russia, while her work can be found in many public collections, among them the Museum of Arts and Design, New York; the Rijksmuseum Amsterdam; SM’s Stedelijk Museum ‘s Hertogenbosch, the Netherlands; the Mint Museum of Craft+Design, Charlotte, USA; CODA Museum Apeldoorn, the Netherlands;
and the Schmuck Museum, Pforzheim, Germany. In 2009, she published a monograph, The Uncanny Valley, which provides an overview of her work. Her works tell stories about the body: the body as an instrument or machine; instruments/machines as extensions of the body; and the body as an extension of the mind, transformed and improved through technology.
Pink Landscape 3, 2015 Brooch_ paper, wood dust, glue, resin, ink, pigments, paint
Desbarats & Leggo, 2015 Brooch_ wood, mixed media, sterling silver, postage stamp
Anne-Marie Rébillard received her diploma from the École de joaillerie de Québec in 2004 and in 2010, enrolled in Le Labo, a series of workshops facilitated by Noel Guyomarc’h. Her keen interest led her to participate in a number of other workshops, including “Where Is the Body?” with Ela Bauer and Andrea Wagner (ÉJM, Montreal); and “To Extend: Halfway and Beyond”, with Katja Prins, (Atelier Rudee, Thailand). Her collections have been shown in many exhibitions, including “Bijoux contemporains
hors du commun”, curated by Diane Charbonneau, decorative arts curator, and Noel Guyomarc’h (Montreal Museum of Fine Arts). In 2013, “Ce qui n’est pas là”, a joint exhibition with Gabrielle Desmarais, presented at Galerie Noel Guyomarc’h, led to articles in Metalsmith and Art Jewelry Forum. She was selected by Eva Eisler for the Schmuck 2015 exhibition in Munich.
1952 | Amherst, Canada
PAMELA RITCHIE
1983 | Dinan, France
ANNE-MARIE RÉBILLARD
Pamela Ritchie creates jewellery that links past and present, and that relates to both mythology and personal identity. Following postgraduate research work in Norway, she received her MFA from NSCAD University, Halifax, where she is currently a professor of jewellery. Her award-winning work has been showcased in many solo and group exhibitions throughout North America, Australia, Asia, and Europe. She has been featured in Canadian,
American and Korean magazines, as well as in major books, including Contemporary Jewelry in Perspective. Her work celebrates the concentrating effect of detail, and the paradox that an abundance of ideas, forms, and patterns can be encapsulated in very small objects.
After receiving her diploma from the École de joaillerie de Québec in 2000, Sheedy continued her studies in visual arts at Université Laval, where she was completed her BA in 2003 and a Master’s in Visual Arts in 2007. During that time, she participated in workshops in a wide range of techniques, including those with an experiment approach. The recipient of a number of awards and grants, Sheedy has presented her work in numerous exhibitions. In 2013, Susan Cohn selected her work for “As Seen
by Others: Photography as Strategy”, which appeared in the “Exhibition in Print” issue of Metalsmith magazine. In addition, Sheedy curated “40 ans de passion, de création et de formation”, the retrospective exhibition of the École de joaillerie de Montréal.
1977 | Sydney, Canada
Falling into place 13, 2014 Pendant_ Walnut, steel, cotton
DESPO SOPHOCLEOUS
1980 | Lévis, Canada
CATHERINE SHEEDY
Les Ailes D’Icare, 2015 Brooch_ Silver alloy, galvanized steel
Despo Sophocleous holds a BFA in Jewellery Design and Metalsmithing from NSCAD University (2004-2008) and a graduate degree from the Munich Academy of Fine Arts (2008-2015). Her work has been exhibited internationally and is in the collections of Die Neue Sammlung, Munich, and the CODA Museum, the Netherlands. She has received several awards including the Lieutenant Governor’s Award for Artistic Achievement from the Nova Scotia Talent Trust and the Herbert Hofmann Award.
“Movement and creating movement is how I choose to represent and express my thoughts and feelings about one’s sense of place. While maps and the spaces they create have been sources of inspiration in the development of my work, it is also the physical and emotional elements associated with place that allow me to create pieces, which represent and document movement, change and transformation in time and space.”
Silke Spitzer studied traditional jewellery -making at the University of Applied Arts and Design in Pforzheim, Germany. She received a DAAD Scholarship from the Rhode Island School of Design, and in 2002, graduated with a MFA in Jewellery Design. Since then, she has worked as an independent artist in Berlin, where she teaches at CoopGold, a small jewellery school she co-founded in 2011. The school offers instruction to the local community in traditional yet challenging and innovative techniques of jewellery-
making. Her work has been showcased in many international exhibitions in Europe and North America. She took part in the exhibition Natural/Artificial, curated by Luzia Vogt and presented at Galerie Noel Guyomarc’h in 2012.
1945 | Montreal, Canada
Imperfect Beauty IB23, 2015 Necklace_ Stretch bead cord, freshwater pearls, seed beads, colored copper wire, magnets
BARBARA STUTMAN
1973 | Ruit auf den Fildern, Germany
SILKE SPITZER
Untitled, 2015 Necklace_ Slate, yarn, elder
Barbara Stutman studied fine art and art history at the Montreal Museum of Fine Arts, at Concordia University (Montreal) and at the Saidye Bronfman Centre. Early in her career her focus changed from creating jewellery that was purely aesthetic to more challenging pieces that stimulate the mind as well as the eye. This development was concurrent with her decision to work with textile techniques such as weaving, knitting and crocheting. Stutman’s jewellery has been exhibited and written about internationally. Her work is
included in the permanent collections of the Musée national des beaux-arts du Québec, Quebec City; the Montreal Museum of Fine Arts; the Koch Ring Collection, Switzerland; the Racine Art Museum, Wisconsin; and the Museum of Arts and Design, New York City.
Anne-Sophie Vallée’s first exposure to metalsmithing was in 2008, in Taxco, Mexico. She completed her studies at the École de joaillerie de Montreal, in 2011, and is presently finishing a BFA in Jewellery Design and Metalsmithing at NSCAD University, in Halifax. Vallée became particularly interested in jewellery and body adornment during travels in Central America. Her fascination with foreign cultures and her inquisitiveness about tradition and meaning has led her,
through the experience of various ways of living, to reconsider cultural notions of value and aesthetics. In working with the materials of her craft, she finds a way to reconcile open spaces and interior life, making portable objects that unsettle the viewer yet resolve a need for communication. Her work is a metaphor for a place where reality and a new sense of meaning converge.
1971 | Bâle, Switzerland
Zuckerdose, 2013 Sugar Container_ Bone china porcelain, Carrara marble
LUZIA VOGT
1983 | Sherbrooke, Canada
ANNE-SOPHIE VALLÉE
Strain, 2015 Brooch_ Silver, steel
Initially trained as a jeweller, Luzia Vogt developed her conceptual approach while at Pforzheim University, in Germany, where she completed her diploma in 2004. From 2002 to 2003, she was enrolled in a student exchange programme at NSCAD University, in Halifax. Represented by Galerie Noel Guyomarc’h since 2001, she has had two solo exhibitions there, in 2006 and 2015, in addition to curating the exhibition “Naturel/ Artificiel” in 2012. She has also taken part in numerous international exhibitions.
“The found object, a discard from the utilitarian world, lies idle, awaiting destruction, renewal or metamorphosis. It is a reminder of a person’s presence, a witness to time. Relying on my intuition, I transform these pieces, leaving my own traces on them. I question common ways of looking at objects and at society’s values. The results bring memories to the surface, and toy with the imagination.”
Born in Germany and raised in Canada, Andrea Wagner returned to Freiburg after finishing high school. She obtained a degree in economics and began working. She discovered jewellery-making through evening classes, and in 1992 decided to devote herself to this new interest. After an internship with a Berlin metalsmith and studies at the Zeichen Academy in Hanau on a scholarship, she entered the Gerrit Rietveld Academy in 1994, receiving her degree in 1997. Since then, her work has been
featured in international exhibitions and can be found in many private and public collections, including those of the Museum of Arts and Design, New York; the Montreal Museum of Fine Arts, Canada; the Boston Museum of Fine Arts; the Houston Museum of Fine Arts; the Françoise van den Bosch Collection, Amsterdam; and the Textile Museum, Tilburg, the Netherlands.
1973 | Montréal, Canada
Road to Ambiguity, 2014 Ring_ larimar, composite material, laminate, silver
LAWRENCE WOODFORD
1965 | Freiburg, Germany
ANDREA WAGNER
Salt Marsh Long House, 2014 Brooch_ Silver, bone china porcelain, seed pearls, Siberian pyrite ammonite, glass, resin
Lawrence Woodford received a degree in jewellery and metal arts from the École de joaillerie in Montreal and his MFA from NSCAD University. He has maintained a professional studio practice as a jewellery artist for the last 10 years while teaching at three visual arts institutions. Woodford has taken part in many national and international exhibitions and has been an invited teacher and lecturer in the United States and Australia.
“Referencing components that have origins in traditional jewellery using composite and repurposed materials blurs the boundaries between the natural and the artificial and provides a moment for contemplation. By deconstructed processes and introducing new aesthetics, I am re-evaluating and redefining the visual language of the contemporary jewellery object.”
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