Established in 1996, Galerie Noel Guyomarc’h exhibits outstanding collections of contemporary jewellery and objects created by canadian and international artists. The only gallery in canada dedicated specifically to contemporary jewellery, it has presented over 100 exhibitions in its space, which is considered to be one of the largest in the world. This internationally acclaimed gallery is a must for collectors, museum curators and anyone who wants to discover and become acquainted with art jewellery. With its wide range of collections and exhibitions, the gallery encourages visitors to see jewellery in a new light. Much more than simple decorative objects, contemporary jewellery is created as a result of research and reflection relating to form and content as well as experimentation.
The Galerie Noel Guyomarc’h is involved in a grand scheme. They want more people to know that there is an art form that you can wear. It is called art jewelry and it is mostly made by well educated jewelers who use unconventional materials and techniques with great skill to express new ideas about jewelry. The gallery is dedicated to explaining what the artists are saying. It is a full time job creating an understanding of this new but at the same time ancient art form. Their exhibitions and displays give value and visibility to this medium in order to increase the audience. Museums collect it and write about it and Noel Guyomarc’h plays a big role in promoting it. Susan Cummins Chair of Art Jewelry Forum, art jewelry collector and Director of the Rotasa Foundation
As an art historian specializing in 20th/21st century jewelry and metalwork, I’ve followed the trajectory of Galerie Noel Guyomarc’h since its inception. I was introduced to the gallery shortly after it opened, at its first location in a downtown cultural building, as I was associated with the Montreal Museum of Fine Arts at the time, and was visiting the city frequently. I credit Noel with exposing me to the richness of jewelry from Canada, although he certainly shows some of the best international work, as well. Noel’s knowledge of the field is boundless; his taste impeccable. I wish him continued success, as he adds a unique perspective to a broad-based aesthetic. Toni Greenbaum Brooklyn, New York; author, Messengers of Modernism: American Studio Jewelry, 1940-1960
1979 | Montreal, Canada
SILVIE ALTSCHULER
Untitled, 2015 Brooch_ 14kt gold, watermelon tourmaline, wood, paint, plastic
After staging a coup d’état and threatening to quit university two weeks before graduation, Silvie Altschuler managed to secure a B.A. in literature. Then, following a sudden impulse, she flew off to Italy to hone her flair for Art. She landed at Alchimia School in Florence. There, under the tutelage of the legendary Manfred Bischoff, she finally found her niche. Galerie Noel Guyomarc’h hosted her first solo exhibition in 2008. In 2016, her work was part of the exhibition A Tribute to Manfred Bischoff(1947-2015) who had
been her teacher, guide and mentor until he passed away. Her work is included in Espace habité/Inhabited Space a traveling exhibition in Europe curated by Stephane Blackburn and Noel Guyomarc’h. Silvie’s work is extremely spontaneous. She is insistent on letting it speak for itself. Ever since her drama days in England, she distrusts words, calling them “safety wheels” for cowards.
Born in Poland, Ela Bauer grew up in Israel. After completing her studies at the University of Jerusalem, she went to study jewelry at a vocational school. In 1990 she entered the Gerrit Rietveld Academie in the Netherlands. Graduated in 1995, she still lives and works in Amsterdam. Ela took part in many international individual and collective exhibition. Her work is include in museums collections: Museum of Art and Design, NY, USA, Grassi Museum, Leipzig, Germany, Pinakothek der Moderne, Dänner Collection, Munich, Ger-
many, Hiko Mizuno Collection, Tokyo, Japan, Textile Museum, Tilburg, The Netherlands. Inspired by the internal and external aspects of the human form, Ela Bauer works with silicone rubber since its tactile quality, plasticity and color possibilities all lend themselves to her artistic intention.
1965 | Tonnerre, France
Untitled, 2017 Brooch_ black silicone, rhinestones, magnet
ISABELLE BUSNEL
1960 | Warsaw, Poland
ELA BAUER
Untitled, 2017 Necklace_ plastic, silicone
After a 15-year career in finance and banking, she felt an urge to express herself in a different way and decided to retrain academically. She obtained an HND in jewellery in 2008 and a Research MA in 2010, both from the Sir John Cass Department of Art, Media and Design (London Metropolitan University). She believes jewellery is the most powerful, yet underrated, means of communicating visually between people. Silicone rubber is a fascinating material for jewellery and, when appropriately worked, lures viewers into
mistaking it for ceramic, plaster or plastic. They are drawn into grabbing and touching the pieces only to realise it is not what they initially thought it was. My work is rooted into the most traditional heritage through the use of iconic pieces of classic jewellery (stones, cameos, pearls, animals...). Their original combination and arrangement further enhances the contrast with the unexpected material, as does the white colour, as if the pieces had been washed out and brought back to their very essence.
Marie-Eve G. Castonguay holds a diploma from the École de joaillerie de Québec and a BFA in Jewellery Design and Metalsmithing from NSCAD University. Her work has been showcased in Canada and abroad. She has received honours and support from Harbourfront Centre, Autor and Joya Art Jewellery Fairs, Craft Ontario and the Toronto Outdoor Art Exhibition. Inspired by themes of intimacy, her work explores our relationship with gardens. She creates wearable gardens in which laser cut
paper tabs are positioned randomly, recalling the movement of plants being blown by the wind. With rigid structures mimicking the various zones of a garden, she creates enclosed spaces in which all things possible may happen. Using the categorization and organization principles of garden design, she turns disorder into order, unconsciousness into consciousness and spontaneity into arrangement and calculation. Her pieces are like small-scale gardens in which one can find comfort or get lost.
1972 | Vancouver, Canada
Dear, What have you done with Nana’s pearls?, Washed Ashore… with Love Series, 2016 Pendant_ Sterling silver, pearls, plastic toy, vintage black petersham
Bridget Catchpole
1988 | Quebec, Canada
MARIE-EVE G. CASTONGUAY
Jardin n°11, 2017 Brooch_ sterling silver, paper, pigments
Bridget lives in Vancouver, Canada. She received her jewellery training at the Vancouver Jewellery Art and Design Program and has a BFA in Studio Art at Concordia University, Montreal. From empty beauty product packaging to plastic remnants collected along the Pacific Northwest Coast, she incorporates castoff materials affording them equal value to traditional gemstones. Currently, her work looks at patterns of plastic waste from throwaway culture and how it has become a pervasive presence in the
natural environment. These self-harvested materials become a departure point for broader topics, tracing back to a partiality involving worth and waste, blurring notions of what is precious, valuable and lasting. I seek the inimitable. Weathered. Cast aside. High on the tide line are the gems I collect. Simultaneously thrilled and saddened by what I find. Liberated from the churning ocean and sun’s harsh rays, remnants of manufactured debris become my objet trouvé.
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. Matthieu 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 workshops in addition to travelling regularly to West Africa to continue his research. His book Legacy: Jewellery Techniques of West Africa presents 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. Cheminée won the second place, silver/argentium categorie of the Saul Bell Design Award 2017.
1979 | Jerusalem, Israel
Matter of Perspective, 2016 Brooches_ Paper, wood, paint, silver, wood, graphite, stainless steel
ATTAI CHEN
1970 | Paris, France | lives in Montreal, Canada
Matthieu Cheminée
Untitled, 2016 Bracelet_ Sterling silver, gold 18K, diamonds, orange sapphires, fire opals
In 2006 Attai Chen graduated receiving (B.F.A), from the Bezalel Academy of Arts and Design, Jerusalem, the department of Jewellery and Fashion. In 2012 he graduated with a Diplom from Professor Otto Kuenzli’s class at the Academy of Fine Arts, Munich, Germany. Since 2006, he lives and works in Munich. He has exhibited internationally at galleries and museums, and his work is included in several public collections, among them: the Coda Museum, Apeldoorn (NL); the Donna Schneier Collection, the Metropolitan Muse-
um of Art, New York (US); the Rotasa Foundation, California (US); the International Design Museum Munich (DE); the Tel Aviv Museum of Art, Tel-Aviv (IL); the Israeli Museum of Art, Jerusalem (IL) Since 2011, Chen has taught in several Academies and Institutions, among them: The Bezalel Academy of Art and Design, Jerusalem (IL); RISD, Rhode Island (US). Chen was awarded several grants and prizes, among them: the 2011 “Herbert Hofmann” prize (DE); 2014“Andy” prize (IL).
Jeweller of the interstitial, Josée Desjardins explores the intimate connection between humans and their geographical and sociocultural environment. Specifically, she casts her glance upon the empty spaces between the seen and the unseen, between the present and the future, between the body and the environment, in order to pick the subtle poetry that settles there. The Toponimie series talks about found objects, seascapes and the cycle of seasons as they resonate with the artist’s feelings. Currently living in the shores of St. Lawrence River, Desjar-
dins has been engaged in the art of contemporary jewelry for more than 30 years. She has completed a Masters Degree in Psychosocial Practices, with a thesis on the issue of isolation within the creative process. Her pieces are regularly exhibited in Montreal and Ottawa galleries and, since 2016, have been part of the permanent exhibition at the new Pierre Lassonde Pavilion of the Musée national des beaux-arts du Québec. Her work is also showcased in several publications.
1983 | Granby, Canada
Landscape #10, 2017 Brooch_ Sterling silver, smoky quartz, cotton thread, embroidery
GABRIELLE DESMARAIS
1963 | Hull, Canada
Josée Desjardins
Oracle, 2016 Ring_ sterling silver, orthose, porcelain fragments, linoleum
A 2010 graduate of the École de joaillerie de Montréal, Gabrielle stands out for her artistic and aesthetic intent. Shortly after her graduation, she has received several awards and grants, and took part in numerous experimental and technical workshops to explore new avenues in jewellery. Her work has been exhibited in numerous national and international exhibitions. Following Bijoux contemporains hors du commun / Remarkable contemporary jewellery, an exhibition curated by Diane Charbonneau, decorative arts curator, and Noel Guyomarc’h, the Montreal Museum
of Fine Arts acquired one of her work. Acknowledging the essence and origins of goldsmithing workmanship, Gabrielle’s work defies conformity by integrating « alternative » and precious materials to traditional « craft » techniques. Her current series, Landscape, invests the attempt of consolidation between history, civilization, individuality, human life, materials and space construction.
Aurélie Guillaume, is a jeweler, enamelist and illustrator. Reviving the traditional technique of story telling, her work celebrates the medium’s history of storytelling, while drawing on a contemporary context fuelled by street art, comics, pop art and counterculture. Trained in the arts of jewelry and metalsmithing at the École de Joaillerie de Montréal, and at NSCAD University in Canada, she was first recognized for her work upon graduating as the winner of L.A. Pai Gallery’s 12th National student jewelry competition. Since then, her pieces have
been acquired for the permanent collections of the Enamel Arts Foundation in Los Angele, the Museum of Art and Design in New York, and the University of Iowa Museum of Art in Iowa City, and have been featured in Metalsmith Magazine. Guillaume has exhibited throughout North America and Europe. Currently working in Chicago, she is completing a year-long residency at the Lillstreet Art Center. In March 2018, Aurélie and Zachery Lechtenberg will present their new collection at Galerie Noel Guyomarc’h.
1973 | Washington DC, United States, lives in Halifax, Canada
Untitled, 2016 Necklace_ Laminate
REBECCA HANNON
1990 | Montreal, Canada
AURÉLIE GUILLAUME
Paulette, 2017 Brooch_ Copper, enamel, fine silver, sterling silver, powdercoating, stainless steel
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
participates in international exhibitions and teaches full-time at NSCAD University, Halifax, Nova Scotia. Her recent collection Contemporary Camouflage has been featured in premiere at Galerie Noel Guyomarc’h in 2016. Her work has been selected in 2017 for the prestigious jewellery exhibition Schmuck in Munich.
A 1988 graduate of the Bezalel Academy of Art and Design in Jerusalem, Yael Krakowski’s understanding of colour and texture is demonstrated in the depth and sophistication of her jewellery pieces. Using a wide range of materials, Krakowski is constantly experimenting to achieve innovative and contemporary designs that create a highly visual and tactile dialogue. Her work has been shown worldwide, is included in the permanent collection of the Cooper Hewitt Museum in New York, and has been published in ‘500 Necklaces’ by Lark Books.
1982 | Seoul, South Korea
Varied Degree of Protusion VI, 2017 Brooch_ Hook-and-loop fastener, thread, sterling silver
YONG JOO KIM
1962 | Israel | based in Vernon, BC, Canada
Yael Krakowski
Untitled, 2016 Bracelet_ Felt, cotton thread, glass beads
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”. Guest speaker at the SNAG Boston Conference, she has shown her work in galleries and museums worldwide. In 2016 her work was selected for exhibitions at the Sook Myung Women’s University Museum, South Korea, Bavarian National Museum, Germany and the Musée des arts décoratifs de Paris, France. Her work is included in the Victoria and Albert Museum collection.
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.
1982 | Stockholm, Sweden
Wings, 2017 Brooch_ Cicadas wings, resin, lacquer, silver, pigments
MÄRTA MATTSSON
1968 | Liestal, Switzerland, lives in Montreal, Canada
PETRA LUZ
The Great White North Series, 2015 Pendant_ Sterling silver, aquamarines, splitter stones, rubber
Märta Mattsson studied jewellery in Gothenburg at HDK School of Design and Crafts. She perfected her technique by completing courses at London Royal College of Art, Tokyo Hiko Mizuno College of Jewelry and Rhode Island School of Design, Providence, USA. Since 2006, her work has been shown in international galleries and displayed in many public museums collections, including Stockholm National Museum, New York Museum of Art and Design and Houston Museum of Fine Arts.
Using materials that may at first seem unfit for jewellery, Märta’s work explores the threshold between disgust and attraction. Strongly inspired by 18th century cabinets of wonders, she makes us see beauty in what may first seem repulsive. Conserving the original shape of the wings and bodies of her dead cicadas, she captures them in resin to protect and enhance their beauty with delicate and precise dabs of pigments. By preserving however the natural signs of time’s passing, she allows the « lives » and history of those beings to keep further on.
Judy McCaig is a Scottish jeweler, print maker and painter. Edimburg-born designer she produces mixed-media designs inspired by her travels and her reactions to natural phenomena. Now a resident of Barcelona, Judy studied in Dundee, Scotland, before completing an MA at the Royal College of Art in London. Recipient of many awards, Judy McCaig’s jewelry has been exhibited internationally at venues in Germany, France, Spain, in United-States and Canada. She currently teaches the Art in jewellery program at Escola
Massana, in Barcelona and is often a visiting artist in different schools of Europe and abroad.
1967 | Toronto, Canada
Sprig, from Flora Series, 2015 Brooch_ Sterling silver, 3D printed nylon
PAUL McCLURE
1957 | Edinburg, Scotland, Great Britain
JUDY McCaig
Golden Eyes, 2016 Brooch_ steel lid, german silver, 22ct gold, herkimer diamond crystals, gold leaf, found material
Paul McClure received his training from NSCAD University, Halifax, Canada (BFA, 1989); Escola Massana, Barcelona, Spain; and National College of Art and Design, Dublin, Ireland (MA, 1999). His work is represented in private and public collections in Europe and in North America. In 2015, McClure received the Saidye Bronfman Prize, a Governor General of Canada Award, the highest distinction given to a Canadian visual artist. Paul’s work is sculptural, with ornamentation and jewellery’s relationship to the physical
body as central themes. The scientific fields of biology, pathology and genetics inspire his work as well as anatomical, microscopic and digital imaging of the human body. His work reflects our increasingly digital, biotechnological understanding of mortality. In wearing his jewellery, the invisible body becomes visible adornment.
Brooke Marks-Swanson speaks of her Midwest roots through a universal language of textile and metal wearable art. She received her MFA in Metals from the University of Illinois, Champaign-Urbana, Illinois, and a BFA in Jewelry Design and Metalsmithing from Indiana University, Bloomington, Indiana. Her works have been exhibited nationally over 90 juried and invitational exhibitions and most recently included internationally in exhibitions in Canada, Greece, Spain and France. Marks-Swanson has been included in 15 publications. Most recently, Marks-Swan-
son spoke at SOFA Chicago 2016, on a panel titled: FIBER ART IN THREE DIMENSIONS: A History and Discussion of Fiber Art Off The Wall. She was the recipient of the Indiana Arts Commission, Individual Artist Program Grant and was a participant in the XXX International Ceramics Symposium, “Porcelain Another Way�, Walbrzych, Poland, 2006. Her work can be found in the Muzeum w Walbrzychu, Walbrzych, Poland, The Sparta Teapot Museum of Craft and Design, Sparta, North Carolina, and The Museum of Contemporary Craft, Portland, Oregon.
1946 | Tokyo, Japan
Untitled, 2017 Brooch_ paper thread, nylon thread, gold 18k, silver 950, coloured with Sumi
KAZUMI NAGANO
1968 | London, Great Britain
Brooke Marks-Swanson
Field Collar, 2017 Collar_ Hand knit leather, oxidized silver, rare earth magnet
Kazumi Nagano graduated at the Tama University of Art, Tokyo, obtaining both a BA and an MA in art. Her jewellery career began in 1996 after having studied under Minato Nakamura. In 2002, she was awarded fine works prize in the Japan Art Jewellery Competition, Tokyo. Nagano is known for her wondrous jewellery work, delicate creations of thin gold wire and woven paper. With a background in Japanese-style painting and traditional Japanese weaving techniques, Nagano has work in the permanent collec-
tions of the Victoria and Albert Museum, London, and the Alice and Louis Koch Rings Collection, Switzerland. She has taken part in numerous exhibitions and craft shows internationally, among which SOFA in Chicago and New York, Collect at the Victoria & Albert Museum, London as well as several craft competitions. Her work was selected an impressive number of time in Schmuck 2005, 2008, 2011, 2012, 2013, 2015, 2016 at the Internationale Handwerksmesse in Munich.
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
upon a concept, an idea, and each piece is an expression of artistic form in relation to the body. 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. He took part in many exhibitions in Canada and in United States.
1963 | St-Louis, MO, United States
One Single Short, 2017 Necklace_ Plywood, craft sticks, popsicles sticks, string
MARIA PHILLIPS
1976 | Sherbrooke, Canada
PIERRE-YVES PAQUETTE
Untitled, 2016 Bracelet_ Sterling silver, 18k gold, beryl, white, yellow, champagne diamonds
Phillips’ creative process takes domestic spaces as its point of departure and constant focus. Systematically looking for patterns in random encounters or habitual rhythms within homes and intimal places, she strives to capture these ordinary moments through jewellery, sculpture, drawing and photography. Phillips’ pieces are not about precious materials. They are about looking differently, shifting perceptions of the overlooked and expendable material of daily existence. Maria holds degrees from Loyola University, New Orleans and University of WA, Seattle.
She lectures widely, serves as a guest critic and teaches workshops at various programs throughout the country. Her work can be found in the collections of the Museum of Art and Design New York, the Renwick Gallery of the Smithsonian American Art Museum, Tacoma Art Museum, Rotasa Foundation and numerous private collections. She recently was awarded the John and Joyce Price Award of Excellence for Mapping Monotony, her work in the Bellevue Arts Museum Biennial.
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 in 2014 “Bijoux contem-
porains hors du commun”, curated by Diane Charbonneau, decorative arts curator, and Noel Guyomarc’h, for the 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. Eva Eisler selected her work for the Schmuck 2015 exhibition in Munich. She is part of the traveling exhibition Espace habité/Inhabited space presented in April in Barcelona, and currently in Paris.
1952 | Amherst, Canada
Alien Landscape, 2016 Brooch_ Wood, polymer, parawire, sterling silver, acrylic
PAMELA RITCHIE
1983 | Dinan, France | lives in Quebec City, Canada
ANNE-MARIE RÉBILLARD
Pink Landscape, 2015 Brooch_ Paper, wood dust, glue, paint, ink, resin, pigments, steel
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 has been a professor from 1984 to 2017. In 2017, she received the Saidye Bronfman Prize, a Governor General’s Award, the highest distinction given to a Canadian visual artist. 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 international magazines, as well as in major books, including Contemporary Jewelry in Perspective. Her work is included in many private and public collections. Pamela’s 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.
Trained as a graphic designer and printmaker, Biba Schutz has been a practicing, selftaughtmetalsmith and jeweller for more than 20 years. She is well known for combining unexpected materials with metal, and began incorporating glass into her jewelry designs in 2012. Based in New York, she is attracted to the challenge of materials and processes to create work that investigates the body. Building a place of mystery, dimension, fluidity and intrigue, Schutz’s pieces are objects that engage conversation and emotions. They are designed in close relationship to the body,
both physically and emotionally. Schutz has recently been playing with combining and integrating, using a mix of materials - mica, handmade papers, metals and raw materials - that together make the whole. A way for her to metaphorically tackle the issue of immigration, a current and burning topic in the United States and an issue she increasingly feels frustrated about. Her works can be found in the collections of many American museums. The awarded artist took part in an impressive number of exhibitions.
1980 | Lévis, Canada
Falling into the Sea, 2016 Brooch_ Silver alloy, stainless steel
CATHERINE SHEEDY
1946 | Brooklyn, NY, United States
Biba Schutz
Looking Glass, 2017 Brooch_ Sterling silver, bronze, mica, steel
After receiving her diploma from the École de joaillerie de Québec, Sheedy continued her studies in visual arts at the Université Laval, where she was completed her BA in 2003 and a Master’s in Visual Arts in 2007. Since 2005, she participated in workshops in a wide range of techniques, including those with an experiment approach. Her works of art is inspired by the story of the materials she uses. During the assemblage, she builds intuitively and chooses organizations which suggests a metaphoric meaning. The
recipient of a number of awards and grants, Catherine has also shown her work in national and international exhibitions, as well as curating 40 ans de passion, de création et de formation, the retrospective exhibition of the École de Joaillerie de Montréal. Her work has been selected to be part of the traveling exhibition Espace habité/Inhabited space in Europe.
Initially a painter, Sondra Sherman became drawn to jewelry when she recognized adornments as a medium for empathically reaching out to the social and personal self of individuals. To her, jewelry holds this wonderful power to both have personal meaning and instigate social exchange. She will be presenting pieces from three of her latest series : “Anthophobia : Fear of Flowers” (2007), “FTD” (2009), and “Rorschach Corsages” (since 2013).
Associate Professor of Art and Head of the Jewelry and Metalwork Program in the San Diego School of Art + Design, Sondra Sherman has been an invited speaker and a panel participant at numerous fairs and professional events. Her work is included in many American museums collections, among them of the Los Angeles County Museum of Art, CA, the Philadelphia Museum of Art, the Metropolitan Museum of Art, NY, The Museum of Art and Design, NY, The Racine Art Museum, WI, the Renwick Gallery of the Smithsonian American Art Museum, DC.
1979 | Augsburg, Germany
The Secret Keepers, 2017 Necklace_ Graffiti, lotus seed pods, glass, silver
CARINA SHOSHTARY
1958 | Philadelphia, Pennsylvania, United States
SONDRA SHERMAN
Belladonna II, from Rorschach Corsages, 2016 Brooch_ Steel
Carina Shoshtary received her training in goldsmithing in Neugablonz. She studied contemporary jewellery at Munich Academy of Fine Arts with Otto Künzli. In addition to being part of important collections such as Munich International Design Museum and London Victoria & Albert Museum, her work has been presented internationally in numerous museums and galleries. In 2012, she received the Bavarian State Prize for Emerging Designers and the Upper Bavarian Prize for Applied Arts.
Using materials from her immediate surroundings and with a previous life, Carina Shoshtary considers herself a « hunter-gatherer ». In Karma Chroma, her newest artistic proposal, she uses fragments of graffiti, recovering the successive layers of posters on public panels that, with time, come off and fall to the ground. Maintaining a fusional relationship with colour, she keeps it at the core of her creative researches, adding sometimes found organic materials to her creations.
Kye-Yeon Son was born in South Korea and earned a BFA degree in Applied Art in 1979 at Seoul National University, Korea and a MFA in Jewellery Design and Silversmithing in 1984 at Indiana University, Bloomington, IN, US. Son has been teaching at the NSCAD University, Halifax, Canada since 1995.
mercial galleries across Canada, the United States, Britain, Germany, Japan, and Korea. Recipient of numerous awards from multiple organizations including the Canada Council for the Arts and the Metal Arts Guild, she has also been a member of the Royal Academy of Arts since 2000.
As a recipient of the prestigious Saidye Bronfman Award, a Governor General’s Award in 2011 Visual and Media Arts, Canada, she has exhibited her works in numerous solo shows and group exhibitions in public and com-
Her jewellery is interpreting emotive qualities such as resilience, fragility, and endurances can be sensed through the persistent transformation of tree branches.
1977 | Sydney, Canada
Passing Through 4, 2016 Pendant_ Walnut, steel, cotton
DESPO SOPHOCLEOUS
1957 | Seoul, South Korea, lives in Halifax, Canada
KYE-YEON SON
Untitled, 2017 Brooch_ Steel, enamel
Despo Sophocleous received a BFA in Jewellery Design and Metalsmithing from NSCAD University in 2008. During this time she also participated in a one year study exchange at Pforzheim University. Upon graduation, she returned to Germany to pursue graduate studies at the Munich Academy of Fine Arts under Otto Künzli from 2009 to 2015. Her work has been exhibited nationally and internationally, and is included in the collections of Die Neue Sammlung, Munich, and the CODA Museum, the Netherlands. She has received
several awards and support for her work including the Lieutenant Governor’s Award for Artistic Achievement from the Nova Scotia Talent Trust, the DAAD scholarship for graduate studies and the Herbert Hofmann Award. Echoes is the title of her solo exhibition held at the Galerie Noel Guyomarc’h in 2017. Always in a state of change and transformation, we carry memories of place with us wherever we go. Collecting and storing information, mapping and documenting movement, Despo’s latest explorations are the echoes left behind.
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 Coop Gold, 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 show-
cased in many international exhibitions in Europe , North America and Asia and received several awards: in 2015 the Justus Brinckmann price from Museum of arts and crafts in Hamburg. Silke took part in the exhibition Natural/ Artificial, curated by Luzia Vogt, on view at Galerie Noel Guyomarch in 2012.
1945 | Montreal, Canada
Imperfect Beauty IB22, 2015 Necklace_ Stretch bead cord, freshwater pearls
bARBARA STUTMAN
1973 | Ruit auf den Fildern, Germany
SILKE SPITZER
Untitled, 2017 Necklace_ Cherry seeds, copper
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.
Research and experimentation are the source of her creations. Driven by the desire to contribute to the field of contemporary jewellery, but also to transform and change it, her artistic statement is based on the research of emotions through form and color. Magali graduated from the Jewellery School of Montreal, in 2013. Throughout her young career, her innovative work has been distinguished through several prizes, awards and distinctions. In 2014, she was finalist in the renowned François-Houdé competition, the
same year, she received the First presence prize at the Salon des métiers d’art de Montréal. In 2013, she was a finalist at the Niches Awards in Philadelphia. The L.A Pai Gallery (Ottawa) as well as Noel Guyomarc’h (Montreal) gallery now present her work. She also exhibit her creations in the most prestigious exhibitions such as; Joya (Barcelona, Spain), Autor (Bucarest, Romania), and Athens Jewelry week (Benaki museum, Greece).
1986 | Joliette, Canada
Untitled, 2016 Brooch_ Sterling silver, resin
Émilie Trudel
1985 | Montreal, Canada
Magali Thibault Gobeil
Dancing Candy, Somebody Got Crazy With The Candy Machine Series, 2017 Brooches_ Polyurethane, vinyl, cord, magnet, cotton
A 2010 graduate of the École de joaillerie de Montréal, Émilie was the recipient of a number of awards during her training. A participant of experimental workshops, directed by Noel Guyomarc’h, Émilie received the Prix François-Houdé 2012, for her project Les Bouées. The city of Montreal has acquired a piece for its collection. She has a number of exhibitions to her credit: More than Gold, Studio Huddle, Toronto; Ring Re::Form, Circle Craft Gallery, Vancouver ; 40 ans de passion, de création et de formation, a traveling and
curated exhibition of the École de joaillerie de Montréal and Les Traversiers des arts, Brouage, France, 2015. This year, her work has been selected for a traveling exhibition titled Espace habité /Inhabited Space curated by Noel Guyomarc’h and Stéphane Blackburn presented in Barcelona and in Paris.
Anne-Sophie’s first exposure to metalsmithing was in 2008 in Taxco, Mexico, in the metal department of UNAM (Universidad Autónoma de Mexíco). She obtained a collegial diploma in Craft with focus on jewellery from Cégep du Vieux-Montréal in partnership with École de joaillerie de Montréal in 2011. She is a recent graduate from NSCAD University, Halifax, Nova Scotia, and holds a BFA with major in Jewellery Design and Metalsmithing. Her work was selected as the winner of L.A Pai Gallery’s 13th National stu-
dent jewellery competition in Canada. She was an artist-in-residence at the Harbourfront Center, Toronto, in 2016. Now a Halifax-based artist, Vallée has exhibited work in Canada, the United States and Europe. She took part in Espace habité/Inhabited space, an exhibition curated by Noel Guyomarc’h and Stéphane Blackburn presented in Paris and Barcelona in 2017.
1965 | Gelsenkirchen, Germany
Light and Shadow 4, 2016 Brooch_ Steel, Enamel, Resin
SILVIA WALZ
1983 | Sherbrooke, Canada
ANNE-SOPHIE VALLÉE
Cosmic Cookies, 2017 Brooch_ Gypsum cement, pigments, silver
Silvia Walz studied metals design at the Fachhochschule Hildesheim between 1985 and 1991, with a year spent studying at the Escola Massa in Barcelona from 1988 to 1989, where she later taught. She is the wife of Catalan jeweler Ramon Puig Cuyàs and lives in Barcelona. Walz works in mixed media, including various metals, tissue papers, enamel, textiles, woods, resin and ceramic. The titles of her brightly colored assemblages link them to figures from history and myth. Walz’s intention is to create
visual records of emotion, which might be shared by the wearer. She is attracted to the magical qualities of jewelry as charms or talismans, and as a conceptual link between people. Her jewelry has been exhibited internationally at venues in Europe and in North America. Past June 2017, the gallery hosts the exhibition Coordenadas gathering 13 Catalan artists curated by the artist.
1973 | Montreal, Canada
LAWRENCE WOODFORD
Road to Ambiguity, 2014 Ring_ Larimar, composite material, laminate, silver
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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