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, on top of curating traveling ones in Canada, Europe and the United States. 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.
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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
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1979 | Montreal, Qc, Canada
SILVIE ALTSCHULER
Funded in Mexico, 2018 Brooch_ Bricks, mortar, brass, steel, plastic, paint
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. 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. Represented by the gallery since 2006, she was selected for Schmuck
2006 in Munich. Her playful work was included in Espace habité/Inhabited Space a traveling exhibition in Europe, curated by Stéphane 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.
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Mina, 2018 Brooch_ glass, silver
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, Germany, 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.
1986 | Elsterwerda, Germany
MARCUS BIESECKE
1960 | Warsaw, Poland
ELA BAUER
Untitled, 2018 Necklace_ plastic, silicone
Marcus Biesecke was trained in jewelry making at IVO Goldschmiede as an apprentice on the bench from 2005 to 2009. In 2010, he enrolls at the University of Art and Design Burg Giebichenstein Halle. He receives his diploma in fine arts & jewelry in 2016. During that period, he spends a year at Geijittsu Daigaku Tokyo, the University of Tokyo. Since 2014, he is the head of the goldsmith studio <Juwelier Weiss> in Halle while running his own studio. He took part in exhibitions in Japon, in the Netherlands and Germany. More recently, his work was selected for the presti-
gious Schmuck 2018 in Munich. Marcus Biesecke works on different concepts and materials according to his collections. <Mina> deals with symbols of neutrality and nonexistence, focusing on the long tradition of portraits in jewelry history. Raindrops rolling on the window, engraved on reflective glass, the pins of the <Mizu> collection awake a memory, a moment of nostalgia.
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Julie Blyfield is renowned for her work inspired by collected botanical specimens and forms. Using the traditional metalsmithing techniques of chasing and repoussé, she creates intricately textured pieces, which capture the essence of the Australian natural landscape. Blyfield studied jewellery making and silversmithing at the South Australian College of the Arts and Education. She has since established a highly respected career, spanning over 20 years, which has encompassed teaching and mentoring alongside her artistic practice. She exhibits her work in-
ternationally and has pieces in the collections of the Musée des Arts Décoratifs in Paris and Victoria & Albert Museum in London. “My jewellery and vessel work is inspired by collections of botanical specimens and historic collections of embroidery which include floral motifs in their design. I see my work as an extension of the 19th century Australian gold and silversmithing tradition in which our natural history became the subject of elaborate tableware and jewellery. ”
1982 | Chenzhou, China
A jar?, 2017 Pendant_ in Australian brand baby milk powder container, glue, oil, pigment, copper, silver plated copper, nylon thread
Bifei Cao
1957 | Melbourne, Australia
JULIE BLYFIELD
Black Pea, 2016 Necklace_ sterling silver, gold plated, cable
Bifei Cao graduated with MFA degree at the Indiana University of Pennsylvania and completed a PhD research at the ANU School of Art. He is currently working as an associate Professor in the School of Art and Design, Guangdong University of Technology, China. Cao recently completed a doctorate of philosophy from the Australian National University. His work has been exhibited nationally and internationally, including nine solo exhibitions at the United States, Australia, New Zealand and China. He is the recipient of
many awards including the 2018 Winner of AJF Artist Awards, the 2017 China National Arts Fund for Young Talents in China, and the 2016 Winner of EASS Patrons Higher Degree Research Award in Australia. His work has be seen in many publications such as Art Jewelry Today 3 and Showcase 500 Rings. Cao’s creations are part of The Kamm Foundation, the Fuller Craft Museum and the St. Louis University (US) as well as many private collections.
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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 honors and support from Harbourfront Centre, Autor and Joya Art Jewellery Fairs, Craft Ontario and the Toronto Outdoor Art Exhibition. She recently was invited to participate in Koru6 in Finland. 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, Bc, Canada
Crushed, 2018 Pendant_ Sterling silver, glass beads, steel, found plastic bottle, resin, sand
Bridget Catchpole
1988 | Québec, Qc, Canada
MARIE-EVE G. CASTONGUAY
Jardin n°10, 2017 Brooch_ sterling silver, paper, cotton thread, pigments
Bridget lives in Vancouver, Canada. She received her jewelry 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.” 11 —
At the age of 19, Matthieu Cheminée moved to Taos, New Mexico, where he developed a fascination with Native American jewelry. 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 jewelers. Matthieu has lived in Montreal for 19 years. On arrival, he enrolled in a jewelry 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 Jewelers. After his second place, silver/argentium category of the Saul Bell Design Award 2017, Cheminée won the first place this year.
1979 | Jerusalem, Israel
Matter of Perspective, 2016 Brooches_ Paper, wood, paint, silver, wood, graphite, stainless steel
ATTAI CHEN
1970 | Paris, France | lives in Montreal, Qc, Canada
MATTHIEU CHEMINÉE
Untitled, 2017 Bracelet_ Sterling silver, 18K gold
In 2006, Attai Chen graduated from the Bezalel Academy of Arts and Design’s department of Jewellery and Fashion in Jerusalem. The artist pursued his education at the Academy of Fine Arts in Germany under Professor Otto Künzli, and got his degree in 2012. Since 2011, Chen has taught in several academies and institutions, among them: the Bezabel Academy of Art and Design, Jerusalem (IL), RISD, Rhode Island (USA). The artist was awarded several grants and prizes, the 2011 Herbert Hofmann Prize (DE), the 2014 Andy Prize (IL) to name a few.
Now living in Munich, Chen has exhibited internationally in galleries and museums, and his work is included in several public and private collections, among them: the Coda Museum, Apeldoorn (NL); the Donna Schneier Collection, the Metropolitan Museum 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)
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Simon Cottrell completed a Fine Art degree with Honours from RMIT University, and went on to obtain a Masters in Fine Art Research in 2010. He has taught and lectured at universities around the world including RMIT Melbourne, Rhode Island School of Design Providence and the Australian National University in Canberra where he currently works. “When our senses are presented with something familiar and yet also ambiguous our curiosity is triggered and sensory engagement is extended. This is because our ability to be
clear about what we are actually looking at becomes hard to resolve. If there is a potential line between these pieces being perceived as either one way or another, I usually try to sit on that line. Where that line lies, however, depends very much on the priorities and attentiveness of the viewer. In essence the work doesn’t aim to tell a viewer anything specific; I simply want to give the wearer a personal sensory experience, in an ongoing, unfolding, quiet but resonant manner”.
1983 | Chattanooga, Tn, USA
Corsage Brooch VIII, 2018 Brooch_ found synthetic materials, resin, rubber, steel
NIKKI COUPPEE
1975 | Melbourne, Australia
SIMON COTTRELL
Layer Cump Leg, 2013 Brooch in monel, mirrored synthetic polymer resin, stainless steel
Nikki Couppee is originally from Pensacola Beach, Florida and is currently residing in the San Francisco Bay Area. She received an M.F.A. from Kent State University, Jewelry/ Metals, Kent, Ohio, 2011 and a B.F.A. from the University of Georgia, Athens Georgia, Jewelry/Metals, 2007. Her work has been featured in publications including American Craft, Allure Australia, Metalsmith Magazine, Modern Magazine, Vogue Brazil, Dailycandy and Lark Book’s 500 Enameled Objects. She shows her work nationally and internationally through exhibitions, gallery representation, and fairs.
Her work was selected for SCHMUCK 2018 in Munich, LOOT at the Museum of Art and Design in NYC, Racine Art Museum, and SIERAAD International Jewelry Fair, Amsterdam, The Netherlands. She has taught enameling and jewelry/metals techniques at Kent State University, The Cleveland Institute of Art and The Crucible in West Oakland.
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Marée Basse, 2017 Brooch_ sterling silver, porcelain fragments, glass
Ambroise Degenève received a bachelor in Jewellery and Accessory design from the Haute École d’art et design in Geneva, Switzerland, in 2010. He opened his own studio in 2011, after a year as an assistant in Jean Grisoni Studio in Paris. Since then, his work has been selected in many solo and collective exhibitions in Europe and the United States. Yet resolutely contemporary, his work revisits ancient techniques such as niello and forging. Strong and present, with a unique and raw character, his jewelry is real anachronism.
1963 | Hull, Qc, Canada
Josée Desjardins
1987 | France
AMBROISE DEGENÈVE
Untitled, 2018 Ring_ Sterling silver, synthetic spinels
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, Desjardins 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. 17 —
Foreverrings, since 1998 Rings_ pure silver, pure copper, pure gold, pure iron
A 2010 graduate of the École de joaillerie de Montréal, Gabrielle stands out for her artistic and aesthetic intent. Following her graduation, she was awarded the Janis Kerman Prize for Emerging Artists and was the prize winner of the 7th National Jewellery Student Competition in Canada. In 2009, she participated in a workshop with Willemijn de Greef, in France; in 2010 enrolled in Le Labo, workshops animated by Noel Guyomarc’h; and in 2011 attended the Alchimia School, in Italy. Gabrielle has participated in numerous national and
international exhibitions, in Canada, in Europe and in the United States. 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 acquired one of her piece. This series of brooches built out of various metal and assemblage techniques treated to suggest ruins from a world that already existed, now battled and worn through time, but still standing and strong.
Michael Jank
1972 | Mühldorf, Germany
Bettina Dittlmann
1964 | Passau, Germany
1983 | Granby, Qc, Canada
GABRIELLE DESMARAIS
Landscape #9, 2017 Brooch_ Sterling silver, labradorite cotton thread, embroidery
Following her apprenticeship as a goldsmith in Neugablonz, from 1987 to 1993, Bettina Dittlmann 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 Dittlmann and Michael Jank have collaborated on the Foreverrings collection since 1998. In March 2019, the gallery will present an exhibition gathering the two artists and renowned Swiss artist, Sophie Hanagarth. “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.” 19 —
A graduate of RMIT, Gold and Silversmithing, Bin Dixon-Ward has exhibited in Japan, Europe and North America as well as at home in Australia. The recipient of several awards for her jewellery, including the Itami Award and the Diana Morgan RMIT Post-Graduate Award. Her work is held in public and private collections including the National Gallery of Victoria, The Powerhouse Museum, Sydney, and Musee des Arts Décoratifs de Paris and The Art Gallery of South Australia. I
nitially driven by her lived experience of Melbourne, where she lives and works, Bin’s practice explores the relationship between the formal shapes of cities and their inhabitants. A city is made up of multifaceted, multi-layered collections of shapes, objects, activity and flows. Her jewellery-making practice investigates how we engage with these complexities of built environments and how they can be represented at wearable scale.
1982 | Sydney, Australia
Chameleon, 2014 Stole/Object_ painted brass mesh, gold plated mesh, sterling silver gold plated, onyx
SIAN EDWARDS
1960 | England / lives in Australia
BIN DIXON-WARD
Enframing Grid 6, 2018 Necklace in nylon, ink
Using a pair of tweezers, Sian Edwards transforms brass mesh into intricate renderings of animals and animal parts. Sian’s work references both the rich historical use of animals in adornment and the actual animals that share our environments. Sian undertakes a detailed study of her subject, accessing museums and zoo’s to assis in the production of her work. Based in Newcastle, Sian completed an Advanced Diploma of Jewellery and Object Design, Enmore TAFE in 2005 and a Bachelor of Fine Art (Honours) in Jewellery and Metals, Monash University in 2009. She
had her first solo exhibition, A Study of Birds at Studio 20/17 in 2010. She undertook an artist residency in Jaipur, India in 2012 and held her second solo exhibition, Sequins and Scales, at Gray Street Workshop Gallery in 2014. Since she has exhibited in collective shows nationally, more recently she was part of the exhibition Aurora Australis, curated by Katie Scott for Galerie Noel Guyomarc’h.
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Sandra Enterline graduated in Jewelry and Metalsmithing from 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. Sandra gives lectures on her craft and conducts metalsmithing workshops. Enterline’s award-winning work has been featured in solo and group exhibitions throughout the world. Her many honors include two National Endowment for the Arts fellowships (1988 & 1992); the Gold Award,
“Ornament Magazine, Excellence in Jewelry 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 are in the collections of both national and international museums.
1984 | Fraham, Austria
Pearly Whites, 2018 Brooches_ Shell, mother of pearl, remanium, sculpey
BENEDIKT FISCHER
1960 |Oil City, Pa, USA
Sandra Enterline
Diamond Web Brooch, 2012 Brooch_ xidized silver, 4.45cts diamond slices, 18k palladium, 10k white gold, stainless steel
Benedikt Fischer is an Austrian jeweler who attended the technical School for Arts and Craft in Steyr, Austria, before taking a leap into art jewelry at the Gerrit Rietveld Academie in Amsterdam, where he studied under Manon van Kouswijk and Suska Mackert. He spent a term as a visiting student at Konstfack in Stockholm, Sweden. After Rietveld, he worked as a professor’s assistant at Burg Giebichenstein University of Art and Design in Halle, Germany. Fischer is known for his idiosyncratic pairing of traditional metal engraving with brightly colored plastic in highly
original forms. In a complete new direction, he creates a series of faultless brooches named Pearly Whites made shell and mother of pearl, each of them with strong and playful character. Benedikt’s work has been exhibited internationally and is included in many public and private collections. In 2014 and 2018, he was selected for the renowned exhibition Schmuck in Munich.
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Don Friedlich is a leading figure in contemporary jewelry. He received his BFA in Jewelry and Metalsmithing from Rhode Island School of Design (RISD) in 1982. Friedlich has lectured at conferences and universities all over in the United States and abroad. He also served a term as president of the Society of North American Goldsmiths. His jewelry has been shown in an impressive number of national and international exhibitions. Friedlichâ&#x20AC;&#x2122;s work is included in museums all over the world and is in the permanent collections of the Victoria & Albert Museum,
London; Smithsonian Institution; Museum of Fine Arts, Boston; The Corning Museum of Glass, and many others. Lumina Series is a continuation of his interest in identifying qualities that are unique to jewelry as medium. Some designs dramatically shift in color when viewed at different angles, others in color intensity. They are in part inspired by the effect of the sunlight that is reflected by the moon, and at times, diffused by cloud cover or fog.
1991 | Albany, Ny, USA
Upside-Down Can, 2017 Necklace_ Recycled aluminum, cotton thread
CORRINA GOUTOS
1954 | Montclair, Nj, USA
DON FRIEDLICH
Lumina Series, 2017 Brooch_ borosilicate glass, dichroic glass, 14k gold
Corrina Goutos, a Native of Upstate New York, now established in Hamburg Germany, is a contemporary jewelry artist whose work deals with themes of consumerism. Her work, like her inspiration quell, lingers the blurred line between two familiarities: products of mass production and products of nature. Her search for a genuine snapshot of modern life, lead to her fascination with reading the unfinished stories, and rivaling in the contradictions, she observes in the consumer environment- specifically habits of waste disposal. The jewelry
itself is crafted from material culture pure, through experimental casting and clever connections, her studio practice reanimates a range of household materials. Goutos is internationally active in the field of contemporary jewelry, having lectured and presented a solo show during the largest contemporary jewelry fair in Munich this year, as well as exhibited in Stockholm, Athens, Barcelona, Bucharest and Guangzhou.
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Following a career spanning twenty years, from set design to horticulture, teaching and studies in art history and literature, Catherine Granche chose the practice of contemporary jewelry. She began her studies at the Montreal Jewelry School in 2011 and continued her training in workshops with Noel Guyomarc’h, Peter Hoogeboom, Shu-Lin Wu, Katja Prins and Ruudt Peters. Her work has been exhibited in Canada and Europe and is presented at Galerie Noel Guyomarc’h in Montreal and at L. A.Pai Gallery in Ottawa. Working mainly with porcelain, her research
questions our relationship to food as a cultural element and social issue. Her reinterpretation of the formal and historical qualities of the fruits is presented as artifacts of daily life.
1990 | Montreal, Qc, Canada
MaPearls, 2018 Necklace_ enamel on copper, sterling silver, powdercoating
AURÉLIE GUILLAUME
1970 | Montreal, Qc, Canada
CATHERINE GRANCHE
Fruit #7, 2018 Pendant_ porcelain, sterling silver, gold leaf
French-Canadian artist Aurélie Guillaume plays with the longstanding link between the technique of enamel (in which powdered glass is fused to metal by firing it at a high temperature) and the art of storytelling. Where makers from other centuries might have presented religious narratives in their brightly colored objects, Guillaume looks to street art, comics, and other forms of popular culture. In her work, a single character is frozen in the middle of a story that remains hidden from the viewer.
Aurélie Guillaume studied jewelry and metalsmithing at the École de joaillerie de Montréal, and at NSCAD University in Nova Scotia, Canada. Her work is featured in the collections of the Enamel Arts Foundation in Los Angeles, the Museum of Art and Design in New York City, the University of Iowa Museum of art, and the Pureun Culture Foundation in Seoul, South Korea as well as major private collections. She is represented by the Galerie Noel Guyomarc’h since 2015.
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Marcos Guzman is a Melbourne based artist working in acrylic and consumer plastics. Eschewing industrial processes for a considered handmade approach, Marcos uncovers the subtle and precious qualities of his chosen material. His use of vivid colour and graphic line work evoke a sense of nostalgia, while his evocative titles imbue each piece with a suggested narrative. “My work often explores imaginative travel. I do this through my jewellery making and present an opportunity to escape. It could
be anywhere and anything from enjoying delicious fruit by the pool or rafting inside an active volcano. My jewellery looks simple because the material is simple and the layers and intricacies are often concealed”. Marcos studied Gold and Silversmithing at RMIT University, graduating with Honours in 2013. Since then, he took part in many international exhibitions, among them Aurora Australis, curated by Katie Scott, director of Gallery Funaki for Galerie Noel Guyomarc’h.
1973 | Washington Dc, USA | lives in Halifax, Ns, Canada
Untitled, 2016 Necklace_ Laminate
REBECCA HANNON
1986 | Victoria, Australia
MARCOS GUZMAN
Jungle Plaza, 2018 Necklace_ plastic straws, nylon
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.
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Kirsten Haydon is a New Zealand-born, Melbourne based artist. She completed a PHD in 2009 in Gold and Silversmithing at RMIT and has gone on to become an Early Career Academic Fellow and Lecturer at RMIT’s School of Art. Specializing in enamelling processes for constructed jewellery, her practice is inspired by a 2004 trip to Antarctica as the first jeweller to take part in the Artists to Antarctica Programme. In her 2012 publication, Micromosaic: Antarctic Landscapes, she explores this experience further through research of the continent’s history and the
experience of past visitors through the notion of the souvenir. About Brooches series : Ice Wall, Depicts, My photograph of a large plate ice crystal collected in the depths of the Imax crevasse in 2004. The notion of the souvenir in this work is used to represent what is clearly endanger.
1961 | Leiden, The Netherlands
WiaRed Lantern, 2014 Necklace_ Taiwanese porcelain, sterling silver
PETER HOOGEBOOM
1973 | New Zealand
KIRSTEN HAYDON
Ice Wall, 2017 Brooch_ enamel, photo transfer, reflector beads, silver, copper, steel
Peter Hoogeboom is a graduate of the Gerrit Rietveld Academie, in Amsterdam, the city where he still lives and works. The first jewellery artist to apply contemporary techniques to porcelain, he has participated in a number of international exhibitions and many of his works can be found in museum and private collections.
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, since 1995, in each new collection Peter has discovered techniques for creating supple and wearable ceramics.
We have been using clay to adorn ourselves since the dawn of humanity. In his work, Peter strives to reintroduce the concept of clay as body ornament. He uses it in its fired state, 31 —
One of Australia’s most respected metalsmiths, Marian Hosking has been creating work for over 40 years. In 2007 she was named ‘Living Treasure: Master of Australian Craft’ and in 2012 she won the Cicely & Colin Rigg Contemporary Design Award. Hosking studied Gold and Silversmithing at RMIT, going on to complete her Master of Arts in 1996 and her PhD at Monash University in Melbourne in 2009. She has lectured and taught internationally and was Senior Lecturer at the Monash Art Design and Architecture department until 2014.
Marian’s distinctive work translates imagery from the natural environment through drawing, fabrication and castings techniques. She says “I make jewellery that references specific botanical specimens and birds. I am not replicating them in an illustrative way, allowing the viewer/wearer to place his or her own reading onto the work. Often this reading is removed from where I started, but the emotive sensibility is similar. I utilise low relief, drawing on the soft, white luminosity of silver.”
1957 | Montréal, Qc, Canada
Untitled, 2016 Ring_ Oxidized sterling silver, 18k palladium white gold, 0.30ct diamonds VS1,G-H
JANIS KERMAN
1948 | Melbourne, Victoria, Australia
MARIAN HOSKING
Eucalyptus preissiana coral, 2018 Necklace_ sterling silver, frosted fossil coral
Renowned Quebec contemporary jewelry artist, Janis Kerman mainly focuses on the relationship between colors and forms. She works exclusively with precious stones and metals, skilfully blending organic forms and natural lines, smooth and textured surfaces with unexpected colors to transform her creations into unique works. Throughout her oeuvres, one notices the emphasis placed on balance rather than on symmetry. Her first creations date back to summer camp in arts and crafts, while she was still a teenager. She undertook training at the Saidye Bronfman
Centre in Montreal in the early 1970s, then at Boston University. She opened her studio in 1977. Subsequently, she honed her skills through workshops and became an apprentice alongside several renowned jewellery artists. Since then, she has been teaching, sharing and giving lectures on her work in Canada and the United States. Her pieces can be found in prestigious public and private collections, as well as in the Montreal Museum of Fine Arts. 33 —
Heejoo studied at Kookmin University, Seoul, where, she completed her BFA and, in 2011, her MFA. In 2008, she spent a semester at Pforzheim University, Germany, for what would turn out to be a definitive 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 Jewellery Forum 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. Represented by the gallery since 2014, Heejoo was selected in 2018 for the prestigious Schmuck exhibition in Munich, Germany.
1982 | Seoul, South Korea
Alternated Color IV2, 2017 Brooch, Hook-and-loop fastener, thread, sterling silver
Yong Joo Kim
1983 | Seoul, South Korea
Heejoo Kim
Untitled, 2016 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”. 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.
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Originally from Hamilton, Ontario, Alex Kinsley Vey received jewelry training from his parents. After moving to Toronto in 2010, he studied jewelry at George Brown College where he earned an Adv. Diploma in Jewellery Arts in 2013. He since has exhibited his work in Canada, Europe, and the United States. Alex’s work focuses on industrial landscapes; the architecture, the machinery, and the detritus that are left behind when these symbols of industry are scaled back or aban-
doned. Once monuments to the golden age of industry, many of these sites are ploughedover, redeveloped, and vanish. The colours, forms and textures are a major focus for him; the juxtaposition of man-made purpose and natural decay.
1956 | Plessisville, Qc, Canada
Agitation, 2018 Necklace_ Sterling silver
CHRISTINE LAROCHELLE
1990 | Hamilton, On, Canada
Alex Kinsley Vey
View from the Pier #5, 2018 Neckpiece_ Steel, spray paint, varnish, cotton rope, steel hardware, magnets
Following her training in jewelry at the École de joaillerie de Montréal, Christine Larochelle dedicates most of her time designing and making one-of-a-kind jewelry and limited editions. Since 1998, she becomes a teacher at the school where she graduated in 1990. Christine was selected to participate in many prestigious exhibitions throughout Canada, Europe and the United-States in galleries and museums. Awarded of several research grants from the Canada and Quebec Art Councils, she designed and achieved the
medals for education, cultural and scientific awards in 2000, 2001, 2006 and and in 2018 l’Ordre de l’éducation du Québec. Her creations are part of private and public collections among them, le Musée national des beaux-arts du Québec, and are included in many publications including Lark Books “500 Silver Jewelry Designs”.
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Zachery Lechtenberg received a BFA from Southern Illinois University in Edwardsville, Illinois and MFA from East Carolina University in Greenville, North Carolina, with jewelry master Robert Ebendorf. An accomplished illustrator, Zachery covers his jewelry with a personal lexicon influenced by contemporary cartoon imagery, particularly the work of Matt Groening, best known for the comic strip Life in Hell and animated series, The Simpsons. Goofy but lovable, Lechtenberg’s characters bear
strong symbolical values: the Rat represents a being obsessed with its passions; The ONI/ Demon the balance between positive and negative energy. His pieces are signed “Yotburd”, a compound of the verb “yot” (to unite closely, to rivet) and “burd” (for Buried Underground Residential Distribution). He recently exhibited at Galerie Noel Guyomarc’h in duo with Aurélie Guillaume, an exhibition titled Toc Twee. His work can be found in several major personal collections.
1968 | France
Crazy Ring, 2018 Ring_ Silver, bone, biwa pearls
PATRICIA LEMAIRE
1989 | Quincy, Il, USA
ZACHERY LECHTENBERG
Body Snatchers, 2018 Brooch_ enamel, copper, silver, steel, flocking, resin
Trained in objects and jewelry design at the École des arts appliqués in Metz in 1991, Patricia Lemaire pursued her studies at l’École des arts décoratifs de Strasbourg and graduated with a major in 1993. In her creative process, the context of acquisition is part of her own accomplishment. The tactile, sensory and sensual aspects of each element she selects to create her art pieces lead the result. Like explorers of new worlds, she collects her “naturalia” with care(bone, ostrish eggshell, seeds..). When the time comes, they will find their place in unique jewelry pieces
or objects, mainly made of silver or nickel silver. By highlighting the essential beauty of the most modest objects of nature, Patricia Lemaire offers us a very personal vision in jewelry. Her rings, brooches, pendants and necklaces are powerful objects, loaded with symbols as in the early days of humanity.
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Sue Lorraine is an Adelaide based artist who has established an artistic practice spanning over 30 years. Completing a Diploma of Art and Design at PIT (now Latrobe University) in 1979, Lorraine has gone on to exhibit both locally and internationally and help establish the renowned Gray Street Workshop with Catherine Truman and Anne Brennan. She was the Creative Director of the Metal Design Studio at the Jam Factory, Adelaide from 1999 to 2008 and is now an Arts Development Officer at Arts South Australia.
Working predominately with blackened mild steel, Sue, by this collection In Your Face, creates a series of brooches and neckpieces, large and small that employs an economy of details, simple forms and restricted palette of red, blue, black, and plays on our ability to recognise a human face.
1968 | Liestal, Switzerland | lives in Montreal, Qc, Canada
Untitled, 2017 Necklace_ Sterling silver, rubies, onyx, lava beads
PETRA LUZ
1955 | Melbourne, Australia
SUE LORRAINE
In your face, 2017 Brooch_ heat coloured mild steel, acrylic paint, silver, stainless steel
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. She recently starts to teach at the Ă&#x2030;cole de joaillerie de Montreal.
41 â&#x20AC;&#x201D;
Carlier Makigawa is one of Australiaâ&#x20AC;&#x2122;s most respected metalsmiths, working with silver and gold to create meticulously crafted frameworks, which hold a dynamic and expressive energy. She graduated in 1980 from Curtin University with a Bachelor of Fine Arts, later going on to complete her Masters in Fine Art at RMIT University in 1987. Since 1982 Makigawa has exhibited internationally and has her work in public collections such as the National Gallery of Australia in Canberra, Victoria & Albert Museum, London
and the Kyoto Museum of Modern Art. Inspired by her environment, she creates fascinating architectural pieces playing with geometry, lines, movement, nature and space. Impressive dynamic work!
1978 | Mishawaka, In, USA
Uncharted Waters, 2018 Bracelet_ Hand knit leather, oxidized silver
Brooke Marks-Swanson
1952 | Cottesloe, Perth, Western Australia
CARLIER MAKIGAWA
Untitled, 2017 Necklace_ sterling silver
Marks-Swanson is a metal artist currently residing in the Midwest. She speaks of her obsessions and observations through a universal language of textile and metal wearable art. She received her MFA in Metals from the University of Illinois, Champaign-Urbana, and a BFA in Jewelry Design and Metalsmithing from Indiana University, Bloomington. Her works have been exhibited nationally over 100 juried and invitational exhibitions and recently in Canada and Europe. Her work has been included in 17 publications including the Metalsmith Magazine Exhibition in Print
2009, 2014, 2016, 2017, in Lark Book Publications: 500 Plates and Chargers, The Craft of Silversmithing, and The Art of Enameling. Marks-Swanson spoke at SOFA Chicago 2016, on a panel titled: FIBER ART IN THREE DIMENSIONS: A History and Discussion of Fiber Art Off The Wall. 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. 43 â&#x20AC;&#x201D;
The Space Between, 2017 Brooch_ nickel silver, tombac, gold leaf, red pigment, gold mosaic
Märta Mattsson studied jewellery in Gothenburg at HDK School of Design and Crafts. She perfected her technique 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, her 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.
1957 | Edinburg, Scotland, lives in Barcelona, Spain
JUDY McCaig
1982 | Stockholm, Sweden
MÄRTA MATTSSON
Wings, 2017 Brooch_ Cicadas wings, resin, lacquer, silver, pigments
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.
na, in Barcelona and is often a visiting artist in different schools of Europe and abroad.
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 Massa45 —
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.
1949 | Amherst, Ma, USA
Efflorescence, 2017 Brooch_ carved and painted maple, holly wood, Micarta, sterling silver, 24k gold-plated brass
Bruce Metcalf
1967 | Toronto, On, Canada
Paul McClure
Membrane Series, 2017 Brooch_ terling silver, 3D printed nylon, stainless steel
From Massachusetts, Bruce Metcalf graduates from Syracuse University in New York with a double major in Craft/Metalsmithing and Architecture in 1972, followed by a master in Metalsmithing and Jewelry at Temple University in Pennsylvania in 1977.
past 45 years, including “Ornamenta 1” at the Schmuckmuseum in Pforzheim in 1989. His work is included in major institutions like the Metropolitan Museum of Art, the Philadelphia Museum of Art and the Victoria and Albert Museum in London.
Bruce’s pins and brooches have been exhibited internationally, and can be seen in a number of books about contemporary art jewelry. His work has been included in over 400 national and international jewelry exhibitions in over the
Metcalf’s writing on modern craft has been published widely and he co-wrote “Makers: A history of American Studio Craft” with critic Janet Koplos in 2010. He has contributed chapters to a number of craft theory anthologies 47 —
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 collections 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.
1976 | Sherbrooke, Qc, Canada
Untitled, 2018 Ring_ Sterling silver, 14kt yellow and pink gold, Malaya garnets
PIERRE-YVES PAQUETTE
1946 | Tokyo, Japan
KAZUMI NAGANO
Untitled, 2017 Brooch_ Paper thread, nylon thread, gold 18k, silver 950, Coloured with Sumi
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 con-
cept, 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 the United States.
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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.
1974 | Ludwigsburg, Germany
Chain Necklace, 2016 Necklace_ screenprinting cotton, medical gel
ULI RAPP
1963 | St-Louis, Mo, USA
MARIA PHILLIPS
One Single Short, 2017 Necklace_ Plywood, craft sticks, popsicles sticks, string
Uli Rapp (1974) received her Masters degree in jewelry design at the prestigious Sandberg Institute in Amsterdam. Fascinated by the Elizabethan splendour in dress decoration she translates it into wearable contemporary jewelry. Her collections have developed rapidly in a sophisticated style and use of smart materials - she invented a technique to apply medical plastic between textile. Uli’s necklaces, brooches and earrings interpret a love for antique gemstones and pearls contrasting with chunky chains. All pieces are
skilfully handmade in screen print on light weight soft materials. The combination of a contemporary artist’s tools with the hint of past splendour makes for tintillating jewelry: conversation pieces for bold wearers like famous Architect Zaha Hadid and Designer Nathalie Rykiel. Uli’s pieces are in permanent collections of international museums and private collectors. They are produced in Amsterdam by hand with love by Uli & the team. 51 —
Pamela Ritchie creates jewelry 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 2016, 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.
1983 | Umeå, Sweden
Parakeet, 2018 Bracelet_ Recycled plastic (soap bottles), thread
KARIN ROY ANDERSSON
1952 | Amherst, Ns, Canada
PAMELA RITCHIE
Alien Landscape, 2016 Brooch_ Wood, polymer, parawire, sterling silver, acrylic
Karin Roy Andersson received both her Bachelors and Masters degrees at the University of Arts and Crafts and Design in Gothenburg. Since then, she took part in an impressive number of exhibitions, both national and international. 2018 AJF Artists Award finalist, she received many awards, grants and scholarship. In 2010, she opened with 3 others jewelry artists « Four », a gallery and workshop in Gothenburg, Sweden.
yond the idea of recycling, her work is composed of sewn scales, to evocate fishes and the world of the oceans, a world that can be at the same time beautiful, attractive, frightening and secret. Multiplicity, repetition and recurrence are part of her artistic process, creating structures with movement and fluidity.
Her work is particularly impressive by the clever use of everyday plastic materials. Be53 —
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 com-
bining 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, Qc, Canada
Icarus Dive, 2016 Brooch_ Silver alloy, Galvanized steel
CATHERINE SHEEDY
1946 | Brooklyn, NY, USA
Biba Schutz
Looking Glass, 2017 Brooch_ Sterling silver, bronze, mica, steel
After receiving her diploma from the École de joaillerie de Québec in 2000, Catherine continued her studies in Visual Arts at the Université Laval. She was awarded her bachelor’s degree in 2003 and a master’s in Visual Arts in 2007. During that time, she participated in workshops in a range of techniques. Her interest in contemporary jewellery led her to participate in experimental workshops. The recipient of a number of awards and grants, Catherine 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. Curator of the 40 ans de passion, de création et de formation, the retrospective exhibition of the École de joaillerie de Montréal, Sheedy is the recipient of the 2017 Jean-Marie Gauvreau Award, award of excellence, given by the Quebec Craft Council.
Sondra Sherman’s work explores the distinctive voice of jewelry and the psychological and social context of the body/wearer. Subjects inherent to those contexts of personal and social identity have inspired diverse series of work which use the social codes and the private/public location of jewelry as a platform which invites a broad audience to a conversation grounded in empathy. ‘Upside Down in Paradise’ her most recent series, expresses the experience of displacement and the poetic paradoxes found in the
day to day of ‘California Dreamin’ as photographed or recorded from ‘the road’. 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 LACMA, Los Angeles, CA, the MAD, NY, the Metropolitan Museum of Art, NY.
1979 | Augsburg, Germany
Medulla 3, 2014 Necklace_ Cactus, silver, graffiti, paint
CARINA SHOSHTARY
1958 | Philadelphia, Pa, USA
SONDRA SHERMAN
‘TacosMassageKeepClear’, 2018 Necklace_ Steel, Sterling, Digital Print on Aluminum
Carina Shoshtary studied goldsmithing in Neugablonz. The artist pursued her education at the Academy of Fine Arts in Germany under Professor 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 on the ground. Maintaining a fusional relationship with color, she keeps it at the core in her creative researches, adding sometime found organic materials.
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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 jewelry is interpreting emotive qualities such as resilience, fragility, and endurances can be sensed through the persistent transformation of tree branches.
1977 | Sydney, Ns, Canada
Echoes 7, 2017 Pendant_ Cherry, cotton
Despo Sophocleous
1957 | South Korea |lives in Halifax, Ns, Canada
KYE-YEON SON
Untitled, 2017 Brooch_ Enamel on steel, stainless steel
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. In November 2017, Galerie Noel Guyomarc’h hosts her solo exhibition Echoes. 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. 59 —
Silke Spitzer studied traditional jewelry 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 Jewelry Design. Since then, she has worked as an independent artist in Berlin, where she teaches at Coop Gold, a small jewelry school she co-founded in 2011. The school offers instruction to the local community in traditional yet challenging and innovative techniques of jewelry making. Her work has been showcased 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. For the fall 2019, a duo exhibition with Rike Bartels is planned at the gallery.
1945 | Montreal, Qc, Canada
Dark Diamond Delight, For a Maharajah, 2017 Necklace_ Iron wire, seed beads, magnets, crocheted
Barbara Stutman
1973 | Ruit auf den Fildern, Germany
SILKE SPITZER
Cotton Feathers, 2018 Necklace_ Cotton, silver
Barbara Stutman studied Fine Art and Art History at the Montreal Museum of Fine Arts, Concordia University and the Saidye Bronfman Center. Early in her career her focus changed from creating jewelry designed around aesthetics to more challenging pieces that stimulate the mind as well as the eye. This development unfolded concurrent with her decision to work using textile techniques such as weaving, knitting and crocheting.
written about worldwide. Her work is included in the permanent collections of the Musée national des beaux-arts du Québec in Quebec City, the Montreal Museum of Fine Arts, the Koch Ring Collection in Switzerland, the Racine Art Museum in Racine, WI and the Museum of Arts and Design in New York City.
Stutman’s jewelry has been exhibited and 61 —
Jelizaveta Suska received her BA from the Art Academy of Latvia in metal design. At the age of 24 she moved to Gothenburg in Sweden to study. In 2015 she graduated from the Academy of Design and Crafts (HDK) with MA degree at the University of Gothenburg. She was also educated in Germany and Japan. In 2016 she received the Amberif Design Award (Gdansk) and the Dr. Herbert Hofmann Prize at Schmuck (Munich). Small article about winning works of Dr. Herbert Hofmann Prize was featured in The New York Times International. In 2018 Jelizaveta was finalist for Art Jewelry
Forum Award (San Francisco) and Mari Funaki Award (Melbourne). Her works represented in the Stockholm National Museum of Art and Design, gallery Platina Stockholm, gallery Four, gallery Alice Florianto in Brazil, gallery Beyond (Antwerp) and in several private collections.
1948 | Alfta, Sweden
Tube, since, 2012 Ring_ Steel, paint
TORE SVENSSON
1989 | Latvia
JELIZAVETA SUSKA
Frozen in Amber 5, 2017 Brooch_ polymer, amber, 14k gold, titanium
With an internationally recognized oeuvre and a career spanning more than four decades, Tore Svensson is a key figure in Swedish jewelry and silversmithing. Apart from being a prolific studio artist, he has held the position of professor of jewelry at this alma mater, the HDK School of Design and Crafts at the University of Gothenburg. Concentration and precision form the signature style of the artist, whose work stands out for its sophisticated use of steel as a material for jewelry and hollowware. Svensson prefers
to create his jewelry works in conceptually unified series in which the individual pieces show a range of subtle variations in form, texture and color. In addition to being part of important private and public collections, his work has been presented in internationally in numerous museums and galleries. Svenssonâ&#x20AC;&#x2122;s pieces have been selected several times for the prestigious Schmuck exhibition in Munich.
63 â&#x20AC;&#x201D;
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. Self-taught and trained by her artist parents, she 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. She won the Prix François-Houdé in 2017 and was finalist at the Niche Stu-
dent Awards (2013) and the Arts and Crafts Awards (2014). In 2016 and 2017, her work was exhibit in prestigious exhibitions such as SOFA Chicago (USA), Parcours Bijoux (France), The Canadian craft biennial (Canada) as well as in Spain, Greece and Romania. In her studio, Magali plays with unexpected materials in jewellery such as polyurethane and vinyl. To escape the real world, she creates attractive, intriguing and playful colourful pieces.
1978 | London, Great-Britain
Natura Morta: Buttercups & Cornflowers, 2017 Necklace_ Hand Painted Sterling Silver
Christopher Thompson Royds
1985 | Montreal, Qc, Canada
MAGALI THIBAULT-GOBEIL
Sunshine Candy-2018 Brooch_ polyurethane, vinyl, cord, magnet, cotton thread
The work of jeweler Christopher Thompson Royds is concept-driven; each theme informs the techniques used. He grew up in the Oxfordshire countryside in England, studying jewelry at London Metropolitan University before completing his studies with an MA at the Royal College of Art in London. He work is included in numerous international private and public collections in Europe and United States. After discovering hundreds of pressed flowers preserved as species identifiers in the archive at the Natural History Museum in that city, Thompson Royds was inspired to create,
Natura Morta, a series exploring the tradition of flowers as a decorative motif in jewelry. Fragile Thracian crowns of gold laurel leaves have survived millennia, yet the wreaths that inspired the form wouldn’t last even one person’s lifetime. The permanence of jewelry and the impermanence of flora influenced him to create this collection of hand-pierced and hand-painted flower necklaces and earrings in silver and gold.
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Blanche Tilden graduated from the Canberra School of Art with a Bachelor of Art (Visual) specializing in Glass in 1992, followed by a Graduate Diploma of Art in Gold and Silversmithing in 1995. She went on train under renowned jeweler Susan Cohn as part of the Australia Council Traineeship. Blanche Tilden’s distinctive use of clear glass in the creation of contemporary jewellery explores the ever-present use of glass in objects and the built environment.
Throughout 20 years of practice, Tilden has developed a unique visual and material vocabulary, referencing mechanical technology, industrial modernity and architecture. Being both a solid and a liquid, strong and fragile, and a ubiquitous element of every digital device and city landscape, the material and paradoxical qualities of glass are explored by Tilden in necklaces designed to be worn and to move with the body. Her work has exhibited in numerous international group and solo exhibitions since 1990.
1968 | Helsinki, Finland
Trèfle, 2016 Ring_ opal, reconstructed stone, cement
Terhi Tolvanen
1968 | Kiama, New South Wales, Australia
BLANCHE TILDEN
Flow, 2016 Necklace_ borosilicate glass, titanium
Terhi Tolvanen is revered for her observations of nature transformed into stunning, sculptural jewelry. Juxtaposing wooden branches with silver metalwork, concrete, pearls and stone, her wearable sculptures transcend expectations and norms. Tolvanen makes no compromises, yet they feel comfortable in their scale as they are comfortably built for wear, as if nature intended them to be just as they are, and for them to be worn.
Cooper Hewitt National Design Museum, NYC and can be found in important collections worldwide, including the Victoria & Albert Museum, London, UK, the Rijksmuseum, Amsterdam, NL and the Jewelry Museum of Pforzheim, Germany. Terhi Tolvanen currently lives and works in the French countryside.
Born in Finland, Tolvanen’s work was featured in the 2016 Design Triennial at the 67 —
Anne-Sophie’s first contact with metalsmithing was in 2008 in Taxco, Mexico, in the Universidad Autónoma de Mexíco’s metal department. She obtained a collegial diploma in Craft with focus on jewelry from the Cégep du Vieux-Montréal in partnership with the École de joaillerie de Montréal in 2011. She recently graduated from NSCAD University, Halifax, Nova Scotia, and holds a BFA with major in Jewelry Design and Metalsmithing. She was an artist-in-residence at the Harbourfront Center, Toronto, in 2016 and is now based in Halifax.
The artist has exhibited her work in Canada, the United States and Europe. She is also the winner of L.A Pai Gallery’s 13th National Student Jewellery Competition in Canada. Her work was selected for Espace habité/Inhabited space, an exhibition curated by Noel Guyomarc’h and Stéphane Blackburn presented in Paris and Barcelona in 2017.
1967 | Warnsveld, The Netherlands, lives in Melbourne, Australia
Chunky Daisy, 2016 Necklace_ porcelaine, glaze, thread
MANON VAN KOUSWIJK
1983 | Sherbrooke, Qc, Canada
ANNE-SOPHIE VALLÉE
Sponge, 2017 Brooch_ Gypsum cement, pigments, silver
Manon van Kouswijk studied at the Gerrit Rietveld Academie, Amsterdam and in 1994 was a guest student at the Munich Academy studying under professor Otto Künzli. Manon has gone on to work internationally and teach at institutes such as Hiko Mizuno College of Jewellery in Tokyo, Gerrit Rietveld Academy in Amsterdam and Monash University in Melbourne where she is currently the MADA jewellery studio coordinator. «I like to think that it’s possible to reinvent jewellery, despite the fact that its archetyp-
al forms and motifs haven’t fundamentally changed throughout its long history. I view these archetypes as templates that I use for my translations of the jewellery types I work from. Within my work I explore the visual and conceptual scope of the beaded necklace and other archetypal jewellery forms. Through the manipulation of materials and making processes I develop translations and reinterpretations that give new meaning to these existing types.» 69 —
Aric Verrastro is a Wisconsin-based artist who graduated with an MFA in Metalsmithing and Jewelry Design from Indiana University in 2015. He recently taught as a Lecturer in Foundations at the University of Wisconsin-Stout. The American jeweler was selected for Talente 2015, an annual prestigious international exhibition held in Munich, Germany, and a finalist for the Art Jewelry Forum Artist Award in 2016. His work is included in the permanent col-
lection of the Cooper Hewitt-Smithsonian Design Museum in New York and Alliages in Lille, France. Aric Verrastro has frequently shown this work in national and international exhibitions, and it can be seen in several publications such as American Craft and Current Obsession Magazine.
1965 | Freiburg, Germany
Salt Marsh Long house, 2014 Brooch_ Silver, bone china porcelain, seed pearls, Siberian pyrite, ammonite, glass, synthetic resin
ANDREA WAGNER
1985 | Menomonie, Wi, USA
Aric Verrastro
Flor Sagrada, 2018 Brooch_ Sls nylon, Steel, Sterling silver, Thread, Acrylic paint
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 jewelry making through evening classes, and in 1992 she decided to devote herself to this new interest. After a long-year technical internship with a Berlin metalsmith and studies as guest student 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 ex-
hibitions 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.
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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 wear-
er. 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 and is included in museum collections among them, the Montreal Museum of Fine Arts and the Houston Museum of Fine Arts.
1973, Montreal, Qc, Canada
Future primitive /Stick, Stone, Bone /Specimen III, 2018 Necklace_ Green quartz, smoky quartz, topaz, vanadinite, composite material, silver, steel
Lawrence Woodford
1965 | Gelsenkirchen, Germany
SILVIA WALZ
Light and Shadow, 2016 Brooch_ Steel, Enamel, 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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