INVISIBLE

IN VISIBLE

To my 3 moms, Luz Stella Nouguez (Mother), Aurora Nouguez (Aunt) , Guma (Grandma) because you have blindly belived in me and never have stopped supporting my dreams no matter how difficult and crazy they get.

2

INVISIBLE M FA j e w e l l e r y a n d b o d y o r n a m e n t

research by Lumy Nouguez 5

Credits »PHOTOGRAPHY

Lucy Plato Clark »PHOTO EDITING

Lumy Nouguez »MODELS

Kristhel Jimenez Caterina Weck »GRAPHIC DESIGN

Lumy Nouguez »WRITERS

“Mold, Redemption, Stupidity” - Doris Maninger “Dear Custom Officer” - Chumeng Weng Notebook content - Lumy Nouguez »COPY EDITOR

Chumeng Weng »SOURCES OF INSPIRATION Studio Aikieu, Material Alchemy. Amsterdam, Holland 2014 Ribul, Miriam, Recipes for material activism. 2013 Pepin, Juliette, Bioplastics, 92 Experiments on Bio-plasticity. 2013 Zhong, Liwen., Green, Hannah., Leonhardt, Josefine., Fibre Fabrics, 2015

Firenze, Italy 2016

6

Acknowledgements I would like to express my deepest gratitude first of all to my 2 tutors Ruudt Peters and Lucy Sarneel for guiding me through these 2 years and infuse me with your great passions. Ruudt, thank you for gettig me out of my confort zone and confronting my demons. Thank you for having faith in me since day 1, even though I had no clue about contemporary jewellery and for teaching me that ugliness can be beautiful too.

Lucy, you presented me a complete opposite and fresh perspective that helped my project to become what it is today. Thank you for making me consider the materiality. I found my new obsession because of that: bioplastics! Thank you for not letting me giving up in those moments I couldn’t find the accurate solution for my pieces. I feel very lucky to have you both as my professors.

A very big thanks to all the great professors I had during these 2 years especially to Lucia, Doris, Riccardo and Antonia. Lucia, thank you for introducing me the world of pigments and minerals that made me to fall in love with. and all the critics that kept us on track. Doris, thank you for all your amazing and instructive talks that got me out of my ignorance about jewellery. Riccardo you are so passionate about art and your students and all of that transmited through your super cool and interesting lessons.

Antonia thank you for introducing us the world of curating and exhibitions and letting us understand how detail oriented and complex an exhibition can be. Thank you for encouraging us to take risks with our shows!

And very last but not least to my real first firsts! (Carla, Marissa, Francesco, Lili and Chumeng) I feel very fortunated to be part of this master group. Without you guys the MA wouldn’t have been the same. Thank you for the support, the critics, the advices, the laughs, the tears, the dinners that enriched 100% more my experience here, Special thanks to my dear and very unique friend Chumeng, who never let go of my hand in the difficult times during these 2 years and showed me that weird can be fun too!

Apologize in advance if I forgot to mention anyone as a consequence of many sleepless nights I spend to put together this book.

7

8

An outcome of a process that transforms microscopic proliferations from ordinary to extraordinary by honoring them, giving these lives the attention they deserve.

Creating them as a provocation to feel, to see what you normally don’t look. But also accepting them as what they are, a natural process of life.

This, is my redemption for these ethereal undergrowths

9

about this research Immersed in a deep observation of the “invisible� has triggered me to discover some unexpected beauty on the obscured and the prejudiced microcosms. I am determined to transform these microscopic proliferations to the exact opposite with respect to the original inspiration by making them visible, tangible, and wearable.

It goes without saying that these proliferations are inherent to all living beings as a part of the life cycle. Hence I delve into a two-year research on alternative materials that are organic and environmentally friendly. A selection of recipes is referred-some of my invention, others already existed then modified accordingly. The discoveries achieved during this process lead to the creation of new materials made out of ingredients such as agar agar, sturgeon glue, gypsum, etc.

What appears to be more surprising are those composed by ingredients which one can find in his/her cupboard: a mixture between components such as potato starch, vinegar, milk and oil turns into strong bioplastic, resilient to daily wear and tear.

A detailed representation of the mesmerizing microcosms is depicted with pigments, fibers, adhesives and recycled glass all of natural sorts. The end result portraits my source of inspiration at its best and is durable to be worn as jewellery pieces.

10

Treating these elements with reverent fascination, a series of 213 pieces is born to colonize surfaces on the body and on elements that are normally neglected in daily life, prompting the spectator to look closer and maybe, to be surprised.

Examples can be seen on the edge of pockets, eyeglass frames, shoe cuffs, and ultimately directly on the skin, as if these proliferations were growing and spreading on us.

The pieces are not worn as conventional jewellery but with different mechanisms that encourage the wearer to explore forgotten reliefs, directing the sarcasm on the fact that even though the pieces are following their natural paths of growth, they should no longer be perceived as a stigma.

This project is an invitation to allow ourselves to be surprised again as children, discovering new cosmos where we expect the least. It also seeks to break through the boundaries of traditional jewellery, exploring new possibilities of wearability and reinterpretation.

11

12

Mold, Redemption, Stupidity a free mind flow on words Mold: earth, dust, ground rich and favourable to growth an organism accentuating instability, a catalyser for change, de-construction, de - expressing reversal construction, com struere, pile up together Mold: pile up and crash, the circle of life, Jewellery: a testimony to this circle Redemption: we have to buy back, what we gave away was there a paradise we did not recognise? we need to stop, to see, Stupidity and science: do they have something in common? standing still with an open mouth stupid we don’t understand, we have to search for answers, the open mouth remains, Stupendous: we did not know, we stopped and saw Stupendous: can the open mouth redeem? shut your mouth darling, or a bug might fly in, mold again it’s gross, it moves, it’s changing, it’s gone Look darling, did you see this?

Isn’t it stupendous?

Written by Doris Maninger 13

material experimentation

14

TRIAL AND ERROR EXPERIMENTS OF BIOPLASTICS THAT ALLOWED ME TO UNDERSTAND BETTER EACH OF THEIR PROS AND CONS, LEADING ME TO A SELECTION OF MATERIALS THAT ADDAPTED PROPERTLY TO WHAT I WAS LOOKING FOR TO CREATE THE PIECES.

Base ingridients for these experiments: »potato starch »corn starch »tapioca starch »flour »dried mushrooms »sugar »salt »milk »distilled water »almond oil »coconut oil »olive oil »glycerin »vinegar »gelatin »psyllium husk »agar agar »yeast »natural pigments »food coloring »sturgeon glue »albumina glue »starch glue »ox glue »onion skin »garlic skin »paper pulp »fennel pulp »lavender seeds »pencil shavings »cotton »recycled glass balls 15

NOTEBOOK GUIDE ~ ICONOGRAPHY How to use this notebook 1 PROLIFERATIONS CLASSIFIED BY:

2 PROLIFERATIONS IDENTITY

SIZE GROUP MATERIALITY GROUP Spora Hyphae Thallus Mycellium

vg. volterra gypsum od.

NAME OF THE PIECE DIMENSIONS (LXWXH)

organic dry shape

aa. agar agar

w/pg.7

w/pg.5

EXTRA CONTENT WEARABILITY SYSTEM

pm. paper mache Primordia Cultum

4

gl.

galalith

ps.

potato starch

NAME MEANING ~ EXAMPLE

Hyphae glaucous ps.

MATERIALITY / RECIPE COLOR IN LATIN SIZE GROUP

PROLIFERATIONS MATERIALITY RECIPES ~ terminology needs to be cooked on small pot, preferably on electric stove. needs to be baked (easier and faster in electric oven) dry outdoors if there is good weather (avoid direct sunlight) Use fan in case you need some help with the drying time All recipes produce light weight results. Feather: very light Anvil: can get heavier with size Material’s toughness when it falls. Glass: it could get chipped.

Fist: very resistant Rate your favorite recipes on a scale from 1 to 5 stars!!

16

3 WEBSITE :

EXTRA CONTENT studionouguez.com

Some pieces contain additional content. Search for the name of a piece and identify the following icons:

GO TO WEBSITE

This icon symbolize videos on my website about how to wear the pieces. To find certain video, go to Extra Content and click on the name of the piece that you are interested.

W:GO TO WEBSITE PG.#NOTEBOOK PAGE

This icon symbolize complementary pictures of the pieces, on the body or on daily objects.

To find certain picture go to the page written on each icon or on the website repeating the step of the video icon.

W:GO TO WEBSITE

This icon symbolize macro shots of some of the pieces. To find it, follow the arrow conected to the loupe icon or on the website in a bigger scale repeating the previous step.

w/pg.5

NOTEBOOK GUIDE ~ ICONOGRAPHY Wearability Systems:

each jewel has one of the following systems

System name: Pin in

System name: Flow it

Description: regular pin with clutch for the clothes.

Material: Shibuichi

Description: adapts to certain shape of the body Material: plaster cloth(piece holds itself)

System name: Slide it

System name: Clip on

Description: regular stick pin for the clothes.

Material: stainless steel, silver.

Description: insert onto eyeglass frames or objects with some thickness Material: stainless steel, silver, rubber

System name: Edge clip

System name: Stick on

Description: to insert in edges of clothing, shoes, bags etc.

Material: stainless steel, silver.

Description: to glue on the skin or attach to objects with velcro system Material: velcro hook + loop coins, skin glue 17

NOTEBOOK GUIDE ~ ICONOGRAPHY How to keep the proliferations safe Avoid contact with water or any liquid such as lotion and perfume Keep it in the box while not in use, separated from other pieces PULL

TO TAKE IT OUT FROM THE STICK PIN, GENTLY PINCH THE OUTER LID OF THE CLUTCH AND PULL UNTIL THE CLUTCH IS OUT AND RELEASE IT.

BODY/ CLOTHES

GLUE

REMOVER

PASS THE BROOCH NEEDLE AT LEAST 2 TIMES INTO THE FABRIC TO MAKE IT MORE STABLE AND LEAVE THE SHARP POINT OUT TO AVOID POKING YOURSELF

DO NOT PULL OUT THE NEEDLE. IT COULD DETACH THE MECHANISM FROM THE PIECE

STRETCH THE FABRIC WITH TENSION AND SLIDE THE EDGE CLIP WITH THE OTHER HAND. (IT WORKS THE SAME AS A PEN CLIP)

DO NOT PULL OUT THE CLIP. IT COULD DETACH THE MECHANISM FROM THE PIECE

LOOK FOR THE VIDEOS ON THE WEBSITE OR ON THE PICTURES OF THIS NOTEBOOK TO FIND OUT HOW TO WEAR THEM

DON’T FORCE IT. IF IT DOESN’T FIT, IT DOESN’T FIT. YOU COULD END UP CRACKING IT

PRESS OR OPEN WITH THE FINGERS VERY SOFTLY AND SLOWLY TO ADJUST THE OPENING ACCORDING TO THE THICKNESS YOU NEED.

PRESS DOWN, HOLDING CAREFULLY THE PIECE FROM THE BORDERS.

PROS-AIDE II / REMOVER MEDICAL WATER BASED ADHESIVE FOR THE SKIN. STRONG BOND AND NON TOXIC.

18

GLUE VELCRO HOOK GLUE SKIN

APPLY SOME GLUE ON THE SKIN AND ON THE HOOK VELCRO BASE, THEN LET DRY UNTIL CLEAR BEFORE ATTACHING IT TO THE SKIN.

NOTEBOOK GUIDE ~ ICONOGRAPHY what about over time?

So far the materials used for the proliferations have demonstrated to be strong, stable and inodorous after more than one year.

But keep in mind that all the recipes used for this research were based on natural ingredients. Therefore, they are like “living pieces” that can take a life on their own such as change of color, cracks and/or scent.

DO NOT HESITATED TO CONTACT ME AT NOUGUEZ@GMAIL.COM TO SHARE THIS POTENTIAL TRANSFORMATIONS THAT WILL CONTRIBUTE TO ENRICH THIS RESEARCH AND TO FURTHER THE POSSIBILITES OF THESE BIOMATERIALS. ANY QUESTION ABOUT THE FOLLOWING RECEIPES ARE ALSO WELCOMED.

19

THE LAB

20

DEMOCRATIZATION OF JEWELLERY BY USING LOW TECH AND EVERY DAY MATERIALS MIXED WITH AN ORDINARY MATTER, TRANSFORMING IT INTO A TACTILE EXPERIENCE. WHY NOT, GET INSPIRED TO MAKE YOUR OWN VERSIONS AND HELPING TO MAKE US MORE AWARE ABOUT THE IMPACT OF TRADICIONAL MATERIALS ON THE ENVIROMENT AND HOW THESE BIOPLASTICS ARE BECOMING EVERY TIME MORE UNIVERSAL. THERE IS STILL A LOT OF POTENCIAL TO WORK ON. SO, LET’S GET DOWN TO WORK!

21

22

Recipes 23

RECIPE GUIDE ~ MATERIAL PREP. vg

volterra gypsum

INGRIDIENTS

PREPARATION STEPS

»PHARMACEUTICAL PLASTER CLOTH (MADE FOR ORTHOPEDIC CASTING) » VOLTERRA OR NATURAL GYPSUM » STURGEON GLUE (RATIO 1:10) »WATER (PREFERABLY DISTILLED WATER) » NATURAL PIGMENTS » NATURAL FIBERS » VASELINE » DAMAR

1. Cut some stripes of the plaster cloth.

USEFUL INFORMATION

» sturgeon glue is used to make the plaster cast hard as a rock and less brittle in case it falls. » if it falls it may chip in a protruding edge. (Easy to fix with some of the creamy mix.

1

2. Apply some vaseline as a release agent on the area that you will cover with plaster cloth.

3. Pour some distilled water in a little bowl.

4. Immerse a stripe in water and then start to place it on the area you want to create (body or object) until you cover it all with 2 layers of plaster cloth and let dry.

5. Once it’s completely dry and you feel it won’t fall apart when you take it off, release it from the body/object or apply 1 more layer if necessary.

6. After it’s released, add some sturgeon glue to the bowl with water, immerse a stripe of plaster cloth in this mix and start to cover all the plaster object with some layers until it gains some thickness and let dry completely.

» when adding pigments to the mixture the gypsum behaves as a white pigment, so you might need to add extra pigment for a more intense color. when it’s 100% dry you will see the final color.

7. In a small bowl add some volterra gypsum, natural pigment for some color, a tiny amount of water and mix until getting a creamy consistency.

FUN FACTS

9. Add more pigments or natural fibers to your desire.

» Most caviar, especially the high quality, come from sturgeon fish. » Sturgeon glue is used in painting conservation.

8. Start to spread with a brush the creamy mixture on the plaster cast until the surface loses the cloth texture.

10. Apply damar matte varnish in spray or liquid to seal as a final protection.

DRYING TIME

BETWEEN 1 OR 2 DAYS 24

25

Cultum venetus vg.

10x6x1 cm w/pg.43,44

26

Cultum aureus vg.

16x9.5x6 cm w/pg.39

27

Cultum cervinus vg.

14x9x5.5 cm w/pg.58

28

Cultum niger vg.

10x5x4 cm w/pg.38

29

Cultum subroseus vg.

8x4.5x4.5 cm w/pg.60,63

30

Cultum cretaceus vg.

10x3.5x3.5 cm w/pg.61,62

31

Cultum cyaneus vg.

9x5.5x2.5 cm w/pg.43

32

Cultum viresco vg.

8x3x1.5 cm w/pg.42,82

33

Primordia aureolusum vg.

7x3.5x2 cm w/pg.114,116

34

Primordia glaucous vg.

Primordia lividus vg.

5x4.5x3 cm

5x4x3 cm

w/pg.60,63

w/pg.61,62

35

Primordia russusum vg.

Primordia flavus vg.

5x3x3.5 cm

5.5x4x4 cm w/pg.114,116

w/pg.39,40

36

Thallus canesco vg.

Thallus viridulus vg.

4x2x2 cm

3.5x2x1.5 cm w/pg.60,63

w/pg.114,116

37

38

39

40

41

42

43

44

45

RECIPE GUIDE ~ MATERIAL PREP. od

organic dry shape

2

INGRIDIENTS

PREPARATION STEPS

» volterra or natural gypsum » sturgeon glue (ratio 1:10) »water (preferably distilled water) » Organic dry shapes or dehydrated » natural pigments » natural fibers » damar

1. In a small bowl add some volterra gypsum, then add some distilled water and some sturgeon glue, mix well all together. The consistency has to be a little bit watery to be able to spread it easily with a brush.

USEFUL INFORMATION

2. Start to spread with a brush the mixture or if you made enough quantity dip the organic dry object directly with the mixture until its surface is well covered and let dry completely.

» sturgeon glue is used to make the plaster cast hard as a rock and less brittle in case it falls.

3. Apply some more layers (around 3) with the mixture, let dry in between each layer.

» if it falls it may chip in a protruding edge. (Easy to fix with some of the creamy mix (see pag 24)

4. Start to thicken the mixture by adding more volterra gypsum, sturgeon glue and less water in proportion with the other 2 and apply on the object with a brush.

» when adding pigments to the mixture the gypsum behaves as a white pigment, so you might need to add extra pigment for a more intense color. when it’s 100% dry you will see the final color. » you can get bigger and lighter pieces using the dry organic shapes as the structure.

FUN FACTS

» Most caviar, especially the high quality, come from sturgeon fish. » Sturgeon glue is used in painting conservation.

5. Add some natural pigments to the mixture in case you want to put some color to the base of the object.

6. Stop applying layers after testing how hard the object is once dried by squeezing it with the fingers It should feel hard as a rock.

7. Add more pigments or natural fibers to your desire.

10. Apply damar matte varnish in spray or liquid to seal as a final protection.

DRYING TIME

AROUND 1 DAY, 1/2 HOUR BETWEEN LAYERS 46

47

Cultum olivaceus od.

6x4.4x5.5 cm w/pg.101,102,105

48

Cultum cinereus od.

5x5.5x1.7 cm w/pg.101,102,105

49

Primordia rubidus od.

6x3x3.3 cm w/pg.102,105

50

Primordia canescens od.

Mycellium eburneus od.

5x4x2.5 cm

4x3x3 cm

w/pg.100,103

w/pg.101,102,105

51

Mycellium subroseus od.

Mycellium flavusum od.

4x3.5x1 cm

4x3x1.5 cm w/pg.90,92

w/pg.101,102,105

Mycellium robiginosus od.

Mycellium caeruleus od.

4.5x4x2 cm

4.5x2.5x1.5 cm

w/pg.93,105

w/pg.100,103

52

Mycellium niveus od.

Thallus miniatus od.

4.5x2x1 cm

4x3x1.8 cm w/pg.101,105

w/pg.101,105

Thallus subalbus od.

Mycellium subcaeruleus od.

4x2.5x2 cm

4x2.5x1.5 cm

w/pg.102

w/pg.105

Mycellium cinereus od.

Thallus lividusa od.

4x3x1 cm

4x1.8x1 cm w/pg.100,103

w/pg.103

53

Thallus carneus od.

Thallus herbaceus od.

3.5x2.5x2 cm

3.5x2x1 cm w/pg.101,105

w/pg.101,105

Thallus gilvus od.

Thallus russusa od.

4x2.5x1 cm

3x1.5x1 cm

w/pg.101,105

w/pg.102

Thallus argenteus od.

Thallus canescentis od.

3x2.5x1 cm

3x1.5x2 cm w/pg.101,105

w/pg.114,116

54

Thallus caeruleusa od.

Thallus purpureus od.

3.5x2x0 cm

2.5x2.5x2 cm w/pg.103

w/pg.100,103

Thallus glaucous od.

Thallus olivaceum od.

2.5x1.5x2 cm

3x1.5x1 cm

w/pg.114,116

w/pg.114,116

Thallus candidus od.

Thallus electricus od.

3.5x1.5x1 cm

3.3x1.5x1 cm w/pg.101

w/pg.114,116

55

Hyphae violaceus od.

Hyphae caesius od.

2.5x2x1.3 cm

2.5x1.3x1.3 cm w/pg.114,116

w/pg.114,116

Hyphae purpureus od.

Hyphae roseus od.

2x2x1 cm

2x1.3x1 cm w/pg.114,116

w/pg.114,116

Hyphae lîvidusa od.

Hyphae russus od.

2.5x1.5x1.5 cm

1.5x1x1.5 cm

w/pg.114,116

w/pg.114,116

56

Hyphae puniceum od.

Hyphae aureum od.

Hyphae badius od.

2x2x0.5 cm

2.5x0.8x1.3 cm

2x1x1.3 cm w/pg.114,116

w/pg.114,116

w/pg.114,116

Hyphae canus od.

Hyphae flavum od.

Hyphae ravus od.

1.5x1.5x1.5 cm

2x1.5x0.7 cm

1.5x1.3x0.8 cm

w/pg.114,116

w/pg.114,116

Hyphae subalbus od.

Hyphae subviridis od.

2x1.3x1 cm

1.8x1.5x1 cm

w/pg.105

w/pg.114,116

57

w/pg.114,116

58

59

60

61

62

63

RECIPE GUIDE ~ MATERIAL PREP. aa

agar agar

3

INGRIDIENTS

PREPARATION STEPS

» 1 tsp agar agar » 4 tsp water (preferably distilled water) » 1/2 tsp white vinegar » 1 tsp potato starch » natural pigments and or food coloring » sturgeon glue (ratio 1:10)

1. In a small bowl add 1 tsp of agar agar, 4 tsp of distilled water, 1/2 tsp of white vinegar, 1 tsp of potato starch and a few drops of food coloring in case you want to have some color in the mixture, if not it will remain as light brown.

Stir well until all ingredients are blended.

Mixture ratio 1 : 4 : 0.5 : 1 USEFUL INFORMATION

» better to work directly on a metal tray to avoid further transportation since the mixture is fresh and loose it could result in the structure falling apart while handling. If it is a small piece, try to move it with a palette knife. » Make sure the base surface of the piece is touching the metal tray that will go in the oven, in order to heat the piece evenly. otherwise the mixture won’t cook well and will result in a sandy, soft and brittle CONSISTENCY. » do not apply too much pigment in the mixture, it will stay sandy once dry.

FUN FACTS

» Agar agar is a jelly-like substance, obtained from algae, vegans use it as a replacement for animal gelatin. »AGAR AGAR IS USED AS A GROWTH MEDIUM FOR THE CULTURING OF BACTERIA, MOLD OR YEAST.

2. Once you get the paste, place it on a metal tray for electric oven and work on the shape or thickness to your desire, help yourself with a palette knife and sculpting tools.

3. Cook in electric oven for 10 minutes at 100 °C, let it cool down and remove very carefully from metal tray with a palette knife. Now the mixture should have become harder but is not dry yet.

4. Leave alone and let dry completely until it becomes hard as a rock.

5. To make it even stronger or fix uncooked areas, apply sturgeon glue with a brush on the surface and let dry.

6. Add more pigments or natural fibers to your desire.

7. Apply damar matte varnish spray to seal as a final protection.

DRYING TIME

BETWEEN 2 OR 3 DAYS 64

65

Cultum armeniacus aa.

8x6x3.5 cm w/pg.39,93

66

Primordia gilvusum aa.

6x6x3 cm w/pg.101,105

67

Primordia cervinus aa.

6x4x3.5 cm w/pg.59

68

Primordia viridentis aa.

Primordia ater aa.

5.7x4x2 cm

5x4x2.5 cm w/pg.61,63

w/pg.58

69

Primordia eburneusum aa.

Mycellium niveusaum aa.

5.7x3.5x1.3 cm

4.5x3x3 cm w/pg.59

w/pg.60,63

70

Primordia glaucusa aa.

Primordia piceus aa.

5.5x4x1.8 cm

4.8x4.5x1.5 cm w/pg.101,105

w/pg.61,62

Primordia subalbus aa.

Mycellium caesiusum aa.

5.5x3x2 cm

5x3.5x2.5 cm w/pg.58

w/pg.43,45

71

Primordia electricusum aa.

Mycellium fulvusum aa.

5x4x2.5 cm

4.5x4x2 cm w/pg.114,116

w/pg.38

Mycellium vireo aa.

Mycellium herbaceus aa.

4.5x3x2.5 cm

4.5x4x1.5 cm

w/pg.61,63

w/pg.43,45

72

Mycellium citreusum aa.

Mycellium phoeniceus aa.

5.5x3x1 cm

4.5x3x1.5 cm w/pg.101,105

w/pg.101,105

Mycellium gilvusa aa.

Mycellium fulvus aa.

5x2x2.5 cm

4.5x3x2.5 cm

w/pg.114,116

w/pg.101,105

73

Mycellium violaceusum aa.

Mycellium roseus aa.

4x4x1 cm

4x4x1.7 cm w/pg.102

w/pg.114,116

Mycellium puniceus aa.

Thallus cyaneusum aa.

4x4x1.5 cm

3.3x3.3x1.5 cm w/pg.58

w/pg.114,116

Mycellium ravusa aa.

Thallus robiginosus aa.

4.5x3.5x1 cm

3x4x1.5 cm w/pg.59

w/pg.102

74

Mycellium canus aa.

Mycellium caneo aa.

4x3.5x1.5 cm

4x3.5x1 cm w/pg.90,92

w/pg.90,92,93

Mycellium virentis aa.

Thallus subruber aa.

5x2.5x2.5 cm

3.7x3x2 cm

w/pg.93

w/pg.105

Thallus cyaneusa aa.

Thallus subroseus aa.

3.5x3x1.5 cm

3.3x3.3x1.5 cm w/pg.100,103

w/pg.114,116

75

Thallus candidusa aa.

Thallus caneo aa.

4x3.5x1.5 cm

3.7x3x1 cm

w/pg.114,116

w/pg.90,92

Thallus rubicundusa aa.

Thallus canescens aa.

4x2.5x1.7 cm

3x3x2 cm w/pg.105

w/pg.114,116

Thallus rufulusa aa.

Thallus cinereusum aa.

3.5x2.8x1.2 cm

3.5x3.3x1.5 cm w/pg.114,116

w/pg.90,92

76

Thallus subcaeruleus aa.

Thallus spadix aa.

3.3x3x1 cm

4x2x1 cm

w/pg.100,103

w/pg.114,116

Thallus citreus aa

Thallus cretaceusum aa.

4x3x0.7 cm

3x3x1.2 cm w/pg.0

w/pg.59

Thallus aureolusa aa.

Thallus subviridisis aa.

4x2.5x1.5 cm

4x3x1.3 cm w/pg.39,41,101

w/pg.105

77

Thallus brunneus aa.

Thallus fuscusa aa.

Thallus canere aa.

3.5x2.5x1 cm

3x1.5x1.5 cm

2.5x2.5x2 cm

w/pg.91,92,93

w/pg.114,116

w/pg.60,63

Thallus schlorînus aa.

Thallus atrum aa.

Thallus carneusa aa.

3x2.5x1 cm

3.3x2.7x1.5 cm

3.2x2x1 cm

w/pg.114,116

w/pg.60,63

w/pg.114,116

Thallus subroseusum aa.

Thallus niveusa aa.

Thallus ravusa aa.

3.5x1.5x0.8 cm

3.5x2x2 cm

3x1.7x1.5 cm

w/pg.114,116

w/pg.101

78

w/pg.114,116

Thallus rubidusum aa.

Thallus russus aa.

Hyphae niger aa.

3x3x1.5 cm

2.5x2x0.7 cm

2.3x2x0.8 cm

w/pg.102

w/pg.114,116

w/pg.114,116

Thallus subrubra aa.

Thallus caesiusa aa.

Hyphae pullus aa.

3x1.5x1.2 cm

3.5x1.5x1.7 cm

2x0.8x0.8 cm

w/pg.114,116

w/pg.82,84

w/pg.105

Thallus roseusa aa.

Thallus subrufus aa.

Hyphae rubidus aa.

3x2.5x1.5 cm

2.5x2x1 cm

2.5x1.7x0.7 cm

w/pg.93

w/pg.82,84

79

w/pg.82,84

Hyphae vireo aa.

Hyphae eburneusa aa.

Hyphae poniceus aa.

3x1.5x0.7 cm

2.5x2x1.5 cm

2.2x1.7x0.5 cm

w/pg.105

w/pg.83,84

w/pg.114,116

Hyphae atra aa.

Hyphae albulus aa.

Hyphae rubellusa aa.

2x1.7x0.7 cm

2x1x1.3 cm

2.2x1.7x0.8 cm

w/pg.114,116

w/pg.114,116

w/pg.114,116

Hyphae canusa aa.

Hyphae subroseus aa.

Hyphae rufulusa aa.

2.3x1.7x0.7 cm

2.2x1.5x1.5 cm

2x1x1 cm

w/pg.105

w/pg.82,84

80

w/pg.82,84

Hyphae venetus aa.

Hyphae phoeniceus aa.

Spora purpureus aa.

2x1.5x0.8 cm

1.5x1.3x1 cm

1x1x0.5 cm

w/pg.114,116

w/pg.114,116

w/pg.114,116

Hyphae prasinus aa.

Spora subruber aa.

Spora glaucusa aa.

2x1.5x1 cm

1.5x1x1.2 cm

0.8x0.8x0.5 cm w/pg.114,116

w/pg.101

Spora olivaceus aa.

Spora phoeniceus aa.

1.3x1.3x0.5 cm

1.2x1x0.8 cm w/pg.114,116

w/pg.114,116

81

w/pg.105

82

83

84

85

RECIPE GUIDE ~ MATERIAL PREP. pm

paper mache

4

INGRIDIENTS

PREPARATION STEPS

» paper pulp » water ((preferably distilled water) » natural pigments » natural fibers » sturgeon glue (ratio 1:10)

1. In a small bowl add some distilled water, sturgeon glue and paper pulp of different colors to your desire and stir the mixture until it becomes a paste.

USEFUL INFORMATION

» FOR THIS RECIPE THE STURGEON GLUE ACTS AS THE TYPICAL PVA WHITE GLUE USED TO MAKE PAPER MACHE. THIS IS WHY IT IS IMPORTANT TO APPLY A LOT OF STURGEON GLUE TO THE MIXTURE TO MAKE SURE THE RESULT RETAINS THE ADVANTAGES OF PAPER MACHE OF BEING LIGHT WEIGHT BUT STRONG.

2. Shape it and take out the excess water with a napkin. Apply some sturgeon glue on the surface and let dry.

3. Once dry, apply some more layers of sturgeon glue until it becomes hard as rock and let dry completely.

4. Add pigments or natural fibers to your desire.

5. Apply damar matte varnish spray to seal as a final protection.

»IF YOU KEEP YOUR PAPER PULP A LITTLE BIT DAMP IN WELL SEALED ZIPPER BAGS, IT WILL REMAIN SOFT AND READY TO USE FOR MONTHS WITH NO NEED TO KEEP IN THE FRIDGE!

FUN FACTS

» Paper was invented in China in the second century AD. MEANWHILE, PEPER MACHE CAME TO USE AS A BIPRODUCT SINCE PAPER which was expensive and hardly accessible.

DRYING TIME

BETWEEN 1 OR 2 DAYS 86

87

Primordia cyaneus pm.

Myellium subviridise pm.

6x4x1.3 cm

4x4x2.5 cm w/pg.101,105

w/pg.101,105

Myellium indicus pm.

Primordia flammeus pm.

4.5x4.5x1.3 cm

5x3.5x2 cm

w/pg.93,100,103

w/pg.102

Myellium cardinalis pm.

Myellium flavusa pm.

5x3x1.7 cm

5x3.5x2.3 cm

w/pg.101,105

w/pg.93,101

88

Thallus cinereus pm.

Thallus violaceus pm.

4x3x1 cm

2.5x2x1 cm w/pg.114,116

w/pg.92

Thallus eburneusa pm.

Hyphae lividusum pm.

3.5x2.5x0.8 cm

2.5x1.7x1.3 cm w/pg.103

w/pg.105

Thallus viresco pm.

3x2.5x1 cm w/pg.114,116

89

90

91

92

93

RECIPE GUIDE ~ MATERIAL PREP. gl

galalith

5

INGRIDIENTS

PREPARATION STEPS

» 1/2 cup of non-fat milk » 1/2 tbsp white vinegar » natural pigments and/or food coloring » sturgeon glue (ratio 1:10)

1. Measure a half cup of nonfat milk into a small pot and warm it on the stove and stir until it is simmering. Allow a little foaming around the edges but avoid excess foaming from overheating.

Mixture ratio 1:16

2. When you start to see the foam, add 1/2 tbsp of white vinegar, stir a bit and wait for the reaction! The vinegar is an acid that causes the milk proteins, such as casein to unfold. Which means it is forming visible solid.

USEFUL INFORMATION

» Use all the casein formed in the mixture right away, if you have left overs do not save them. They will remain with a funny smell after dried. » sturgeon glue is applied to the dry galalith to make it stronger and less brittle. formaldehyde is not used in this recipe for hardening because is carcinogenic and it is not a natural ingridient. » it can be carved, etched, cut, sanded, drilled, polised, etc.

FUN FACT

» casein is A white, tasteless, odorless, insoluble in water, biodegradable, antiallergenic, antistatic and virtually nonflammable protein from milk. it is the basis of cheese “and is used to make plastics, adhesives, paints, and foods. »GALALITH HAS BEEN USED FOR JEWELLERY DESIGNS BY ARTISTS SUCH AS JACOB BENGEL AND AUGUSTE BONAZ. IN THE 1930s, IT WAS ALSO USED FOR PENS, UMBRELLA HANDLES, HAIR COMBS AND WHITE PIANO KEYS (REPLACING NATURAL IVORY).

3. Next, add a few drops of food coloring or natural pigments and stir for consistent coloring or you can dye the surface later.

4. Strain slowly to separate the curd milk/casein out of the liquid using a colander (do not press into colander). Strain the liquid twice or more if needed.

5. Place the casein onto a paper napkin, fold it and squeeze gently to take out some of the excess liquid.

6. Then shape it to your desire or use a basic mold and drain again excess liquid with a napkin and let dry completely.

7. Apply sturgeon glue to the surface and some more pigments or natural fibers to your desire.

8. Apply damar matte varnish spray to seal as a final protection.

DRYING TIME

BETWEEN 2 OR 3 DAYS 94

95

Thallus subalbidus gl.

3x3x0.5 cm w/pg.39,41

Thallus chlorinus gl.

3x3x0.5 cm w/pg.105

Thallus prasinus gl.

3x3x0.3 cm w/pg.101,102, 105

96

Thallus herbaceum gl.

Thallus virere gl.

3.3x2.3x0.5 cm

3x2.5x0.7 cm

w/pg.101

w/pg.102

Thallus caeruleum gl.

Thallus armeniacusa gl.

3x2.5x0.8 cm

2.5x2.5x1 cm w/pg.114,116

w/pg.114,116

Thallus flavidusa gl.

Thallus venetus gl.

3.5x1.8x1.3 cm

3.2x2x1 cm

w/pg.101

w/pg.114,116

97

Thallus coccineus gl.

Hyphae viridulus gl.

Hyphae sufflavus gl.

2.5x2.5x1 cm

3x2.3x2 cm

2.3x2x0.8 cm

w/pg.101,105

w/pg.83,85

w/pg.101

Hyphae subroseusa gl. Hyphae violaceusum gl.

Hyphae virens gl.

2.5x2x1 cm

2x2x0.7 cm

2.5x1.8x1 cm

w/pg.114,116

w/pg.114,116

w/pg.83,85

Hyphae aureus gl.

Hyphae cinereusa gl.

Hyphae cardinalise gl.

2.5x2x1 cm

2.5x1.5x1.5 cm

2.5x1.5x1 cm

w/pg.105

w/pg.100,103

98

w/pg.105

Hyphae pullusum gl.

Hyphae electricus gl.

Hyphae miniatus gl.

2x1.5x1.8 cm

1.8x1x0.7 cm

1.5x1.5x0.8 cm

w/pg.105

w/pg.101

w/pg.114,116

Hyphae roseusum gl.

Spora aureus gl.

Spora glaucus gl.

2.3x1.5x0.7 cm

1.3x1.3x5 cm

1.3x1.3x0.4 cm

w/pg.114,116

w/pg.101

w/pg.114,116

Hyphae pullusa gl.

Hyphae eburneus gl

Spora rutilusum gl.

2x1x2.5 cm

1.5x1.3x1 cm

1.5x0.8x0.6 cm

w/pg.114,116

w/pg.101

99

w/pg.114,116

100

101

102

103

104

105

RECIPE GUIDE ~ MATERIAL PREP. ps

potato starch

INGRIDIENTS » 2 tbsp potato starch » 2 tbsp water (preferably distilled water) » 1 tsp almond oil » natural pigments and/or food coloring Mixture ratio 2 : 2 : 0.5 USEFUL INFORMATION

» IF SOME OF THE TOOLS REMAIN WITH RESIDUES OF THE MIXTURE, SOAK THEM IN WATER FOR DISSOLVING. » AVOID PUTTING MANY DROPS OF FOOD COLORING INTO THE MIXTURE IF YOU DO NOT WANT A VERY FAKE COLOR AS RESULT. »SINCE THE SUBSTANCE BECOMES SO VISCOUS WHILE HOT, IT WON’T BE EASY TO PLACE IT PROPERTLY INTO A MOLD AND SOMEHOW IT BECOMES VERY BRITTLE ONCE DRIED. FUN FACT

ABOUT PLASTICS » BIOPLASTICS: MADE FROM NATURAL MATERIALS SUCH AS CORN STARCH. » BIODEGRADABLE: MADE FROM TRADITIONAL PETROCHEMICALS, ENGINEERED TO BREAK DOWN FASTER. » ECO/RECYCLED PLASTICS: MADE FROM RECYCLED PLASTIC MATERIALS RATHER THAN RAW PETROCHEMICALS. » BIOPLASTICS ARE COMPOSTABLE, DECAYING INTO NATURAL MATERIALS THAT BLEND INOFFENSIVELY WITH SOIL. THEY COULD BREAK DOWN IN A MATTER OF WEEKS.

6

PREPARATION STEPS

1. Add in a small pot 2 tbsp of potato starch, 2 tbsp of distilled water, 1 tsp almond oil and mix well. Add a few drops of food coloring or a tiny amount of pigment (do not put a lot or you will end up with a very brittle piece). For an even color result add it in this cold stage or later once the mixture is ready to use for some transparency multicolor effect.

2. Place the pot with the mixture on a electric stove and stir while heating up Very soon it will start to thicken until it becomes a viscous substance. Do not let it burn. Take it out from the pot with a palette knife, place in a small glass or ceramic bowl and work with it while hot. In this hot stage is where you can add food coloring for transparency effect.

3. Set it out to dry and check it every day, cleaning carefuly the excess of almond oil with a napkin. This action will quicken the drying time. It could take even a week depending on the weather.

DRYING TIME

BETWEEN 3 TO 5 DAYS 106

107

Thallus cyaneus gl.

Thallus vireo gl.

Hyphae venetusa gl.

4x2.5x1.5 cm

3x2x1.3 cm

2x2x1.5 cm

w/pg.100,103

w/pg.114,116

w/pg.114,116

Thallus glaucus gl.

Thallus subviridis gl.

Hyphae gl.

3x2.5x1.5 cm

3x2x1.2 cm

2.5x2.5x1.5 cm

w/pg.114,116

w/pg.105

w/pg.101

Hyphae callainus gl.

Hyphae lividusa gl.

Hyphae chlorinus gl.

2.5x2x1 cm

2.5x2x1 cm

2.5x1.5x1 cm

w/pg.114,116

w/pg.114,116

108

w/pg.101

Thallus cerasinus gl.

Hyphae robiginosus gl.

3x2.5x2 cm

2.3x2x1 cm w/pg.114,116

w/pg.101,102,105

Thallus puniceus gl.

Hyphae rufus gl.

3x2x1.7 cm

2x1.8x1 cm w/pg.82,84

w/pg.114,116

Hyphae rubidusa gl.

Hyphae flavus gl.

2.5x2x1.3 cm

2.5x1.2x1.2 cm w/pg.114,116

w/pg.82,84

109

Hyphae aureolus gl.

Hyphae rubra gl.

Hyphae lividus gl.

2x1x2 cm

1.2x1.2x1 cm

1.7x1.7x1.3 cm

w/pg.114,116

w/pg.103

w/pg.114,116

Spora eburneus gl.

Hyphae carneus gl.

Spora caeruleus gl.

1.3x1.3x1 cm

1.8x1x1.7 cm

1.5x1.3x1 cm

w/pg.114,116

w/pg.82,84

w/pg.100,103

Hyphae sufflavus gl.

Spora rubicundus gl.

Spora fulvus gl.

1.3x1.3x1 cm

1.5x1.3x0.8 cm

1.3x1x1.7 cm

w/pg.105

w/pg.103

110

w/pg.114,116

Spora subroseus ps.

Spora cyaneus ps.

Spora glaucusum ps.

1.3x0.7x0.8 cm

1.3x1x0.8 cm

1x1.8x1 cm

w/pg.114,116

w/pg.103

w/pg.100,103

Spora roseus ps.

Spora callainus ps.

Spora caeruleus ps.

1.2x0.7x0.8 cm

1.3x0.8x0.8 cm

0.8x0.8x0.5 cm

w/pg.105

w/pg.103

w/pg.93,103

Spora albus ps.

Spora lividus ps.

Spora albulus ps.

1x1x0.8 cm

1.2x0.5x0.6 cm

1.5x0.5x0.5 cm

w/pg.105

w/pg.103

111

w/pg.114,116

Spora viridens ps.

0.8x0.6x0.6 cm w/pg.114,116

Spora ruber ps.

1x0.7x0.5 cm w/pg.114,116

Spora eburneus ps.

0.7x0.5x0.5 cm w/pg.101

Spora canus ps.

0.7x0.5x0.5 cm w/pg.103

112

Dear Custom Officer, If you are reading this letter I presume that you have gone through all the carefully packaged boxes and have drawn a big question mark in your head as of: what the hell are these?

First of all I would like to assure you that although my friend, Lumy Nouguez is a Colombian flying back to her country, she is not smuggling drugs in those boxes. Nouguez is a jeweler, an artist and most of the time, a mad scientist that cares nothing but to experiment with alternative materials that could be used for her study.

In order to prove that this is not a conspiracy, there should be another box containing all the elements derived from recipes she either modified or invented. You could try one of the recipes and see if you could get some similar results. But please be careful since it is very time consuming (it took her two years to get there!) and you might get frustrated over the wrong ratios.

Although these pieces look like they come straight out of a malfunctioned fridge, hiding in a damp corner, or attaching to a tree trunk as part of the unknown organic ‘schifo’. They are all made with love and care from scratch with all natural materials such as agar agar, pharmaceutical plaster and sturgeon glue, etc. which meet the baggage regulations of an international airline. To be honest I totally understand if you don’t see why they should be considered as jewellery, I see them that way simply because they are taken out of the context mentioned above and put on a pedestal of ‘jewellery’. Back in the days when we were together at Alchimia Contemporary Jewellery School, all we did is about jewellery so there is not as much surprise and confusion as there is for you.

Now that I explained these are jewellery pieces you might want to charge her a fortune for declaring them. Let me tell you something about the criteria to judge a piece of jewellery nowadays: It no longer lies in the amount of gold or silver used, nor is it about how many Cs has been achieved in the diamond grading. It still has something to do with the technical competence and the wearability, but more importantly is how well the idea of the artist is being portrait through these pieces. Just like 1/3 of the artists around the world, Lumy gets her inspirations from Mother Nature as well. But just because she is intrigued by this natural phenomenon doesn’t mean she will put a rotten orange on the shrine. She worships nature in her own unique method, and she commemorates the fleeting moment by turning it into something that we can all hold in our hands and appreciate as you are probably doing now.

It would be great if you could kindly seal the boxes tight and let my friend pass with no further heart attack!

Respectfully Submitted,

Chumeng Weng.

113

114

115

116

117