设计师简介
设计师,策展人,CIB国际商业银行工艺品开发外部顾问,联合国教科文组织手工艺发展专家、CAC(开罗艺术家集体)高级顾问。曾在德国、荷兰、南非、墨西哥、美国和埃及生活过。在克兰布鲁克艺术学院Cranbrook Academy of Art、安特卫普皇家艺术学院Antwerp, Royal Academy of Arts、开罗大学等发表20多场演讲。在世界各地任教和参展。
Exhibitions
2020
“Maybe Days” solo Exhibition, Rob Koudijs, Amsterdam (NL)
“Site Effects” Handerwerk Gallery, Munich (DE)
“Site Effects” SNAG Conferences, Philadelphia (USA)
“The Pearls of Cleopatra”, Munich (DE)
2019
“Design Miami” , Ornamentum, Miami (USA)
“Silent Roads & Desert Nights”, JORC, Barcelona (SP)
“Brazil Jewellery Weekend”, Casa de Pedra, Sao Paolo (BRA)
“Kushari”, solo exhibition Ornamentum, Hudson (USA)
“A room on it’s own”, Munich (DE)
“21 grams” Handerwerk Gallery, Munich (DE)
“21 grams” BeCraft Gallery, Mons (B)
设计说明
I would personally define Estela Saez art as atomized jewellery, -almost tortured- that explains, first of all, a very distant place, and then the shape, that supports the idea of modernity linked to nomadism. Estela is an indefatigable traveler. This may help you understand the material’s own condition, which is not a jewel, but a place itself.
我个人认为埃斯特拉·赛兹的艺术是原子化的珠宝——几乎是折磨人的——这就解释了,首先是一个非常遥远的地方,然后是形状,它支持了与游牧有关的现代性思想。埃斯特拉是个不知疲倦的旅行者。这可能有助于你理解材料本身的状况,它不是一颗宝石,而是一个地方本身。
The objects proposed are metal towns, primitives, distant, that hide fragile things in a constant process, fugitives. Her own way to make it happen is to say the least, peculiar, given the treatment she makes to the material, its proportions and the impossible reproducibility of each object. From that ensemble, I am fascinated by the sculptures, made with silver, the patinas, almost pictorial, relegates the material to stateless condition. She abuses the noble condition from materials such as gold and silver, and brings them closer to scrap iron or rusty wire.
被提议的对象是金属城镇,原始人,遥远的,在不断的过程中隐藏脆弱事物的,逃亡者。考虑到她对材料的处理方式,材料的比例以及每件物品不可能复制,她自己实现这一目标的方式至少可以说是独特的。从这些作品中,我被那些银制的雕塑深深吸引住了,那些几乎是用图画表现出来的铜锈,把材料弄得毫无状态。她从金银等材料中滥用高贵的地位,把它们拉近到废铁或生锈的铁丝上。
Although she uses expensive raw material, her work does not renounce to the postulates from the “povera” artist. That is at least fascinating. Her atomized filigrees, rusted or laminated do not renounce from the truly value of that nobility, and from their portable jewels function. I wait and wish that Estela never forgets that her work is an small tribute to a place and a land, her pieces can be worn in a body, her objects can be sustained with hands, but in the end, and that is her greatness, her jewels are universal.
虽然她使用了昂贵的原材料,但她的作品并没有脱离“贫穷”艺术家的假设。这至少令人着迷。她那原子化的金银细丝、生锈的或叠层的首饰,并没有放弃那种高贵的真正价值,也没有放弃它们的便携珠宝功能。我等待着,希望埃斯特拉永远不会忘记,她的作品是对一个地方和一个国家的小小贡献,她的作品可以穿在一个人身上,她的物品可以用手来维持,但最终,这就是她的伟大,她的珠宝是普遍的。
作品
“Solitut”
15x15x8cm, oxidized silver brooch
“Quilla”
10x20x12cm, oxidized silver pendant
“L-M”
19x9x11cm, oxidized silver pendant