新设计,是新锐前沿的创意,
展现未来国际珠宝设计风向标;
新生代,是精英的珠宝设计师,
汇聚时代发展的声音和力量;
新理念,是创新的空间交流模式,
搭建沟通和碰撞的桥梁。
“新设计、新生代、新理念”DBC国际珠宝设计师作品展由红桥市场、长流当代美术馆、纽约牧风国际珠宝股份有限公司[NOOMAD INC]联合主办,长美艺术股份有限公司、北京爱微藏科技有限公司承办,十余家海内外艺术组织协办,联动北京国际设计周、中国国际珠宝展和艺象万千国际网络展览馆。
作品设计风格具有当代性、国际性和多元化的特点,促成了东西方文化的交流与对话,无疑是一场珠宝设计盛宴。
DBC国际设计师空间已入驻超过百位国际珠宝设计师和首饰艺术家,资历与创意纵贯大半个世纪,横跨30多个国家和地区。为了打破传统展览的空间限制,DBC与艺象万千国际网络展览馆全面合作,在全球超过50个合作网点和超过20家网络新闻媒体同步宣传,为会员设计师提供线上线下全面的展销服务。
本栏目将持续推送入驻的优秀国际珠宝设计师和首饰艺术家作品,期待您的关注。
01
ALEX KINSLEY VEY
加拿大
· George Brown College, Advanced Diploma Jewellery arts, Toronto, ON
· Fred Kinsley Goldsmith, Apprenticeship, Burlington, ON
EXHIBITIONS(2019)
· SOFA Expo 2019, Galerie Noel Guyomarc’h, Navy Pier, Chicago, USA
· Foire d’art contemporain de St-Lambert, Galerie Noel Guyomarc’h, St-Lambert, QC
· RetroActive, Carnegie Gallery, Dundas, ON
· The Intangibility of Identity, Espace Galerie, Montreal, QC
Statement · 设计阐述
Hamilton, my home on the shore of Lake Ontario has traditionally been a steel producing centre. Despite the industry having died down in recent decades, its industrial activity is still apparent.
我的家乡,安大略湖岸边的汉密尔顿,一直是钢铁生产中心。尽管钢铁行业在近几十年间逐渐衰落,但工业活动仍然很常见。
The View from the Pier series of necklaces examine the geographies of the city and reference my time growing up there, and the impact this place had on me.
The View from the Pier 系列项链审视了这座城市的地理位置,并参考了我在那里成长的时代,及其地域文化对我的影响。
View from the Pier #01
《码头上的景色》1号
Materials: Steel, spray paint, cotton rope, steel hose clamps, magnets, sterling silver
材料:钢材,喷漆,棉绳,钢软管夹,磁铁,纯银
Dimensions / 尺寸: L 120cm x 20cm x 5cm
The culture of Hamilton was rough, the attitude grimy, and those characteristics greatly influenced me. Baseball bats, Metal shows and bus fights all existed alongside the backdrop of heavy industry. The working-class ethos and attitudes of my hometown shaped me into who I am today – for better or worse.
汉密尔顿粗犷的文化特点对我影响很大。棒球棒、金属表演和巴士斗殴都是在重工业的背景下出现的。家乡的工人精神和态度塑造了今天的我——无论好的和坏的。
View from the Pier #02
《码头上的景色》2号
Materials: Steel, spray paint, cotton rope, steel hose clamps, sterling silver
材料:钢材,喷漆,棉绳,钢软管夹,纯银
Dimensions / 尺寸:L 87cm x 30cm x 1.5cm
The neckpieces are a standard form of fine jewellery but changed in scale and finish to reflect the singular features and influences defined by my hometown. The work is large in scale; reminiscent of armoured plates and shields. Using the historical functions of jewellery – to denote individuality, status or ward off evil – my pieces are markers of identity.
这一系列作品在形式上仍是标准意义的首饰,但在尺寸上进行了夸张放大,以强调我的家乡的独特文化。从首饰代表个性、地位或抵御邪恶的历史功能来说,我的作品是身份的标志。
View from the Pier #03
《码头上的景色》3号
Materials: Steel, spray paint, cotton rope, steel hose clamps, sterling silver
材料:钢材,喷漆,棉绳,钢软管夹,纯银
Dimensions / 尺寸:L 87cm x 27cm x 1.5cm
The work sits protectively on the chest, giving a reassuring weight on the shoulders of the wearer. Underneath the surface oxides and decoration, is something sturdy and comforting, like my home is to me.
这些让人想起盔甲和盾牌的首饰保护性地放在胸前,给佩戴者的肩膀带来一种安心的重量。表面的氧化物和装饰之下是一些坚固而舒适的东西,就像我的家乡对我来说一样。
02
Mária Hriešik Nepšinská
斯洛伐克
Profession
from 2019 assistent at Studio s+m+l_XL Metal and jewellery at the Academy of Fine Arts and Design, Bratislava, Slovakia
2013-2014 project manager at Slovak Design Center, Bratislava, Slovakia
from 2012 Chairwoman of Jeweller’s Association AURA, Bratislava, Slovakia
2007-2010 redactor of magazine Remeslo Umenie Dizajn (Craft-Art-Design), Bratislava, Slovakia
2005-2008 Institute of Art and Research, Academy of Fine Arts and Design, Bratislava, Slovakia
works as freelance jewellery designer, curator and organizer of various events and projects:
Schmuck Wander – international creative jewellery project (from 2009)
ŠperkStret – international jewellery conference in Bratislava (from 2008)
International symposium of art jewellery in Kremnica (from 2007)
International symposium Hommage a Erna Masarovičová – Ateliér EM, Bratislava (from 2010)
Biennal of Applied Arts and Design, Slovak Union of Visual Arts, Bratislava (2007, 2009, 2011, 2013)
Statement · 设计阐述
How do I get closer to the unknown past I am part of? By tracing unknown history through the artefacts, which remind me of the past, convey memories of human lives. They are tied to the place where I live, to the family history through which I make my discoveries.
怎样才能更接近属于我的未知的过去?我追踪未知的历史文物,它们使我想起过去,传达人类生命的记忆。它们与我居住的地方,与我的家族史紧密相连。
By recycling worn shellac records, I connect the past with the present, applying to them daily newspaper clippings that show banal clichés of politicians’ empty gestures but also captivating moments in the ephemeral record of current events.
通过回收旧胶片,把每天的剪报贴在上面,我将过去与现在联系起来。这些剪报刊登着政客空洞的陈词滥调,但也记录了当下时事中短暂的迷人瞬间。
Like a broken record I / II necklace
《就像一张破唱片》项链
Material: LP record, newspaper, nail polish, brass, patina
材料:LP唱片,报纸,指甲油,黄铜,古铜色
03
Juan José García Martín
西班牙
PROFILE
It begins in the world of jewelery by her mother at a young age.
Juanjo Garcia Martin is a jeweler of Spanish art. He lives and works in Malaga.
His artistic approach combines different disciplines that he has been practicing indiscriminately from an early age: painting, music and art jewelry.
A self-taught artist, who is not afraid of experimentation, especially in his search for materials, whose diversity is impressive. His latest collection of unique pieces, entitled “Mares de Asfalto” explores the theme of the urban environment: the city, of course, but also the worlds it houses, its buildings, streets, towers, inhabitants, all make endless layers of colors and parallels stories, crossed by the lines and volumes characteristic of urban architecture.
Statement · 设计阐述
Juan José García Martín 在母亲的影响下开始了自己的首饰生涯。自幼时起,他旺盛的创作欲就驱使他进行不同的艺术实践:绘画、音乐和艺术首饰。
他是一位自学成才的艺术家,尤其乐于进行多样的材料实验。系列作品”Mares de Asfalto” 探讨了城市环境的主题——世界上各色各样的城市和建筑、街道、居民,创造了无尽的故事,这些故事在Martín眼中成为色彩和线条,造就了这些作品。
01
Heat of light
Collection Indifference
《 光的热量 》——“冷漠”系列
And if I don’t tell you, I burst
So you better break the words
In your face
Because evil brings indifference
And my instinct sees everything
I get used to the heat and the wind
But never to the false present
Because people say,
That he who does not run flies
And he who flies high,
The wind takes him
Heat of light
Materials:Gold leaf, recycled elements, wood, resin, paper, silver, copper, alpaca, small circuit with leed.
材料:金箔,回收材料,木材,树脂,纸,银,铜,羊毛,电路和LED灯
Dimensions / 尺寸:90 x 40 x 20 mm
02
Chants at dawn
Collection Indifference
《黎明的口号》——“冷漠”系列
Once I asked, supplicate
So you wouldn’t abandon me
I offered you everything
So you won’t take my guide
Pray sing and shout
I thought you could hear me
But it was all in vain
Or so I thought that day
Very similar to my birth
Even so, everything continues
And I don’t know if I expect any answer
Although I will always take her inside
Amen
Materials:Pan gold, silver, acrylic resin, paper, copper, small circuit leed
材料:金,银,树脂,纸,铜,电路和LED灯
Dimensions / 尺寸:50 x 40 x 23 mm
03
Whistles
Collection Indifference
《 口哨 》——“冷漠”系列
Alcohol rubs are no longer given,
hungry, broken and wet hands
for a tremor like the first time
That breaks the silence with the creaking of bones.
The passage of time is reflected in your hand, broken and wet as in the first time.
And the pores become lights
The light in fire
Like a double-edged sword
With rubbing alcohol he pointed
of causing light, fire and heat.
Whistles
Materials:Silver, acrylic, resin, paper, copper, alpaca, small circuit with leed.
材料:银,亚克力,树脂,纸,铜,羊毛,电路和LED灯
Dimensions / 尺寸:50 x 40 x 23 mm
04
严政秋
中国
2014年本科毕业于南京艺术学院金属工艺专业,
现研究生就读于南京艺术学院。
2018年入选首届全国工艺美术大展
Statement · 设计展示
未来是从今往后的时间,同时,现在也是过去的未来。
The future is the time from now on. At the same time, the present is the future of the past.
斑驳的瓦片上铭刻的是为屋檐下的温暖遮挡过的风雨,父辈的皱纹记载的同样是为家庭付出过的艰辛。
Mottled tiles are engraved with the wind and rain for the warmth under the eaves. The wrinkles of the parents record the same hardships for the family.
借屋瓦所具有的保护者概念,引申为父辈对我们的呵护,《十二庭院》也是对成长路上的父母师长的致敬。
With the concept of protector in roof tiles, it is extended to the care of our parents. Twelve courtyards is also a tribute to parents and teachers on the road of growth.
何以展望未来,唯有心怀感激。
How to look forward to the future, only with gratitude.
《 十二庭院 》
05
Christian Quiceno
哥伦比亚
EXPERIENCE
2017-2018 Teacher in workshop of resins applied to contemporary jewelry, Bogotá (portable art gallery, and Materia Prima school) , Medellin (De la mano jewelry), Cali( El Cristal encantado school)
2003 Teacher of basic jewelry in jewelry academy 1492.
Exhibitions
“BROKEN BEAUTY” Exhibition Alleges gallery, Lille, France 2019, Munich, Germany 2020
“HEART FAILURE” of Alliages, exhibition Lalabeyou gallery, Madrid, Spain 2019.
“WECHSELSPIEL” Exhibition Pforzheim Galerie, Pforzheim, Germany 2019
“INDIFERENCIA” Exhibition BAAL Gallery, Barcelona, Spain 2019.
“LIE.E.S” Exhibition French institute of Barcelona, Spain 2019.
“SALON CRISOL” Exhibition Bogota modern art museum, Colom- bia 2019
“SIN PERMISO” Exhibition BAAL Gallery, Barcelona, Spain 2019.
LEGACY AWARD 2019, Alliages, exhibition museum space Soli- dor, Cagnes-Sur-Mer, France 2019
“LIE.E.S” Exhibition Art course galerie associative, Strasbourg, France 2019.
·ZLR JEWELLERY AWARDS 2019, first price, Munich, Germany 2019.
Statement · 设计阐述
The constant gaze on the context in which we move, acts as a projection of new signs necessary for those who always live away from passivity; That is why I refer to the active encounter with a city that breathes beautiful visual contradictions.
对我们所处环境的持续关注,对于那些总是被动远离的人来说,是必要的新迹象的投射;这就是我所说的与一个充满美丽视觉矛盾的城市的积极接触。
Contrast that goes from the exquisite scuptural pieces in metal of Negret, to the interesting and fleeting expressions of the anonymous grafiti. A city of big formats in which concrete acts like a base and also provides texture.
从内格里特精美的金属雕刻,到无名小卒有趣而转瞬即逝的表情,都形成了鲜明的对比。城市的大格式,其中混凝土既作为地基,也提供了纹理。
There, in the space of the big city where its giant informal galleries let us see the strong passage of time; i want to problematize the ephemeral and the format of the graffiti but also its immobility, which leads me to the idea of developing an extract of a portable city, a materialization of my ideas that remain as an anchor of identity in who exhibit this piece. For this i have decided to create a piece from elements such as silver, copper, concrete and pigments, that allows me to reinterpret the urban context.
在大城市的空间里,巨大的非正式的画廊让我们看到强烈的时间的流逝;我想要质疑涂鸦形式的短暂性与永恒性,这让我产生了开发一个可移动城市的想法,于是产生了这件作品。它由银、铜、混凝土和颜料创作而成,使我得以重新诠释城市的内涵。