|
What inspires your work?
I would say that the primary reason I make my work is because it engages me in a state of pure creativity. This state is a very pleasurable state that allows me to travel far from the mundane, serious everyday world into a world where anything is possible and nothing has to make sense. I like to imagine that what I make is a form of complete, unnecessary nonsense. My jewellery is not made to be worn and things are taken out of their traditional environment and placed in a surreal and absurd landscape. Often times these pieces exhibit irony and contradiction, resulting in work that tests humour and allows the mind of the viewer to make invisible connections, primarily through the recognition of common and everyday elements.
What sort of materials do you use and why? Do you follow any particular concept?
More recently I have been drawn to second hand materials, lost memories, history and death. There is something about the past that intrigues me completely, a fascination verging almost on obsession. It is not about knowing what happened, but more about the past being so far away and utterly unreachable. I also think that there is a great sadness in the past, not necessarily one based on bad memories, but on the simple fact that the past is buried somewhere within us, coated with numerous layers of experience. These concepts and ideas were explored in my most recent collection, entitled White Limbo. White Limbo is my imaginary place for lost or forgotten things.
There also appears to be a formula in my work. Recently I have come to the conclusion that there are three main ingredients to my work, namely experimentation, material and history. They are all linked and cover common ground, but can also exist separately. Experimentation allows me to play with a material, technique or idea. This act of playing explores possibilities and opportunities. The material can be part of the experimentation, but is also something I hunt for on a regular basis, whether in antique markets, supermarkets, ebay, rivers or forests. Sometimes the material, or object, is complete and I have to do nothing more than use it as it is. Other instances make me dissect the object, looking for something I haven't seen or something that feels meaningful. A lot of these objects are about history, in other words time and experience. Things from the river have been tumbled and washed for maybe a thousand years, trees have grown over centuries and second hand materials have been used, perhaps stolen, lost or given away. This formula is then applied to my ideas and somehow come together as a piece.
Do you plan your pieces beforehand or is yours a more instinctive type of work?
I do not really plan my pieces, they tend to just happen. I start with an initial idea, like a blur. As I progress, I look at what excites me and what doesn't. I do not wish to spend my time being bored, I can do that whenever I want. I want to feel a fire within me, pleasure rushing through my veins and anticipation to work. I want to look at the finished piece and be inspired and moved to create more. I can get stuck, I can get bored with a piece and as an artist, I will never be able to see what I am really making, as other people are. What I do know, however, is that this work is my life. It has moved from a hobby to become my livelihood, my passion, my dreams and my desires and this is something I will continue for as long as I will live.
C.V.
Born 28 July, 1978 Cologne Germany
Education
2004
Introduction to Glassblowing, Westminster College, London
2004
Ceramics Workshop, Kensington and Chelsea College, London
2000-2003
London Metropolitan University: BA Silversmithing Jewellery and Allied Crafts
2000
School of Gemology and Allied Studies, London: Certificate Jewellery Introduction
1997-1998
University of Westminster, London: BA Graphic Information Design
1996-1997
University of Westminster, London: BTEC Foundation Course in Art and Design
1994-1996
St. Mary's International School, Tokyo, Japan.
Work Experience
2004-2005
I Got Felt, London
1998-2003
Selling own designs of jewellery and accessories in shops
2002
Work placement with jewellery designer and maker Kelvin J. Birk, London
2001-2002
Work placement with The Transhuman Jewellery Experience, London
Exhibitions
2006
Koru 2, Finland
2006
'Emerging Talent' Lesley Craze Gallery, London
2006
Pacini Lubel Gallery, Seattle, USA
2005
Inspired Art Fair, London
2005
Charon Kransen at SOFA Chicago, USA
2005
Charon Kransen at The Int'l Art and Design Fair, New York, USA
2005
East Carolina University School of Art and Design, USA
2005
Alternatives Gallery, Rome, Italy
2005
@work Gallery, London
2005
Lesley Craze Gallery, London
2005
Gill Wing, London
2005
Bellagio Gallery, Ashville, North Carolina, USA
2005
Islington Contemporary Art and Design Fair, London
2005
Velvet Da Vinci, San Francisco, USA
2005
Charon Kransen Arts at SOFA, New York, USA
2004
"Dialogue 4", Inhorgenta, Munich
2004
"Dialogue 4", Unit 2 Gallery, London
2003
New Designers, London
2003
Summer Show, London Metropolitan University
2003
"But Not for Sale", London Metropolitan University
2003
Goldsmiths' Craftsmanship and Design Awards Exhibition, London
Awards
2003
BJA Certificate of Merit
2003
The Worshipful Company of Goldsmiths: Goldsmith's Award First Prize
2003
Rashbell Marketing Award
2003
Goldsmiths' Craft & Design Council: Craftsmanship & Design Awards
Fashion Jewellers Finished Pieces Gold Award
Publications
2005
Metalsmith Magazine, September, USA
2004
Very Fashion 3, Styleguide, London, UK
2004
Findings, issue 27, London, UK
2003
Elle Decoration, July, London UK
2002
Mushroom Magazine, October, Germany
Back
|
