Three-dimensional drawings from Klara Brynge

The curves of the human body resemble the relief of a landscape. Really. The gorges and rocks are like old wrinkled skin, and the hills ending at the horizon are like chubby roundness, the first associations that come to mind. But not only that. When you strike a silver sheet with your fist, the knuckles also create a relief, visible as a landscape. It changes as you travel – from the train window, the plains are replaced by hills, or swamps covered with bushes and rushes if the tracks lead to St Petersburg, or neatly planted spruce trees if you are heading towards Munich. Glaciers, probably if you’re heading north – when you get off at the last point, where it’s only a sledge.

Klara Brynge (Sweden) shapes the thin silver sheets with hammer and fist like the crust of the earth: abstract curves and bumps create abstract landscapes, and the shine of the silver reminds us of fields covered with snow and ice, on which witches’ fat glistens (do the Nordic countries have a version of the Lithuanian version of the glistening of the snow ?). Silver, matt, and shimmering, it resembles both a snow-covered seashore and a frozen waterfall, where the sound of falling water is still predictable under the ice. And stalactite or stalagmite caves (like Hagrid, I have never made a distinction between the two – no matter how many times I read about one or the other, the memory lasts no longer than the reading). And the salt mines, where salt icicles hang from the ceiling. Fire, the blacksmith’s hammer, and human fists, knuckles, and palms in silver form abstract icy landscapes that make you feel like Captain Hater as you travel through them with your eyes. Who was drawn north all the time.

The artist says :

When I move in a landscape it changes in a flow of images and forms. I make three-dimensional drawings with smithing methods in metal; reliefs, lines, and repetitions from landscapes on surfaces are ripped or stretched out. With blows from a hammer and punches shapes grow as the plasticity of the material allows it to move.


Daria Edström, 2022, Sweden

Clouds from Daria Edström

Jewellery, no matter how much you try to call it fragile and aquarellic, is usually strong, durable and rarely ephemeral. Metal has to withstand contact…

Marytė Dominaitė-Gurevičienė, 2022, Lithuania

Relic by Marytė Dominaitė

Jewellers usually decorate the vulnerable, erogenous parts of the human body: the neck, earlobes, wrists. Fingers. Their work seems to show where the gaze should…

Carole Deltenre, 2022, France

Fragility by Carole Deltenre

It’s all so fragile, especially when the snow falls incessantly, thickening that fluffy white blanket of down on the stairs, railings, balconies, uncollected leaves, children’s…

Brune Boyer, 2022, France

Rings by Brune Boyer

The further I go, the clearer I see how people want to belong, and there are more and more of them. Those who protect their freedom like a dragoness protects…

Sofia Björkman, 2022, Sweden

Winter landscape by Sofia Björkman

The black winter pattern of bare branches, the tracks of sledges in the snow, the feet of birds tracing dotted trajectories through the untouched snow,…

Lisa Björke, 2022, Sweden

Unexped connections of Lisa Björke

The Swedish artist Lisa Björke creates unexpected connections between everyday objects and elements of traditional craftsmanship – materials and techniques. In METALLOphone, she looks back…

Dovilė Bernadišiūtė, 2022, Lithuania / Sweden

Transit spaces of Dovilė Bernadišiūtė

The Swedish-based Lithuanian jeweller refers to her objects as transit spaces. Thresholds, stops and stations, subways, and airports. These are spaces that don’t seem to…

Peter Bauhuis, 2022, Germany

Pin by Peter Bauhuis

Peter Bauhuis (Germany) talks about being somewhere and marking that presence. About ways to tell yourself and the world – you are here. I am…

Jordi Aparicio, 2022, Spain

Collier by Jordi Aparicio

The black netting, stacked in rectangular “bricks”, looks massive but is actually light. The black collier requires some kind of imaginary body, it seems that…

Andrea Auer, 2022, Austria

Pseudo-pearls of Andrea Auer

Andrea Auer (Austria) exhibits pseudo-pearls at METALLOphone. Large, obviously fake, much more pearl-like images, a derivative of what we imagine a pearl to be –…

Ines Almeida, 2022, Portugal

Place by Ines Almeida

Her places are the ones we remember that leave traces like a paintbrush leaves paint on watercolour paper. Brooches with paper, not enamel, fragile paper…