Playing around imagining architecture and nature becoming an interchangable entity in settings of (possibly) existing places has become my signature. I love when ambiguous balance, or a weirdly perfect imbalance tickles the imagination. My signature nonmetal materials (for longer than I thought to not be bored with them!) are glass (mainly in form of my special glass and resin compound) and porcelain, natural stone too sometimes.
Wearing jewellery is uncomfortable, but the façade is essential. The starting point for my signature work has been 17th and 18th century paintings. I’ve looked in to know portraits from Vermeer, Boucher and Rembrandt. I have the craving and quest for beauty. And yet for me jewellery has strong dualistic nature.
What if jewellery wears the wearer or wears her out?
Both of the pieces are based around a group of wolves. Wolves are central characters in fairy tales, they are both seen as a representative of the dangerous male sexuality, our animalistic and un-controllable side.
I am very interested in fairy tales and what they say about our times, what characteristics we find attractive and important – especially for young women.
My work is summary of me and the computer. My visions and mistakes can grow exponentially if they are tracking nonlinearity that late technology is leading us. I can go out of control with the computer. Computer makes me independent making “my track” unique.
CARAT #2, Necklace, Silver, pearls, red tourmaline, prasiolit, peridot, amethyst, blue apatite, aquamarine, white topaz, citrine, pink tourmalin, 2018
Most of my work is about political issues. My project “Things” have been with me for many years. It focuses on overconsumption.
We buy more and more, even though we talk about climate change ending the world, as we know it. The market always needs to increase their sales in order for the world’s economy to work. New seasons bring new trends, for your home, for your body, for your identity, for your status – out with the old in with the new. This is a source of great anxiety for me, not only because I worry about our future, but also as a “maker” myself I am part of the consumerism food chain.
A stack of tear-off slips.
On each leaf, the name of the signatory.
When is a jewel beautiful? What it mean? For me, beautifulness expresses itself as a way of unveiling while concealing. Like a kind of modesty, of veiling. If I had to choose a jewel that would represent my signature, it would be a « pocket jewellery » that I make since 1999. The one presented here is called “&” which is like another signature representing the notion of communication present in the jewel.
Space is like the depths of the sea and its connection with energy – a wave is like force stirring a breakthrough of thought. That is the artistic signature of the jewellery artist Darijus Gerlikas.
I go sometimes with my jewellery to the right, sometimes to the left. I do it in a self-willed way, as if forcing a rose under anaesthesia – it gives the opportunity to achieve beauty without pain. Beauty transforms and flows over the edge. Sensually enough to sublimate erotical urges.
Seven needles with symbols depicted in their holes. Like in a saying “Looking for a needle in a haystack”. My experience taught me that usually, we search for what we have never lost. It is a happy realisation when we find what we were looking for in our family, our nation, inside ourselves. All that is needed is to be true to yourself, to listen and to hear…
Being alive
It’s my connection to nature. Nature is unfalteringly pulling me closer, urging to explore it, to admire it. Through nature’s forms, movements andornaments I come to understand my own feelings, experiences, mistakes. The bends existing in the structure of plants take me to a sense of absolute freedom which connects me to life with an eternal thread.
The Gate of Dawn is one of the most important places in Vilnius. The Madonna of the Gate of Dawn is one of the city’s most important symbols. The city’s signature. And her crown is a symbol of her power.
“O” has been conceived by deconstructing conceptualization in order to get to the core of my personal way of creating. I used a single piece of my own skin, cut out of my back in a shape of a big circle, dried and prepared, and finally covered with gold leaf.
Gold is used in its simplest and most delicate form to “mask the unspeakable and make it more acceptable”.
The guilloche engraving lines are engraved in the metal sheet. Line for line. The engraver helps me create a super precise ornament, but it’s me who sets the levers and turns the crank-handle. I decide which line is next, so that the pattern looks the way I want it. My patterns are my signature.
Each work in the series “Panta rhei” shows a change, a constant movement that never repeats itself.
Each work has its own character and forms its own unique identity.
I scrape some golden leftovers, pearls, tar and polishing wire together to make new work. It’s enjoyable to notice again the real and timeless luxury of jewellery; which still lies in its expression of the dear and the personal, the precious and the vulnerable. But the disruptive appearance of these chains are a reflection of our time too; as fragmentation, demolition and restore has become part of our daily life – and work.
In the face of temporality, humans are forever trying to leave a mark – to prove their existence. Everyone does it in their unique way – with signatures on declarations, imprints of their palms in concrete, by shaping stone, with scribblings on bridge railings…
The parts of my work done in stone represent pieces of flint fracturedwho knows by whom and in what age.The only thing that is known is that a human left their mark, which today I use as a workpiece to create a new meaning.
My structures of abstract forms are similar to organic masses, composed of a multitude of colored fragments, like a chaotic swarm that plunges us into the infinitely small. Using materials in which the glass material integrates and reveals its intensity. Looking for a personal signature, the idea being to disobey traditions, to transgress his codes, to find a new breath, a new way of seizing them.
Series: Lost in translation and back to moon, 2009. Brooch “Flyby probe”. Material: gold, silver, resin, tourmaline
Freedom in which there are still captivities – internal ones.
Finding oneself in the middle of one’s own “Bermuda” triangle.
Using everyday language, thoughts and expressions.
Having broken free from Russian “home”, we are choosing free from (…) products.
Because of the inertia of freeing ourselves, inadvertently we become free from the Lithuanian gene, too.
Every time I experience an impressive natural phenomenon or a big emotion- a heavy snowstorm, a big thunderstorm, a surge of happiness- I feel suddenly lost, my heart and mind fall into a little chaos. The beauty and pain of these moments, the knowledge of how fleeting they are and how they never will be the same… The desire to capture every second of it forever, the hopelessness of this task…
Within this collection I try to capture a moment, to materialize something which is in essence so immaterial.
Isn’t it what we as people do?! Instead of enjoying the moment we always hassle to take a photo, to collect a little stone or shell to memorize, to make memories feel real. As memories tend to change over time between the thick layers of data in one’s brain, something physical leaves an impression that we do remember…
Ironically it takes 17 hours to build up this materialized moment.
Each person has a unique signature like an artist’s handwriting by which he can be identified. So I approached the subject in a scientific-artistic way as famous dr. Victor Frankenstein did. The material is different kind of bones that are the creation of God, so putting them back together allows to format new unique creative works – the creatures of art.
The composition consists of two objects made from parchment of animal origin, gold, brass and wood fiberboard. Parchment (in this case, made from specially treated pig bladder), which was used from as early as the 24th century BC, reflects the theme of the exhibition, “Signature”,standing as a symbol for a document, while gold nails is an allegory to convey the mood of the event.
Every piece I make consists, more or less, of found objects (scraped metal) I collect in my surroundings. It‘s a pleasure for me to look for new forms in these objects and to work with the resistance of the material. What becomes jewellery lies in a feeling and in the decision. In this way of working I try to create something personal and unique like a „signature“.
A signature, quite like a fingerprint, is made up of unique symbols which allow identifying a person.
An artwork helps to identify its author based on the particular style characteristic to their creative work.
Believing that specific pieces of jewellery suit specific bodies, I created rings that have been designed to fit precisely those fingers for which they were created and featuring my fingerprints as my signature
My jewellery is a part of natures low-key sound or loud silence. When put in motion, it makes quite some noise – it makes you aware of the silence like in nature when a heavy blast of wind makes the reed sing.
The wearer and a piece of adornment share the same blood circulation, everything is one – it conceals enormous strength and vulnerability of life at the same time.
We are all subordinate to nature’s cycle, but how life turns out for each of us, can surprise.
Life suddenly takes different directions, making totally new footprints, it is an unmapped journey.
With “Hide, the Fragment” I’m presenting a new phase in my work. “Hide, the Fragment” reveals or conceals, depending on how close it is to your skin. Does the fragment still evoke associations with the animal from which it originates, or does the pattern or shape elicits new references. Fragments focus on the particular skin, on the natural hair direction and specific details, similar to a photographic image in which a particular subject is defined, creating a new reality. By shaving the hair it is a focus on hidden details. It doesn’t reveal what you can see vague already, it rather reveals new structures of matter and form, a hair-fine imagery and intriguing visual language.
I seek to interpret the vulnerability implicit in our lives, while trying to find a balance between misgrowth, mental strength and sensual beauty. I grasp the parts of ourselves that we tend to hide, excrescences get picked from abandoned corners, errors sneak in and lay down like small pockets of reality. The final pieces can be perceived as an extension of the interior, materialized as visible body growths.
Brooch, silver, 585 gold, milliput, acrylic, 2017
Brooch.
My life, like my work, is a spiral. The upward spirals change as you find yourself in the same place, but on a different level. It changes, but it remains recognisable.
My works are based on a concept of rapidity. Something like pouring molten metal into cold water or giving a signature – part of this process we can prepare but the final result is always unpredictable, making every piece something totally unique. These works are made of thin wire structure – an very aery and fragile material which then is heated and squashed with the blacksmit power forging hammer under 5 tons. The result is like a graphic pattern, like thousand unique signatures handwritten on each other.
The most important person in my life is of course me. The next important is my family. I’m not sure if the Bunny Gang is that important.
The Bunny Gang study all kinds of materials such as stones and sound waves.MINA, 6 years
My work is like an imaginary print of an action, a memory of a certain moment in time. Once present, now long gone. They capture the moment in between “being and the nothingness”. They are echoes of an early breakfast in October.
Every something is an echo of nothing
John Cage
Conversation with Pauline F, 2017 Vanity case
Das Kleine Schwarze.
Robe, linen, cotton, cuts 38-42.
A thimble.
Earrings, collected thimbles, gold, garnets.
A thimble. Bague, collected thimble, gold.
On the tip of fingers. Broche, silver, enamel, shibushi.
Expirantium Imagines: could be qualified as ‘images that die’. Indirect mirrors, in some way, of the degradation that time, inexorable, continues to produce on marble, stone, funerary grass. If not places them of a transfer, a metonymy of a time unstoppable and yet devoid of all will.
Objects, in all three cases, effect of a negativity that only the fact of supporting those objects, dropping their weight on the chest, as a memory and at the same time as a device to capture that time not directly visible (bitten , fissured, blurred) can, strictly speaking, make you feel.
The relationship between society and art and the wealth of its forms is not reflected “under the put” signature. It allows us to document accountability, responsibility, financial morality. Whatever is the way in the society… Today I only “put” my signature under this stamp.
Head of the Klaipėda Department of the Lithuanian Artists’ Association
Neringa Poškutė-Jukumienė
Each person has a colour palette like a signature expressing joy and sadness, freedom and captivity, beauty and madness … I’d like to find those essentials that lie between the lines of a written, in the subtle shades of a sunset, in the silence of someone’s expresses and understands me in my silence and only with my colours that I can be identify … at every moment of life. However in this series, the main idea was to express an instinctive perception of each lines of life into material, form, and and colour as a jewellery
Since 1994 when I introduced ceramics in my jewellery, I’ve been working with clay. People regard this my signature material with the production method of slip casting in particular. In this series I focus on distorted, broken ceramics: metaphors for damaged life. Shapes are deliberately deformed and pressed, and pieces that appear cracked or misshapen out of their moulds and would have been discarded in the old days, are now appreciated.
Vanitas vanitatum et omnia vanitas
Vanity of vanities, all is vanity.
Since the quote starts and ends with vanitas you can run the saying endlessly in a circle. The niello gives the impression of a dissolving surface and refers to the double meaning of the Latin „Vanitas” between vanity and transitoriness.
The necklace is accompanied by two rings: one with a rectangular ring head divided into almost halves, the other in the shape of an endless loop.
The starting point of my jewelry is in objects I find, old as well as new. I look for the potential in mass produced things through a play with associations and function based on the forms, to then combine the different part so they get a new content and another context. In my artistic work I explore jewelry as meaningful and reflective wearables on the personal level, and as comments of our society.
Latitudes is a subtle comment on the Artic as an area we need to focus on because of climate changes and the very high risk of environmental damages by exploiting the resources in a very vulnerable nature. The «needle» can be understood as a pointer or as a pin to break the silence. Something is missing is a subtle comment on the ice that is melting in the Artic. On piece is «sliced» of the map (and physically in the metal), the mini letter knife indicates human involvement. Dumping refers to how we as society discard us of people we do not want (e. x refugees, drug addicts, beggars), but also the personal feeling of being dumped in a relationship or dumped/ fired from a job. The figure is sitting on a seat that can be turned around to different angles. This piece was made to ARKIVET’S (artist group I am part of) project, Worthless.
The idea of a signature is being transformed into a dynamic biological code, a system which creates an abstract maze of ornaments.
The enamel technique and the language of painting allow to fit into a microscopic miniature a myriad of details forming a continuous composition. The interwoven chaotic crowd is like a structured multi-layered cultural reflection containing within itself expressions of human life, sanctity, values, everything that with time… It is the power of decision fixed with a signature.
The concept of identity in cyberspace is different. An increasing demand on security is requiring frequent identification. And how does the virtual world look like in reality? Aren’t we turning into machines by doing repeatitive actions?
Apparently, we are different. We fight for our independence and then we depend on everything.
My work is largely inspired by places. How people reflect the places they have inhabited, how places reflect the people which inhabit them.
A signature is a mark that acts as a proof of identity and intent; One is left on a person by a place, and on each place by it’s persons. Interchangeably, people and places can be altered, fragmented as their habitats and inhabitants change.
In Peters’ latest works, MA, there seems to be a quality of reflection unlike other bodies of work. A reflective pool, a space, a dimension – something you see but cannot reach by going. It is quite revelatory work. This work is devoid of the hand, and evades the term jewelry from first glance like many of Ruudt Peters’ works. Mirror layered with black marks, pools built with swirling dimension. Then another piece, a depth built like looking into a crystal. A ring looking carved from fine smoky quartz is actually built through layers of Man-Made material. The mirror can be deep or shallow in these newer works. Breaking from recent images of the body, the face or any figurative notions, this work is incorporeal and pensive.
Signature. For this theme, I chose graffiti. Because I think that it is a visually impressive signature of every graffiti author – from a swearword to an intricate drawing or even political protest.
I created two brooches using graffiti fonts. One of them features the word “Freedom”, which I dedicate to the Act of Reinstating Independence of Lithuania. The other – my name, a name of a Lithuanian citizen.
In his creations Siegfried De Buck melts an image language, which completely flows out of himself. The result is an oeuvre which shows a strong personality and an artistic talent. His work shows a great control in which technique and elegancy are the main factors. The combination of materials, particularly gold with non – precious materials, is also a leitmotiv in his work. Each creation of Siegfried De Buck has his own story.
In Lithuania’s dear name, I’ll adorn my body exclusively in my native language.
In Lithuania’s dear name, I’ll raise my head by putting asignature – I belong to Lithuania.
My body carries tattoos of exclusively Lithuanian texts.
In my work, they are reflected in the usage of pigskin withpowerful Lithuanian words inscribed on it, crocheted around with linen thread.
The letters, L and N or Lietuvos Nepriklausomybės, are forged in an iron bar. As two letters of a signature they hang in balance on a chain at the same level. The work of wrought iron allows a writing in hairline, as the graph style of the act of independence of Lithuania.
Worms intimacy, are wrought iron bracelet shaped as worms Suggestive, it summons vigorous tensions, plays turgescences, knots and curves, shapes voluptuous arabesques the expression of a vital force, essential, pygocole.
A glimpse of light is so important in a piece of jewelry….. so I have a thing with a the shine. Trying to catch this light makes me a gold digger; searching for silk with a right kind of a shine, looking for stones with like golden hair in it, testing tens of pots gold paint for the right qualities, or working with lacquer in many thick layers that slowly turn in something golden.
My work deals with the everyday. I represent the small moments of life and my work is emphasized by the incompleteness and disappearance of mundane life. In my work I point out what already exists. I try to find divisible meanings from the intimate. My aim is to make visible, to bring imperceptible and ordinary to appear and under view. To awaken one to think about what one is doing and experiencing.
Three jewelry pieces were made as my diary. Each piece is reflecting one emotion – something that I’ve experienced and felt. Using abstract symbolic elements and text, I’m making my own story and giving my emotions to the audience. This is my special way how writing of a diary becomes independent manifestation and author’s signature. The process of making each jewelry piece is the moment of undisturbed conversation between me and material.
Paper has a strong connection to contracts we agree on with our signature. This series of (inde)pendants is my signature: it represents what I wish to affirm in the existence. Independence for me equals freedom that walks along with responsibility: responsibility of our own thoughts and actions. Each of the pieces have a name and an affirmation of a virtue. Metal shapes the atmosphere of each virtue, that otherwise develop through similar processes of learning.
“An Agreement” is a work in the A4 format, which is otherwise usually used for agreements. It is signed with “blood”, it is long-lasting, versatile.
By signing an agreement, we kind of hope for a solution to a situation, for some clarification,elucidation or “illumination”. That is why the colours of this work, from gloomy, are gradually turning to shades of light blue which stands for a dream, until they become completely light.
This work has been created from contemplation about temporality and durability. About the signs that attest to human existence. From searchingfor a way that would convey a subjective perception of the world.The way a signature confirms an individual stance taken at the given time. From searching for a way to talk about the fact that what lasts in the passage of time is what we put efforts to preserve.
