• Agnė Žaltauskaitė, 2022, Lithuania

    Agnė Žaltauskaitė, Lithuania

    ~

    In one way or another, all my work can be called Memory of a Place. I constantly create new pieces to document my thoughts, memories or places, linking everything with uninterrupted materiality. This brooch symbolises the gloomy but very close to me atmosphere of a rainy, overcast day in Lithuania. It might look cold and depressing on the outside, however, inside, in a warm workshop, surrounded by cosy lamps, a contemplation that suddenly overcomes me creates an abundant rain of thoughts and powerfully ignites the feeling of happiness and fulfilment.

  • Agnieszka Knap, 2022, Sweden

    Agnieszka Knap, Sweden

    ~

    The memory of a place has a fleeting nature. Every time we recall a certain site our brain reconstructs the inner image all over again. When we go back and revisit it in situ, our reminiscence raises the question did it really look like this? Perhaps the memory is only what we want to see.

  • Amandine Meunier, 2022, Morocco / France

    Amandine Meunier, Morocco / France

    ~

    A drawing of a shed, cut out in rubber, with a necklace placed inside the drawing.
    The necklace can be taken out and worn, while the drawing is left with an emptiness.
    Memory of a place, the absence and the idea that you can wear a part of the piece, carrying it through life, yet it has a place to get back to.

  • Ammeli Engström, 2022, Sweden

    Ammeli Engström, Sweden

    ~

    Dreams also comes from memories. And longing too.
    My work for this exhibition started in a series of work ”Not my Hands”, referring to the marvelous language of craft, its knowledge passing on through hands and the collective memory it holds. I will forever be grateful for the places I met that remains in my heart.

  • Anastasia Kandaraki, 2022, Greece

    Anastasia Kandaraki, Greece

    Ore

    Οld and new, strength and sensitivity, steel and wood: these opposites define my life and my relation to the urban environment – the city of Athens – and are manifested through the materials and forms of this collection of sculptures made for the body and space. These jewellery pieces serve as poetic metaphors, embodying the interdependent relationships in a universe full of connections, where everything is activated through contrasts and fragile resolutions.

  • Andrea Auer, 2022, Austria

    Andrea Auer, Austria

    Bread and butter

    Suzhou, a megacity south of the Yangtze River (China), counts more than 10 million inhabitants – more than my native country Austria. Much of what I experienced there during my three-month stay in 2019 appeared to me to be larger, higher, wider.
    Jade art and pearl jewellery are big in China. Doubtless, manifold imitations thereof also exist. Imitating nature has always been a fascinating challenge for us humans. Remembering China I created Megapearls, individual, oversized baroque pearls that flirt with real pearls.
    Two pieces of tile picked up in 2019 and 2022 on a walk along Kalarand Beach in Tallinn (Estonia). Sand and sea have worn and smoothed the pieces into this shape. With only very few interventions I turned the finds into jewellery and named them bread and butter because both tiles show white glaze on one side, reminding me of a slice of bread smeared with butter. As an inlander, when I think of the beach and the sea, I think of foreign lands together with a desire to visit them.

  • Andrea Wagner, 2022, Germany / Netherlands

    Andrea Wagner, Germany / Netherlands

    ~

    All water on earth has existed forever.
    Each molecule countless times liquid, solid, steam, part of everything.
    Water is life.
    Water retains resonance, holistic memory of where it has been – the good, the bad, and the ugly.
    How much reflected light, how many sunrises, how many sunsets, how many storms can water absorb?
    Which memories lie in the water of pristine Antarctic ice melt?
    What wisdom might be crystallized in water?

  • Anja Eichler, 2022, Germany

    Anja Eichler, Germany

    The beauty and the beast; Hardware plus; Signs & sights

    BMore (short for Baltimore) is a body of work about Baltimore. It consists of three visual anecdotes in jewelry form:

    • The Beauty and the Beast: Like Baltimore, the blue crab, on first sight, looks aggressive and ugly. And still, beauty can be found.
    • Hardware Plus: The Beauty in the ordinary, jewelry made from hardware & enamel, named in honor of a shop on Pennsylvania Avenue.
    • Signs & Sights made from photos taken in Baltimore. The signs on the street, are not graffiti point to the infrastructure below the city.

  • Anna Butwell, 2022, USA / Germany

    Anna Butwell, USA / Germany

    Young dumb and …

    The year was 1999, the location lower Manhattan. I, from a small town, he from Frankfurt. We met as college freshmen, the first time in both of our lives allowed to roam free. Most often slightly buzzed on cheap 40’s of Olde English beer, purchased with a long forgotten souls fake ID, roam we did. Through the empty glittering streets of the financial district, past the ever putrid Fulton Fish Market, through the glistening streets of China Town. On one tour, we stumbled upon what was akin to the 8th wonder of the world for us; a plaza of AstroTurf volcanos, spewing steam into the lower Manhattan air. This plaza, now long gone, became one of our most beloved stops. It was only later that we learned the steam we were inhaling was a waste byproduct of the subway system.

  • Anna Fanigina, 2022, Latvia

    Anna Fanigina, Latvia

    A landscape that can do without me?*

    Тhe St. Mark’s Square has become my main place, where I always come back.
    I wonder if it remembers us, its guests? Does it need people? People reflecting in the amalgams of its mirrors, polishing its marble with their steps. The quarantine allowed this square to be in the pristine emptiness. But may be its real meaning is still provided by people and their happiness.

    *- a paraphrase of the poem by I. Brodsky

  • Anna Rikkinen, 2022, Finland

    Anna Rikkinen, Finland

    One disapeared; Raw currants; Fruit bowl; Washable

    Air was full of sweetness as I tried to steal the decoration on the cake. The table was set with spotless tablecloth, flowers and finery. Chattering grannies were drinking coffee served with seven types of delicacies. I grew surrounded by beautiful objects, festivities, and excitement but also mysteries, unspoken memories, and shunned men. Wartime shadows were lurking in the attic. Closed cupboards and buried bitterness were a constant undertone in our domestic life.

  • Annika Ingelaere, 2022, Belgium

    Annika Ingelaere, Belgium

    ~

    When I travel, I always take my sketchbook, a marker and a watercolor box with me to depict moments I cherish and keep in my mind. I do this in conjunction with photography. Afterwards I usually make an album. I wanted to transform these images into jewellery. These brooches are a series of “postcards from the travels”. Images enameled and framed in silver that can be worn as brooches.

  • Anu Kirkinen, 2022, Finland

    Anu Kirkinen, Finland

    End of story

    “Karjala (Karelian)” is a place for me told by stories. My grandparents (as well as my parents) had to escape from their home because of the war.
    This memory of a place is more than a place. It is a heritage of mine.
    This pendant resemble disapearanceof the lost home and also end of my roots.


    From serie “Nature around you”
    “Forest is a shelter. A place where you are on your own. Place without limits and rules except the respect towards all the living.”


    “Memory of places”
    There are two things. My roots from Karelia and the forest.
    The other one is built by the vision from the past, from the stories I’ve heard and the photos I’ve seen. The other one gave me the shelter, freedom and peace.
    My place. My identity.

  • Arek Wolski, 2022, Poland

    Arek Wolski, Poland

    This place, here and now

    Waste is omnipresent, it is part of every place on this planet. The difference between the present and the past is that modern leftovers are very durable, so they don’t decompose quickly and we experience them in our environment permanently. It’s an important part of our culture, so I need to illustrate this.

  • Ari Pyörälä, 2022, Finland

    Ari Pyörälä, Finland

    ~

    Summer days at our summer cabin near by the lake are memories I could go back. Exploring woods around cabin and wondering the beauty of nature. Swimming and fishing where common activities in those holiday days.

  • Birutė Stulgaitė, 2022, Lithuania

    Birutė Stulgaitė, Lithuania

    ~

    Jewellery does not have to ornate. Its main purpose is to reveal a person’s identity.

  • Brune Boyer, 2022, France

    Brune Boyer, France

    On pegmatite allegorie

    Mitas byloja, kad Dzeusas sutiko išlaisvinti Prometėją su sąlyga, kad jis mūvės žiedą. Tas žiedas, pagamintas iš jo grandinių metalo ir inkrustuotas kaukazietišku akmeniu, buvo pirmasis žiedas su akmeniu.
    Brangakmenis kviečia pamąstymams, tačiau kartu ir suvaržo kūną.
    Tęsiant šį motyvą, bienalėje pristatomi brangakmenys siūlo įvairių mineralų prezentaciją, skatindami prisiminti kontempliacijai įkvepiančias vietas.

  • Carole Deltenre, 2022, France

    Carole Deltenre, France

    To be or not to be

    We consider the human being at the moment he is born, when the nourishing cord is cut. However, one in four pregnancies will not give birth to a living being. The empty settings are like traces of what has been, of what could have been, of what will not be or no longer be. The fragility of wax recalls the fleetingness of existence, silver the persistence of memory.

  • Charlotte Vanhoubroeck, 2022, Belgium

    Charlotte Vanhoubroeck, Belgium

    Nø 221

    In her artistic research, Charlotte Vanhoubroeck is reactivating the lost sentimental jewellery of first Belgian queen Louise-Marie d’Orléans. The newly created objects construct an alternative version of the myth of Louise and reintroduce this almost forgotten queen to the public. N° 221, a pair of “broochelettes” once given to Louise by her parents, celebrated her coming of age. Later in her life, the pieces reminisced the queen of her carefree youth and warmheartedly braced her in melancholic moments of sorrow.

  • Claudia Milić, 2022, Germany

    Claudia Milić, Germany

    Hanging garden

    It was the place I dreamed of staying one night a few years ago.
    I’m sure it was real. There was a rushing waterfall surrounded by exotic fragrant plants. Sparkling and calm and very peaceful. This beautiful place was my home, the origin… in my mind I can always go back there and it fills me.

  • Daniela Malev, 2022, Germany

    Daniela Malev, Germany

    Trophies of destruction

    The unique planet earth is the place where humans live. For me the exhibition theme “Memory of a Place“ raises the question:
    How will mother earth (called Pachamama in the indigenous cultures of the Andes in South America) remember the human species? And what traces do we leave on it?
    The current state of nature mirrows the destructive impact of human societies through technology, economical interests and politics.

  • Danni Schwaag, 2022, Germany

    Danni Schwaag, Germany

    Organs

    In these “organs” forms are shaped out of mother of pearl and galalith (a milk stone) inspired by human organs. Organs that belong to a certain place in the body. If something is wrong in that place, things get mixed up. The memory of the time when everything was uncomplicated becomes stronger as a result of a change. Organs, with mirrored parts, that function again through a certain technique and a special material; the mother-of-pearl with its luster and hardness; the galalith with its sensitivity and softness.

  • Daria Edström, 2022, Sweden

    Daria Edström, Sweden

    Lernaean hydra has been seen here; Emotion and intuition; Are you afraid of the dark?; The silent water; Hommage to William Turner

    A memory of a place… As soon as I hear these words it brings not just memories, but feelings. I can see places and people associated with the place. I feel the wind on my skin, the warmth of the water in the summertime, smell of grass. Through my works, I experience these feelings repeatedly, and my primary wish is that viewers will be able to see their own memories and feelings by looking at them!

  • Deimantė Kiesutė, 2022, Lithuania

    Deimantė Kiesutė, Lithuania

    Collar

    The unwanted memory of Grandma
    I’ve done away with that old watch. I don’t like that pleated skirt of yours, we had to wear skirts like that to school. I’m throwing out everything. Here are the plates given to me by my mother-in-law. Here is a piece of fabric woven by my grandmother, it’s worn out; I might still keep it and use it for rags. Sighing, she repeats once again: “Do away with it”.
    I want to remember. The image imprinted in me – as deep as the tiniest terminal buttons – with its ornamented edges, ‘gilded’ borders, brings me back to where it is safe, to her. To remember, to have, not to throw away, to keep, to wear.

  • Dimitar Stankov, 2022, Bulgaria

    Dimitar Stankov, Bulgaria

    ~

    My work is based on the research of the physical and spiritual connection of the bagpipe music with the Surva and Nestinarstvo rituals. With this exploratory research I investigate how these rituals are driven and influenced by the music. The Bulgarian traditional rituals ‘Surva’ and ‘Nestinarstvo’ are protected by UNESCO as an intangible heritage. In these rituals the body is used as a main tool to represent the ideas of life and afterlife, to unite culture and nature, and show symbols and powers. Here again the main driving physical and spiritual force of the performance is the bagpipe music. The symbolism of ‘Surva’ is aimed at banishing the evil spirits and to prepare for a new beginning . ‘Nestinarstvo’ is a ritual of people dancing on bagpipe music with bare feet on burning coals to ensure the well-being and the fertility of the village. It’s believed that they fall in trance in order to avoid burns.
    I have used the data gathered from the rituals, the costumes worn during the rituals and the music which I have converted into visual information represented by contemporary jewellery and art objects.

  • Doerthe Fuchs, 2022, Germany

    Doerthe Fuchs, Germany

    Still life

    These three neckbands belong to the theme “Still Life”, one of many ongoing jewellery projects of my workshop. The “nature drawings”, accidentally found while cutting agates came into being millions of years ago when different minerals solidified from magma, …they “tell” history and become something new in a piece of jewellery. Stamps are also little “messengers of history”. A country depicts images that represent the country: portraits of honorary citizens or politicians, landscapes, animals and plants, architectures, cultural peculiarities…
    Carrying a personal message, they carry through themselves information or images, i.e. “reproductions” into the world.
    Nothing gets lost on this planet, …everything changes and transforms itself, an endless transformation, in which each single element is stamped [formed?] by history.

  • Dominyka Gulbinaitė, 2022, Lithuania

    Dominyka Gulbinaitė, Lithuania

    Relics of time

    Relics of time preserve their history, known only to some. Objects that became brooches (a key, a piece of bark, a fragment of brick from a Jewish house) are an inseparable part of my birthplace and my childhood. A key found around the house that keeps its history and what is presumably no longer there. A withered plum tree planted by my great-grandfather that reminds me of the delicious plums I ate in childhood. The Jewish architectural legacy preserves not only the tragic events but also the community of the region, the many witty stories passed down by word of mouth. These are In situ signs.

  • Dovilė Bernadišiūtė, 2022, Lithuania / Sweden

    Dovilė Bernadišiūtė, Lithuania / Sweden

    Wearing space

    This selection of brooches is from my ongoing series of brooches called “Wearing Space” which reflects transitional spaces/transit locations such as underground stations and bus stops, airports, doorsteps, etc., designed to be passed through on the way from one place to another. Each piece is an imprint of an architectural fragment. The works explore the remains of our existence embedded in the environment, the reflections of buildings in us. What does the memory of texture mean to us? Brooches are impressions of external surfaces such as walls, ceilings and floors cast from glass. I am fascinated by the tense opposition between the physical and spiritual worlds. I bring jewellery into the transitional space, thus approaching jewellery as a transitional object. I want to grace these spaces, celebrate them and bring them back to the human body. The brooches act as soothing, comforting objects, as reminders and souvenirs of the space and time we live in.

  • Edu Tarin, 2022, Spain / Germany

    Edu Tarin, Spain / Germany

    Apie akmenį

    Šiame kūrybiniame procese kiekvienas pakabukas buvo išdrožtas tradiciniu rankiniu būdu iš vieno vientiso akmens. Išdrožus pakabuką, buvo atlikti du 3D skenavimai: vienas – pakabuko, o kitas – neapdoroto akmens. Atlikus šį procesą, galėjau kompiuterinio skaitmeninio valdymo (CNC) būdu įspausti pakabuko negatyvą į akmenį. Pakabukas dalinai įdėtas į neapdorotą akmenį, taip – per metodą ir medžiagiškumą – sukurdamas ryšį tarp proceso ir jo etapų. Taip apmąstoma, kas jis buvo ir kuo tapo, kaip atrodo ir kas yra.

  • Eglė Čėjauskaitė-Gintalė, 2022, Lithuania

    Eglė Čėjauskaitė-Gintalė, Lithuania

    ~

    In my childhood home, I used to hear strange crackling sounds coming from the door frame. At first, I found it a little earie, but later I would wait for that sound; it had become familiar, I’d tamed it. When I returned from my studies, I found that door frame marked by the intricate pattern of woodworm. I wanted to capture those ornaments created by inseparable residents of my home.

  • Eglė Širvytė, 2022, Lithuania

    Eglė Širvytė, Lithuania

    ~

    Places affect us and are often enveloped in very earthly, domestic memories. In those memories mix the links between man and nature, smells and movements. I depicted the windows from three neighbouring villages: Šeimyniškiai, Užpaliai and Trumpaliai. I am acutely aware of their impermanence, the threat of disappearance hanging over them. Nonetheless, I find so much quiet positivity in them, seeing man not as a wrecker but rather as a creator for whom it is important to create a connection with home, who cares about details.

    I grew up in the village of Šeimyniškiai – and I am still in the process of growing up. This is where my hunt for sunrises and sunsets began, where I explored my way through haystacks, where I caught maybugs, where I never stopped marvelling at the sounds and birds. The village of Trumpaliai became the place where my creativity was unleashed. This is where I learned to look at things in a completely different way, see the shadows falling on them, understand the texture and thickness of the paper. There, I first experienced the flow of time, hours turning into seconds. In the third village, Užpaliai, as the name suggests, there was school and a more.

  • Eglė Vengalytė de Meulenaer, 2022, Lithuania

    Eglė Vengalytė de Meulenaer, Lithuania

    Buds of Ukraine that are not destined to open

    A person truly grows up when they are able not only to take but also to give. In other words, their palms, from the position of ‘me, mine’, open up and blossom into ‘to you’.
    9 March, 2022, Mariupol maternity hospital, the children’s hospital…
    When a child is born, their whole life unfolds in front of them with endless possibilities.
    The war robbed Ukrainian children of those endless opportunities. That injustice pains me. I feel sorry for those babies, for their families – if they survived. But if they lost everyone, who will remember them?
    I implore you to never forget!

  • Eimantas Ludavičius, 2022, Lithuania

    Eimantas Ludavičius, Lithuania

    ~

    I don’t know if he is still alive or not. I don’t know his name, let alone his CV. We never look into the eyes of a person standing at the Gate of Dawn, do we? That’s where I saw those works exhibited on top of a box. I hope that those 20 euros bought him another six-pack of beer. For some reason, I thought that he was a student of mine.

  • Fabiana Fusco, 2022, Italy

    Fabiana Fusco, Italy

    Mother and child; Save me; Walking on the death

    Over the years I have arrived at what best represents me: the human figure in movement that suggests and evokes moments and emotions in an ideal world that rests delicately on the neck, wraps gently your fingers or whispers in your ears or that, most in the last years, tells and complaint what happens now a days. I tell, through jewels, what touches my heart without compromising with fashion or market demands, only my bare soul, my point of view on the world around me, my voice that scream or whisper disappoint, joy, sadness.


    The necklace tell the story of the migrants that lost their life crossing the sea searching for a better place to live, a new life.


    People fleeing on boats looking for freedom they couldn’t find in their country are waiting for a safe hand.


    After the lockdown people start to get closer finally step after step they embrace each other.


    This piece was specially designed after had reading the theme of the 6th biennial.
    Memory of place in this specific moment is also represented by the hundreds mum with their children that run away from Ukraine war trying to carry with them their life, memories, home like a slug with its house.

  • Fritz Maierhofer, 2022, Austria

    Fritz Maierhofer, Austria

    Vulcano I, II, III, IV

    Exploring the volcanic rocks of the island of La Gomera still leaves a deep, lasting impression on me. The most exciting thing for me is that erosion revealed rock formations that are normally hidden inside the earth. In my work, I wanted to capture the tremendous power of these forces of nature.

  • Gabi Veit, 2022, Italy

    Gabi Veit, Italy

    Mountains and always mountains; Knott’n, Brock’n, Stoan

    Mountains and always mountains.

    I grew up in the mountains, in the Dolomites.
    I was surrounded by them, I have hiked all over them.
    I walked on them, I got lost in them, slipped in and crept out.

    Knott’n, Brock’n, Stoan.

    My dialect knows many words for the stone the mountain is made of.
    I cut wax and hollow it out. The jewellery is cast in silver. Unique pieces.
    Just like my mountains are.

  • Gabriela Goldsmith, 2022, Denmark

    Gabriela Goldsmith, Denmark

    Finger ring

    During my study years in London I was connected to city and people in a way I had never imagined. But as the years passed the longing for a deeper connection grew bigger. Hands were utilised in making processes, but neglecting how equally important human touch was. The rings symbolize connectedness and longing.

  • Gigi Mariani, 2022, Italy

    Gigi Mariani, Italy

    Connections: Ancient routes; Labyrinth 21; Metamorphosis

    I thought of sending these three rings, which are part of a collection that I recently presented to commemorate the 150th anniversary of the Civic Museum of Modena.
    For the realization of these pieces I connected with works present in the collection of the Museum of my city.
    I looked at the creations of the past, creating jewels that establish a dialogue with memory, a contemporary encounter between different times, places and realities.

  • Hanna Ryynänen, 2022, Finland

    Hanna Ryynänen, Finland

    CMYK

    People who wear (and love) pieces of jewelry know that certain places and people are always stored in them. The shape of an organ symbolizes the necessity and importance of this invisible content. Like organs support the physical side of us, a piece of jewelry enhances identity and maintains it by acting as a preserver of memory. Jewelry connects the past with the future, making us who we are.

  • Hans-Otto Ojaste, 2022, Estonia

    Hans-Otto Ojaste, Estonia

    A handful of prayers

    The fingering of prayer beads while praying or chanting is a common practice in many different religions.
    Prayer beads are fingered in synchronization with repeating prayers or mantras. A similar motif can be found in Eastern Europes street culture, in the process of consuming sunflower seeds. The seeds pass through fingers as prayers beads do. Biting and peeling form a repeating movement. Chewing takes the place of saying prayers.

  • Heidemarie Herb, 2022, Germany / Italy

    Heidemarie Herb, Germany / Italy

    Time — panta rhei; Madelaine de Proust; brooch “Untitled”

    Time – panta rhei

    An old clock of who knows who is transformed into a small box.
    On its surface, a limitless flow: my idea of “panta rhei”.
    Panta rhei. Everything flows. And by flowing, it takes the past with it. My past, yours, our memories.
    What sometimes remains is the sensation of living again something we have already lived.
    But it is just crumbs of a time that will never come back.

    Madelaine de Proust

    The different content in each perfume bottle has a direct connection to the memory of a certain place which is important to me.

    Brooch “untitled”

    This knife handle represents the birthplace where I lived my youth.

  • Helena Sandström, 2022, Sweden

    Helena Sandström, Sweden

    After the swim; Svartlogafjarden; Medal for a troubled sea

    I remember an island far out in the Stockholm archipelago where I could see the horizon. Where the bluest blue of the sky meets the bluest blue of the sea and the rocks are soft and grey and the swims where wonderful. A place I will always long for.

  • Ieva Grigienė, 2022, Lithuania

    Ieva Grigienė, Lithuania

    CAPUT

    Everywhere around the city, there can still be found faceless construction sites overgrown with weeds. However, bear’s garlic and hydrangeas growing on the edges of the plot speak of a life that was once happening here! Houses and temples rise and fall, and the baroque Vilnius – inspired chapiters amidst the rubble are part of a continuous cycle.

  • Ikaros Moushouttas, 2022, Cyprus / Belgium

    Ikaros Moushouttas, Cyprus / Belgium

    ~

    Places of love, places of struggle, places of longing, places of mourning, places of colour, places of music, places of the past, places of the heart, places near the sea, places with lemon trees, places with castles, places with forests, places in drought, places in spring, places in the sun, places I have been, places I have dreamed, places I found, places I lost, places I forgot… I never forgot!

  • Ilona Treiman, 2022, Estonia / Finland

    Ilona Treiman, Estonia / Finland

    In and out; Burnt memory; Alone; Memory of the place

    We have moved at such a rapid pace that it felt as if the fire was under our feet. Finally, we had to stop and look for a balance in the memories, the birthplace of childhood.

  • Ines Almeida, 2022, Portugal

    Ines Almeida, Portugal

    A botanical garden place; Sheltered print; A sheltered place; A place I adore;

    A printed place
    A place printed in a piece of paper
    A place engraved in memory. A place we bring within ourselves. Gathering, reliving so we never forget what we felt. What we lived. A place grabbed by our own body. A pin that marks in on the map. On ourselves.

  • Inês Nunes, 2022, Portugal

    Inês Nunes, Portugal

    The air of Lisbon as White city

    The capital is the form, the map of the city and the municipality. Today a white fan and tomorrow a necklace to be worn on the body.
    For the atmosphere that defines it, and the wonder of its light – Lisbon – is adored around the world.

  • Jana Machatova, 2022, Slovakia

    Jana Machatova, Slovakia

    ~

    Jewellery is essentially a personal object which is why memories are naturally part of it. In my work I draw inspiration from a personal and societal cultural memory, I use found objects, family photographs, old newspapers and postcards. I am trying to bring a memory back to life. My ambition is to build a temporal bridge between the past and the future. In last pieces I turned back to my memories from my childhood again. I grew up in a panel building in housing estate. I use panorama of my home town in my pieces, I imprint ground plan of our flat in porcelain, its ability to hold traces perfect fit to my project. In contrast to sentimentality related with living in a safe home, I am dealing with the theme borderline as a dangerous place in cold war. Every place holds traces of many life stories, it is a palimpsest of human destinies and memories of places layer in our minds.

  • Janne K. Hanssen, 2022, Denmark

    Janne K. Hanssen, Denmark

    Family Dinner: Burnt; Fork; Krogh; Lollypop; Protective sleeve

    My jewellery refers to the personal space between the remembered and the suppressed. My works are without solid facts, but point to the memories that shape us and to the complexity of the moment, captured in a physical form. What remains after the family-meal is the memory of the act. With jewellery, the memory is stored and decoded by the senses, forming a connection between time and place.

  • Janne Peltokangas, 2022, Finland

    Janne Peltokangas, Finland

    Memories of Sápmi

    Childhood shrouded in fables and mythology, countless mountains and rivers, animals and spirits. Falling in love under the northern lights, hunting in sub-zero temperature, uncle drowning in a lake, skinning a deer. All this is my past. I fold these thoughts in iron to understand fading memories and traditions by telling stories of my culture and home. Art is an extension of memories.

  • Jeanine van der Linde, 2022, Netherlands

    Jeanine van der Linde, Netherlands

    ~

    Living near the coast of the North Sea, I always found beauty and inspiration in the objects these shorelines provide me with. Collecting fossil shells from times long past, when nature was still untouched. Now, I witness large amounts of plastic debris that harm the environment. With every incoming wave, the disparity between humans and nature grows. Memories of unspoiled shorelines are washed away by plastic infested tides.

  • Johanna Törnqvist, 2022, Sweden

    Johanna Törnqvist, Sweden

    Side effects

    Places affect us, but most of all we humans affect places. The memory of a place has soon to be reinvented, since the world is in constant change.
    We fight wars, we fight pandemics and we deplete the earth of nature’s resources.
    The memory of a place is a memory within.

  • Jordi Aparicio, 2022, Spain

    Jordi Aparicio, Spain

    ~

  • Jorge Manilla, 2022, Mexico / Belgium

    Jorge Manilla, Mexico / Belgium

    ~

    I know that somewhere I have existed, that nobody knows and that possibly only memories of me will remain.
    By making flat squares I emphasize my interest for gestural expresive work that I describe as agressive drawings.
    Holes and scares forms are comming from uncontrolled movements methodically reinforced and treated in a delicate way as wunds, to became a piece of memories.
    My pieces are abstractions that refer both to human creations and to those of the current world: using cardboard as a support and treating it as an organic material, scarifying it reveals forms that refer to something primitive. of actions that no longer exist, that will never be known if they happened but that will be remembered by the scars These forms were thought of as objects related to the body.

  • Juan Harnie, 2022, Belgium

    Juan Harnie, Belgium

    ~

    These pieces have become little cocoons, representing safety. These little safe havens can create a feeling of joy to the wearer and even the repetitive way of layering the glue was a soothing process to me during the first corona lockdown in Belgium, making my home a place of rest, instead of a prison.

  • Julia Maria Künnap, 2022, Estonia

    Julia Maria Künnap, Estonia

    Reed of Saarnaki

    The human hand of reed roots, formed by the wind and the sea, was lying on a beach of my home land. A relic of nature.

  • Julia Obermaier, 2022, Germany

    Julia Obermaier, Germany

    Verborgen

    In the labyrinth of the intangible.
    Silence.
    Depths not comprehensible, dark and yet so bright.
    Safe and embraced. Warmth.
    Walls draw up, sheltering shadows.
    You feel touched. Spellbound.
    Narrow alleys, shelter
    Lean back. In – Out. Silence. Thoughts dance.
    Warmth. Security and well–being.
    Treasure rests within. Safety.
    With you. Yourself. Trust yourself.
    Step by step you discover more.
    The inside opens up.
    Growing towards you, it seeks the same.
    Straight and yet so soft, it rests gently in your hand.
    Concealed.
    Feelings.
    Stones fascinate me. Every little part of them is unique and an embodiment for unswayable nature. A human being can shape a stone but not fabricate one. The material stone has something majestic. It is a hard-bitten material, heavy, stable but also light and fragile. Stonecutting takes a lot of time and patience and resembles a meditation. It is as if the stone keeps the eternity within itself to thwart the fast pace of our time.

  • Jussi Järvinen, 2022, Finland

    Jussi Järvinen, Finland

    Absent referent

    We human animals often wish to erase non-human animals from our collective memory. My work refers to places and bodies that are at the same time present and absent in our Western life. The brooches are based on photographs taken on factory farms. Usually, these places are hidden from the public eye. I intend to create a counter-memory of the lives of these non-human animals who are not here anymore.

  • Kadi Veesaar, 2022, Estonia

    Kadi Veesaar, Estonia

    ~

    My current home, Väljaotsa, is the most important place in my life. The peace and calmness I feel here is indispensable. It is the place of freedom, peace, silence, love, ampleness, light and shelter. It surrounds and holds me as a cocoon. I live in this bubble and don’t want to lose it. So I am holding it as gentle as it holds me, as we both are unbreakable and fragile at the same time.

  • Kadri Mälk, 2022, Estonia

    Kadri Mälk, Estonia

    The key; The house; Kaitstud

    Our memory is always selective and subjective, always. You can remember the smell of fir trees from your childhood and the forest, every tree in it. Or an image of your lover on his face when he said you something important. It’s like engraved into your memory. It has power.
    One of the pieces which will be exhibited in Vilnius is the Key. It’s the key of my cabinet at our previous academy building. I carried it in my pocket and almost automatically could open the door of my cabinet. Now we are working in a new building where the doors are opening just by waving with the magnetic card. But I still carry with me my old keys although no need any more. It’s the power of the memory. Magic of a place.

  • Kairi Sirendi, 2022, Estonia

    Kairi Sirendi, Estonia

    ~

    Memory of a place consists of images that divide space into sectors like a map. While walking in forest, we remember the journey by different signs like from the two-branched birch to the right, from the boundary stone straight to the broken pine… From these pictures, a definite pattern is formed in the brain, which we use for orientation and safely return to the homestead. My work “Guilt” only depicts a pattern preserved in the memory and a sense of guilt, in which there are no familiar images for orientation, because the native forest has been cut down and only stumps remain. The work “Psyche” depicts our deepest thoughts and feelings.

  • Kamilė Stanelienė, 2022, Lithuania

    Kamilė Stanelienė, Lithuania

    In memoriam II

    The “In Memoriam II” is a personal and sentimental piece that consists of two parts – a used cartridge case and a portrait of my grandfather. As a child, I found this photograph of my grandfather with the inscription “You may forget me, but I will not forget you” in my grandmother’s closet. Now, I have given it meaning in a frame made in the stained glass technique, which connects to the socket found when digging a hole for my grandfather’s remains. The beginning and the end of life come together in a brooch. And for me, it will always be a memory of the love message kept in my grandmother’s cupboard.

  • Kaori Juzu, 2022, Japan / Denmark

    Kaori Juzu, Japan / Denmark

    55°14’48.3”N 14°50’20.6”E

    This is the place, where I absorb the bloom of innumerable colours day by day.
    Sun, moon, stars, clouds, lights, winds, scent, sea, trees, flowers…
    All the environments change every second.
    Every single element corresponds to each other.
    As I aspire to collect some of those moments, specially when I capture the glowing lights in the sky from my studio, through the forms and colours of the pieces all the senses reveal blissfully.

  • Karina Kazlauskaitė, 2022, Lithuania

    Karina Kazlauskaitė, Lithuania

    Neck adornment I, II, III, I

    While creating the works Neck Adornment I, II, III, I sought to talk about the traumatised consciousness that tries to reassemble the fragments of its past (from items found in old country houses: an old shrivelled children’s ball and a work tool – a scythe blade). The aesthetic appearance of these finds and their symbolic meaning, which I don’t fully understand, ignites my imagination about people’s past lives and, at the same time, makes me think about the contrasting leisure and household work habits of today’s people. This melancholic piece of jewellery not only carries the charge of the past but also invites the viewer to imagine what a person’s everyday life could look like in the future…

  • Kira Fritsch, 2022, Germany

    Kira Fritsch, Germany

    ~

    The hyacinth represents immortality. Since then, hyacinths have grown every spring on the spot where Hyacinthus’s blood seeped into the ground.
    May people return to the places where blood seeps into the earth today. May they be carried by the memories of their loved ones and may the pain be bearable one day.

  • Klara Brynge, 2022, Sweden

    Klara Brynge, Sweden

    Land XII; Dream part I; Dream part II

    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. A blank sheet of metal is empty of content, like a new paper, but has its physical properties, thickness, weight, resistance and transformability.
    In the spaces between here and the distant fragments appear, pieces of unknown and known things. I search for conscious and unconscious ways of accessing those elements, forms, and transform them into material, thinking through making about places I saw. Places that are everywhere, cities, landscapes, interaction between spaces and circumstances meet and a specific place gets an identity. I move through and register.

  • Kotryna Vaitekūnaitė, 2022, Lithuania

    Kotryna Vaitekūnaitė, Lithuania

    Kuno kūnui

    At the heart of this work is a piece of jewellery that at a certain occasion can perform a function other than that of being a piece of jewellery, and a detail that, upon fitting/meeting the body, paradoxically becomes a piece of jewellery.
    The focus of my creative work is dual functionality and the relationship between jewellery and the wearer’s body. I am exploring how a decorative element of an art object can become a piece of jewellery.

  • Kristýna Španihelová, 2022, Czech

    Kristýna Španihelová, Czech

    ~

    The writer Louise Gluck wrote “We look at the world once, in childhood. The rest is memory.“ The boundary between memory and the past is one main subjects in my collection “I hear the land whispering” where I created surreal compositions from peat. In pre-historic times, the peat bog was viewed as the homeland of ghosts. My recollections are into my creative process, ex-plaining the way that my own long-gone memories float to the surface.

  • Laima Kėrienė, 2022, Lithuania

    Laima Kėrienė, Lithuania

    Trees and humans

    Trees have qualities which humans lack, while many human qualities are unknown to trees. For instance, trees live longer and lead sedentary lives. We coexist and observe each other: humans look at the trees when passing by, while trees watch people, their never-ending flow. Lithuania has plenty of trees, a great diversity of them. My favourite ones are oak and pine.
    My eyes have seen many of them, and my fingers touched as many, but pine trees whose bark carries such patterns only grow in the Palanga park at the foot and behind Birutė’s Hill. Take a look.

  • Lauryna Kiškytė, 2022, Lithuania

    Lauryna Kiškytė, Lithuania

    ~

    Every year, the night before my name day, my Grandmother makes me a crown of her own grown flowers. I used to keep it a year and then replaced with a new one, but at some point I started to collect them – it became invaluable memory of what I call Home.

  • Lena Lindahl, 2022, Sweden

    Lena Lindahl, Sweden

    A stroll in Odessa; Dreaming about the blue sky in the underground; Snow falling in Mariupol

    I follow this war from a distance
    Cats and dogs wandering around
    Elderly women and children trying to stay alive
    It gives me memories from places that I never have visited
    Places that perhaps never can be visited
    Places I never will forget

  • Lena Olson, 2022, Sweden

    Lena Olson, Sweden

    ~

    In my childhood neighborhoods there was a giant oak. It was the perfect place for climbing, swinging, hiding, jumping or just sitting underneath. Around it you could find old sticks that could be just anything in your imagination. All senses of my body were involved being there and I can still remember the feeling of sitting on my favorite branch holding tight. This memory reflects in every piece I make.

  • Lisa Björke, 2022, Sweden

    Lisa Björke, Sweden

    Hälsingland: Arbra; Bollnas; Malsta; Soderhamn; Undersvik

    Surrounded by traditional craft, inherited knowledge and pride in materials, techniques, and idiom. This reflects the beauty of a landscape, inspired by old buildings that is scattered around the landscape that is mostly covered in forests and meadows.

  • Lore Langendries, 2022, Belgium

    Lore Langendries, Belgium

    ~

  • Loukia Richards, 2022, Greece

    Loukia Richards, Greece

    St Barbara I, II, III

    My grandfather kept a tiny St.Barbara icon in his pocket while fighting in the front during the Second World War.
    Decorated for bravery, he told me that he had placed his life in God’s hands.
    St.Barbara – an embroiderer and patron of warriors-is a messenger of glory as she raises her cup, reminding my grandfather of his beloved wife.
    The icon condensed memories and faith and gave him the strength to carry on.

  • Luis Torres, 2022, Portugal

    Luis Torres, Portugal

    ~

    Memory of a place is like a journal where we keep record of things that makes remind us of it. We always need one strong base solid memory so that we can recollect to it, and others can follow. We also sometimes forget some like shredded papers we tear but there will be always one that we will never forget.

  • Maarja Niinemägi, 2022, Estonia

    Maarja Niinemägi, Estonia

    ~

  • Maja Houtman, 2022, Netherlands

    Maja Houtman, Netherlands

    ~

    In 2013 we went to Norway for the meeting of the International Hammerclub. Afterwards we travelled around and I still feel the amazement of the three different landscapes per day. Although I saw fjords, mountains, waterfalls, rocks, mines and pinetrees, the main colour I have for Norway is that of the mosses and liverwort.
    This doublefingerring and bracelet reflect this landscape with all her surprises and colour.

  • Malene Kastalje, 2022, Denmark

    Malene Kastalje, Denmark

    We could still hear it in the distance

    Many places and atmospheres have subconsciously influenced my work. In this memory, I recall myself on a mountain of rubbish and the sensation of walking on an extinct volcano. The ground was metallic and definitely rumbling, the sky must have been mustard yellow and the smell acrid. It was a virgin and seemingly infertile place constructed from the 1970s fired garbage slagger. Out of great wonder, a deep and blooming forest now exists.

  • Margit Hart, 2022, Austria

    Margit Hart, Austria

    Longing for the sea

    Three shades of blue representative of hundreds of possible shades of the sea – depending on location, season and weather. Holding the essence of some special spots in my heart and sharing their magic. The movement of the waves, the repetitive rhythm of the surf that my body resonates with and that soothes my mind.

  • Martin Grosman, 2022, Czech

    Martin Grosman, Czech

    Fireclay stones; Schwabic 1, 2, 3

    In my youth, I helped my father in his workshop to extract gold from the bottom of a fireclay glass melting pot. The leftover glass was used to make glass powder. The pan was then broken into pieces and crushed to dust. This dust was to extract grains of pure gold. I used the dust left over from the pan to make a necklace. Inside is glass powder. There are gold grains on one piece of the necklace.

  • Marytė Dominaitė-Gurevičienė, 2022, Lithuania

    Marytė Dominaitė-Gurevičienė, Lithuania

    ~

    The fragment of a large piece forged by an artist and interpreted by me brings back memories of the events of 30 years ago, of its author and my participation in the creative process.

  • Maud Traon, 2022, France / UK

    Maud Traon, France / UK

    ~

    Memory of a place is also a place for memories. This necklace has partly been made from a collection of stones coming from all over the world and passed down to two generations including me. The memories of the ones, connected to the ones of anothers… three generations of memories.

  • May Gañán, 2022, Spain

    May Gañán, Spain

    ~

    Blinding light. Sun at the top. Watering figs in summer and oranges till the end of winter. Memories of Córdoba and the family home. South and sunny. Oranges fresh from the tree. The same tree that lent me its branch so I could transform it into a necklace. The same oranges that have given their juice long ago hanging now like exvotos. Living memory of the intangible essence we are made of.

  • Misato Takahashi, 2022, Japan / Spain

    Misato Takahashi, Japan / Spain

    Open window; Ton 618; The origin; Big leafyram

    I contemplate – the future of humanity and the nature.
    I see – that the nature is deceasing whilst we are advancing exponentially.
    I know – that it has a special space in our minds. We come from it and we are a part of it.
    I wonder – what kind of landscape we would picture and frame in our memory.
    How much will we miss it if it is lost?

  • Nauris Našlėnas, 2022, Lithuania

    Nauris Našlėnas, Lithuania

    (Not) a new beginning

    Istorijos būna įvairaus ilgumo, pamokančios, kartais gąsdinančios, linksmos arba liūdnos… Ir baigiasi jos skirtingai: vienos – aiškios, kitos – miglotos, nutylėtos ir dviprasmiškos. Jas seka naujos istorijos, kurios prasideda ten, kur baigiasi senosios. Įvykiai persipina ir papildo vienas kitą tarsi grandelės grandinėse, o jų galai kartais lieka atviri interpretacijoms arba jungiasi su kitomis – keistai ir netikėtai. Per gyvenimą mes sukaupiame gerą kolekciją brangių ar sunešiotų, nereikalingų ar ne vietoje nutrūkusių grandinėlių, kurių aktualumą pasimatuojame atgaivindami prisiminimais.

  • Nelli Tanner, 2022, Finland

    Nelli Tanner, Finland

    Stories of a wedding ring; Family potrait

    Family and photos of the family
    Significant places and important events
    Marriages, funerals, birthdays, summer holidays
    Intimate but yet general events
    Photos fading away
    Wedding rings without wearers
    Places that exist in our memory only

  • Nelly van Oost, 2022, France / Belgium

    Nelly van Oost, France / Belgium

    Monreal (series “City”)

    The city is always changing, always becoming. It is the link between yesterday, tomorrow and today.
    Do we adapt to it or does it adapt to us? Who creates it? Who suffers it? Who loves it?
    I have always been fascinated by Italo Calvino’s book “The Invisible Cities”. And when this theme was proposed, this book imposed itself on me. To feel my city, my cities, which have always been the places for my mutations and encounters.
    To create jewellery with the open window and let myself be lulled by this absent silence, by the songs of the city.
    Carrying and shaping a city when normally it is the city that carries and shapes us.
    The “Cities” series speaks of urban univers and their contradictions.
    Of the visible and the invisible.
    Of love and hate.

  • PLACEHOLDER

    Neringa Poškutė-Jukumienė, Lithuania

    ~

    The touch of a hand is one of the most unique actions for me. It is welcoming, frightening, moist, lustful, sexy, brutal, opulent, light, gentle, elegant… and always giving you choices: open the door firmly and walk through it or stay behind it. Touch here is inevitable, but sometimes not emphasized. Ringing the door handle with the hand, fingers, palm is the interpretation of the memory of the place by the gestures of those participating in this action. It is a brief moment between the body and everything around.

  • Nicolas Estrada, 2022, Spain

    Nicolas Estrada, Spain

    ~

    This family consists of three very delicate brooches where rock crystal is the leading stone. All pieces are framed by silver and gold. Delicacy is characterized by its lightness and hollowness. These pieces are also translucent and with a very vague and insubstantial form. Some resemble inner body parts, cavities and organs that contain life; the memory from this place where we insist on inflicting so much suffering to people.

  • Paulius Rukas, 2022, Lithuania

    Paulius Rukas, Lithuania

    ~

    There is only as much land and time – and there will be no more. I took a handful of black earth from my neighbour’s withered Schlumbergera plant and created a document about the traces our tribe leaves behind.

  • Peter Bauhuis, 2022, Germany

    Peter Bauhuis, Germany

    ~

    Damian Skinner, 2021

    As the title suggests, this work is playing games with the idea of presence. What does it mean to be somewhere? Does the piece mark our current location or the place we wish to go? What are the differences between the digital realm and the physical world; and what does it mean to transfer something from one to the other, to remake an icon experienced as a two-dimensional image into a three-dimensional object?

  • Petronella Eriksson, 2022, Sweden

    Petronella Eriksson, Sweden

    The forest

    Stones, small portable containers, small holes, some water, small plants.
    I want to get people to reflect on the primeval forest. The real forest that has been untouched for hundreds of years. Where you find everything from small tree shoots to mossy remnants of old giants. Where thousands of species grow that are not found in a cultivated forest.
    Maybe my silver containers can make someone discover something beautiful they would not otherwise find?

  • Rasa Jundulaitė, 2022, Lithuania

    Rasa Jundulaitė, Lithuania

    ~

    We are surrounded by thousands of traces of various civilizations. Precious works of art and cultural layers, traces of traditions and technological marvels are abundantly visited by tourists. Among them, there are many careless individuals who probably consider themselves to be the centre of the world and who, while unable to create anything of lasting value, feel a desperate need to leave their mark at any cost. The phrase “I was here” in all languages of the world can be seen at the most iconic sights. Rubbish blown about by the wind, left in the most improbable, the most protected locations, is an eyesore. Such behaviour, rightfully considered petty hooliganism, makes me very sad.

  • Réka Lőrincz, 2022, Hungary

    Réka Lőrincz, Hungary

    Mermaid

    Remembering to traveling during covid. Still a possibility to touch some ingredients which belongs to the see.

  • Rikke Lunnemann, 2022, Denmark

    Rikke Lunnemann, Denmark

    Logbook; Memories

    In December 1979, The East Asiatic Company’s ship Ms Simba was part of a rescue operation in the South China Sea. Emergency flares from a small boat with Vietnamese refugees were seen and a rescue operation which Simba was a part was launched. I was a little girl at the time and my father Johan Hansen was Chief Officer (later Captain) on the Danish ship. It was he who led the ship’s operation to save what turned out to be 122 children and adults in a fishing boat. Far too small for so many people.
    I have carried this memory of the rescue operation with me throughout my life – we never found out what happened to the 122 people after they were taken ashore in Hong Kong and subsequently helped to Denmark. The city in which I grew up is home to several Vietnamese refugees and I have often wondered if they were among the people my father rescued that December night in 1979.
    Today my father is 80 years old and retired many years ago. But a few months ago, he was called up by a woman who introduced herself as Simba Hansen. She said she had been looking for him, a “Hansen” for years. Her mother and father as well as her big brother were on the small fishing boat. She also told him that her mother at the time was pregnant with her. She was born in Denmark in March 1980 and was named after the ship that had saved them – “Simba” and after what her father thought was the captain of the ship – namely my father “Hansen” – Simba Hansen.
    We have now met Simba and her family. My father has kept all the documentation and photos from that fateful night and especially the logbook of the whole rescue operation that night have been interesting and eerie to read – both for the little Vietnamese family and for my family.
    After 40 years, my father – and the rest of our family – have finally found out what happened to the people who were on the boat back then, and Simba Hansen and her family have become good friends of the family.
    My “Memories of a Place” jewellery is the story of a Danish ship and 122 boat refugees. It is the tale of a far too small boat, with far too many people, the stormy wind and the big waves that were so close to sinking the boat leaving no human lives to be saved. The small boat is made of 18kt gold and weighs exactly 0.122 gr and in it is 122 small diamonds, one for each person who was on the boat that night. The logbook from the 17th December 1979 is part of the piece and it tells tell exactly what happened that night when 122 gems were rescued from the troubled sea.
    Memories arise when human by coincidence cross paths.

  • Roberta Consalvo Sances, 2022, Italy

    Roberta Consalvo Sances, Italy

    ~

    There is a special place for me where I can connect to my deepest memories: the void. Using an industrial stainless steel filter, worked and transformed, I gave shape to emptiness, creating a personal space, physical as well as mental, where in an intimate journey, memories and emotions can arise and flow.

  • Sandra Malaškevičiūtė, 2022, Lithuania

    Sandra Malaškevičiūtė, Lithuania

    Keys is a memory of a place

    When we see a key, we read information: what it is to, what door it opens, and this conjures the image of a place from which this key comes. Hence, the key as the act of unlocking the field of information. For example, I dreamed of a girl who had a very interesting key. I described it to myself, drew it, and named it “Elziukas’s key”. It could be the key to the dream. Or as the saying goes: the key to the heart.

  • Sanna Svedestedt Carboo, 2022, Sweden

    Sanna Svedestedt Carboo, Sweden

    Museum (in reference to the Lithuanian National Museum’s history of combat and defence)

    The technique I use in my leather work is often claimed to have been used in the process of making protective armour. The leather is treated with boiling water and hardens. In my work, I use the thinnest leathers, and cut a delicate pattern. When touched by boiling water it hardens, but at the same time it becomes fragile. I like to think of these brooches as a kind of fragile armour. Sometimes it is the things in life that are fragile that makes us stronger.

  • Sara Gackowska, 2022, Poland

    Sara Gackowska, Poland

    Craquelure IV, V

    Traditionally a place for small painted portraits, each oval cameo is fractured, creating a condensed picture of sublime ruin instead. The use of blood-like iron oxide is a transcendental intimation of human frailty and body I reveal the natural beauty of stone and its appealing features through theme of metamorphosis, constant change and transformation. My experimental works reflect an almost alchemical manipulation with material. The “Craquelure” collection is composition made out of stone and bioresin, in which one type of matter coming from the same material tied together in a never-ending cycle. From a solid state to the liquid one. The stone appears strong as well as fragile. Is it still stone or almost metal or maybe body? Where is a spirit of stone? This unexplained and unpredictable material fascinates me most and describes the nature of stone at best. As a never-ending source…

  • Saulius Vaitiekūnas, 2022, Lithuania

    Saulius Vaitiekūnas, Lithuania

    ~

    One of the most curious and indispensable metals always present in the background of our lifetime is iron (Fe). Not only because it is the most common and widely used metal on Earth: we are connected to Fe by much closer – “personal” – ties. As we know, iron is involved in the production of haemoglobin, which supplies every cell in our body with oxygen. When it is insufficient, we get anaemia, which manifests in general weakness, apathy, depression, loss of quality of life – and even of life itself. According to WHO, 3 580 000 000 people in the world are deficient in Fe. Not much better to have too much iron (see Hemochromatosis). Industrial cataclysms, economic crises, national and religious conflicts and wars are proof that similar ailments and for similar reasons (lack or excess of Fe) affect not only individuals but also larger communities, nations, and states. The body and the world are a place to remind us of this.

  • Silke Spitzer, 2022, Germany

    Silke Spitzer, Germany

    Blades of grass; Evening shades; Autumn leaves

    The braided necklaces take my memory to a safe place in my childhood. This little, but very intimate morning ritual of having my braids done by my mother, was as certain as day comes afer night. Today, in this very moment, there are children all over the world having their hair braided by their loved ones.
    And the world is holding its breath till the braids are finished.

  • Silvia Serra Albaladejo, 2022, Spain

    Silvia Serra Albaladejo, Spain

    ~

    The man is free by nature, and in that the fundamental rule of the life of any human being is based, to the being and live delivery. In occasions, sadly this freedom is lacking and denied by bad decisions by other men. Decisions that entail restrictions and limitations themselves. Some of these even disappear with death, total restriction. Symbol of all those who have fallen into the waters of the Mediterranean and inland. Disposals of tissues and blood are strands of the human patria that have at some time been denied such freedom.

  • Sofia Björkman, 2022, Sweden

    Sofia Björkman, Sweden

    Landscape

    The work in the exhibition was made after a conversation on a frosty winter day. Two people in a certain place talked about what they saw. It is colors, shapes, emotions and thoughts. What is a landscape today? How do we capture it in image and in form? The pieces are brooches but can also be seen as hybrids between jewelry art, landscape paintings, drawings and sculptures.

  • Susanne Hammer, 2022, Germany / Austria

    Susanne Hammer, Germany / Austria

    A quiet place

    A Quiet Place is the title of two necklaces made of historical material from the Sepulchral Chapel Karlsruhe. Invited by a friend, who is an art collector and craftsman, I created a small series of jewellery, which refers on one hand to this memorial place, where he worked as a restorer and on the other hand to the region, where we both come from. The two necklaces are made out of copper sheets from the roof of the chapel – date from the 19th century – which were removed for reasons of restoration. In this project, our common origin, our shared memories are linked up with a place which per se is a place of memory. A specific aesthetic appeal results from the use of this historical metal sheets with a naturally grown patina, whose traces of ageing and damage tell their very special story.

  • Teresa Dantas, 2022, Portugal

    Teresa Dantas, Portugal

    Son of a greater god

    SHE lives the past, incorporates the scenarios, a kind of summation of lived experiences.
    It is part of my remembrances, of my memories
    It addresses previous events, where I was born (Africa- Mozambique) and lived, geographical memory.
    It refers to my identity, to the experienced ground, where I was influenced.
    “Son of a Greater God” constitutes a place of memory because it devotes my affections and emotions

  • Tiina Rajakallio, 2022, Finland

    Tiina Rajakallio, Finland

    ~

    Abundant years and rough times, marks of decay and animal attacks I can only guess the hight of the tree and smell of the soil that once nourished its roots. But even I don’t know where it belongs it carries traces of its origin if I am willing to hear.
    I have tried to maintain its own voice, what is left, to honor its memory of the place.
    It’s a story about roots and leaving, the salty smell of the sea, the one last gaze that should keep the all. It’s about the crumbs of the heart left behind just to find the way back.

  • Tuija Hietanen, 2022, Finland

    Tuija Hietanen, Finland

    ~

    The four-piece series is inspired by my hometown and my roots, both the memories and the present reflections. The metallic colours refer to my hometown’s steel industry but also the gleaming water shades of the iconic rapids. The beading technique is a symbol of my roots since the handicrafts have been practiced in my family for generations. The forms resemble pockets where the memories can be hidden and treasured.

  • Urmas Lüüs, 2022, Estonia

    Urmas Lüüs, Estonia

    ~

    I promised my mother to clean up the apartment that was left behind by my grandmother. 82 years of urban archaeology was standing in front of me. So many items, filled with memories and stories. When I found a cupboard filled with embroidered tablecloths, I decided to continue them. Stitch by stitch I studied her work and mastered my own skills. It became like a conversation in between two worlds.
    Finally I was able to read her stitches like musicians read notes. We were again together.

  • Urve Küttner, 2022, Estonia

    Urve Küttner, Estonia

    ~

    The Baltic Amber´s Memory from tens of millions of years back, and it carries so much information about life these times. As a source of memory information, amber truly is a wonder, however, it is also extremely sensitive to environmental changes.Life on planet Earth can also be as delicate and fragile as amber if climate change, the spread of dangerous diseases and desolating wars won´t be stopped. Amber’s memory reminding us of the importance of a stable environment in sustaining life.

  • Ute Kolar, 2022, Austria / Italy

    Ute Kolar, Austria / Italy

    My garden

    The night before leaving forever, I went out in the garden of my house,
    and in the dark I picked up some flowers.
    I had to leave quickly.
    I took many things,
    I’ll need them, maybe. I thought.
    Today, years later, I find these precious petals,
    almost forgotten in a drawer.

    3 Brooches: Fragments of a rose, made with wood veneer that my mother collected for years.
    The material is one of my mother’s memories and my house.

  • Veera Metso, 2022, Finland

    Veera Metso, Finland

    I heard it through the grapevine; Speak softly love

    I walk, by the seashores, by riverbeds, on some specific islands of the Baltic sea, in the forest nearby, on the pine needled paths that take me to the lake. I listen and I look. I find and collect small fractales of time and space, gentle messages my surroundings have left me. They become instruments for listening and for connection.

  • Vita Pukštaitė-Bružė, 2022, Lithuania

    Vita Pukštaitė-Bružė, Lithuania

    The wall

    Best wishes to the Kremlin Wall.

  • Vivi Touloumidi, 2022, Greece / Germany / Belgium

    Vivi Touloumidi, Greece / Germany / Belgium

    ~

    This work is created in response to the artist’s studio locality, neighboring a forced labor camp in Berlin. A memorial of world history that affected entire generations. Such place proximity initiated in-depth research on WWII badges used to categorize and systematize human bodies. The artworks reference back to the black triangle, but through a gesture of subversion, they instead speak of emancipation and self-determination of the female and social body.