He was a quiet man-2

I developed this brooch for the Transmission-Exposition, curated by Sebastien Carre and Florine Menant at Studio 411-Galerie, France. It is in continuation of my ‘He was a quiet man’ series and also documents my love for Delhi and its natural habitat.

Living in a culture that aggressively generates noise and pushes for constant talk-time, silence can allow for those lesser voices to be heard that are constantly under threat and in danger of being wiped out.

In this piece, the mind is mapped by the autumnal colours of an urban forest of Delhi: Sanjay van that is fighting to survive  encroachments, illegal construction, deforestation and neglect. It is dotted with beautiful lakes and streams and a plethora of flora and fauna that seem to peacefully co-exist with the city scape of a noisy and urban Delhi.

When all is dark and hush, the lesser heard voice of the sparrow can be heard, chirping, chirruping and whispering in the quiet man’s ear.

The exhibition showcases the works of 53 contemporary jewellery makers from 21 countries and runs from October 17 to December 12, 2015 at Studio 411-Galerie, Montpellier, France.

He was a quiet man

He was a quiet man

He was a quiet man

Brooch

Sterling silver

2015

Below is the map of Sanjay Van

map of sanjay van

map of sanjay van

20 Brooches: a 2014 personal challenge

When I picked up my work again after a gap of 2 years, in 2014, I decided to give myself a challenge of the never-before (…or atleast not since I started my studio practice in 2009).

And 20 brooches took shape.

Some have been blogged about earlier.

Here they all are….in one post 🙂

 

Under the night sky(front)- 2014

1. Under the night sky(front)- 2014

Under the night sky (back)- 2014

Under the night sky (back)- 2014

A simal spring- 2014

2. A simal spring- 2014

Gulmohar (front)- 2014

3. Gulmohar (front)- 2014

Gulmohar (back)- 2014

Gulmohar (back)- 2014

A simal spring- 2014

4. A simal spring- 2014

Sunken treasures- 2014

5. Sunken treasures- 2014

7. Pushing the boundaries- 2014

6. Pushing the boundaries- 2014

8. buried treasures- 2014

7. buried treasures- 2014

8 & 9. Tit-elation- 2014

8 & 9. Tit-elation- 2014

10. The simal in Autumn- 2014

10. The simal in Autumn- 2014

11. Shiva emerging from the pillar of fire- 2014

11. Shiva emerging from the pillar of fire- 2014

12. The vigil of Utka (front)- 2014

12. The vigil of Utka (front)- 2014

The vigil of Utka (back)- 2014

The vigil of Utka (back)- 2014

13. The limp of the royal buffoon- 2014

13. The limp of the royal buffoon- 2014

14. And still I live (front)- 2014

14. And still I live (front)- 2014

And still I live (back)- 2014

And still I live (back)- 2014

15, 16, 17. he was a quiet man- 2014

15, 16, 17. he was a quiet man- 2014

My passion stands like a blackened doorway- 2014

18. My passion stands like a blackened doorway- 2014

19. And still I live(2)- 2014

19. And still I live(2)- 2014

20. Autumn Lovebirds- 2014

20. Autumn Lovebirds- 2014

321 studio jewellers, 52 rings each- The 2011 Ring-a-Week Challenge

In 2011, 321 studio jewellers answered to a Flickr challenge to make one ring a week and post a photograph of the finished piece to the community group. The challenge was conceptualized and initiated by Thomasin Durgin. There were no fixed rules. Rings did not need to be made of metal, nor did they need to be tangible objects.

1 year=52 weeks=52 rings.

I’d never taken on such a challenge before and jumped right into it. The results surprised me too, as I pushed the limits of my technical and narrative skills each week, with each piece.

Here they all are. Yup! All 52 of them in one post 😉

RAW 1

RAW 1

The Lovebird family: Front & Back

The Lovebird family: Front & Back

RAW 3- And spring surges forth

RAW 3- And spring surges forth

RAW 4- Marigold: Summer blossom

RAW 4- Marigold: Summer blossom

RAW 5- a late april shower

RAW 5- a late april shower

RAW 6: Spring birds

RAW 6: Spring birds

RAW 7

RAW 7

RAW 8-Beaten and weathered...O! but it's new ; )

RAW 8-Beaten and weathered…O! but it’s new ; )

RAW 9 & 10- The ante stone and the stone ring

RAW 9 & 10- The ante stone and the stone ring

RAW 10 & 11- the stone and the ante stone ring

RAW 10 & 11- the stone and the ante stone ring

RAW 12

RAW 12

RAW 13

RAW 13

RAW 14- The gathering at dusk

RAW 14- The gathering at dusk

RAW 15- Marigold: Winter blossoms

RAW 15- Marigold: Winter blossoms

RAW 16- at the threshold

RAW 16- at the threshold

RAW 17- Winter always turns to Spring

RAW 17- Winter always turns to Spring

RAW 18- bends & turns

RAW 18- bends & turns

RAW 19- nest

RAW 19- nest

RAW 20- a ring for viswakarma day

RAW 20- a ring for viswakarma day

RAW 21,22,23-the seed, the germinating seed & the flower

RAW 21,22,23-the seed, the germinating seed & the flower

RAW 24- Sprouting

RAW 24- Sprouting

RAW 25- cleansed

RAW 25- cleansed

RAW 26- Delhi's monsoon

RAW 26- Delhi’s monsoon

RAW 27: The silhouette

RAW 27: The silhouette

RAW 28

RAW 28

RAW 29- The homecoming

RAW 29- The homecoming

RAW 30- Almost a circle

RAW 30- Almost a circle

RAW 31 & 32: the ante stone rings

RAW 31 & 32: the ante stone rings

RAW 33 & 34- the artefact and the new

RAW 33 & 34- the artefact and the new

RAW 35

RAW 35

RAW 35- winter flowers

RAW 36- winter flowers

RAW 37- winter flowers

RAW 37- winter flowers

RAW 38 & 39- winter flowers

RAW 38 & 39- winter flowers

RAW 40, 41, 42, 43- Paper Thin

RAW 40, 41, 42, 43- Paper Thin

RAW 44-49: Metamorphosis

RAW 44-49: Metamorphosis

RAW 50- A sacred time

RAW 50- A sacred time

RAW 51: om ring

RAW 51: om ring

RAW 52: an ugly ring

RAW 52: an ugly ring

Sahr Bashir

A round red balloon....From the 'I dream in red...' series

A round red balloon….From the ‘I dream in red…’ series

Sahr Bashir

Sahr Bashir

1. Please tell us a bit about yourself.

After graduating from the College of Fine Art (COFA), University of New South Wales, Sydney, Australia with a Postgraduate Degree in Design in 2001, I established the Department of Jewelry & Accessory Design within the School of Visual Art & Design at the Beaconhouse National University, Lahore, Pakistan in 2004. This was the first Programme of its kind in Pakistan, which offered an undergraduate degree in Jewelry  Design and my focus was to develop curricula and educational materials in addition to training faculty, professionals, craftspeople and students.

2. How would you describe your journey as a contemporary jeweller?

My interest in jewelry and objects grew from my freelance design practice after my undergraduate degree in Visual Communication Design at the National College of Arts, Lahore. I was always fascinated with found objects and collected everything from broken glass fragments to river stones. This gradually led to my work becoming a ‘space’ where precious metals and gemstones overlapped with ordinary ‘invaluable’ materials to make statement pieces.

My designs are journeys into the unexpected: imaginary landscapes (Landscape series) where one may find vivid red coral blooming unexpectedly in a plastic paradise. Or encounter a shimmering pearl lake beside a rocky island of pyrite….Each piece is a fluid attempt to create a thoughtful dialogue of the ‘natural’ and the ‘simulated’.

forest of vines

forest of vines

“And I dream in Red..’ is a narrative collection of brooches, where traces of memories overlap with surreal dreams.

Do come in, my dear..

Do come in, my dear..

3. What inspires you?

Nature and all the ‘treasures’ waiting to be discovered in the city of Lahore and beyond!

4.What direction do you see your work taking over the next 5/10 years?

I plan to take out more time to write about everything and anything, as these narratives eventually dictate my work.

5.What are your thoughts about the contemporary jewellery field evolving in South Asia?

The most challenging aspect of working as a contemporary artist-jeweler in this part of the world has been the notion of questioning the very definition of jewelry. The Sub-continent, with its rich history of precious jewels and ornaments dictates the widely accepted ideals of jewelry as body adornment with a distinct inherent ‘value’. Attempts to incorporate ‘non-precious’ materials and technology are resisted and embraced at the same time, thus posing more questions and leading to the exploration of exciting outcomes!

coral island

coral island

6.List of publications, projects and exhibitions that you’ve been involved in.

  •  Recipient of Australian Alumni Excellence Award for Education 2014 by the Government of Australia, Presented by the High Commissioner of Australia, Lahore, Pakistan, 2014
  • Selected for Showcase of Jewelry Design Collection at The Beijing International Jewelry Exhibition 2013 by The Committee of Beijing International Design Week and The Beijing Institute of Fashion Technology (BIFT), Beijing, China, 2013 (as the first Jewelry Artist from Pakistan)
  • ‘Humnawa’ Skills Training and Product Development for women in Muzaffargarh, (South Punjab) in collaboration with PSDF (Punjab Skills Development Fund), Lahore, Pakistan, 2012 which was nominated for the MacJannet Prize 2013 Honorable Mention Award by Talloires Network, Tufts University.
  • Show of Jewelry Collection at launch of No Man’s Land Gallery, Delhi, India 2012
  • Show of Jewelry Collection at Monsoon Festival, Alliance Francaise, Delhi, India 2012
  • Design, Implementation and Training through Certificate Courses in various trade skills (wood crafting, chain making, stamping, etching, fashion accessories), Beaconhouse National University, Lahore, Pakistan, 2012-13
  • Training of students, craftsmen and alumni in the Traditional Art of Vessel making in collaboration with German silversmith, Michael Boy and Anne Marie Schimmel-Haus, Goethe Institute, Lahore, Pakistan, 2011
  • Master Trainer for Product & Design development for Bahawalpur Craftsmen (South Punjab) with AHAN, 
SMEDA (Small & Medium Enterprise Development Authority), Lahore, 2006

7.Where can one buy your work?

My design studio in Lahore

tree of life

tree of life

8.Website 

In process

9.E-mail 

sahrbashir@gmail.com

10.Currently:

On the bench: Cast rose thorns, snowglobes and dandelions

On the wall: Paintings, drawings…

On the pod: Trance, Abida Parveen, Coke studio

 In the drive: Files, documents, family photos

On the shelf: Books, books and more books…

The boat rocks gently....

The boat rocks gently….

Niels Schoenfelder

Romeo and Juliet Apartment buildings, Stuttgart, Germany

Romeo and Juliet Apartment buildings, Stuttgart, Germany

Niels Schoenfelder

Niels Schoenfelder

1. Please tell us a bit about yourself and what defines your design aesthetic.

Architect by training and practicing design of anything related to the built environment my focus is certainly on spaces and objects which are un-pretentiously searching for poetic subtext in the mundane.
Aesthetically this leads to rigorously simple solutions often reaching back to the pre-modern. Its a search for depth beyond stylistic conventions of today.
2. What prompted you to create jewellery?
 Not what but  who? : Sharan Apparao of Apparao Galleries, did.

3. You have made jewellery for the first time. What challenges did you face? And what factors did you consider in the design and fabrication of the pieces? I did not make anything! Together with Jean-François Lesage I conceptualized the making of these pieces. They are made by master embroiderers of Lesage interiors…

This is to say that there where no technical or physical challenges… The design contemplates the architectural drawing as a cultural record transformed into wearable pieces… a monument of epic proportions becomes the little, pretty adornment for an evening … we find this contrast irreverent and poetic.
Gwalior Fort, Madhya Pradesh

Gwalior Fort, Madhya Pradesh

4. You have collaborated with the atelier of Vastrakala, one of the top names in luxury embroidered home furnishing. How did that come about?
Jean- Francois Lesage is a good friend and his business  partner Malavika Shivakumar happens to be my wife…
 
5.Do you see your jewellery collection as a continuation of your design aesthetic/practice as an architect or as a separate entity?
Our practice includes interiors, objects .. so these do have a connection with the work of the studio.
St. Peter's Basilica, Vatican City

St. Peter’s Basilica, Vatican City

6. On what basis did you choose the monuments? Can you tell us more about your chosen format in terms of materials used, product type and display?
They are chosen across time and cultures and building typology …. and yet they all have jewel like qualities.
7. What direction do you see your future jewellery collections taking?
it would certainly be interesting to probe deeper into this subject of “re-crafting” drawings … other artisans and crafts could interpret very differently and the potential for this to turn into 3 dimensional objects is huge too…
8. Where can one buy your work? Apparao Galleries
10. E-mail architects@mancini-design.com
11. Currently: On the bench: a river beach landscape 
               On the wall: a design for a villa by my great grandfather
                In the drive: construction photographs
                On the shelf: books  – need more shelves…
Chateau de Chenonceau, France

Chateau de Chenonceau, France

He was a quiet man: a set of 3 brooches

He was a quiet man
Often society ‘urges’ people to fit the mould. People who look a certain way, talk a certain way and behave a certain way are donned with the mantle of cleverness and intellect.
This brooch is the first in the series of “He was a quiet man’, that ‘urges’ people to challenge this clichéd and archaic perception.
He was a quiet man

He was a quiet man

3 Brooches

sterling silver

Sylvo Schroeder

 

"Sie im Ohr" (she in my ear) 2012 - resin - silver - steel - Zircon

“Sie im Ohr” (she in my ear) 2012 – resin – silver – steel – Zircon

Sylvo Schroeder

Sylvo Schroeder

1.Please tell us a bit about yourself

You can read about me here: http://argentum.bprecious12design.com/?p=97

 2. How would you describe your journey as a contemporary jeweller?

  •       Completion of a 3 year Apprenticeship .E.Frey Master-Goldsmith,Pretoria,South Africa.
  • ·         Invitation by Co.Gueblin, Lucerne, Switzerland to join for an Internship in its Design  and Manufacturing Department
  • ·         Fachhochschule fuer Gestaltung, Pforzheim, Germany where I completed M.A.Design with Prof.R.Reiling & Prof.K.Ulrich.  Thesis  -Body jewellery

__                                                                  __________________

·         I work concept and theme wise utilizing sculptural and linear elements.

·         For example the “Space Invader Series”

Ring from the  Space Invader Series - "Liebes Auge"( loving eyes) 2014 -  14K gold - Zircon

Ring from the Space Invader Series – “Liebes Auge”( loving eyes) 2014 – 14K gold – Zircon

·         Majorly I work  on an assignment basis through my CAD drawings – love design and manufacturing techniques and the moment a piece is born.

·         I admire work done by artists with innovative /unusual /surprising design elements.

·         My favourite artists are – René Jules Lalique – Salavadore Dali (yes he designed a lot of fantastic jewelry) Reinhold Reiling – Bruno Martinazzi and Manfred Bischoff    

                                                                                                               

 3.What inspires you?

You can read about my inspiration here: http://argentum.bprecious12design.com/?p=97 

4.What direction do you see your work taking over the next 5/10 years?

I would be continuing developing my Jewelry, Silver Ware and Clocks

 5.What are your thoughts about the contemporary jewelry field evolving in India?

Lack of audience – exposure – will and commitment makes it hard to tell – the prevailing comment “no resell value” tells it all.

6.List of publications, projects and exhibitions that you’ve been involved in.

·         Gallery Ibo – Klagenfurt, Austria

·         Art Association Pretoria and Cape- Town South Africa

·         Studio Matthar  Cologne, Germany 

·         Yearly exhibition at IINHORGENTA   Munich Germany

·         MUBA Basel Switzerland

·         2004 , 2009.2011exhibited at AMBIENTE  Frankfurt, Germany   

·         Designer Platinum & Gold) Co.Gerstner Pforzheim, Germany.

·         Own studio for Jewellery Design in Pforzheim, Germany

·         Project Manager for    “Schmuck der Galatea “Jewellery

·         Co. in Hong Kong & Pforzheim

·         Consultant for Design   Production techniques with Saudi

.     Pearls & Gold Factory,Rijad,Saudi-  Arabia.

             Project  – Design &Manufacturing of Sterling Silver . Table clocks

            Company Soelch Eisingen Germany                                                          

·         Design & Manufacturing of  own Wristwatch Collection in Silver,  Gold & Precious Stones

·         Project – Consultancy for   Sunrise Jewellers Pvt.Ltd. Madras, India 

Principal at Jewellery    Product Development Centre New Dehli India

·         Invited as Consultant Executive Officer  JDTI Noida India

·         Design Director Silk and Silver Noida

·         Design Director El Unique Delhi India

·         Setting up – Faculty training – Jewellery Institutes in Karachi and Lahore Pakistan

·         Exhibited at the Saffron Auction House in  Dehi

·         Since 2013 own  Galleria and workshop  in Delhi        

INTERNATIONAL JEWELLERY COMPETITIONS

 “Diamantenschmuck von morgen“De Beers Runner-up.                                                                  

 “Gold”Art Association Pforzheim  4th Prize.

 “Idar-Oberstein Schmuck & Edelstein Preis“   1st Prize & Runner-up.

 

Pen clock - silver oxidized  - covered with leaf gold - Swiss movement - Chrystal glass

Pen clock – silver oxidized – covered with leaf gold – Swiss movement – Chrystal glass

                                                    

                                                     

7.Where can one buy your work?

b’precious Galleria

Birbal Road 4/17

Jangpura Extension

110014

Delhi/INDIA

011 43584011

8.Website

https://www.facebook.com/srsportfolio

http://bprecious12design.com

9.E-mail

Sylvo.schroeder@gmail.com

10.Currently:
On the bench: Tea/ coffee assemblage designing for a demanding client  

On the wall: Otto Schroeder – Luederitzbucht – my favorite pastel

On the pod: Steve Winwood

In the drive: American Sniper

On the shelf: Namibian History

 11. Anything else you would like to share about yourself:

Doing commissioned Design work

Needle - wire extravaganza - 18 K gold - real pearls - Stainless steel - 2009

Needle – wire extravaganza – 18 K gold – real pearls – Stainless steel – 2009

Purvi Sanghvi

Blue Brown Desert necklace

Blue Brown Desert necklace

Purvi Sanghvi

Purvi Sanghvi

1. Please tell us a bit about yourself.

School Lady vissangi girls academy ,  1987

Narsee monjee institute  management studies ,PGDBM

Amrutben jivanlal , BCom
John cass , London , MA jewellery 2008
2. How would you describe your journey as a contemporary jeweller?
I had been a trained potter for some years and had specialised in making and designing clay beads jewellery.
There came a point wherein I couldn’t see much in future with the clay jewellery and hence studying was the only option to move forward in my work.
I studied MA jewellery design at the John Cass dept of art and design, London which was a eye opener to contemporary jewellery
I realised during my studies that I loved exploring new materials/ unconventional materials for jewellery making. And I like working with my hands hence all pieces are made by myself.
I discovered nibs to use for jewellery design by chance.
I come from a family which used to manufacture pens and nibs and since the business was closed down, there was a lot of raw stock, including the nibs.
My father wanted to dispose the huge amount of nibs ( raw stock of gold plated as well as steel polished nibs)
I was shocked that he wanted to sell it as scrap. I asked him to keep some for me which he readily agreed.
 Currently nibs is a strong element in my jewellery and I feel connected to.
The story behind the nibs in my family
Tedx link :
Forgotten Letters

Forgotten Letters

3.What inspires you? 
It all depends on the phase I am going through. Nothing or anything can inspire me.
However, I am always interested in various cultures, colours , food, materials, textures.
4.What direction do you see your work taking over the next 5/10 years?
I see my work improving,  getting more simpler with different and better quality materials and finishes. And which becomes popular and reaches a wider audience.
Green Brown Sea necklace

Green Brown Sea necklace

5.What are your thoughts about the contemporary jewellery field evolving in India?

I believe it will take some time for people to appreciate and buy contemporary Indian jewellery. Jewellery which is not made from traditional materials like gold, silver, diamonds, etc
Indians are enamoured with materials more than the concept or theme based jewellery and believe in wearing gold , silver ,etc as investment and not to wear it to express themselves through the jewellery. It’s a status issue.
Though I must mention that there is a tiny section which craves for and is looking for some thing different , something to express themselves , something which they can relate and connect to. They are open to wearing jewellery which is NOT made from conventional jewellery materials.

6.List of publications, projects and exhibitions that you’ve been involved in.

Legnica ‘silver’- may 2012
Platform gallery, London –  April 2011
Publications
Grazia   – October 2011
Youth eye   – October 2012
Creative gaga  –  nov-dec2011
Livemint newspaper – September 2011
Timeout Mumbai feb-March 2012
Vogue –  September 2013
Air India inflight magazine – August 2011
Online :
Credit mention in book : how to design bead and wire jewellery by renata graham
7.Where can one buy your work?
Currently by contacting me through the ‘the other side’ facebook page. And  through the website when it’s active.
Website being developed at present . It will take a while.
Until then you can view my work here
9.E-mail
10.Currently:

On the bench: beads, threads, nibs

On the pod: coke studio , pink , ani choying , one Republic, zeb and Haniya , jack Johnson,

In the drive: Maruti swift

On the shelf: Dalai lama’s cat, Paulo coelho, and cook books 🙂

11.Anything else that you would like to share about yourself?

 I don’t use leather in my work. And I try and not use any glue to stick /join materials. I would rather find a way of joining by a technique instead of gluing.
Brown Pink Desert necklace

Brown Pink Desert necklace

Continuing traditions: A way forward for Art jewellery in India

‘India, like no other country on our planet, can rightfully boast of an unbroken heritage of jewellery design that spans atleast 5000 years and extends back into antiquity. Its people have expended limitless energy and creativity in the invention of ornaments that celebrate the human body and in developing opportunities for their use. By adorning the visible, material body, they also seek to satisfy a universal longing for the embellishment of its intangible counterpart: the human spirit.’ Traditional Jewelry of India by Oppi Untracht

There are many key words here that would ring familiar to the contemporary world of Art Jewellery. However, it is the word ‘unbroken’ that renders versatility to the traditions and subsequent evolution of Indian jewellery.

Ancient Indian jewellery, whether tribal or classical, of metal or organic material, refined or primitive, was rife with symbolism and stories of the people who wore it, accounting for communal identities, marital status, social hierarchies, etc. And as it developed in isolated pockets, the jewellery in each area spoke through distinct vernacular languages and textures.

Today, even though the jewellery looks the same, the stories have long been lost.

In my humble opinion, it is imperative to document, study and evolve from these traditions before they are lost to us in these fast changing times of globalization.

This would be particularly challenging, as most art courses don’t actively include the study of jewellery.

It thus inevitably follows, that collaborative efforts are made towards developing a dedicated space, such as a museum or an institute: a dynamic space that allows for scholastic studies, new dialogues and for the showcasing of past traditions and continuing and evolving traditions in jewellery.