The pieces I present are the result of the materialization of a personal and emotional state. Order, beauty and the concrete that exists within my private memory take the center role. A fortuituos encounter with nature, after having performed a sincere and demanding introspection.I feel attracted to what is known, simple, pleasant, round. It makes me reflect upon what can exist within a sensual and harmonious world.  A world where time passes by slowly, but in a vital and ephemeral way, in a constant circular motion of “creation-destruction.”

http://menudadeplata.blospot.com

Lilith and Lovers.

To the woman and the man who live in Lilith.
Lilith abandoned Adam and Paradise to start a polyphonic journey. For that, she had to shed her usual Ego, her mythical Ego. A generative and constructive voyage, a free and intuitive dialectic in search of new spaces. Lilith, an incision and folding of skin to dilute her myth, in order to be. Through the work with the material: stone and metal. Metal was impregnated with the power of Lilith and the stone became her masculine side. I have seen Lilith: she has transformed into metal, she has incised her skin so she could bend and has been in dialogue with the stone until she became internalized in it. And now, Lilith is what a man lacks to be a woman and what a woman lacks to be a man. Lilith, the promised sex.

http://www.borax08001.com/?page_id=339

www.carolinagimeno.com

What I am attempting in my jewellery designs is to express impressions of touching moments, coolness, preciousness, and sometimes hope. These impressions usually occur when I find a juxtaposition of two things: for instance, the ordinary and the extraordinary, existence and disappearance, permanence and transience, inside and outside, stillness and flow. This duality, which includes universality and change, is an element I believe all human beings have within themselves, and which is necessary to life. I’d like to shape out such moments in everyday life.

‘Memory’, ‘Time’ and ‘Space’ are simultaneous themes I am interested in as I seek duality.
I want to explore them further. An important process for me is to invent shapes. I allow the shape to arise spontaneously, and enjoy just facilitating the creative process through which the work emerges.
Jewellery can be seen, touched, and felt by the wearer and it has the power to change our daily lives from ordinary to extraordinary. I hope my jewellery inspires you, and the people around you, to a little conversation, and creates a context for communication

http://www.yukisumiya.com

http://vanessa-aerts.blogspot.com/

Architectonic series

This collection was inspired by the architectural structures that surround her.
She meticulously arranges three-dimensional squares together and against each other to create constructed forms on a body.

Her collection reflects the inspiration that architecture has becoming a part of the local landscape. Focusing on the negative areas on the structures, the concept behind these pieces is to create a design for these unused spaces. The collection consists of pieces that are symmetric and spatial.

Working mainly with base and precious metals her geometric works are furnished with a hint of vibrant colour through the use of enamels. The end result is a collection of jewellery that is delicate yet wearable which ranges from a selection of neckpieces and brooches.
http://sangeun3.web.officelive.com/default.aspx

http://clairelavendhomme.blogspot.com/

I see my work as an abstract materialization of a thought. These thoughts often come from my every day life. It’s the little mysteries that surround me every day, such as laws of physics, recollection of memories and belief. It’s a fascination for the world that I live in.
My aim is not to make another perfect pieces. I am more interested in the imperfection; to see when something has a defect or fault. The things around me are not perfect and it is because of their faults that I feel drawn to them.
In my work I gather, collect, assemble, and organize. I reassemble, take apart, separate, and break down. It is only then that I can start to rebuild, connect, rearrange, and create my work.

GeoMorphing: notions of preciousness in reference to gems, minerals and rocks.

Living in Australia has influenced my work profoundly. I discovered my passion for rocks and minerals which occur in abundance here. For a number of years I have been processing and cutting the stones I use in myself.
While I have a strong background in technical processes, I experiment with these, applying them in new ways.
It is a selection and design process from the beginning. Combinations of materials are selected, perceptible by the senses, tangible structures opposing internal lines and formations, colours harmonising with each other.
Visual uniqueness gives value to common materials that are often overlooked or disregarded, which I sourced in the Australian outback as well as at mineral and rock collectors’ exhibitions. By slicing into the materials I discovered structures, patterns and colours, traces of their geological history hidden in the layers. By combining known with unknown, the so-called precious with the ’worthless’, I intend to question the concept of preciousness.

By designing and constructing both jewellery and objects that reference and utilize gems and minerals I investigate the term precious as it is often attributed to certain materials.

Link

In my jewellery artwork, I capture moments from my daily life in the form of physical objects that can be worn by others. I record subtle spaces in plaster. They are physical expressions of feelings and experiences with that which I use everyday. I reflect on simple common objects such as my bedpost, the doorknob of my favorite café, plastic spoons from the local ice cream shop, visits with a friend, or the touch between a mother and a child. Yet each one defines the horizon of an emotional landscape that I experience daily. I cast my own body and the bodies of friends and family. Each piece has captured a moment of my life, and has a means by which I can connect and reconnect to others.

http://www.miamaljojoki.com/2010.html

My work, Organic Metal, is about the symbiosis (dependence) between the old and the new. Before I can declare my work as new, alive and at the same time art, I must find the old and dead in it. The living can only emerge through the dead. This is also how evolution works. In that process, my original objects and corpus will be transformed into something new. My pieces tell a story about the transition from the old to the new and express a feeling of magic and surprise which has something to do with my new organic way of forming metal. When something exceeds the ability to understand how it works, it sort of becomes magical.

www.stimpfl-abele.net