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.

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

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My Four Guardian Angels 2010,

Konstfack, University college of Arts, Crafts and Design

The ancient use off amulets as a metaphysical

protection against varies dangers is shifted into our

post-modern society and our current fears. The

jewelry collection comments on our society condition

as a Fear Society. We are constantly afraid from the

“other”, from crime, terrorism, epidemics etc’

Who would like us to fear and way? Can we feel safe?

Is it all in our minds?

http://www.danahakim.com

My project is about being mentally and physically locked up.

The creations stem from the idea that every human being consists of one physical person and a multitude of emotional personalities.

In both cases you can create a space in which your thoughts and inner life are put in place.

In my work, I equate emotions and the diversity of emotional personalities with spaces. There are moments when we allow people to enter those spaces; and there are others when we close off the spaces and anxiously keep them shut.
In the same way, emotions can create both a feeling of openness and of isolation.

Bearing in mind that every feeling you experience is pure, you can create a private space to harbor each feeling. This private space is subject to your feelings at any given time and can therefore be either fragile or solid, either transparent or opaque.
Either way, every feeling, every emotion is pure at all times, just like porcelain.
Porcelain is a material that combines the elements of both solidity and fragility.  Porcelain has a memory of its own, which is, just like emotion, indelible and impossible to ignore.

http://lorevankeer.com/

http://lichuwu1226.blogspot.com/

http://www.sharipierce.com

http://roosdekrom.be/index.html