Domestic Bliss

Harnesses of horses are the starting point of my series of works Domestic Bliss. The harness is the connection between the human and the animal, it is a communication tool that enables us to handle a horse. I made harnesses for everyday objects. The headgears are custom made for each object and they are constructed according to the funktion of harnesses used for horses. The final work is consisting of the empty harness that is telling through its shape- and in the silver etched details -of the object it was made for. My headgears are a communication tool between the object and the wearer. Our everyday object serve us, and I would go that faar and say we are depending on them. With the necklaces of my series Domestic Bliss I request our relation to everyday objects in a playfull way.

Constanze Schreiber 2011
Constanze Schreiber web page http://constanzeschreiber.com

My work is about the tension between structure and sensuality. I am interested in framing female identity through the lens of beauty, control, dignity, strength and vulnerability. By building simple structural units into complex sculptural forms, organic shapes give way to fortified architectural systems. Steel wire is used as basic material, a continuous line of wire is shaped into interpenetrating forms. As multiple units complete a perfect structure, the whole becomes animated and my jewelry comes to life.
The human body is the perfect context for my three-dimensional forms. Only when the body ornaments are perfectly installed on the wearer, does an emotional and structural rapport begin. As people imagine building an ideal house of their own, I also imagine building my house of jewelry on the human body.

LucyandBart
LucyandBart is a collaboration between Lucy McRae and Bart Hess described as an instinctual stalking of fashion, architecture, performance and the body. They share a fascination with genetic manipulation and beauty expression. Unconsciously their work touches upon these themes, however it is not their intention to communicate this. They work in a primitive and limitless way creating future human shapes, blindly discovering low – tech prosthetic ways for human enhancement.

http://www.lucyandbart.blogspot.com/

Necklace
I have made a necklace of pieces of broken glass and crocheted silver wire.
Every cup has a history and all these pieces of broken glass bring all together a lot of memories

Slakje

Little snail
Animals as an accessory and as part of an image are being used more and more. 
I have treated the snail as a jewellery and I have designed the tools to keep the snail in a small jar, to clean the snails house and then to paint it gold.
In this way, the snail can be worn as jewellery, and after wearing it the snail can be put back into nature and we can transform other snails into jewellery.

http://www.immevanderhaak.nl

Nostalgia has represented my desire to go back to another time and place. Often I feel I would be better suited having grown up in the past. This fascination has led to the creation of this series. I cannot go back in time, but in making I am able to capture fragments of the past. The work is amusing and fun. Highly colorful and simple in design the pieces invoke a cheerful carefree atmosphere.

Photography by Marc Creedon
All images are @ Kevin Hughes 2010. All rights reserved.

http://www.kevinhughesdesigns.com

www.liesbetbussche.com

Sex is a search to become whole, to find harmony. This is life.
This is a part of romance, of maturity, of pleasure, of love.

My pieces talk about sexuality; constructed by forms that give you
associations and trigger your imagination. The female, flamboyant
and decorative aspect indulges and gives room for fantasies.
There are shapes which frivolously assume the role of the phallus or
sometimes the female sex, its lushness and sensual luxury have the
imprudence of demanding both space and attention.

To me, they are joy and satisfaction, thoughts and dreams about sensual desire,
and without the deceptive likeness to the real thing,
they will lead you into your dirty mind.

www.johannapersson.se

Brooch 2007: Nightfall

It started as a fairytale: moonlight on the mountains, blooming alpine meadows and a
young prince in love. An old legend about the Dolomites served as a source of inspiration
for the new jewellery of Jantje Fleischhut. She made no straightforward translations, but
suggestive, abstract compositions. By combining specially designed elements with found
objects she achives a subtle balance between vision, craft and coincidence.
A new chapter is added to the story: with our heads still in the clouds we arrive in the
present. The mountains are opened up by the train, benches are waiting and technical
installations compete with the mountain massif. People arrive at the scene – unusual in
modern jewellery: lonely visitors stand pondering in the landscape.
Not only in an expressive sense, but also technically does Jantje Fleischhut work on the
highest level. With great zeal she manages to broaden the possibilities of plastics as a
medium for her art. She now succesfully incorperated drawings and photographs in this
material, producing multilayered images with a compelling perspective. And behind the
mountains the ever luring shine of gold and silver.

super woman ´04

www.vincent.durbak.sk

Blooms, Efflorescence, and Other Dermatological Embellishments
(Acne, Open Comedo)

My work pulls from discourses centered on the imaged body, consumer culture,

body aesthetics, and illness. In my projects, through the production of personal objects,
photography, video, and performance, these divergent discourses are visually linked.

The imaged body refers to photographs of the body, in advertising and in medicine, as well
as mental conceptualizations of the body. I see the imaged and imagined as conceptually linked.
In both cases, as a model for the physical body, the visualization is deceptive. The imaged body
is stylized, static, manipulated, and often an amalgam of bodily ideals and contemporary design
aesthetics. These are all qualities that the physical form resists. Attempts to emulate images of
bodies are often futile especially when that imaged body is a romanticized archetype.

What is surprising about imaged bodies are the similarities between images that intend to project
ideals and those that display subversive or even abject bodies. Fore example medical imagery,
pornography, and advertising display anatomy, often using similar positions and compositions.
Contextual cues are necessary to clarify how the bodies are interpreted. These include the format
of an image, such as medium and location, and the placement of objects (or lack of) alongside the
Blooms, Efflorescence, and Other Dermatological Embellishments
(Syphilis)
2009
Inkjet Print
26×26”

body in an image.

Objects and their relationship to the body play an integral role in negotiating the
disconnect between idealized images of the body and the physical body.
By surrounding our bodies with objects that are seen in images alongside the ideal body we
hope to amend the imperfect reality of our own form. Some of the most obvious examples of
this are the placement of consumer objects (jewelry, clothing, electronics) next to romanticized
bodies in advertising, which are then purchased and placed in relation to our own bodies.

The attributes of those objects, fashionable, beautiful, and timeless, are projected onto the body.
The objects take on talismanic characteristics. Owning and specifically wearing these objects is a
way to appropriate from them the qualities we covet. For example, in the case of jewelry,
gold’s brilliance, indelibility, and its unoxodising surface signify beauty, purity, and immortality,
qualities that are also desirable in the body. The objects, alongside photographed bodies, become
inextricably connected to our conceptualization of the body in general.

In my current work I am replicating and transforming disease through illustration,
jewelry objects and photography. These diseases including acne, cancer, herpes, and syphilis,
are presented in my work as jeweled infections, lesions, and soars. They are hybridizations of objects
we associate with beauty, status, or wealth, and the grotesque or undesirable aspects of the skin.

http://www.laurenkalman.com

Ring

2004
Oxidized Silver 925
1,7 x 1,7 x 3cm

France : La Chaux-de-Fonds

http://www.valentinedubois.com

Feeding the Hunger 4

A Consuming Desire

Sculptor April Wood predominantly works with metals, referencing such things as antique medical instruments, lace, and other hand crafts and the organic to create work that addresses issues of food consumption in our culture. Her work has been most recently displayed at the Ornamental Metal Museum in Memphis, TN.

Link