January 2015

Pigments on Metal: Experimentation in Mixed Media
Teacher: Lucia Massei
Date: 9-10-11 January
cost: 400€ + VAT Tax

Introduction to colours/pigments and demonstration of various colouring techniques on metal:
hot acrylics, pigments and their application, resins, (mixed media), chemical thinners and adhesives. rolling mill stamping, flame gilding.
Realization of one or more coloured jewels using silver/copper/brass
Gold leaf , silver leaf, pigments, acrylics and non-precious metals
are supplied by the school.
Each student should bring his own personal tools.

 

Acrylic Glass: Methods for Application in Jewellery
Teacher: Marzia Rossi
Date: 23-24-25 January
Cost: 350€ + VAT Tax

Introduction to the techniques of working with acrilyc glass:
sawing, mat polishing, shiny polishing, 
bending with heat, application of colour, joining with glue.
Realization of one or more jewels combining metal and acrilyc. 
This course is both for beginners 
and those who  have experience in jewelry making.

Tools and non-precious materials as well as handouts on the course are supplied by the school


Textile Techniques in Metal: Magic Wires for Jewellery
teacher: Doris Maninger
Date: 30January to 1st February
Cost: 350€+ VAT Tax

How to create jewellery with metal wire, an amazing world of possibilities.
From the creation of 3D forms with interlaced wire, to the wonders that can be done with just a crochet hook
Doris Maninger will guide into the world of never ending wire.

Tools and non-precious materials as well as handouts on the course are supplied by the school

March 2015

Creating Jewellery in Resin: Free Experimentation with Cast Epoxy Resin
Teacher: Yoko Shimizu
Date:13-14-15 March 2015
Cost: 350€ + VAT Tax

In this course students will learn to work with epoxy resin and will be able to experience the multiple possibilities of this material. The focus of the course will be on the use of resin in combination with metal, the casting (silicon molds), the incorporation of diverse materials (paper, wood, colour, sand..) during the polimerization process,
the possibilities of surface effects and finishings

Tools and non-precious materials as well as handouts on the course are supplied by the school

Pigments on Metal: Experimentation in Mixed Media
Teacher: Lucia Massei
Date: 20-21-22 March
cost: 400€ + VAT Tax

Introduction to colours/pigments and demonstration of various colouring techniques on metal:
hot acrylics, pigments and their application, resins, (mixed media), chemical thinners and adhesives. rolling mill stamping, flame gilding.
Realization of one or more coloured jewels using silver/copper/brass
Gold leaf , silver leaf, pigments, acrylics and non-precious metals
are supplied by the school.
Each student should bring his own personal tools.

 

Acrylic Glass: Methods for Application in Jewellery
Teacher: Marzia Rossi
Date: 27-28-29 March
Cost: 350€ + VAT Tax

Introduction to the techniques of working with acrilyc glass:
sawing, mat polishing, shiny polishing, 
bending with heat, application of colour, joining with glue.
Realization of one or more jewels combining metal and acrilyc. 
This course is both for beginners 
and those who  have experience in jewelry making.

Tools and non-precious materials as well as handouts on the course are supplied by the school

April 2015

Laces are not only for little girls: antique embroidery techniques for jewellery
Teacher: Doris Maninger
Date: 3-4-5 April
Cost: 350€ + VAT Tax

In this workshop taught by a sawing fanatic, students will learn to handle needle and thread, will experience the suspension of time stimulated by the repetition of a simple act and will give over thinking to their hands.
Needle and yarn, as old as mankind, antique embroidery techniques to make absolutely unique jewellery.

 

May 2015

Nunome Zogane: Antique Japanese Inlay Technique
Teacher: Elisa Deval
Date: 8-9-10 May
Cost: 400€+ VAT Tax

Creation of the base texture on metal using Mekiri-Tagane
Execution of a silver (or gold) inlay on the metal sheet based on ones individual design.
Polishing of the metal sheet with sand paper and stone.
Introduction to the use of the Rokusho coloring technique.

Tools and non-precious materials as well as handouts on the course are supplied by the school


Acrylic Glass: Methods for Application in Jewellery
Teacher: Marzia Rossi
Date: 22-23-24 May
Cost: 350€ + VAT Tax

Introduction to the techniques of working with acrilyc glass:
sawing, mat polishing, shiny polishing, 
bending with heat, application of colour, joining with glue.
Realization of one or more jewels combining metal and acrilyc. 
This course is both for beginners 
and those who  have experience in jewelry making.

Tools and non-precious materials as well as handouts on the course are supplied by the school

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

with Patrick Davison

A workshop introducing mixed metal work, focusing on the use of wire with introductions to sheet and tubing.
November 2014 for the third year BFA.

Patrick Davison, borrowed Box, mixed metal

Patrick Davison, borrowed Box, mixed metal

Wire  –  Wire  making  is  at  the  core  of  any  jewellers  practice,  and  its  use  in  mixed metal  work  is  endless.
We  will  use  two  types  of  soldering  and  I  will  use  the  terms
outside  and  inside  soldering.
Outside  soldering  is  applying  the  solder  after  the wire  has  been  formed,  and  inside  soldering  is  working  the  solder  with  the  wire,
during  the  forming  process.  Both  are  valuable  depending  on  the  work  required.

IMG_2126

Most of the work we did was using wire, twisting different metals and different alloys together or weaving them like a fabric into sheets.
We then used Solder to bind these together, this is where I used the term inside and outside soldering.
Outside where the solder is applied after the wires were twisted, and inside is where the solder has been drawn into wire and woven into the fabric like the other wires.
We looked at both techniques an the pro and con of each method. (I made these terms up, they are not technical terminology! )

IMG_2110

Solder  –  Making  solder  is  very  useful  for  the  metal  worker,  it  can  save  time  and money  but  can  also  be  an  interesting  journey  into  understanding  alloys.  Further experimentation  can  lead  to  finding  solders  suitable  for  certain  tasks  and  a richer  understanding  of  the  soldering  process.

IMG_2070

Sheet  and  tubing
Sheet  and  tubing  can  be  used  in  mixed  metal  work  in many  ways.  It  is  useful  to  be  able  to  make  tube  accurately  as  this  can  be  used with  the  sheet  both  made  with  wire,  and  perhaps  mixed  metal  sheet  work  to further  develop  the  working  process.  Where  this  is  concerned  there  is  no substitute  for  experimentation.

IMG_2100

Combining  techniques
This  demonstrates  the  endless  variations  and opportunities  that  working  with  mixed  metals  can  provide.  By  making  a  material using  one  method,  then  combining  it  with  another,  or  repeating  a  process  over and  over,  can  open  up  new  avenues  to  explore.  It  can  also  refine  the  final  result of  the  piece,  but  perhaps  can  also  complicate  it  unnecessarily,  diluting  the  final result.  This  is  down  to  the  individual  to  judge  and  explore.

IMG_3080

Experimentation  not  only  finds  new  outcomes  for  the  process  but  also  refines the  understanding  of the  making  procedure  leading  to  predicted  and  controlled results.

In conclusion some examples of the extraordinary work of Patrick Davison.

Patrick Davison, jar, mixed metal

Patrick Davison, jar, mixed metal

 

Patrick Davison, Jar, mixed metal

Patrick Davison, Jar, mixed metal

 

Patrick Davison, Jar lid, mixed metal

Patrick Davison, Jar with lid, mixed metal

 

Patrick davison, dish, mixed metal

Patrick Davison, dish, mixed metal

 

 

Captura de pantalla 2014-10-27 a las 15.54.03

 

Captura de pantalla 2014-10-27 a las 15.56.16

In September Walka Studio (Chilean contemporary jewellery collective and school) has been invited to ALCHIMIA to present a lecture, attended by the first class of students in the Master Degree program and to exhibit the works of their students participating in the Contest WE WALKA School 2013 “Ancestral “.

talk with Alchimia Master students

talk with Alchimia Master students

The experience has been very rewarding and generated interesting conversations with ALCHIMIA students.

The lecture Nano Pulgar and Claudia Betancourt (the founders and directors of Walka Studio) presented was titled “TRANSHUMANCE: In the search of new pastures” in which they share both their work as jewelry makers  and their work developing activities in Chile to improve the local scene of Contemporary Jewellery with emphasis on WE WALKA School and their job as teachers.

IMG_2556

 

“Our participation in the first day of classes for the Master program was the perfect prelude to the presentation. We talked with the students about their personal views regarding contemporary jewellery scene, their wishes and professional expectations and how to develop a body of work.”

Alchimia exhibition space

Alchimia exhibition space

“The small exhibition included a selection of the works of our students who participated in the WE WALKA School Contest 2013 with the theme “Ancestral”.The competition had as jury Valeria Vallarta and Jorge Manilla, and had almost 9000 euros in prizes. We exhibited the works in Chile, Spain and Italy.”

IMG_8166

 

Necklace by Maria Ignacia Walker

Necklace by Maria Ignacia Walker

The first award winner of the contest was María Ignacia Walker who is now doing her final year in the Master Program of ALCHIMIA.

 

 

MAD

 

LOOT 2014. MAD Museum – New York 

Opening night

 

October 4, 2014, New York.
My first time in the big apple and I really can’t see anything except the Museum of Arts & Design. I’m terribly excited and frightened at the same time: I have to show my work inside that amazing building at Loot!Mad about jewellery, the annual selling exhibition curated by Bryna Pomp and Michelle Cohen.

Everything has been planned perfectly: day of sending pieces, day of arrival of the designers at the museum, day of the party, day of the setting, day of the press preview and day of the opening. I just have to follow that schedule and everything will go as it should.

I cannot keep the worries out of my mind: I will be there, with my work, looking at people that will watch my pieces. Some will stop, someone will pass through; someone will like it and someone not. It’s stressing! But the surrounding is amazing: in such a small space there are 50 different artists from 25 different countries and It’s fun to meet them, to know them and their work and exchange experiences and opinions. We give suggestions each other, It’s a kind of group critique. And the curators are supervising our work, trying our pieces to choose what to wear in order to show our work around New York for a week.

The opening was just unbelievable: so many people…I did not manage to stop speaking, explaining my work. And it’s such a satisfaction to see this big interest! I did not realize time was flying and I found myself at 10 pm, totally exhausted, but incredible happy for having experienced this.
The exhibition lasted a week during which I spent every day at the museum, ready to explain my work to whoever was going to ask me about it.

It’s incredible how many people you have the opportunity to meet in just few days.
And It’s incredible how many working opportunities this creates.

I have been interviewed by gallerists and journalists and I think this was just great!

On the last day we all were tired and sad about leaving the Museum and New York, and it felt that all the efforts had been worth while.
Each one of us had brought at least 50 pieces.
Each one of us came and lived in NY for ten days.

Each one of us, I’m sure, left with the wish of coming back again next year.

Working

 

Federica Sala is a Milan based Alchimia Master student.
Her collection of glass and silver jewellery has been highly appreciated at the New York event.

 

Federica_Sala141

Federica_Sala143

 

Federica_Sala142

 

Federica_Sala144

lilian mattuschka untitled

lilian mattuschka
‘lasciar andare’

 

As every year in this period our window and corridor installations are starting.
It is very important that students can work in big spaces once in a while.
Jewellery is a small size medium, even if as jewellery it might be very big sometimes. But compared to other arts the size is still reduced.
On the long run this issue can become frustrating and can also inhibit creativity, but most of all the switch of scale is an important didactic tool.
Scale needs to be felt, the space on the body and the space in a room need to be understood in a very physical way.
For this reason the task to work with a big space is extremely helpful.

The first two students who had to work with these big spaces, transporting their personal issues and concepts into these spaces were:
Marissa Ryan – corridor
Lilian Mattuschka – window.

Sugar packets-during 1

Marrissa Ryan preparng her installation

Sugar packets-during2

500 sugar packs to weave into a painted ceiling is a really demanding task and Marissa worked for about 48 hours straight.

Sugar packs-Chumeng

She had some help from fellow students and friends but mostly the task was hers and we closed her into school from 4 in the afternoon until 8 in the morning.

Sugar packs-done-under

‘Weight’ installation by Marissa Racht

“Weight”
Is an installation about the toll that tourism takes on the body of the city.  Like the effects that the sweet goodness and pleasure of refined sugar takes on own bodies when not consumed in moderation, the weight of tourism does the same to cultural heritage and the fragile bone structure of ancient cities when over indulged.

Sugar packs-done2

Sugar packs-done2

In the window there is the installation of Lilian Mattuschka, titled ‘lasciar andare’ which means ‘letting go’.

IMG_1627

around 200 items of her daily life closed in a vacuum pack, as we normally preserve ham or sausages.

IMG_1634

Hanging like in a butcher’s shop. What does she want to tell us with this very antiseptic atmosphere,
in-between morgue and freezer.

IMG_1630

And the title -letting go-  ?
Maybe the meaning is that only by  conserving and putting in order our surrounding and probably also our mind,
we can let go of things and start a new.
Making order as a kind of zen ritual to be able to live our life.
The conservation of moments in an absolutely antiseptic environment.
So memory cannot deteriorate.

 

IMG_1581

Obsession as a ritual of letting go, extreme conservation in order to fall free.
Once stored well, knowing to have stored well, we can finally forget.

lilian mattuschka untitled

lilian mattuschka
untitled

 

December 8 to 12 – 2014
Five days, 30 hours

Is it possible to use a 5000 year old technique to make contemporary jewellery ?

Yes it is and Susanne Matschè is a fantastic teacher

IMG_0041

Susanne Matsché, pendant, silver, steel

 

As the dictionary tells us filigree is a delicate ornamental work of twisted gold, silver, or other wire and one of the oldest jewellery techniques and used in almost all jewellery traditions. Today it might be regarded as old-fashioned and just linked to cheap remakes of traditional pieces but in the right hands it can be of a magical beauty.

Susanne Matsché, www.susannematsche.com, Austrian, American, German jeweller, specialized in this very particular and in contemporary jewellery quite unusual technique has already given an insight in the art of filigree at Alchimia in June 2014.

It was a great success and students, some at their first arms in jewellery making, were able to realize an impressive number of pieces and samples in these five days.

IMG_0036_2

Susanne Matsché, pendant, silver

 

Dates of workshop: December 8 to December 12, five days, 30 hours

cost: € 700 + 22% VAT

workshop description:

In this workshop students will get an insight into the art of filigree. To create light, delicate pieces of jewelry, we will prepare decorative fine silver wires, make special solder alloy, and assemble wires in multiple layers.
The unusual technique of filigree is a fascinating process with its soft fine silver wire of an almost textile quality, the assembling of complex ornaments with glue on paper, the use of special tweezers and powdered solder. Over the course of the 5 days the students will have the opportunity to take the traditional technique further to develop a highly personal application out of these ancient methods…

Blatt Birgit

workshop June Alchimia

workshop June Alchimia

Susanne Matschè has been teaching workshops in this technique in schools and universities all over the world and her love for this particular kind of work is contributing to keep 5000 years of knowledge alive.

IMG_0059

Susanne Matsché. ring, silver

 

IMG_0482_2

Susanne Matsché. pendant, silver

 

for further information: info@alchimia.it

 

wickelsi_neuneugleichefarbe+113

Susanne Matsché. ring, silver

 

 

image-1

Of course you are all invited to come to Mons in Belgium, where this Triennial is starting on Friday.
Italy is one of the invited countries and 4 teachers of Alchimia have been selected to participate.

BELGIQUE / BELGIË / BELGIUM
Nevin Arig, Liesbeth Bussche, Clarisse Bruynbroeck, Hilde De Decker, Marion Delarue,
Silke Fleischer, Bernard François, Delphine Joly, kuppers&wuytens, Claire Lavendhomme,
Patrick Marchal, Marta Miguel, Shana Teugels, Karen Vanmol, Nelly Van Oost

FINLANDE / FINLAND / FINLAND
Ulla Ahola, Tuija Hietanen, Sirja Knaapi, Helena Lehtinen, Eija Mustonen, Maria Nuutinen,
Inni Pärnänen, Essi Pullinen, Ari Pyörälä, Tiina Rajakallio, Jenni Sokura, Janna Syvänoja,
Nelli Tanner, Tarja Tuupanen, Tatu Vuorio

ITALIE / ITALIË / ITALY
Daniela Boieri, Giovanni Corvaja, Arata Fuchi, Doris Maninger, Stefano Marchetti,
Lucia Massei, Barbara Paganin, Marzia Rossi, Jacqueline Ryan, Giovanni Sicuro,
Fabrizio Tridenti, Barbara Uderzo, Graziano Visintin, Annamaria Zanella

We want to give some insight in the pieces that will be on show

Lucia Massei
d
irector of Alchimia
weekend courses – pigments on metal

I diritti e il rovescio

‘I diritti e il rovescio’, necklace, 2013 yellow gold, silver, ancient epaulettes

” Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable”

T.S. Eliot

Is the past behind us and the future ahead ?
Present becomes instantly past when we mention it, a trail towards a future. Philosophers have debated about this concept for thousands of years.
We use time as matter:
this collection reflects a long sense of the past, even in emotional terms, where objects are re-vitalized to new life,
often in contrast with their preceding function of use: selecting and working with objects of the past in order to give them a new name,
removing them from their silent space, and giving them a new life.

ring, 2014 Victorian “steel cut “ button , white gold

ring, 2014 Victorian “steel cut “ button , white gold

 

“Orientale" bracelet, 2014 ancient epaulettes,  copper, yellow gold, silk

‘Orientale’,bracelet, 2014, ancient epaulettes, copper, yellow gold, silk

 

 

Marzia Rossi
head of the Alchimia 
intensive course program
weekend courses – acrylic glass

she is gone, necklace 2011-12 silver, beads nylon thread

 

stanze necklace, 2012 silver, agate beads, ruby beads

stanze, necklace, 2012, silver, agate beads, ruby beads

It might be possible…..
to carry a special space
where to keep those particular  lucky or scary moments
or anything that cannot be said to everyone.
A space where imagination can go far and….
depending on the moment,
take a different consistence.

My pieces long to be this space……….

ring 2014 silver, gold

ring, 2014, shibuichi, gold

 

 

Doris Maninger
director of Alchimia
weekend courses: textile techniques in metal, laces are not only for little girls

 

Doris05

‘ephemeral floating’, necklace, 2013, iron, silver, electroformed

 

 

 

 

Immagine

‘ephemerals crouching’, brooch, 2014, silver electroformed

 

Ask yourself a question and give yourself the answer – this might be contemporary jewellery for me

What am I?
How do you want to wear me?
and most of all
Why do you want to wear me?

Every material I use, every form I create is asking questions and giving answers.

 

Immagine 3

‘ephemeral in prison’ necklace, iron, silver electroformed

 

 

Daniela Boieri
Alchimia intensive course leader
weekend courses: marriage metal, hand engraving

 

ring, silver, gold, ruby

ring, 2014, silver, gold

 

Daniela Boieri - 1

necklace, 2014, silver

 

If I take a look on my work, if I have to talk about it, I see and imagine how clear it should be to anyone invited to watch with me, that there’s a canon, a relationship between inside and outside.
Whether it’s cylinders or cages, I always leave a space open.
Open, free and at the same time protected.
The surface of the metal is hardened by oxidation and marked by time.
The eye wanders curious among the shapes with the knowledge that it can always come out with renewed relief and with the pleasure that this freedom of going inside and out would respect spaces and personal discretion.