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Untitled, neckpiece, 2011. Paper, silver, glue, graphite, color, fabric, 350X300X80mm.

DM: Why jewellery?

AC: Difficult question, I cannot give a clear answer for the reason that I chose this field. As many things in life it just happened. I come from a family that is deeply involved with the arts, so in a way it was always obvious to me that I would engage in the arts, and consequently apply to the Bezalel Academy, at that time the only art academy in Israel.

I did not want to study at the Fine Arts Department. At the time it was too conceptual for me and too distant from the actual work with materials. I believed that the real excitement was taking place at the crafts departments. I knew I was attracted to something that had to do with technical and material understanding. So I applied to the Ceramics and Jewellery Departments (then combined jewellery and clothing). During the exams I decided for jewellery, maybe because of the diverse variety of different materials that where available for practice at the department. At the beginning I thought that jewellery was a kind of miniature sculpture, and only during my studies with Vered Kaminsky as my mentor I really engaged with the deeper meaning of jewellery, with what it represents and with what makes jewellery different from object making.

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Attai Chen’s workshop

DM: You studied at Bezalel Academy of Arts and Design in Tel Aviv and the Munich Academy of Fine Arts. Can you walk me through the difference between these two BFA and MFA studies?

 AC: After my BFA at Bezalel I decided to continue my studies at the Munich Academy because of my interest in Otto Kuenzli and his work. It was quite a shock at the beginning. I was used to a system (Bezalel) where you have different subjects, different teachers, assignments, exams and such. You are on a constant stress level of short term deadlines. However, in Munich the system was based on Master classes ( the old 19th century academy discipline) with one professor, no exams, no classes, absolute freedom, you could practically do whatever you wanted, set your own schedule (or almost never show up), the only rule was to be present on Wednesday mornings class-meetings where one of the students had to present something. It could range from introducing the project that one was currently working on, to a film, a lecture or anything that the student would want to show. I myself had maybe 5 such meetings during my 4 years of study. You were not obliged to have many interviews with the professor either. The idea was to keep you quite alone with your art. No one gets involved or asks regarding your work if you are not asking for it. Of course you can always ask the fellow students for their opinion. I guess that was professor Kuenzli’s policy. However, it doesn’t mean that you were not under constant pressure. The pressure was different this time, it came from inside, from yourself, from seeing the achievements of your fellow students, or from knowing about the brilliant students of the past. The presence or the charisma of Otto was always there even when he was not physically around, showing us a perfectionistic and highly demanding way of doing things.

I guess that part of the success of the class was in the amazing ability of Otto to attract and choose interesting, talented and hardworking people for the group, and to construct a challenging environment with them.

DM: Do you think you became an artist there, in Munich?

AC: I don’t really know what it means to be an artist or not. As I said before, growing up in an artistic family there was almost no doubt what I would become or be occupied with. When we travelled while I was a kid, there was never a normal hotel, or seaside vacation, rather there were exhibitions, old churches, second-hand antique shops and such, most of the together activities were dealing with art in one way or the other. But when I think of it now, I don’t know the answer, am I an artist? It sounds so stigmatic and “framing” to use a defined title for what I do, maybe I am an artist because this is the language that I was raised in, I am not sure, in the end the best way to describe myself would be a maker, as right now I am working with my hands physical materials, but this can also be subject to change one day.

DM: What did the encounter with Otto Kunzli and the Munich class change in your perception of jewellery and your role as an artist?

AC: I think that there, also because of how much jewellery we were exposed to, I have matured the confidence to work with what I choose and how I choose. It took a great deal of effort to understand that anything can be jewellery if it is made in a good and convincing way, and if it communicates with the field.

DM: In an interview once, you mentioned how you create in dialogue with materials: can you explain this dialogue more in detail?

AC: I can explain this using as an example my graduation work in Bezalel. This work originated as an investigatory research into what the place of materials and craftsmanship is in today’s world, one that is increasingly becoming digital, virtual and without substance. I started the project with one ounce of gold which I transformed and worked with for about 3 months.The idea was that I would create one object, then I would melt it and from the same material I would create the next object while digitally documenting the process. This allowed me to work again and again with the same amount of material, to enjoy the experience of investing into this material potentially almost endlessly.

This process started with an idea, a concept, then the material itself and the encounter with it showed me the way and led me through the project. So in this case the head started the process, while after the hands and the experience with the actual material took over.

Another example is my series of forgotten things. In this series I have first created my “raw material”: I tried to find my own way to work with a sheet of silver. I have defused few thin sheets of silver together, and then I have put it through the ruling mill. It resulted with a thin cracked sheet of silver. From these fragments I started to build shapes, by assembling and defusing them together.

In a sense I quite often work with this method; first creating my own “raw material” then cutting it and creating with it structures. Working first without a clear and defined idea of how it should be shaped or into what it should evolve. The pieces grow from the actual active dialogue that develops while working, I bring ideas, fillings, references and the material brings its unique characteristics.

DM: Crises and success. How do you cope with both and what do they mean in your life?

AC: Crises, if you survive it, is what brings you forward. It is a hard experience that I am confronted with again and again. It is quite painful, often it feels like there will be no way out, but then at one point there is. Something opens and a new path is revealed. When I arrived in Munich I was very much in a crises, in fact during my first two years I suffered from it. I did not understand why I was there, nothing was as what I have expected. I thought I would have a mentor, one that will show me a clear path to follow but there was none. One decision probably kept me on the correct path leading me out of the stagnation, I was going every day to the studio and I was trying to work. I have experimented with different things and materials until from an unexpected direction I found the path that intrigued me enough to continue to follow it.

Success, Otto Kuenzli once told me: success is like a knife on your throat. It is true, I experienced it when I got the Herbert Hoffmann prize, being still a student. Of course I was happy and proud, but at the same time came the unbearable pressure, first from myself and then from the outside,

from galleries, collectors, customers. The feeling that from now on I had to keep a serried level of work and keep on producing was stressful. What is expected of me? Do I need to continue working on the same theme? How can I afford to make a new body of work that might not be as good or as attractive as the previous one? I know a few artists who after a huge success could not work for years or others that changed their profession.

DM: Titles: I noted that some of your series just remain untitled, others have quite complex titles. What do the titles add to your work ? A tiny example: “Forgive me father for I have sinned” and “free radicals”. As an image, these pieces seem very similar in structure and material, only the colors differ substantially.

AC: Sometimes a piece needs to have a title, it creates a kind of reference to other things that may had something to do with the creation of the piece, a reference to an art piece, a song, a story and such. Sometimes a title is only a title to name a thing that gives another facet to its existence. Sometimes a title contains a secret that is known only to myself. Like in the title that you have quoted “Forgive me father for I have sinned. For this one I was inspired by a triptych of Damien Hirst where 3 black canvases were created from a million of dead flies. I have made a couple of pieces out of paper with color and graphite. On the paper I have drawn and written things that I shredded and compiled together into a new composition. Maybe in this way I am exposing secrets that are no longer readable yet still are there. Like when you get a document from the bank with a new pin code that after memorizing you shred and dispose of, yet the pieces continue to exist.

DM: Choosing to be a jewellery artist by profession includes developing a vision for your professional life. Can you define this vision ?

 AC: I do not have a clear vision, at least not one that I consciously know of.

I didn’t choose to become a jewellery artist, I started to study jewellery out of curiosity, coincidences and the unique challenges that it presented me with. Since then I just went along with it, made some decisions on the way that pushed me further to deepen my involvement with jewellery making. Now I do it because it is still an interesting form of expression for me, I am still discovering new and different facets in the world of jewellery making that intrigue me and make me continue to engage with it. I think that for me jewellery represents a challenge that exists in a triangular relationship: investigation of the material and craftsmanship, artistic ideas & emotions and the human body.

DM: Could jewellery ever be more than a supplement?

I think that everything is a supplement, meaning: don’t all things exist for us only in relationship to us?

Jewellery is a form of communication, an object that relates in most of the cases to the human body. Some are wearable some are not, they all relate to the body by their definition. However, most of the time they are not worn, they do have an independent life. In some cases this means that the pieces can act as objects if they are being treated as such. The fascinating thing about jewellery is that some of the pieces do exist in this dual form, they appear in one form while shown independently and in another when they are worn.

Attai Chen (b. 1979 in Jerusalem, Israel) is a jewellery artist. Since 2007 he lives and works in Munich, Germany. In 2006 Chen received a BFA in jewellery and fashion from the Bezalel Academy of Arts and Design in Jerusalem.

In 2012 he received an MFA in jewellery from the Academy of Fine Arts in Munich, tutored by professor Otto Künzli.

Since 2011, Chen has taught, given workshops and lectures in several Academies and Institutions; among them the Masters of Design program at Shenkar College of Engineering and Design, Ramat- Gan (IL), HDK-The School of Design and Crafts, Gothenburg (SW), the Dep. of Jewellery and Fasion at the Bezalel Academy of Art and Desigen, Jerusalem(IL).

In the last years Chen was awarded several grants and prizes, among them: the 2011 “Herbert Hofmann” prize (DE); 2012 Oberbayerischer prize for Applied Arts (DE); 2014“Andy” prize (IL).

His work is part of several collections, including: Arkansas Arts Center, Arkansas (US); the Coda Museum, Apeldoorn (NL); the Donna Schneier Collection, the Metropolitan Museum of Art, New York (US); the Rotasa Foundation, California, (US); the Helen Drutt Collection, Philadelphia; the International Design Museum Munich (DE); the Tel Aviv Museum of Art, Tel-Aviv (IL); the Israeli Museum of Art, Jerusalem (IL)

Article originally posted at Alchimia – Attai Chen in conversation with Doris Manninger

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  1. NEVER STOP MOVING

Life has a movement and a rhythm. Never stop moving. Keep on track, and continue doing the things you do with or around your art. Even when you are not in a creative period of your life, do things that will keep your mind and hands trained and fed. Go to museums, see a movie, read a book, have a nice conversation with a friend, pause on your thoughts and your surroundings. Dance!

  1. THE HOLY TRINITY FOR ME IS: PERSISTENCE, PATIENCE & TRUST

Trust yourself, your capacities and your knowledge. Be patient because things need time. Be persistent and faithful to your art. Do not give up easily, otherwise you will never complete anything.

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  1. TAKE RISKS

If you really want something but it doesn’t exist yet, just create it by yourself. Take the risk and develop something from zero. Nobody is an expert in everything so if you need help try to find the right people to help you, learn from them, collaborate with them. You can make happen any idea that passes through your mind. Do not forget that we are creators and communicators.

 

  1. BE CURIOUS, BE HONEST…AND DREAM

Dreaming is about respecting your curiosity and your ideas. Honesty is about following your instinct. Being curious is about learning and discovering new things and possibilities. Without dreaming and without being curious it is difficult to go ahead. Art is like our bodies that never lie, so don’t forget to be honest with yourself and with your art.

5. ART NEEDS SACRIFICES, BUT BE AWARE OF WHAT KIND OF SACRIFICES YOU DO NOT TO GET TOO FAR FROM YOUR ART

In 2011, when I opened Anamma studio, I hadn’t realized the sacrifices that I had to do for my art. The studio is like a baby that needs all of my attention. The result was that for some years I didn’t have the time and the energy to create my jewellery. Now that the baby is already a child of 5 years old, I have realized that during its childhood I learned immensely through teaching, organizing workshops and curating student exhibitions. Learning never stops and goes in multiple directions. All of this brought me closer to my art. Only now I understand better my way of doing things, and what is surprising is that after this some things are coming out more naturally.

When I graduated from Alchimia in 2010, I moved to my home city, Athens. I was feeling alone and lost. The only thing that I was thinking about was how to share my art that I was so in love with. There are a lot of ways to do that. For me, the dream started to take form in 2011. I created a studio, Anamma, where people could basically come and follow classes about contemporary jewellery. This came out of my need to share and exchange my precious knowledge and experience in jewellery. But Anamma is not only about that. Students can develop individual and collective projects, present their work in annual exhibitions, visit together important exhibitions and discover the work of other artists…this list is fortunately long and always open to changes. That is what Anamma is all about.

Since 2011, I create, teach, invite artists from around the world, participate in exhibitions and curate exhibitions. In July of 2016, together with Greek jewellery artists Erato Kouloumpi, Ioanna Natsikou & Niki Stylianou, we formed the Anclastics group. With it we organized the first Athens Jewelry Week in order to inform and sensibilize the public on issues related to contemporary jewellery. And the story goes on…

For more information:

Facebook: Anastasia Kandaraki

Anamma

Is This Jewelry?

Athens Jewelry Week

 

On November 26th, 2016 MFA graduating student Chumeng Weng presented her solo-show WYSIWYG at the Spazio Culturale Mentana, a project space in Florence that promotes and presents the work of young artists, from diverse disciplines.

We take this chance, and others to come, to write about what it takes (practically, financially and psychologically) to make a show, in Florence and elsewhere.

First issue you will have to deal with is that many organizations in Florence will not offer you their spaces for free (in fact some actually really speculate on the need for presentation spaces young artists have). You have to take into account some budget for that, and especially be good and smart when negotiating a price. As stereotypes often hold a degree of truth, Italians are great (read: not fair) merchants.

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Last-minute problem solving characterizes basically every single exhibition, be it a biennial or a tiny solo-show in a shoebox. While you get tired, frustrated, anxious, and sleep-less remember that this is something everyone experiences, so don’t feel guilty or overtly desperate about it. Just keep focused and make use of every little bit of time you have left, even just the last minutes can do magic.

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And HEY despite everything you made it, and even look particularly good for your own exhibition.

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Friends, particularly when dealing with the same discipline, are always essential, do ask for help, and do distribute tasks, you just can’t manage everything by yourself. Here for instance Lumy Noguez played the role of chief curatorial advisor of WYSIWYG.

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Don’t try to decode the first visitor’s thoughts about the show, there is just a fine line between looking interested, serious and absolutely bored.

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If you want or need performers in your show of course ask people that surround you and you know already. The job is hard, and shouldn’t be overdone.

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Do think about children when plotting the display. Having a baby-safe exhibition space will multiply your audience.

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NEVER forget to thank publicly everyone who helped you. Giving credit to who donated work and time to your show is not only a nice gesture, it’s a must do thing. People loved you, so do love back.

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This should go without saying, but SMILE SMILE SMILE. If you made it this far, you should be more than proud of yourself.

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Originally posted by Alchimia.it – How to Make an Exhibition (in Florence) #1 Chumeng Weng

1.WORKING TOGETHER IS BETTER THAN WORKING ALONE (MOST OF THE TIMES)

As soon as you get out of school you might feel pretty lost and overwhelmed, you have to learn how to manage your time and choose what to invest your energy in. I think that having good professional “partners” is a big help and a way to feel constantly challenged and motivated. You can share opportunities and knowledge, discuss and receive feedback to your ideas, push and get pulled when you need it. Not everybody feels comfortable in working with other people though, it’s a matter of taste and luck, so find your way and always respect others.

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Offcine Nora working space – 2015

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Officine Nora resident members exhibiting at Jewelry Selection, Palazzo Bellini – Florence – 2016. Martina Lončar, Kellie Riggs, Arata Fuchi, Valentina Caprini, Margherita de Martino Norante. Wood objects by Castorina.

2.FIND A GOOD WORKING SPACE

One of my first needs and wishes as I started working was to make the most out of my studio space. I felt that working in a “secret” workshop was not right because I wanted to use it in any way possible, not only for making my pieces, but also for selling them, teaching and attracting new clients and people interested in craftsmanship and applied arts. This, together with my wish for working in a lively and international environment brought me to start Officine Nora.

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Officine Nora display and selling area, behind part of the working zone

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Workshop and demonstrations at Officine Nora are always a good way to engage new people and show part of the work behind hand made jewelry making.

3. TRY ANYTHING ONCE AND CHOOSE WHAT SUITS YOU

The jewelry field has many different aspects. Within its framework you can find various working opportunities that range from teaching to working on commissions, from designing for third parties to curating exhibitions, from shooting pictures to writing. Being curious and trying yourself out on different tasks could open new job opportunities you didn’t think about. What’s important though is finding your focus and not loosing it!

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Working to prepare the catalogue for an exhibition, prints and stickers. 1×1 collective goes to Belgium.

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1×1 Collective at Joya Barcelona.

4. NOT ALL OPPORTUNITIES ARE GOOD OPPORTUNITIES

Bad experiences happen! Sometimes, the eager for showing your work and selling it can lead you to trust unprofessional subjects. Once, I sent some of my pieces, together with some fellow artists, to a newborn and self declared gallerist that lost all our pieces in one shot. It took us months and an incredible amount of effort to have our money back. So respect your work! Try to be as professional and accurate as possible, never do things based only on handshakes or verbal agreements, even if you know the people you’re dealing with. Learn to say no when things are conducted carelessly.

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The Wise, brooch, lost in the world since 2013.

5. JEWELRY IS MEANT TO BE WORN

Jewelry is meant to be worn, and therefore sold. You spent years and money learning techniques and now that you can produce your pieces don’t be afraid about how they will be judged and labeled. As long as you produce well made objects and you don’t copy other people’s work there’s nothing to be afraid of. The public will be different from place to place, and will have diverse tastes and interests. So try to engage, or even educate, your public, and if you find a certain public doesn’t understand your work just change it, and look for other frameworks. So don’t get sad by making pieces you don’t feel like making just for the sake of selling them and don’t get frustrated trying to place your work where it doesn’t belong, but try to educate your public or try to create your own space!

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Florentine people standing in line outside Tiffany’s – every year around Christmas. Not the ideal public for contemporary jewelry.

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Ricordati che se vuoi puoi usare un aiuto. Pendant or wall object.

Marherita de Martino Norante was born, lives and works in Florence. She holds a degree in Idustrial Design, and studied jewerly at Alchimia Contemporary Jewelry School and hand engraving at Le Arti Orafe. In 2010, together with some friends, she started 1×1 collective, a project with the aim of spreading and showcasing contemporary jewelry in a simple and direct way. She organized some exhibitions for the collective and took part in others like: Alchemic Experiences (Lorber Gallery, Tel Aviv, Israel), Conceptual Jewelry exhibition (Gallery Putti, Riga, Latvia), Premio Fondazione Cominelli (Cominelli Foundation, Cisano di San Felice, Brescia, Italy), JOYA Fair (contemporary jewellery week Barcelona with 1×1), and was selected for Schmuck 2012 (Munich, Germany). Her work is also part of some private and public collections in Italy, Austria, Holland and Russia. In 2013 she founded Officine Nora, a co-working space in the heart of Florence, born to create and promote contemporary jewelry.

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Originally posted by Alchimia.it – Tips for Future Designers #2 Margherita de Martino Norante

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Exhibition view – INVISIBLE by Lumy Nouguez

On 11 November 2016, Lumy Nouguez opened her solo show INVISIBLE, featuring the collection realized during the MFA program of Alchimia.

The exhibition was articulated as a treasure hunt, with a starting and end point in a yoga-studio turned exhibition venue while most pieces where spread in a variety of spaces united by the creative and experimental approach to their discipline: an antiquaire, two concept stores, a hair dresses, a fashion and a glasses shop. San Frediano neighborhood at its best. The craft and the love for a discipline whatever that may be.

Below a short text and a myriad of images will tell you this story.

Enjoy

INVISIBLE – a solo show by Lumy Nouguez

It’s yoga Firenze (Light Lite)
Via dei Serragli, 24r, 50124

INVISIBLE is a series of 213 jewellery pieces created to populate surfaces on the body and beyond.

INVISIBLE is jewellery meant to draw attention, to stop a distracted glance, and to be an encounter with the unsuspected.

INVISIBLE talks about a process and a transformation from the ordinary to the extraordinary. It talks about the metamorphosis of organic substances, and focuses on the microorganisms that provoke this metamorphosis by transforming them into jewellery.

Creating “mold” to be worn as jewellery might be felt as a provocation, a provocation to feel and to see what is normally disdained. It is an invitation to accept a natural process of life in its inherent beauty, an invitation to break the boundaries of traditional jewellery, while exploring new possibilities of wearability and reinterpretation.

The exhibition itself is again an invitation to stroll around and explore particular spaces.
It has its starting and ending point in “It’s Yoga” (Light Lite), Via dei Serragli, 24r, 50124 at 5p.m with an installation explaining the project. The exhibition itself evolves as treasure hunt where the visitors will follow a map with a route to find jewellery pieces spread in the area of the city.

This was possible thanks to the collaboration of I Visionari, Coexist, Quelle tre, Wave Parrucchieri, Luca and Bjork.

About Lumy Nouguez

Born in 1986 in Bogotá- Colombia, Nouguez lived and studied in Cúcuta until high school. Later she moved to Medellin for 10 years completing an architecture degree and working as landscape and graphic designer for several years. These became a big influence her work as a jeweler, when in 2014 she came to Florence to pursue her dream of completing a MFA in contemporary jewellery at Alchimia Contemporary Jewellery School.

All photos by Lucy Clark.

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 INVISIBLE – exhibition view at It’s yoga Firenze

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 INVISIBLE – exhibition view at It’s yoga Firenze

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Exhibition view – INVISIBLE, exhibition view at It’s yoga Firenze

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Exhibition view – INVISIBLE, exhibition view at It’s yoga Firenze

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Lumy Nouguez and Doris Maninger

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INVISIBLE – The Catalogue (sold out).

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INVISIBLE – packaging

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INVISIBLE – packaging

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INVISIBLE – Treasure hunt map

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INVISIBLE – invitation

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INVISIBLE- display set at Luca

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INVISIBLE- display set at Luca

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INVISIBLE- display set at Luca

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INVISIBLE – display set at I Visionari

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INVISIBLE – display set at I Visionari

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INVISIBLE – display set at I Visionari

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INVISIBLE – display set at Coexist

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INVISIBLE – display set at Coexist

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INVISIBLE – display set at Coexist

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INVISIBLE – display set at Coexist

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INVISIBLE – display set at Quelle Tre

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INVISIBLE – display set at Quelle Tre

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INVISIBLE – display set at Quelle Tre

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INVISIBLE – display set at Wave Parrucchieri

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INVISIBLE – display set at Wave Parrucchieri

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INVISIBLE – display set at Bjork

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INVISIBLE – display set at Bjork

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INVISIBLE – display set at Bjork

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INVISIBLE- the catalogue

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INVISIBLE – ring

This is the first in a series of new writings where young and established designers speak to designers of the future, sharing their knowledge and experience to be preciously kept for those to come (or in the making).

The first we’ve invited is Giulia Savino, an emerging and extremely imaginative (both in art and in its economy) jewelry maker from a tiny city near Turin. She already gained an important teaching experience in Cairo, where she was paramount in building a new institution from scratch, as the right hand of Spanish jewelry maker Estela Saez. Her latest collection, realized during Alchimia’s MFA program, is touring the country inside and outside of the jewelry sector. Her advice is precious. Enjoy, Alchimia

Short suggestions, thoughts that I repeat to myself every day:

1. Always look for opportunities and be open to new proposals. Be adaptable and curious. Experience is what makes us grow; the fact that jewellery can be realized everywhere is a privilege that brings in multiple possibilities.

In December 2012 I moved to Cairo to collaborate to the setting and opening of the first ever jewellery school in the Middle East: “The Design Studio by Azza Fahmy”. While there I worked as an assistant to the director Estela Saez and as a teacher. It was a totally fortuitous decision that revealed to be a great and powerful experience from which I learned a lot. At that time I had just completed the three-year BFA program at Alchimia, in Florence. Being part of this new adventure, which included taking care of various aspects of the jewellery world (from setting up a workshop to space maintenance, from the students’ relationships to the school’s curriculum organization) in a totally different country made me understand better my qualities and shortfalls.

2. Be aware of your way of working. Plan your short-term and long-term goals. Create your routine.

When starting to work as an independent designer and maker I realized how important it was to understand my own working process. During school we experiment a lot but it takes time and awareness to build up our own language and way of thinking. A state of confusion is what I felt when I started my Master Degree, but commitment and perseverance helped me to get out of it.

In our practice it’s essential to be the boss of ourselves and to find a certain balance, which will always be different for each one of us. During the organization of my first solo show I experienced the value of scheduling and reaching daily goals in order to keep the energy and motivation to go on.

3.Take advantage of your knowledge and qualities. With the little resources you have, wherever you are, you can invent your own path. Don’t play with time but start somewhere.

During school we receive and consume a lot of information, both technical and theoretical. I think that the important thing for us is finding our own road through the many possibilities that contemporary jewellery making can offer.

Since a couple of months I moved to Torino. It’s not an easy city to start a jewellery practice in, as there are not many people to share the work (and passion) with and there is no direct access to materials and tools. I don’t have a real workshop yet, because at the moment I can’t afford it, and there aren’t any shared labs here. First I felt a bit discouraged, but by keeping thinking about it only as a transition moment, I didn’t give up and I tried to take advantage of my skills and of the situation, focusing on my work and on my teaching experience: I’ve started organizing a series of five workshops about jewellery making techniques suitable for anyone without having specific tools.

4. Nobody is looking for you out there and your pieces won’t sell by themselves, unfortunately. Present and introduce you work.

Nowadays the possibility to sell your work are many and marketing is necessary (not a choice). Define your market and where you want to be. 

We have to be ready to be multi-tasking, as we are not only jewellery makers, but need to also be (at least at the beginning) business conscious, have marketing skills,  be smart in using social media, and have graphic basics. Every single day I try to overcome my limits in feeling uncomfortable when trying to be a marketing person, contacting people and selling my pieces.

It’s obvious that when a jewellery piece is finished we are only half way through the working process; packaging, photographing, advertisement, marketing research are part of the daily routine. 

All the decisions we take are not for good, especially nowadays that things change so fast and new solutions come up all the time. But we have to define our market and what we want from our work.

5. Create your network: to share, to improve, to enjoy. Evaluate your work from different perspectives.

For me it’s important to buildup relations with people from different backgrounds, to share my work and get feedback. Having different points of view about our work can help us in developing further.

When I arrived here in Turin, I underestimated the time (as I’m not a patient person) you need to buildup a network of people and to be aware of what is happening. When you start in a new place you realize how difficult it can be, but it’s also a continuous discovery. I’m trying to meet other designers by joining art events and attending different talks hoping to be able to start new collaborations.

Recently for example I joined the Turin Fashion Week so I had the chance to show my work during a catwalk and to start a project with a local designer. Thanks to the participation to Grassimesse Fair in Leipzig I will take part to a private event in Munich.

Things happen but patience is necessary.

Actually I’m happy that my work is done half in the studio, half via interaction, as mine is really jewellery for people.

This article is also published in Alchimia main website.

What can you do with the notions of repetition, pattern and rhythm?

Alchimia’s first year BFA students are happy to present to the blog the outcome of a five-days workshop with Alchimia’s former director, artist and jewelry maker Doris Maninger.

How about starting with a potato?

By using only a potato students created hundreds of black and white patterns and collectively realized a wonderful window installation.

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How do you work with a group?

The building of a sense of (temporary) community with fellow students and faculty is a central aspect of  Alchimia’s pedagogical method, as it strengthens self-security and encourages experimentation. Hence a second exercise during the workshop was the realization of a 1 minute music video revolving around the three magic words.

 

What is the size of a necklace?

The last exercise was about collectively realizing a necklace for the Gods, creating a piece of overly exaggerated size, moving from the micro dimension of jewelry to the space of a window.

 

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The first year BFA is: Silvia Bonardi, Thomas Catry, Yara Diaz Salles, Yu Fang Hu, Daniel Jirkovsky, Ashleigh Mc Culloch, Sarah Ordóñez, Sarah Poupart, Alessia Prati, Yanqi Wuang, Shuang Yue