“I always had empathy for objects, and in my practice in recent years, I have become more specifically interested in collecting those awkward and sometimes ugly fragments, those hidden beauties, those components that were intended for life as jewellery. I try to provide them with a new opportunity, a chance to sing again or to sing at last. I have a great clamoring collection, all demanding attention, each one such a handful that I keep them tucked away, restless in their boxes, waiting for their day to shine. Is their oily smile, their rugged gesture, the rust of their metal, the giggle of the plastics, the wink of glass, the jungle of material emotions locked in these fragments, that I am looking to give room for expression”.
Extract from PREMIO COMINELLI catalogue 2015, p. 14.
Helen Britton, Horse brooch from the CORNUCOPIA exhibition at SIENNA PATTI Gallery, 10 August – 3 September 2012
HELEN BRITTON, Knife Garden, Silver (925), steel, vintage glass, diamonds, 2012
[© By the author via KLIMT02] ● SCHIAPARELLI, Embroidered gown from Haute Couture Fall/Winter collection 2016 [source: Vogue.com via Pinterest]
Read Ted Snell’s essay on Helen Britton via Klimt02
Pubblicato in ARTS, FASHION NOTES, Les Métissages
Contrassegnato da tag CONTEMPORARY JEWELLERY;, Helen Britton, la vita delle forme, Le Stanze del Possibile, Les Métissages, Maison Schiaparelli, postcard from Parnassus, the life of forms and patterns, Visibility memo
Today, artistic jewellery sits within the realm of fine arts debate; however its position within a history of traditional trade emphasize the role of its material . If there is anything that defines contemporary jewellery, it is the connection with material; a connection that resonates with its primitive roots. For centuries, jewellers have experimented with materials in order to understand the ways in which their hands can transform material into physical object that can be touched and caressed. But the contemporary jeweler doesn’t not only work in dialogue with physical materials like stone, metal and plastic; instead, they are open to other territories, where the materials are made of doubts and desires, curiosities and fears, uncertainties, and reiterations of unexpected innovations.
Ramón Puig Cuyàs
Extract from ROBERTA BERNABEI, “Contemporary Jewellers. Interviews with European Artits”, London, Bloomsbury, 2003, p. 174
RAMÓN PUIG CUYÀS, Brooch 1699 – Oxidized nickel silver, enamel on steel, gold leaf and fossil stone.. 7 x 7 x 1.5 cm. From series: The Maps of the Forest series, 2017 [photo credit: Klimt02] ♦ OSCAR DE LA RENTA, Dress from Ready-to-Wear Spring/Summer 2018 collection [source: Vogue.com via Pinterest]
RAMÓN PUIG CUYÀS, Two brooches from the series Walled Garden, 2004-2005 [Source: Pinterest] ♦ OSCAR DE LA RENTA, Dress from Ready-to-Wear Spring/Summer 2018 collection [source : Vogue.com via Pinterest]
See you soon and stay Bark,