Archivi tag: the contemporary tekné

A Tudor pattern for a contemporary Astrea

One of the most interesting aspects about the Métissages is that each juxtaposition reminds and follows a very peculiar path, starting from different investigations on adornment and identity , testifying the recurring of forms and their collisions.

The métissage I want you to “read”  hereby has its origin in the Elizabethan era: in this collection from Alexander McQueen designed by Sarah Burton, a “contemporary” girdle is embroidered and studded with pearls, recalling the splendour of Elizabethan portraits, enriched by a delicate lace ruffle, enhancing that typical Tudor crossed and studded pattern  which flourished during the reing of Astrea, the Virgin Queen.

The same studded intersection is the main ornamental motif of Raïssa Bump’s brooch, in which all the renaissance elements are concentrated in little small Tudor world: and the shape itself of the brooch, according to me, reminds to those velvety gowns, richly emboidered with pearls (cherished jewels for Queen Elizabeth, loved for their lunar light as they symbolized purity), both an armour and a medium of seduction, representing, a that time, the social status and  the identity of the wearer  and, nowadays, created for a new contemporary Astrea.

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Alexander McQueen (designer Sarah Burton), Two outfits from the Fall/Winter 2013-14 collection [source: Vogue Paris and Vogue.com via Pinterest]  and Raissa Bump,  faceted brooch, oxidized sterling silver, pyrite and silk thread, 2012 [source Sienna Patti Gallery via Pinterest]

Web lens:

Alexander McQueen catwalk on Vogue Paris

Alexander McQueen Collection catwalk on Vogue.com by MARK HOLGATE

Raïssa Bump via Sienna Patti

Raïssa Bump website

For Queen Elizabeth Tudor as Astrea see: Frances A. Yates, Astraea. The Imperial Theme in the Sixteenth Century, Routlege and Kegan Paul, London, 1975 (tr. it. Frances A. yates, Astrea. L’idea di Impero nel Cinquecento, Einaudi, Torino 1978).

a presto,

Nichka

 

 

 

 

Annunci

THE SPEAKING SURFACE | focus on PER SUNTUM

Vi sono ambiti (artistici e non) nei quali la più rigida delle discipline consegna agli autori una tale libertà espressiva da travalicare i confini fisici della materia sulla quale si opera  dando ad essa contorni sì vertiginosi da regalare,  a chi guarda, solo rarefatta bellezza.

Così come mondo dell’arte contemporanea, nel quale i concetti sono sovvertiti e le gerarchie dei materiali viaggiano in completa libertà, così anche le “regole” che disciplinavano l’oreficeria e la gioielleria di ricerca hanno subito forti scossoni: tutti i materiali  ora sono eleggibili ad essere considerati “preziosi”; le pietre (tutte!), il materiale plastico e una miriade di oggetti  hanno  trovato ciascuno una propria via ed  un linguaggio peculiare. Li considero piccoli microcosmi nei quali universale e particolare dialogano aprendosi allo spettatore su superfici parlanti.

E parlanti sono le superfici dell’artista danese Per Suntum  con l’argento che si fa quasi crosta lunare o che s’increspa cupo come un mare in battaglia; che s’accidenta  come un terreno carsico…  fino a dialogare con oro, palladio alabastro per regalarci opere di una tale levità e bellezza che vi lascio ammirare qui di seguito… ed in un finale metissaggio che mi è fiorito giusto davanti agli occhi!

[ENGLISH TEXT BELOW]

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PER SUNTUM, Interplay # 3,  Brooch 2006, Silver, fine silver. Pahlman Collection (source PER SUNTUM WEBSITE)

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PER SUNTUM , No Water No Moon,  Brooch 2013. Silver, niello, urushi, 18kt gold (source: ARTIST’s WEBSITE)

There are working fields (artistic  or non-creative ones) where the most rigid discipline offers to the authors such a freedom of expression able  to go beyond the physical boundaries of the matter on which they are working in order to give to the viewer only a vertiginous, rarefied beauty.

Thus, as in contemporary art world, in which all concepts are subverted and hierarchies of materials travel in complete freedom, so the “rules” of goldsmithing and jewelry have suffered significant shocks: all materials are now eligible to be considered “precious”; stones (all of them), the plastic materials and a myriad of media are hosted in new, unpredictable creations and each object found its own path and peculiar language. I consider them small worlds in miniature where universal and particular dialogue together, opening the viewer on truly “speaking” surfaces.

And those of the Danish art jeweler PER SUNTUM are really speaking surfaces: where silver is almost a lunar crust; or when it’s rippling gloomy like a sea in battle… Sometimes metals are rugged or heavenly polished, creating dialogues with gold, alabaster and  palladium, offering us works of such a lightness and beauty that I leave you admire them below … and in a special métissage which  simply  bloomed before my eyes!

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PER SUNTUM, From many Moons ago, Brooch 2007. Fine silver, silver, pigment, 18kt gold (source Artist’s website)

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PER SUNTUM, The moon – snows only companion – Brooch 2005. 18kt gold, alabast. The Danish Art Foundation (source Artist’s website)

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PER SUNTUM, “No more than one” Brooch 2005. 18kt gold, silver, niello, alabast. Pahlman Collection and “Park-Misty” Brooch 2005. 18kt gold, shibuichi. Private collection (source Artist’s website) with DOLCE E GABBANA, ALTA MODA IN CAPRI, dress from Spring Summer HC 2014 (source VOGUE UK)

A presto!

Nichka