parallels window project by TERESA MILHEIRO

TERESA MILHEIRO

Window Project

Opening: 15 September from 4pm
15 September – 15 October 2021

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“SPY ON”

Duality between watching, spying, controlling and being watched, spied on and controlled.

The vicious circle of fear, control and security, which turns into a constant invasion of the individual by society,

blurring the boundaries between what is the private and the public domain.

Photography by Luís Cunha País

RUUDT PETERS

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RUUDT PETERS (1950, Naaldwijk, Netherlands)

My recent Suctus, Nebula and Bara series are the result of a quest for a symbolic visual language for expressing my own life experiences. I am constantly investigating the balance between the conscious and the unconscious, between my left brain and right brain, between structure and chaos. My atelier is a laboratory in which all sorts of different prosaic materials can be transmuted into poetry. My jewellery are rather communicative objects, and their beauty lies as much in their inner qualities as in their outward effects.

Bio

AS ABOVE SO BELOW – RUUDT PETERS

 

AS ABOVE, SO BELOW

Solo Exhibition: Ruudt Peters

 

15.09.2021 – 15.10.2021

Opening: 15 September, from 4pm

 

Ruudt Peters exhibits his three newest series of work: SUCTUS, NEBULA, and BARA. We are lost in the suction of light in SUCTUS. The funnel connects us to both the beginning and the end, the baby’s bath and our coffin. NEBULA shows us an elusive proximity, we cannot grasp the whole, we experience the mystery of moving through fog. BARA is the black hole in space, destroying everything; it is death. We are looking into the afterlife at the terrifying darkness.

Peters uses jewellery as metaphor to capture our mental and physical experiences of the duality between the Cosmos and Earth’s core. “as above, so below”

 

 

“Looking at Ruudt’s work, it feels as if the smoke and dust from a meteor impact have just dispersed and settled and the ground is giving off heat from the trauma. It’s like the moment after the final crash when the silence is deafening. Silently, the brooches of the “Suctus” series invoke past dramas like the grey plaster bodies from Pompeii excavations. The drama is finished, the tension remains. Ruudt knows how to use the words of the past in a language of the future.”

Urmas Lüüs

 

 

 

“Ruudt’s newest works of NEBULA do something artworks often fail to do, take a trite notion, overly romantic and aspirational in its attempt, life, and humble us into simple worlds, simple moments in glass and silver, where the piece is not the point, but merely a vehicle for the unattainable nebula we surround ourselves with every day. “

Aaron Decker

 

 

 

“With his new objects, Ruudt has shaped forms that are following Mircea Eliade’s reconstruction of ideas for cosmic origin. Hence, these small, secluded, and shadowed objects at the verge between hollowness and hallowing seemingly introduce a material and profane transcendence into the world of aesthetics and artistic objects.”

Jorn Ahrens

 

 

 

 

parallels window project by LEONOR HIPÓLITO

LEONOR HIPÓLITO

Window Project

Opening: Saturday, 22 May 2021, 4 – 8 PM.
22 May – 18 June 2021

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As a result of my project While they sleep they dream, initiated in 2019, these are jewellery pieces chosen to integrate the “Window Project”.

Partly inspired by the challenging and gratifying relationship I have with animals, While they sleep they dream follows my reflection on the sensible, animal-like quality of nature being our life’s propelling force.

Necklace #1 (While they sleep they dream), 2021

Silver, nylon, ónix reconstruido

132 x 5 x 0,8 cm

 

Necklace #2 (While they sleep they dream), 2021

Silver, nylon

Flat: 60 x 80 x 3,5 cm

In the body: variable dimensions

 

Photography by Arne Kaiser

 

OBSERVATIONS FROM A DISTANCE BY KARIN JOHANSSON

 

OBSERVATIONS FROM A DISTANCE

Karin Johansson

22.05 – 18.06.2021

Opens Saturday, 22 May 2021, 4-8 PM

 


 

“Sun, wind, flight, water, garden, fire, shells, structure, balance…
Let go, follow, and trust. See limitations as an asset, not an obstacle. 
Follow gravity, look for a balance. Observe rather than analyze. 
On a journey, in the middle of something.”

Karin Johansson

 

 

The first line of the poem refers to the titles of each of the pieces in the group on show at Gallery Reverso and hints at the landscapes and weather that inspired their making. At the same time, the titles of the pieces also speak a more universal language, in order to invite a broader understanding and varying interpretations.

The title of the exhibition refers to working from this place of memory as well as the distant horizon lines of a landscape where her time is often spent. Even in the studio, keeping a little distance from the work, to observe it from a distance, and try and allow the work to evolve and breathe for itself, in an attempt to observe rather than analyse, which is another type of distance.

In the creative process of Karin Johansson gravity and balance are always central aspects in the work. With the long acrylic parts, she has been playing with the placement and composition to achieve directions and movement in the pieces. By making the holes in different places, you also achieve lines, energy and a more active approach.

All the pieces included in the exhibition are made from gold, acrylic, and colored aluminium. The series is a continuation from her earlier work with coloured materials. As always when working, a frame is set, kind of rules to work from. This time, among other things, three materials, and no soldering. By using fewer tools, she achieved more simple solutions to the work and in the long run, altogether a strong visual language.

The work on show at Reverso has been created and developed from 2018 until today.

 

 

 

 

 

 

KARIN JOHANSSON

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KARIN JOHANSSON (1964, Sweden)

Karin Johansson, born in Sweden, and currently works and lives in Gothenburg. She attended HDK Academy of Design and Crafts at the University of Gothenburg, where she earned her MFA degree in 1994. Her work has been exhibited in solo shows in many international galleries and locations, such as The National (Christchurch), Ornamentum Gallery (Hudson/NY) Galerie Marzee (Nijmegen), Hannah Gallery (Barcelona), OONA Galerie (Berlin). Her work is featured in several private and public collections, and she is the recipient of several major grants and awards, among them the five-year working grant of the Swedish Arts Grants Committee, which she has received twice. She is one of the founders of the international jewellery gallery Hnoss in Gothenburg, later Hnoss Initiative. Between 2007-2019 Karin Johansson was the head of the department/professor of the Jewellery Art department at HDK Academy of Design and Crafts Gothenburg University.

Bio

SUZANNE ESSER

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SUZANNE ESSER (1946, Amsterdam, Netherlands)

“My jewelry is often created from elementary shapes, such as spheres or cones, which I casually ally in groups. Clearly, jewelry must be “functional”, but for me, it turns out to be secondary to my projects.

I work with multiple materials, such as wood (usually ebony) and metals, both precious and non-precious. I use a vise to work wood. I often use unusual tools to create new spatial shapes, such as a laser, or a knife to carve or bend metal sheets. My sources of inspiration are nature, African forms, art, and modern architecture. ”

Bio

SYLVIA BLICKMAN

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SYLVIA BLICKMAN (1949, Leiden, Netherlands)

Portable Objects, this is how Sylvia Blickman designates her “Jewelry” whose process often begins in the form of a leaf. During the collection of these objects – the first source of inspiration – such as shells, leaves, sea urchins, stones, wood, and starfish, photography occupies a prominent place in the creative process, which is used to alert the senses for detail and fragile. ”(…) It’s about experiencing happiness in small and unexpected things, by admiring, protecting, cherishing, immortalizing and conveying. Cross-pollination, Paul Derrez ”.

Bio

CAROLINA QUINTELA

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CAROLINA QUINTELA (1991, Caldas da Rainha, Portugal)

I try, mostly through photography or glass, to reveal the latent symbolic value in each object, thus making it a container of emotional, conceptual, and poetic interiority. Above all, it is important for me to transform the jewel into a vehicle to access a memory, which is then awakened and activated by the wearer.

Lives and works in Lisbon. She completed the degree and master’s degree in Sculpture at the Faculty of Fine Arts of Lisbon, having simultaneously completed the evening course in jewelry at Ar.Co. In 2016, she graduated in Curatorship and Programming of the Arts from Universidade Católica Portuguesa. She has several exhibitions on his curriculum in Portugal and abroad, artistic residencies, and representation in collections, having been distinguished by CPAI in the Young Creators competition in 2013 and 2014. In 2017 she sets up his own studio in Chiado, Lisbon, where she also gave private lessons.

Bio

IGNASI CAVALLER

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IGNASI CAVALLER (1982, Menorca, Spain)

Born in Menorca, Spain in 1982, My first contact with jewelry was at age of 16 in “Escola d’Arts i Oficis de Menorca”. Four years later I moved to Barcelona to study in “Escola Massana” where I discovered the art form of jewelry. Since then I’m trying to calm my fear to forget through my work, reshaping materials, and leaving my own print on them. To continue with my formation I went to Finland to the “South Carelian Polytechnic University” and in 2012 I did another turn in my life and moved to Idar-Oberstein (Germany) to study in Hochschule Trier where I got my MFA in 2015. I spent 2016 teaching in Azza Fahmy Studio (Cairo) 2017 I went back to Barcelona to continue with my work, creating new collections and trying to reshape new materials, at the same time I was teaching at “JORGC” Oficial Jewelers College from Catalonia. And traveling around the globe giving workshops in different schools and universities. Right now I’m starting a new life project back at home, Menorca.

“I work so I don’t forget, and I forget that I’m working”

Due to the fact of leaving my home when I was young, to study and find who I am, on the way I got scared to forget where I come from. This has become an obsession and the base of my work.

“Searching for the limits of the materials and finding my own ones”

I’m eclectic. I need new inputs to be active in my studio. Because of it, the materials are an important part of my work. I try to understand the structure, the possibilities… Failing is part of my routine because it gets me close to find the limits of the materials and the techniques.

Bio