To be announced!
The Me, the Other, and what Affects us.
The oval shape appears here as the materialization of introspection. Me ! The Me that adopts, aggregates or is intercepted by the Other that changes its essence, as an experience enriched by relationships or by the environment that Affects us. In this work there is the possibility of using a single piece or adding a second, complementing it, giving it a new meaning.
In my current work I focus on color as material. I have realized that color always bears meaning and that certain color / sequences ‘tell a story’. Color is the first given you perceive, experience before interpreting. It is a powerful vehicle of moods and atmospheres. Mostly one gives color to form. I give form to color.
Ela Bauer, 2019
This work is a Foucault’s analysis of the present, and it has an underlying need for deformation It is the expression of an aesthetic concern, which seeks to deconstruct genres and concepts.
‘There are moments in life where the question of whether one can think differently than one thinks, and perceive differently from what one sees, is indispensable to continue to look or reflect.’ Michael Foucault
It is also a disruptive attitude with the common need of classifying to validate. The author appeals to us in this work to the re-signification of the term ‘toque’.
pe.dra de to.que
| pɛdrɐdəˈtɔk(ə) |
1. dark-colored siliceous rock used to determine the purity of a metal;
2. to evaluate, pattern, reference;
With the ´touch’ of her wedding ring, the author scratches and stains the black coating on various brass slates, and creates in each piece a non-verbal language.
With the repetition and intensity of the marks, patterns are created and the physical mark becomes an emotional mark. The wedding ring wears off in this process, its classic meaning disappears and a new expression comes out of it.
The touch of the pieces does not define its value.
“Toque 2019, Inês Nunes”, Gonçalo Conde, 2019
The elegance of form
In the closing show of 2018 – the surprise show, unannounced – it is the soul of Reverso that shows herself. It is not easy for a gallerist that is also an artist to care for others’ works and her own at the same time. Together with Suzanne Esser – an artist working with the gallery since the very beginning – Paula Crespo presents a collection of new works, made specially for the occasion.
Geometry, repetition, the careful containment of color are working themes common to both artists, as are the attention to detail and the end result transmitting what is, after all, a celebration of the elegance of form.
This work begins with fragments and an inevitable urge to organize them, to group them back together. I’m attracted to the idea that fragments are traces of something that has been broken, that lost its integrity, but also raw material for building something new. The dialogue of the hands with the materials and the quest for making each fraction fit turns into something of a ritual. The shape of each new jewellery piece is driven by this process, towards the creation of a solid and (again) stable surface that carries the symbolic protection of this new configuration to the body.
What are dreams made of
Attai Chen and Mirjam Hiller bring us very different worlds. Colours mark the work of Mirjam Hiller who creates in metal jewels that can be placed between vegetable and animal. They are never strange because they remind us of something we have already seen, but they are not quite familiar because they are after all completely new. Attai Chen presents what seem to be images of unknown landscapes, abandoned cities in tones of grey and sépia, as in a very old photograph. They are both in a way figurative artists but what they portray is the matter of dreams.
PEDRO SEQUEIRA (1976, Cinfães, Portugal)
In my practice as a jewellery artist I am mostly interested in reviewing or comment the field itself: how can jewellery be perceived? In a time where technology is gaining ground in all human activities I tend to fight against it, go back to basics and thinking a piece of jewellery by adding contents such as everyday life materials and building it together in an archaic manner. I strongly believe in the figure of man as hunter-recolector, a primitive basic instinct mode of survival which is still active nowadays. Bio
In my practice as a jewellery artist I am mostly interested in reviewing or comment the field itself: how can jewellery be perceived? In a time where technology is gaining ground in all human activities I tend to fight against it, go back to basics and thinking a piece of jewellery by adding contents such as everyday life materials and building it together in an archaic manner. I strongly believe in the figure of man as hunter-recolector, a primitive basic instinct mode of survival which is still active nowadays.
When first you look there is an air of emptiness. A grotto, a plateau, the space there is beneath a sunken ship that gives you air enough. An emptiness in the mountain you don’t know exists but suspect is there.
These works make you want to look beneath the surface. Although they are profoundly material – that is to say: although they owe so much to the material in which they are made – it looks indeed as they are made of space.