4/2/2023 0 Comments Candoll and talismaniaThe artwork that comes from my hands mirrors the world I live in. Over all, my secret goal is to create a piece that I would pick up and take home when I find it on the street. Sometimes it just needs a little longer to be seen. In general, I often realize that if a problem is really complicated and hard to solve, the solution I aim for might not be the right solution yet.Īs often in life, my working process also consists of the most simple solutions, the one right in front of me. As a side effect though, working this way narrows down options, which I find very helpful in this overloaded world. As I’m trying to find simple solutions, using common techniques is quite challenging in order to express my artistic approach. These methods have been used for centuries in any corner of the world. I mainly use common, often every day, or found materials and very simple techniques, like drilling holes in seeds from the cherry tree in the garden, braiding yarn, cutting or carving pieces of wood or paper. I told him to wear it a little bit in the morning before he leaves the house, just on his chest so it would feel like a hand on the chest to keep him calm, and to help him stand straight. He is a very small guy and he was afraid to be mobbed when he got back to school because he didn’t grow as much as the others. My neckpieces are meant to be worn in moments you might need some strength, maybe a moment like this one: A few weeks ago, me and my seven-year-old step son made a silver amulet with his name stamped on it to give him some courage going back to school after the long Corona break. To me it is the idea that this amulet could be with her to give mental support in situations when no one else is around to lean on. It was a small copper face on a string, to protect her and the baby from the evil eye. I did the first amulet a few years ago for the mother of a new-born, a very close friend of mine. SS: I think any kind of jewellery is very personal and always filled with a meaning that mainly the wearer / owner knows. ![]() Maybe these notes will be seen in some interpretation later in a piece of art. This would be something like: ‘many shiny blue studs on a striped black and white dress, next to a matt brown paper bag’ or ‘two white braids with some yellowish strands in it, down to the chest on a 60- year-old women’. Sometimes I even write my impressions down if I want to make sure to remember. I assume – besides my inspiration through nature, that I pick up colours, textures and rhythms from these commutes and weave it into my shapes. In the subway, I am exposed to a multi-coloured, very diverse community. The strongest contrast I can find, is being at home in nature in the morning, and then commute to Berlin later in the day. I love contrast and strong expression, but also a soft breeze. I used to commute to my studio everyday for the last 15 years only since last August I’ve started to work at home and don’t go to the city as often. SS: My visual vocabulary is definitely mirroring the natural surrounding in which I live, combined with all the influences I see when I experience nearby Berlin. ![]() ![]() ![]() I’m fascinated by the creative act, the inner necessity that a person feels to create something. Very soon I realised that I was less interested in making jewellery myself, but that I was much more interested in understanding this world, putting it into context and linking my curatorial training to this field. I met Silke in Berlin, she was my jewellery teacher at the time actually. I followed my intuition, which led me to engage with this world and its actors. I attended the annual Jewellery Week in Munich without knowing exactly what I was looking for. When I moved to Berlin to continue my studies in art history, I also continued taking jewellery classes. She opened up the world of jewellery to me. At the time I felt an urgent need to do something with my hands and was very lucky to come across a goldsmith with whom I could study twice a week. After my Bachelor’s degree in art history, I had returned to my hometown of Bolzano, Italy, working as an art educator at Museion, the Museum of Modern and Contemporary Art. Katherina Perlongo: I had my first encounter with the world of contemporary jewellery about seven years ago.
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