JEWELLERY DEPARTMENT OF HDK GOTHENBURG

Space,(borders).
A4
The white expectation.
Norm and construction. Possibilities and limitations.
Body. Carry. Jewellery. Metal.
New context. Wrong context. So we see for the first time.
Confrontation. Action. By using the hammer.
Beat, stretch, adapt. Reconcile and reject.
Movement and change. A new era.
P u l s . . .
Colour. Flow. Spill.
The evocation of landscape.
Travel in time to emotions. Memories. Known, unknown.

The body. I cogitate on my feelings about it. The fascination and the fear go hand in hand.Nakedness. Beautiful, pure and still. Or maybe exposed, outrageous, vulgar…

The presence of the past is the memory, the presence of the here and now is perception and the presence of the future is anticipation.

I can see the past in things around me. Wear, patina, fingerprints. These are traces of activity, whether I remember it or not.

Whether performed by me or someone else. It seems I have access to a past beyond myself and my memory.

I want to tell you a story. About looking for something without knowing what it is.
About wandering in a forest without getting scared.
About embracing what you find and learning to understand it.

By a combination between the natural and artificial, I am painting my own landscape to travel through; building bridges between two worlds which together will tell us an endless story. I am creating an illusion of a stone that is trapped in an abstract body. Filled with structures, cracks and irregularity. Filled with life.
A new illustrated dimension of reality, something unidentified but still recognizable. I wish to make jewelry that creates a willing to touch, which converse through both form and emotions. Create a meeting for reflection over existence and dreams. The presence of the oceans’ tender hand, crystals that shimmer in contrast to the coral’s flow and the hardness of the mountain. An integration of a unit. My search is based on symbolism and value, where the true and noble allows to transform and to fall softly onto the indifferent ground.

Inorganic things have static forms. They provide a visual experience that things are not growing. Organic things are something can regenerate and show a sense of growth morphology. They provide a natural, free, uncontrolled and growing sense.

Inorganic and organic forms are two completely opposite biological condition. What will happen when they meet? It will be a natural transition or a strong abrupt contrast? Is that possible to show a conversion of two different states on the same thing? Is it possible to show two forms of the collision on the same object?

My work is about transformation.
A state of transition…
A transform of form…

Telling a story is searching within memories. It’s retelling, recreating a whole through the fragments you know. It’s about filling the gaps. To intuitively fill the blanks with words that sets a rhythm. Completing the story, making it a whole. Yet forever inconstant. The same story tomorrow is filled with new fragments. In different gaps. The emphasis of the story has changed. What was told yesterday doesn’t flow today. The story adapts to its occasion, to its environment. An occasion in constant inconstancy.

The making has become my therapy. A slow, lonely therapy session where the only ones listening are the objects. Loaded with personal secrets. Fragments of confidentiality.

Your soul was torn in pieces so you disappeared.
My soul was torn in pieces when you disappeared.
Now I stand alone
to mend what’s broken.

To tell our story.
To tell yours.
So that you never
will die
again.

www.saralailas.com

In my work I am aiming to create pieces that would express solitude, moments of happiness and silence.
What is silence? Is it an ambiance in itself? For me it is incarnated in stone, landscapes, winter and blur. I use a polymer material and cover it with crushed marble; similar to a layer of snow on an empty field. Silence is light and transparent like the material I use. The combination of these two components creates the illusion of a solid stone. The sparkling marble gives it a depth, whilst transparency allows seeing it on a different level. My idea is to show beauty of silence in a landscape or stone-like abstract figures.
Traditional materials have a heavy historical baggage. One of the reasons for the usage precious metals in traditional jewelry is a highlighting the value of expensive stones. In my work I question traditional approach and instead of valuable jewels I celebrate the idea behind the material. Whilst using valuable metals like gold and titanium on the rear and on other minor supporting details of the jewelry pieces.

www.suska.berta.me