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At Land of Odds / Be Dazzled Beads – Beads, Jewelry Findings, and More

Archive for April, 2011

Huib Petersen Workshops – 5/20-22/2011

Posted by learntobead on April 20, 2011

Be Dazzled Beads,
and The Center for Beadwork & Jewelry Arts
in Nashvile, Tennessee


Huib Petersen
May 20th-22nd, 2011

Art Nouveau Sweet Pea Necklace
Friday, 5/20

Playing with Butterflies and Bugs
Saturday/Sunday, 5/21-22

Click Here 

Huib Petersen is known for his creative translation of nature’s themes, wonders and little inhabitants through beadwork. His necklaces tell little stories about how nature’s elements come together and play.

What a wonderful opportunity to expore our craft with the artist in person — share special insights, get that master-level perception, understand her craft and artistic strategy!

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Spring Has Sprung

Posted by learntobead on April 13, 2011

Spring Has Sprung
The Perfect Spring Ring By Janel Laza

Made from sterling silver and moss.

To see more of her work, visit her photo page

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Three Artists at SOFA NY April 2011

Posted by learntobead on April 13, 2011

Three Jewelry Artists at SOFA NY

SOFA stands for Sculpture Objects and Functional Art.     Their exhibits at various locales in the US and throughout the year, showcase outstanding contemporary “sculptural” objects, including jewelry.     I always like to check in on the artists they elect to showcase.   There is so much you can learn from each artist’s ideas and approaches.

Their current NY exhibition runs through 5/1/2011.

Jennifer Trask

From her artist statement:

What do we carry with us in our bones? Literally, and metaphorically?

Used to express definitive physical sensation and emotional sentiment (e.g. ‘bone weary’), bone is considered the absolute reductive essence of our physical selves.  Bones linger,  incorporating evidence of what we ate, how we worked, injuries, illnesses, and environmental conditions during a given lifetime.  Lead, copper and iron, among other metals, bind to our bones as obscure mementos of our experiences.


What if those amalgams were to flourish and grow?

What would we see if we could view concepts and ideals, not just the verifiable physicality?


My process is a strange dance between the factual, or scientifically based research and the associative, or intuitive and non-verbal.  As I move between the two places, factual and intuitive, internal and external, the results are cross-species hybrids that embody a peculiar romanticized vision of the natural world that betray a very human concept of separateness, of dominion over nature.

Looking deeper still, we see a measure of the unanticipated, in traces of internalized abstract experiences and ideals.

Implicit and explicit.
Internal and external.


Jiro Kamata

Jiro Kamata’s enthusiasm for the lenses of old reflex cameras developed into a long-lasting design concept.  Kamata believes that the lenses capture and keep special moments like secrets and thinks that this could spark the jewelry wearers’ imagination.


Sergey Jivetin

Jiventin takes an engineering eye, an intuitive understanding of mechanical physics, and the properties of unusual materials, like watch hands, human hair, fishing hooks, eggs, porcelain handles and syringe needles, to create very alive pieces of jewelry.

He sees his jewelry as helping the wearer make the connection between a person’s sense of self and humanity, and that person’s relationship to the work or industrial setting around her.


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Bracelets in 3-D Print

Posted by learntobead on April 13, 2011

Bracelets in 3-D Print
Beate Eismann

I am so very fascinated by the design possibilities new 3-D copy machines allow.      These machines allow more intricate dimensionality and integration than you might be able to achieve the “old-fashioned” way.

Some people use these new machines to fashion machine parts.   Others for creating artificial human organs, like bladders and veins.    And now jewelry artists are using these machines to expand their horizons.

Beate Eismann is one such artist.

She uses her skills in computerized CNC production, such as lathing, milling or rapid prototyping, to make jeweelry that she then works up using convenstional goldsmithing techniques.

With these new computerized programs and 3-D print machines, artists can actually generate forms, shape and create.   The artist creates the computerized sketch.  The machine produces the components of the piece.   The artist combines these components using traditional techniques and does some final finishing.



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Erotic Watches Auctioned Off

Posted by learntobead on April 13, 2011

Erotic Watches Auctioned Off
By Antiquorum, The Leading Watch Auctioneer

A unique collection of more than 30 erotic watches and system objects are among the timepieces Antiquorum offered on March 27 here as part of its “Important Modern and Vintage Timepieces” auction.  The highlight of this collection was a repeating musical watch with four actions and a concealed erotic automaton. Dubbed “Musique d’Amour” and made in 1810, the watch is believed to be the work of Genevan watchmaker Henry Capt, and which was expected to fetch around $90,000.

A Google search of images under the keywords “erotic watches” turned up 4,500,000 images.   So I guess, given this large number of images, erotic watches are very popular and here to stay.    And probably good investments.

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Australian Jewelry Topos

Posted by learntobead on April 3, 2011

Australian Jewelry Topos


A recent lecture and discussion by Robert Baines on  the relationship of jewelry to place in Australia.

“This exciting exhibition brings together eighteen young Australian artists, all graduates of the Gold and Silvermithing Department at RMIT University, Melbourne, Australia. The theme of topos, place, is explored through a diverse and fascinating group of jewelry objects. Place includes locations in the physical world, such as homes and public squares, crowded cities and untouched forests. Place can also refer to states of mind, webs of memory and association, and other metaphorical spaces. Drawing on traditional and non-traditional materials and techniques, the artists featured in this exhibition challenge viewers to deepen their understanding of places we inhabit.

Participating artists are Katherine Brunacci, Robert Baines, Elfrun Lach, Anita Van Doorn, Dougal Haslem, Julie Mitchell, Karla Way, Dr. Kirsten Haydon, Lucy Hearn, Mel Miller, Natalia Milosz-Piekarska, Nicholas Bastin, Nina Oikawa, Penelope Pollard, Renee Ugazio, Linda Hughes, Christopher Earl Milbourne and Nicole Polentas.”


““Jewelry is a bearer of cultural and historical meaning and memory. In particular it is concerned with the relations of those meanings with the personal and urban settings, acting as a way of defining and interpreting ‘topos’ (meaning ‘of place’, Greek). The concern of this jewelry research is to recognise and explore the ways the jewelry artefact opens our engagement with, and understanding of, the personal and external places we inhabit. Jewelry conveys settings of human identity and presence as well as external settings such as urban spaces and ‘topos’ takes on a broader significance as place itself becomes an expanded notion. Jewelry Topos explores the ways jewelry engages with our understanding of the physical and metaphorical places we inhabit.”                                            Professor Robert Baines


The design question here is to what extent is an artist able to create a piece of wearable, fashionable jewelry that also conveys the artist’s personal relationship and understanding of a place?     Can the artist accomplish this without, either bursting way outside the boundaries of something “wearable”, or reducing the “meanings” to such a symbolic level that they no longer convey what was on the artist’s mind?


How familiar does the viewer (or wearer) have to be of the Australian place references for the artist and his or her jewelry to be judged successful?   Or does it not matter?

Looking at these pieces, what do you think?      How successful or satisfying are these pieces?     I think all of these have artistic merit, but not necessarily “artistic jewelry” merit.     Jewelry as art is only art as it is worn.

How has the artist manipulate the aesthetic to achieve a sense of place?

How has the artist manipulated materials to achieve a sense of place?

How has the artist manipulate techniques to achieve a sense of place?




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