The 3rd International Biennial of Contemporary Metal Art 

METALLOphone: BONDS (2016 10 05 - 26)


When creating, artists often forget that they belong to a large community which brings all the creators together by invisible links. Being in the community inspires, allows to learn and share ideas as well as discover new horizons. To bring artists together to a single event – this was the idea of the contemporary metal biennial “METALLOphone” when it was launched five years ago. Today the biennial unites the global community of metal artists and is the only event dedicated solely for metal art in Lithuania. 

So it is unsurprising that the third international contemporary metal art biennial taking place in Vilnius talks about the metal connection. As a unified speech, this material, having mediational characteristics, not only brings together artists from around the world but also has the ability to embody the intangible connection between the artist and the environment through a creative process. Each person sees the world in his own way, describes different events in his own words so the connections embodied in metal in this “METALOphone” reveals authentic, unique stories of the artists.

The works presented at the biennial take visitors aback not only by the variety of shapes but also by unexpected combinations of materials. Here, various metals are combined with organic and synthetic materials, ready-mades, found or recycled items, while the shapes of the creations vary from jewellery works that maintained their functionality to conceptual, small plastic objects. Such a wide variety of metal art, bringing together artists who value a conceptual approach and who work in different areas of the world, reveals the versatility of metal. 
This year “METALOphone” generated especially a lot of interest not only in Europe but also in Asia, Australia, North and South America so the event featured 63 artists from 28 countries: Turkey, Romania, Poland, Germany, Greece, Belgium, Japan, USA, Sweden, Denmark, Lithuania, Holland, Taiwan, Colombia, Canada, Estonia, Austria, England, Latvia, Pakistan, South Korea, Israel, Italy, Brazil, Thailand, Finland, Spain, New Zealand. 

The exhibition was held at (AV17) gallery, Aušros Vartų str. 17 and Lithuanian Artists Association gallery, Vokiečių str. 2, Vilnius, Lithuania.

The project was partly funded by Lithuanian Council for Culture.

METALLOphone: bonds, exposition
METALLOphone: bonds, exposition
METALLOphone: bonds, exposition
METALLOphone: bonds, exposition
METALLOphone: bonds, exposition
METALLOphone: bonds, exposition

Online lecture cycle

“METALOphone: Bonds” in 2016 involved a new programme – an online international lecture cycle. During the programme, speakers from various countries and schools presented their environment, share their knowledge and insights into the creation of modern metal art, art trends and the combination of a conceptual approach with special technologies. 

Seminars' list:

Seminar “Jewelry NL” with Ruudt Peters (Netherlands), jeweler and sculptor, and artists Liesbet Bussche, Gesine Hakkenberg, Chequita Nahar and Ted Noten:

Seminar with Vincent Pontillo-Verrastro (USA), artist and Metals and Contemporary Art Jewelry professor at University of Wisconsin-Stout: 

Seminar “Jewelry Connections in São Paulo, Brazil” with Marina Sheetikoff (Brazil), jewelry artist:

Seminar "The (Beginners) Guide to Estonian Jewellery - 10 basic questions around metal" with Ketli Tiitsar (Estonia), jewelry artist.

Seminar "Bonds between Telsiai, Lithuania and jewellery" with Gabrielė Pranevičiūtė (Lithuania), jeweller and the head of Telšiai Gallery of Vilnius Academy of Arts:


Seminar "Art Jewelry in Sweden" with Miro Sazdic (Sweden), jewellery artist and senior lecturer at department of jewellery "Ädellab" at Konstfack, visual/jewelry artist Rebecca Deans (Sweden) and Dovilė Bernadišiūtė (Lithuania/Sweden) jewellery artist and recent graduate from Konstfack, Jewellery and Corpus. 


These jewellery pieces were created in recognition of bonds between human and the blue magical universe beneath. We need to defend the environment of oceans and the life of its residents. Destruction must be stopped and the value of waters surrounding our lands must be understood before it is too late. 


The collection “Walls of Civilization” reinterprets the age-old tale of lost treasure, hidden by the ancient Dacian civilization of Romania in the face of imminent Roman invasion. I proposed an interpretation of the treasure as a value that overcomes the borders of nationality and transcends into the collective memory. I reach the point where we have the same ancestors not by affiliation, but through cultural identification. Treasures buried deep in the ground, in the riverbeds – found, lost, and found again.

A golden treasure. But more than all the wealth of the nation is the legacy left for its descendants through architecture, knowledge, culture, and history. I used the wall marks of the Dacian citadels, marks from chambers, connecting halls and entrances. Walls bearing the timestamp, unearthed or partially buried, reminding of the mix of dirt and sand, of the fortress and archaeological digs in shades of white, grey and gold metal. I used gold only as a binder between the bricks. 


For creating jewellery I use the basic tool of an artist – the fingers. In this piece, the fingers are presented in a recognisable gesture of victory. The message of my work depends on its decorating elements. Does the addition of a precious metal such as gold sublimate the work or does it have an opposite effect? A golden cage can create a sense of isolation and drastic confinement alters the symbolic meaning. With this in mind, this work speaks of a feigned victory. 


The Femme Fragile is an image of a woman that was especially popular at the end of the 19th century. The Femme Fragile attracts attention by her tender beauty. She is pure, weak, and needs male protection. In my work, I refer to this historic portrait as well as to Asia where this image is still existent. However, looking fragile does not necessarily mean being fragile. Moreover, weakness might as well turn out to be strength if it helps control one’s environment. 


My work explores the visual languages of my two homes. The first one, Australia, talks to me by the shapes and textures from the environment. When I moved to Athens, I felt the absence of this nature for a long time. Eventually, I found a new nature in the ancient artefacts that come out of the ground as though growing there. I also found it in the imagery used by ancient artisans to describe their world. From the lines and motifs of the ancient artwork, I create models, which I use to build new shapes. Inspired by nature of Australia and the ancient art, I illustrate and explore the bond between my two homes. 


Metal was my choice from the very beginning. I like working with silver and iron depending on the type of concept I am working on. Their characteristics and expressions are opposite. Dealing with gold is a requirement, it is sensual and lively, expression of joie de vivre, a wonderful material to work with. Iron is lighter, harder, au naturel, black, not precious, yet aesthetically inspiring. Both metals are good companions in everyday life – they become more and more lively and charming when worn. Finding an adequate way to work with these materials is a real challenge. 


I desire to change the invisible (memories, senses, being) through the visible by my pocket jewellery. I am also looking for a sensual and tactile contact between the jewel and the hand. Silver is used in this work for its sensation as well as for its sound when I create sound jewellery. There is a tactile bond between the pocket jewellery and the hand. When held in hand, the metal slowly warms up... 


The work series Parvus Corpus I–XV explores the diversity of forms created by chance.

Each object is made of 38 grams of steel wool and undergoes the same treatment process using the same tools. The result is the objects that roughly resemble each other in their dimensions and shape, but differ significantly in their impression. 


Three-dimensional lines drawn in space. Although these pipes are fixed and soldered, it looks as if they are moving when changing the viewing angle. These pieces can be seen as forms of completely different lines. The works represent the variety of elements. 


Each of these pieces contains two fragments of castings of white material. One is in the shape of an hourglass; the other one is a 3D model taken by the Rosetta space probe from the Churyumov-Gerasimenko comet. They speak of space, its complex relation to time, and the human quest to understand our place in this world. The third component, a cylinder made of intricately pierced silver, connects those two parts together. Its pierced outlines follow the lines painted by the cavemen in the Chauvet cave in Southern France, depicting the hunting scenes of wild animals, bearing the mysteries of cultural expression. While the silver cylinders in the pieces add their own part to the story, silver is also employed to connect all three parts together, acting as the unifying material to all three. 


Family. What are our bonds? Which one is the strongest?
Being an artist mainly working with silver I feel strongly about my favourite metal. Its plasticity, its many shades and the sensuality in the meeting with the skin always inspire me. The strongest bonds though for all of us humans are the ones to nature and family. No matter what paths we may follow in life we will always carry our childhood and our family bonds within. And wherever we choose to go we will depend on nature in order to survive. I want my brooches to be reminders of these bonds. I think we need it. 


My creative process and the narrative way of working enables me to bond with, reflect on and understand the world around me. I work with impressions and moods and combine them with quotations from the world of art. My works deal with design icons, which comprise a static and recognizable form, also hold a diffused memory and surreal narrative... My works are created in close dialogue with what is currently taking place around me. The renovation of my bathroom introduced me to a whole new world of taps. Alongside this, I’m fascinated by the headlines in the breaking news feed and the spam-box in my e-mail program; I handpick texts from the subject fields, thereby collecting both titles and inspiration for my works. 


With each piece, I explore materiality and the physical or emotional connections that occur between body and jewellery. The notion of burden comes in many forms; there are regrets that weigh heavily on the soul, small fixations that develop into obsessions, emotional weights that stem from one person or are shared, and so forth. I view my work as forms that traverse the line between jewellery and sculpture. They are sculptural objects that can interact with space and with the individual through the physical connection when wearing. Burdens become a responsibility, and in a similar manner, making these forms becomes onus for me. The experience of repeating  an action like crocheting flows from my responsibility to and for the objects. Ambiguous, skeletal-like vessels develop from the subconscious motions that my hands enact. The act of making becomes a ritual of giving and taking, resulting in a materialization of my emotional investments in fixating, obsessing, and working through a problem. 


It is said in Buddhism that being alive is the manifestation of life and being dead is the latent form of life, so both of them are just different appearances of life and not two different things. 

These brooches are from a series called High Tech/Low Tech. They investigate the combination of historical and innovative materials and processes.

All brooches relate to letting go of the past (galvanised steel pod & felt form) and highlight the beginning of new relationships (laser engraved enamelled pod forms). Through the combination of metal and ornamentation I wish to visually represent the struggle or ties one can have when trying to move forward and the beauty of “letting go”. 


“We lock our raw memories in miniature palaces to retrieve and examine from every angle. Our distance from them does not make them any less real. Only more bearable.”

(Nik Hanton)

This series comprises a number of Memory Palaces which contain moments from the makers past, which bind her to the present. Made from a variety of metals, the materials express the content of the individual palaces. Some are rounded, weighty and burdensome to bear, others light and sharp. The manifestation of these recollections as neckpieces creates a bond between the maker’s internal world and the external world expressed through her use of metal. 


Amazement at interpersonal relationships and the adaptability to the diversity of our society are the threads that can be found throughout my work. Due to the weaving technique my pieces remind of old purses or chain armour. It feels historical and contemporary at the same time. People can feel the stories or shared experiences behind my work, even though they may not be aware of them. Once the piece is made, the memory has found its place, and there is no need to explain it or its details. As the piece is worn and shown, it will get its freedom of existence and enrichment.

Cuddle is really meant as a memorial piece. I was inspired by a story about a woman who kept pieces of fabric sewn in the hem of her dress as a way to remember someone who was deceased. One can also put small objects into Cuddle to remember someone. 


This work is an attempt to embody the relationship between the CREATOR and the artists.

“Then God said: “Let vegetation sprout all over the earth, including seed-bearing plants and fruit trees, each kind containing its own seed!” And that is what happened: vegetation sprouted all over the earth, including seed-bearing plants and trees, each kind containing its own seed. And God saw that it was good. The twilight and the dawn were the third day.” (Genesis 1: 11-13) 


We walk the world on our feet, but we are not aware that our feet do more than merely carry us. Our feet are necessary tools to move, but they also root us to the ground. I emphasise awareness of my place as a jewellery maker in the world of body and mind. Terram helps me to connect the micro- and macrocosm, the upper world and the underworld. Step on the ground. 


Sengen-Sama is a Japanese goddess of fertility. According to the legend, Sengen-Sama makes flowers bloom, and similarly she can make our lives blossom into maturity. She is also the essence of cherry blossoms, which represent the beauty and fragility of life. In my Sengen-Sama, a chain built of loops shaped like the infinity sign and painted in shades of green ends in a flower made of cast silver enamelled in all the colours of the rainbow and five dolls joined at the hips. Each doll portrays a human ability. Five senses: sight, hearing, speech, imagination and humour. One of them also carries a prosthesis, a symbol of both the ephemeral and the creative. Sengen-Sama represents our bond to life and to each other. 

Using electric forming, I have transformed found objects into metal and then restored the original colour and shape with enamel. My message is the question whether the value of found objects still remains after the transformation. In addition, I have also inserted the concept of jewellery and sculpture into this piece by taking the jewellery’s functionality as a partial form of the object. Hence, the work no longer only serves a function, but also expresses the concept of a micro-sculpture. This group of works was created with a sculptural concept in mind, and as for material performance, the contrast of smooth and coarse texture was created. 


Is the connection between coincidences accidental? Directions for use of the artwork: flip horizontally and shake it a bit, then flip vertically before hanging it. 

The planes act as living beings. They thrive on experiences, emotions, meetings, and daily life that we place on them; the planes grow through a territory, they are deployed with shapes that form topography. The bonds between the piece, the body, and the material are created by our movements and form human body topography. 


I aim to propose a platform for interaction through the pieces of jewellery I create to initiate and develop a bond with the wearer. Playing provides endless possibilities of escaping the ordinariness of everyday life and invites us to take part in unusual contexts, making us question the idea of reality. Since the notion of play enables communication of experience in a sensitive way, it carries the potential to link and harmonise the personal and the social body at the non-rational level.

Through free play and improvisation, we are able to connect outside of the physical known and access other spaces. I make jewellery that seeks to increase the participative role of the wearer in the work’s possible form, function and meaning, deepening in this way one’s own particular link with the piece. 


I act because I want to understand the relationship between metal and a person. Situations that are in permanent progress lose their familiarity and become unknown and strange. For some reason, these situations keep appearing and they are never fully understandable. Therefore, I feel a need for intervention.

My relationship with metal is rather careful. I want to preserve the features that the material already possesses. For example, if the surface of the material is about to collapse, I try to avoid destruction. I feel my presence at this moment. My actions make deformation happen, but it can also happen without my inter- vention. My task is not about changing something, but adding something. This way, I make a connection with nature. So my presence, as an artist, is rather silent than loud by its nature. 


I have recently been displaced from living in a city, which has left emptiness in my life. The creation of each piece has become a method to fill the void and a reflection of the many aspects of city life. The forms are architectural, modular, constructed from steel, becoming allegorical representations of the energy of a thriving, vibrant environment. The variations of forms show diversity and are linked to concepts of dancing lights and the beautiful musical chaos in the streets. Steel is painted with vibrant colours giving vitality to the cold, hard material. Stitching softens the hard-edged forms creating a sense of comfort and approachability paralleling my nostalgia for city life. The thread acts as a metaphorical timeline of an individual’s pathway meandering through the busy streets. Each break in the thread signifies a person amongst the many. The human body completes the piece of jewellery as people fill and give life to architectural spaces, expressing the vitality and connection I feel towards the urban human experience. 


I love orchids. They blossom beautifully and fade beautifully.
I loved the forms the owers were taking as they dried on the stems so much that I left them untouched and they dried as they were.

I electroformed the dried orchids with copper and silver. They became immortal. After silver plating, they were sandblasted, spray-painted and patinated. I made mostly necklaces with the simplest chain possible, in order to emphasise the beautiful orchids. Each piece is unique. 


The jewellery is about the relationship between the architectural space and the human body through industrial materials. It is questioning the way building materials that define architectural spaces affect the human body, and how this relation with space could be expressed in material terms. Aluminium foam I use to create brooches and necklaces allows jewellery to be big in size and light in weight. The jewellery work is about links between human bodies and spaces, in specific, the spaces of transition, and of possibilities of objects such as jewellery to function as mediators in everyday settings. 


A pair of feathered wings flaps as the wearer bends the finger with hinged rings. These interactive flapping wings on the tip of the finger evoke an emotional connection from the wearer as if holding a fragile life. What concerns the process, I create the main parts by computer modelling, 3D printing, and casting. Mechanical parts are fabricated from tubing and wire using traditional silversmithing technique. This merge of new technology and traditional handwork blurs the border between the designer, the engineer and the craftsman and gives me a true liberation as a maker. 


The work series Radici dell’Anima was inspired by nature. The pieces grew in a very intuitive way, like small trees in my hands instead of a fertile soil. Their garden is the human body where the jewellery is a worm. The cast channels are their roots, which show where they belong to and how they were made. The channels are left intentionally as an aesthetic element to refer to the bond between the piece and the crafting process – not only physically, but also on the mental level. Radici dell’Anima, which means ‘the roots of the soul’ show how the works are connected to my personality and me. This series binds my inner contrasts, which find a form in metal. 


This project is dedicated to people who have ever struggled in love. Each metal ring represents a being. Due to gravity, the metal rings dropped further, gradually through time, their weight of the rings determines the speed at which they drop. Søren Kierkegaard’s ‘Theory of fall’, regarding anxiety, is delivered. Psychologist Robert Sternberg’s ‘Triangular theory of love’, regarding relationship, is symbolised as triangular metal units. The use of solid tape materialised the complex emotions that we have in an unpleasant relationship. Tape is representative of the mind in this state. It sticks to anything and in turn possesses. The minimal shape and the solidity of metal bring out the most fundamental characteristics of this material. This allows metal units to have some certain interactivity with the tape; rolling, falling, trimming and holding pieces are actions that link to its forms. 



Global Gold, golden shapes bonded together, resembling the map of our world. At a closer look, the shapes are chips of SIM cards, the visual part of an invisible world of communication, linking people, cultures, businesses, covering huge distances in a fraction of a second. Taken from their phones, the chips have ceased to communicate. The last fragments of information are locked into these golden shapes and communication has ended. Or has it? Perhaps new thoughts will be inspired by all the con- nections that were once formed through these chips and its wear- er will charge this piece of jewellery with unique new meanings. 


This series focuses on medical implants, the body, and embodied experience. Medical implants are the bonds that hold broken bodies together, where metal fuses with organic matter to extend and improve the lives of millions of people. These hand-fabri- cated objects glorify the highly individual and personal nature of prosthesis and surgeries, while evoking notions of memento mori and the fragile nature of the human form. Using real medical implants as inspiration, I have reinvented and exaggerated these devices for imagined bodies. The intention is for the viewers to consider their own physicality and to visualise the absent anato- mies implied by the work. 


My grandparents Ieva and Žanis have left an amazing inheritance to me. They both were craftsmen. I combine the masculine, heavy and unclean metal-working of my grandfather and feminine, gentle handicrafts of my grandmother – crochet in the jewellery collection The Inheritance. 


Inspired by both organic forms and architecture, especially the buildings that are under construction. All the details and elements that go into making a building are beautiful, including the rebar, ferroconcrete, and ‘skeletal’ wood beams. However, in the best work, spirituality is also an important component. I use geometry and structural forces to suggest a power that shapes our emotional lives. Incorporated are also cellular constructions that illustrate a biological nexus, making the connection between a prodigious industry and the designs of nature. Lastly, explicit variations in size and shape promote feelings of movement and organic growth. Using classic goldsmithery techniques, each piece of work is meticulously fabricated and every cell is hand-soldered. My goal is to express the density and complexity of human experiences through different perspectives of architectural space, while maintaining a sense of lightness, exibility, and transparency. 


I encountered a chance to break a piece, which represented my ideal as a jewellery artist. The expectations were low. However, I was able to find a different beauty, but it was still connected to me. There cannot be any alternation or compromise with your perfection. However, the beauty from denying my ideal led me to think about the possibilities of finding another beauty, which can also be considered as another perfection. By melting, crashing or peeling off the surface of a perfectly constructed object, I was able to create the pieces, which showed me the way to self-discovery. 


Metallic Bonding of Humans. The bonding connection of metals to humans is as old as the birth of first human being. Iron (Fe) in the blood links to the system that channels energy. The stronger conducting qualities of metal in the blood are, the greater energy it receives. Atomic states of metals like Au or Ag have more magical properties than any other metal due to their high conductivity. These bonds of blood are universal and make every human being naturally equal to other human beings, unify people more effectively than any language. It is a collective shared experience in the code of our blood. Relating to this, my work explores the bonding connection of a human body within the traditions of Corpus. It further expands its claim to see and explore human bonds recognised through common sharing and use of precious and non-precious metals in daily life, traditionally as well as collectively, through craft, through techniques, through using objects, through self-adornment, and through commonly recognised ideas. 


I have always had an affinity for working with metal. During my training as a jeweller I created small-scale, intricate models out
of brass and copper shim, as I preferred to work directly with materials rather than sketch out concepts. I still work intuitively with materials and let them lead me in the process of making; happy accidents and discoveries can be the basis for new designs.

My current work is inspired by lichen and seeks not only to create beautiful, tactile, wearable jewellery, but also to inform both the wearer and the viewer in surprising ways, by adding details, such as chemical compound structures, which relate to specific lichen species and their functions in the wider world. 


We laid down still in a straight line

and closed our eyes to see the things we could not see with just our eyes. 
I wish there was an actual station somewhere called


There is one straight path

and we spend our lives staying and staying on that one path but there are other ways besides my own.

Other people say their paths are straight.

My studio is between North Korea and a cease-fire line made of barbed wire.

Metal can divide and make a boundary where the end is unknown.

The metal dreams again today. Like a Möbius strip.  


After a few collections dealing with repetitive patterns, order and structure and making very delicate pieces, I got sick of it all. I felt like destroying, burning, tearing jewellery apart. In my work, I tried to preserve the exact moment between designed and deformed – still distinctly relating to my previous collections but less inhibited, more unplanned, maybe even reckless. The process involved taking jewellery from previous collections and then applying all sorts of material manipulations on them allowing me to simultaneously preserve some part of the old object while dis- figuring other parts. 


The rigid black square steel frame contradicts the soft white flowing silver form. Together they express a unified vision of opposing forces. In The Marriage of Heaven and Hell, the poet, painter and printmaker William Blake described duality to be the source of creation and necessary for existence. Metal offers the possibility to convey both hardness as well as soft fluidity – in appearance as well as in the way it is worked. A combination of hand-carving, casting and constructing are used to create this one-of-a-kind piece. 


For my jewellery I use the means of expression which I know best and which is the most intimate – my body. Using my body I can visualise gestures, sentiments, and emotions that are associated with different meanings. I try to focus on parts, gestures or on actions, which seem to be profane and self-evident. The resulting imprints of the body form new bodies. They seem familiar but also strange and vague at the same time.

On the subject of BONDS, I focused on the act of listening. Listening is the basis of our daily communication and an impor- tant connection for our daily cooperation. It is too often judged as natural and is not esteemed. By my work I emphasise the good listening and appreciation for it. 


As a metalsmith I find interest in silver-plated house wares in antique stores, which are rarely used at home nowadays. It is hard to keep them in good condition and not to ruin the top layer of silver. These objects of very low monetary value have pretended to be “family inheritance” and became just a symbol of the female family members in the past in someone’s home.

Objects exist for decades, centuries or even millennia. Their functions transform over time from utilitarian to symbolic, from direct use by their owners to a ritual, indirect use. Despite their inanimate existence they stipulate a sense of space and time with their tactile and visual sensations. I am attracted to their quiet, flexible but robust presence. Objects are loaded with their stories and functions as well as the trace of hands that have touched them. 


Much of life is composed of reproduction and repetition that I have always found fascinating. My work is also comprised of the combination and repetition of geometric shapes, mostly spheres, semi spheres, their derivations and deformations. In these com- positions, I achieve harmony, texture and pattern by multiplying, extending and reducing these two- or three-dimensional pieces. Enamel gives me the exibility to accentuate these features. 


Bonds in thought
What if..?
What if I experienced war?
Would it be written on my face? – From the freedom of a mask to the personal touch of a caricature to the generality of a symbol. Those are the main aspects of my jewellery. The hollow bodies made of steel always develop from sketches, which are based on self-portraits. This way, conventionalised and three-dimensional images come into existence. I integrated parts of synthetic war toys into these brooches in order to start an argument in thought concerning these questions. 


Shaping metal in different languages but with the same passion. 


What takes form by means of creation must not necessarily possess the qualities of an ideal work of creation. Let the light alternate with shadows, let it shimmer and sparkle, let the strings of threads grow into the web of steel, leaving a trace in it. 


My project is related to the alternative use of materials and recycling. This work is a satellite view of the whole, in which the geometrical PVC elements represent states, people, traditions, while metal symbolises the unifying element. Connections which eliminate distances and create indissoluble bonds... connections which eliminate the space and time by merging the past and

the future, the ancient and the contemporary... connections that are rooted in the environment by breaking down boundaries and borders and fostering eternal dialogues. 


A human being was created by nature and each person’s beauty was given by nature. Mother Nature is like an inconceivable and unlimited beautiful woman, and man is a part of it. It has an intangible force, with which it is able to simultaneously create and destroy. It is not predictable or restricted. I comprehend a part of this elusive, beautiful force of nature, set boundaries giving a concrete shape and form, and give an opportunity for people to adorn themselves. I create interactions – a man created by nature adorns himself with its beauty.

Natural blonde – golden natural beauty in a tangible form – linen. Linen fibre combined and enhanced with metal without losing its untamed beauty. 


Using metal and production processes as the conceptual foundation, the work attempts to negotiate between contemporary and traditional ideologies of reproduction, economy, productivity and value within the lens jewellery. Through the material, I navigate personal conundrums between efficiency and authenticity.

A mould is a tool with a single function to reproduce the nega- tive cavity bonded within. After each cast, I carve and deconstruct the mould, destroying its single purpose. The pieces evolve and a new body emerges, removing the traces of the original object.

Jewellery, being a relational aesthetic, is rooted on the body yet maintains a fundamental mobility within the physical world embodying the intimate, the public, and the social. Through the cathartic deconstruction and manifesting into jewellery, they become extensions of our bodies. 


Connections: carrying, connecting, hiding, concealing different interconnections. 


Light brooches made of thin metal sheets are part of the series Thule that I have created before. Gone with the Wind – drawing by hand and shaping metal like an old paper letter in the wind represents speed and natural textures. 


The German word Arbeiten, or work in English, refers to both the process and the result. For me, working, doing work, is the connection to the world that surrounds me. It is the link between social, mental, and physical activity. My jewellery is made out of found metal objects. Often I do not know their original function and context. I disassemble them and then create sculptural, wearable forms in an intensive and slow process of growth and development. 


The brooch or cloak pin Fibula Nubifera is literally an ornament intended to make a bond, where the thin silver wire binds all loose parts together into one firm entirety. 


The pieces of jewellery are signs to be worn on the body, which connect people by their visual language.

These amulets are pieces inspired as sources of protection and force. The shapes of the fig sign and pepper, inspired by traditional Brazilian balangandan bracelets, since ancient times have been representing strength, radiation of light, vitality, and protection at the spiritual level.

Niobium, the metal that I choose to use, gives the blissful possibility to explore its magnificent colours reflected by its oxi- dised surface. 100% anti-allergic, immediately reaching the body temperature when in contact with the skin, it serves perfectly for making jewellery. 


Temporary Linked
What are you and me?

If not only a lump of dust, compressed with selfness, waiting for a day to disintegrate into fine dust again.

However, during our existence we suffer.

From desire to be and not to be, to have and not to have.

We struggle, fight, protect, sacrifice, find excuses to hate and to love.

This is how we are bonded to each other.

The bond is unavoidable but realising that the bond is only temporary, the selfness and suffering is avoidable.

Do you think, with harmony, two different entities can be together peacefully?

What if harmony is not the key, but a trap?

Searching for harmony is not different from searching for another identical pair.

Not only about the objects but our human society as well.

If being together peacefully is the goal, then “being together peacefully”, with or without harmony, is the key. 


A free, giant, weightless, filled with air, it is floating across the blue sky. It is on its journey through time, haunted by the childhood dream to fly up and melt in the sky. A floating hot air balloon makes you look up and this momentary vision, an experienced emotion, perceived as freedom, illusion and aspiration, is etched in your memory forever. It is this momentary vision that inspired the brooch collection Flying based on a conception that comes close to the perception of the object. The Flying objects in a sense become intermediaries between heaven and earth. They serve as a continuation of history, showing us how things might be. They represent the flight of the soul, the relationship with another realm beyond our sight. Lightness, volatility, and aspiration. These are connections that link us to the spiritual realm. 


The term analogous describes the likeness that permits one to draw an analogy. An inference that two or more things agree with one another in some respects, and will probably agree in others.

Analogous directly applies to “things”, physical, tangible things, belonging in essentially different categories, but nevertheless having many similarities. The term analogous in many respects describes my approach to the studio and act of making artwork, integrating digital fabrication techniques and materials directly into my daily practice. In synthesising analogous qualities, I seek to develop a visual conversation reflecting material language and appropriation. 


Throughout human history, metal has been a means to commu- nicate status and symbol. Metals have been instilled with different symbolic meanings by various cultures, yet each metal seems to carry its own common language that can be interpreted by anyone. As an artist working with metal, I have to understand what the materials are conveying to the viewer, and how those interpretations fall in line with the intensions of my piece. The bond that is built during the formation of a piece stems from an appreciation of metal and its meaning. In the end, the metal retains its own cultural and geological significance, while also lending itself to speak for the piece. Light speaks to the relationship between the cultural significance of a reliquary, and the refractory properties of its materials. 


Going from precious material to the most primitive, I emphasise metaphorical meanings of shade, tinge, tint, and blandness. The result is a series of delicate and profound works, in which I express the fears and obsessions that live in me. 


Communication (in Latin communicatio means ‘sharing, imparting’; it comes from the Latin communico meaning to ‘share’; cf. communis – ‘common’) is defined as an act of exchange of information. It is an inherent need of all living beings. For an individual, an absolute absence of communication is always a sign of decline, degradation, and destruction. And vice versa, the presence of it indicates prosperity and growth. Thus this work is, in a way, an ode for correlation, an expression of gratitude to all of those whose words opened up new paths and led to the discovery of a new existential weight. 


Bonds can be good or bad or both at the same time. Words are not always even necessary to describe things. The silence is a powerful way of expression and sometimes it is enough.