In Conversation with Dorothea Prühl

Despite Prühl’s undisputed aura as a maker and a teacher at Burg Giebichenstein and the fascination that her solitary pursuit of perfection elicits, there is comparatively little material on her written in English. As part of its Best of Interview publication project, AJF decided to redress that and embarked on the complex task of interviewing the rather reclusive artist. To thank the jewelry community for its overwhelming support of our next publication project, Shows and Tales, we have decided to make this interview available online to all our readership. You rock.

Svenja John: Assembly

Gallery Funaki, Melbourne, Australia

I like Makrofol® because it is lightweight, stable, strong, and flexible. It absorbs paint and the surface can be sanded, plus it can be treated much like metal. I can cut it in simple or complex geometric shapes. The surface might be super smooth and shiny, or rough and velvety. It fits perfectly to my needs, my working methods, and my aesthetic philosophy.

Craig McIntosh: Machined

The National, Christchurch, New Zealand

Carving is everywhere here. There’s an incredibly rich history of carving being used to produce adornment in Aotearoa, and it’s impossible for me to think about New Zealand jewelry without carving being here in some way.

Frieda Doerfer: Lines

Galerie Ra, Nijmegen, The Netherlands

Perhaps it sounds strange, but I like the very long and difficult process of making. Each piece is a challenge, and that is one of my favorite aspects. If I’m not concentrating enough, I’ll engrave a false line and the whole ornament will be ruined. If I solder the hollow pendants together and fire them too hot, the solder will float over the surface and will cover the engraved lines. The finished piece must be perfect.

Jewelry’s Best Do Less

Marzee Graduate Show 2014

There is a decidedly introverted temperament to the preoccupations manifested in this year’s show. It is less extravagant than last year, more restrained both in dimension and intention. The work tells tales of time passing and our desire to capture fragments of memory. It strives to capture moments of transformation and delves deep into the artists’ interior worlds, seeking tangible forms through which to explore and express identity.

Ann Culy: plain gold ring has a story to tell

Avid Gallery, Wellington, New Zealand

I remember looking down at my mother’s hands clasped in that cool peace of death, her plain gold ring sitting quietly as part of the life she had lived. I want to make rings that encompass a story, become one with the wearer. Intimate, yet clearly of the person.

Eastern Inch: A Western Story

A Glimpse into a Work by Teng Fei (滕菲)

Yi cun guang yin (An Inch of Time) is a series of four pieces—four rectangles, two in gold, two in jade—seemingly abstract, aloof, distant. It’s a title that, from a Western point of view, alludes to a work by Otto Künzli. Is it an homage? First impressions may not do justice to the object of their observation.

This Is One I Made Earlier

Bernhard Schobinger’s Faux Slapdashes at the Manchester Art Gallery

If we want contemporary jewelry to have an impact on wider discourses of art, criticism, and material culture more generally, Schobinger’s work and its sharp edges provide us with the most efficient fuel. The work creates a visceral bodily response; it infiltrates the nerve fibers of its audience. There was an ouch in the mind of every visitor.

Patrycja Zwierzynska: Ephemeras

L. A. Pai Gallery, Ottawa, Ontario, Canada

It is a process of discovery for me in the sense that most often, when I set out to make something new, I don’t know exactly how the finished piece will look. I rely heavily on process to lead me in unexpected directions while designing and making. The process usually involves spending a lot of time experimenting and manipulating materials.

Bernhard Schobinger’s "Holiday in Cambodia"

One on One nº9

It is in looking closer that the subtle hard edge of Schobinger’s commentary becomes apparent and belies its happy title. His skulls are neither Gothic Revival facsimiles nor religious relics; these skulls are deformed abstractions with sunken eye cavities exhibiting a broken brittleness from being buried in earth for a long time. His first version (1990) was a lighter interpretation; this time the skulls have bullet holes.

From the Forum

Graduate Portfolio

Chen, MA 2014

Graduate Portfolio

Clooney, MA 2014

Graduate Portfolio

Gu, MA 2014

Graduate Portfolio

Hu, MA 2014

Graduate Portfolio

Li, MA 2014

Graduate Portfolio

Ronsholt Smith, MA 2014

Graduate Portfolio

Tsai, MA 2014

Graduate Portfolio

Yang, MA 2014