Monomater

 

A study on the Monomater idea

To produce. As much as I strive to redraw and try to fix the tender structure that the synthesis effort apply to accumulation, for me there is no way to translate that into a formula. I mean, whenever it happens it appears as a blaze. It is a spark. It explodes, glows and fades until it’s gone.

The same applies when by an explicit renunciation to keep adding, I then try to remove, to subtract, to divide, to undress. I move, apparently, towards more basic elements. Sometimes suspiciously basic. That seems to help calming the quandary of dealing with the growing mess. But still is a simple exercise, a task to somehow approach the elusive fact of making sense. The essential wink of sense is extremely rare regardless what you do. Of course that doesn’t diminish an iota its radical need.

Gemma Draper
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“My students are my thinking partners for things that we realize are going on in the field – whether they are trends or in opposition to trends. When we recognize that much new studio work is based on collage and a collision of materials, how do we respond?” —Iris Eichenberg, Head of the Metalsmithing Department, Cranbrook Academy of Art.
Thirty works executed either in a single material or in ones with similar sensibilities by students and alumni of Cranbrook Metalsmithing illustrate this challenge to the status quo within contemporary jewelry.
Presented by Cranbrook Academy of Art as a special exhibit at Sofa Fair Chicago 2011.

Three Jewelers on Monomater (single, one, alone; alluding to matter, material), lecture, Friday nov.4th
ris Eichenberg, Gemma Draper and Seth Papac, discuss how concept, material, and process evolve within their working methods. Moderated by curator Davira S. Taragin.
Co-sponsored by Art Jewelry Forum and Cranbrook Academy of Art, Bloomfield Hills MI