Klimt02 Interview, Barcelona, 01. Oktober 2019
What's local and universal in your artistic work?
Local are the old goldsmith techniques you make your own. In addition, I build my own tools in my workshop, so I always depend on my workshop to make my jewelry.
3D printing and other modern techniques are universal to me. Designs are much easier to produce and distribute by mail. Collaboration is also much easier, as you are not physically bound. Inspirations and ideas about one's own work are inevitably universal through today's media and global input.
What do you expect when you show your work to the public (for example, with an exhibition)?
I am looking forward to reaching as many people as possible who are interested in my work. People who are looking for an exchange / dialogue with me and may appreciate my work so much that they buy it.
The dialogue with colleagues is also a very important aspect for me.
How important is the handmade for you in your development? What role does technics and technology play in your development?
It all depends on the piece of jewelry and associated idea that you want to implement. The idea, the concept, decides whether handmade offers more than modern techniques.
The series "roh" would be impossible without handmade. You create by hand and have to have the sense for when individual steps are completed and forms are finished. Even the surface finish with handmade usually has a much higher aesthetic quality.
Other pieces of jewelry get their strength only through modern techniques. An example out of my collection would be the pendant "Warning, Small Parts, Choking Hazard".
Modern techniques are often used to create models. The production and the final touch are then handmade. Technology plays an important role in my work, as new techniques are used to create new ways to implement ideas. This also includes a cost perspective, where a concept may be too expensive to implement without modern approaches.
When you start making a new piece what is your process? How much of it is a pre formulated plan and how much do you let the material spontaneity lead you?
Ideas often take form in my mind for a while before I start creating. Ideas are always good at first glance, but over time it becomes clear that things are a bit more complicated than originally anticipated.
When I decide to implement an idea, sketches often do not help. The pieces of jewelry are usually dependent on their three-dimensional structure. Especially in my "roh" series that I dedicate most of my time to. Converting 2D sketches into 3D in this case is not really helpful. So I go directly into the material with the shapes in mind and gradually work towards the final creation.
Many things are worth trying. "roh", in terms of approach, is a mixture of planning and simply trying. The material provides a certain form and feasibility, which I integrate into my ideas of shapes. Often I initially have an accurate picture in mind, which will change during the work process.
Are there any other areas besides the jewels present in your work?
I like working with colors. In jewelry, using and creating many vibrant colors is challenging. Therefore, I work on simple paper works, e.g. posters. It is not certain yet where this direction of work will take me.
How important is wearability in contemporary jewellery?And in your pieces?
Very important. I like the idea that my jewelry is worn and noticed in everyday life, does not just collect dust. There are exceptions where the art takes precedence:
If it does not fit the concept, wearability can be overlooked to ensure the artistic idea is fulfilled.
The last work, book, film, city that moved me was...
Ghost, Jiro Kamata
A new kind of beauty, Phillip Toledano
Istanbul and New York
What/who is the biggest influence in your career?
My two years in Hanau, working on my goldsmith master’s degree.
King Khan and the BBQ show.
The daily business.
Which piece or job gave you more satisfaction?
The "roh" collection, by far the collection that took the most work and dedication.
What is your source to get information?
Internet and the dialogue with colleagues.
Considering the experiences you have had over the years - if you could go back and give yourself a piece of advice for the start-up phase, what would that be?
Make. More. Money! Seriously, I still see myself in the start-up phase. Sound advice to a younger me certainly would be to concentrate on one’s own work and allow more space and time to develop. Also: always listen to advice from others, but do not shy away from paving your own way.
Can you describe your personality in 3 words, describe your work in 3 words?
Personality, related to my work / professional life: Dissatisfied, ambitious, curious
Work: Not. Done. Yet.
+49 7531 3692953
Ausbildung zum Goldschmied
Meister und Gestalter
an der Zeichenakademie Hanau
Gründung der eigenen Werkstatt
Gründung von BLING
― [ˈɡɔltʃmiːt] Substantiv, maskulin | (Berufsbezeichnung) Handwerker, der Schmuck oder künstlerisch gestaltete Gebrauchsgegenstände aus Gold oder anderen Edelmetallen anfertigt
Damit hat mehr oder weniger alles angefangen. Seit dem arbeite ich gerne mit den traditionellen Goldschmiedetechniken und verbinde diese mit anderen Elementen. Wie zum Beispiel dem 3D Druck.
Bei den Entwürfen entferne ich mich dabei immer weiter von der klassischen Goldschmiedearbeit, um mit verschiedenen Ansätzen neue Ideen zu entwickeln.
― [ ˈɡəʊldˌsmɪθ]noun, masculine | (Job title) Craftsman who makes jewelery or artistically designed objects made of gold or other precious metals.
That´s the way it started. Since then I like to work with traditional goldsmith techniques and combine them with other elements, such as 3D printing.
In the designs, I move away from the classic goldsmith work to develop new ideas with different approaches.
VOM KOPF. DURCHS HERZ. VON HAND
— Statement zur ‘roh’ Serie
Höher, schneller, weiter. Heutzutage soll alles sofort, unbegrenzt und vor allem billig zur Verfügung stehen. So entsteht massenhaft Müll, Produkte von Anfang an zum Wegschmeißen konzipiert.
Dem entgegen steht meine Philosphie. Die Entstehung eines Schmuckstückes findet oft im direkten Umgang mit dem Material selbst statt. Man nähert sich einer vagen Idee mit einfachen, simplen Techniken durch sehr zeitintensives Ausloten der Grenzen an.
Wann bricht oder reißt mein Material, wenn ich es biege und presse? Mit diesen Erfahrungen entstehen von Hand Kurven und Formverläufe, die auch durch das Material selbst definiert werden. Mit dem Anspruch einer Qualität, die ihre Daseinsberechtigung hat und einen Wert darstellt, den es für den Träger zu erhalten gilt.