Ring, No. 3 in series of 3
2006
Silver, oxidised detail
45x55 mm
Tuesday, March 25, 2008
Tuesday, May 15, 2007
CV:
Ingrid Nilsen Education:
Ba (Hons) Jewellery Design, 2007 Edinburgh College of Art, Scotland
Diploma, Goldsmithing, 2000 Elvebakken Videregaende Skole (College), Norway
Work experience:
Manu Smuck Verkstadt, Hamlen, Germany, June 2006
I worked for Manu designing a collection of production jewellery which is available for sale through their company
Bjorklund Ur og Smykker (Clockworks and Jewellery)Oslo, Norway 2001-2003
Bjorklund's main workshop. My work consisted primarily of repairs but also small design jobs.
Personal Statement:
In all my work I look for contrasting elements to achieve balance. The rigid box shape is juxtaposed by fragile organic patterns- the hard silver by jumbled piles of colourful beads.
In this collection I have focused on the striking difference between the organic and geometric and how two such obvious contrasts can create harmony. The subtle white colour of the silver combined with the excessive amounts of beads adds a quiet luxury to my work. The luxury is reinforced by the fragility of the work in the sense that it requires gentleness and carefulness when handled.
Luxury is also evident in the pieces where beads are placed inside the box and in this way they appear to be protected by the silver. I see this protection as a way of adding value to something which is not necessarily valuable. The hidden and protected will always be perceived as more desirable than the highly accessible.
Fragility and subtlety are elements which play an important role in my work. I consider these elements as strengths rather than weaknesses to the pieces as I think they increase the sense of indulgence for the wearer. This sense of indulgence is reinforced by the explicitly feminine qualities of the work.
By using the box I have been able to explore the 3-dimentional effects of the outside and inside, and by the use of saw piercing also the positive and the negative space of each piece. This use of positive and negative reoccurs in the use of beads both as shadow images pierced in silver and as strands within brooches and around the wearer’s neck. The piles and jumbles of beads are applied in a quietly radical way which reinforces the contrasting nature of the work.
Ingrid Nilsen Education:
Ba (Hons) Jewellery Design, 2007 Edinburgh College of Art, Scotland
Diploma, Goldsmithing, 2000 Elvebakken Videregaende Skole (College), Norway
Work experience:
Manu Smuck Verkstadt, Hamlen, Germany, June 2006
I worked for Manu designing a collection of production jewellery which is available for sale through their company
Bjorklund Ur og Smykker (Clockworks and Jewellery)Oslo, Norway 2001-2003
Bjorklund's main workshop. My work consisted primarily of repairs but also small design jobs.
Personal Statement:
In all my work I look for contrasting elements to achieve balance. The rigid box shape is juxtaposed by fragile organic patterns- the hard silver by jumbled piles of colourful beads.
In this collection I have focused on the striking difference between the organic and geometric and how two such obvious contrasts can create harmony. The subtle white colour of the silver combined with the excessive amounts of beads adds a quiet luxury to my work. The luxury is reinforced by the fragility of the work in the sense that it requires gentleness and carefulness when handled.
Luxury is also evident in the pieces where beads are placed inside the box and in this way they appear to be protected by the silver. I see this protection as a way of adding value to something which is not necessarily valuable. The hidden and protected will always be perceived as more desirable than the highly accessible.
Fragility and subtlety are elements which play an important role in my work. I consider these elements as strengths rather than weaknesses to the pieces as I think they increase the sense of indulgence for the wearer. This sense of indulgence is reinforced by the explicitly feminine qualities of the work.
By using the box I have been able to explore the 3-dimentional effects of the outside and inside, and by the use of saw piercing also the positive and the negative space of each piece. This use of positive and negative reoccurs in the use of beads both as shadow images pierced in silver and as strands within brooches and around the wearer’s neck. The piles and jumbles of beads are applied in a quietly radical way which reinforces the contrasting nature of the work.
Friday, May 11, 2007
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