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JEWELRY THAT TELLS A STORY
The art of modern jewelry is often noted for the distinctive character of the artists. They work freely but also from certain given premises. Their works are not always easy to categorize and identify, not least because of the introduction of new and unexpected materials and approaches. Acrylic, plastic, leather, rubber, diverse man-made materials and metals are mixed in surprising and aesthetically striking combinations. They are artists liberated from the established and seeking new paths and artistically challenging solutions. Many have received training through the courses established by the schools of design and arts and crafts and through the Precious Metals Institute, a forum conducive to experiments. But there are also self-taught artists who introduce surprising materials, thus effecting a break with the well-known training courses. The self-taught artist often has another kind of schooling and a totally different approach to materials and substances. We see this in Margrethe Brems, whose comprehensive production of jewelry is unlike anything previously seen. Her point of departure - a degree in French, Italian and Latin - inspired her to introduce themes in her teaching which she then duly incorporated in jewelry. Her jewels catch us unprepared, the colours a rich palette of possibilities which not unexpectedly often relate to French and Italian topics. Ideas spring up spontaneously and are realized in materials which are all familiar. Immediately recognizable by their form and function, they range from the elementary to the humorous, startling and unexpected. We find safety pins, hairgrips, paper clips, tape measures, perfume samples, tops of champagne corks and the corks themselves, etc. Removed from their habitual context, as jewels they gain an existence which breaks with the conventional use of similar materials. Technically they are generally accented with added parts, e.g. worked and soldered silver, extra links, clasps and pendants.The jewels are pleasant to wear, not always the case in advanced experimenting artistic jewelry. They must not scratch clothes or skin, which is why each piece of jewelry is mounted with a chain fastening or ties of soft fabric cords of silk, satin or leather. The pieces look and feel, as she herself says, like ‘a second skin’. All pieces are, with a very few exceptions, unique. It is a subtle game with the simplest and most familiar objects, useful in ordinary life but - when used in combinations and permutations - opening a window on the extraordinary. Black and red paper clips are strung together and tied with a black bow to form a necklace. Simple, sophisticated -and unexpected. Hairgrips of many colours or safety pins with a black leather cord are similar variations. These pieces work seamlessly though - like so many of the other necklaces - representing another well-known function, and they are at the same time aesthetically satisfying. Safety pins, paper clips and thimbles are added in witty combinations. Not to be expected, but all this artlessness is here effective. Unanticipated is when classic suspenders or zips make up a necklace - very surprising in a functional and up-to-date context. On the other hand we experience the immediate element of surprise which may lie in the combining of the different materials of the pieces. Only on closer inspection do we recognize the original function of the materials, which often triggers humorous reactions. At the same time they provide the basis for an aesthetic evaluation on several planes. The technical procedure in the making of the jewels varies according to what inspires and challenges. Margrethe Brems sees possibilities and tries out her ideas. A green and black bicycle tube is cut up and combined with a pink rubber glove which is then strung with glass beads. Similarly unexpected is a bicycle repair kit box combined with condoms and glass beads! A playful approach to the materials designed in such a way that it can hardly offend anybody but rather provokes a smile. The titles refer to both the starting point and memory. There are things she comes across, finds amusing and therefore collects for future use. There is red and green spoon-bait assembled with white and black beads, or coloured golf tees with white beads on a leather cord, and a necklace of many-coloured little plastic ice-spoons on a silvery metal chain. It is evident that several of Margrethe Brems’s necklaces contain personal references. The piece “Come Together” is a cut-out part of a Beatles LP record combined with red plectra and held together by a silver-coloured metal chain. These references can, as has been mentioned, relate to her teaching of French and Italian, with not least the French elements being accentuated. The “Le Tricolore” jewel is a sophisticated composition of blue and red miniature safety pins with white and silver glass beads. And then there is “The Little Prince” where the main figures are garnished with white pearl beads. And Snow White embellished with black buttons, numbers, and black and white beads. Samples in the form of miniature perfume bottles (Chanel) are put together with fake pearls. And of course there is art, loved and appreciated. A jewel is created from cut-out postcards (French impressionists) combined with miniature gold frames, white beads and fabric poppies. The final piece in the series is “Say Cheese! , tellingly worn by Mona Lisa. A necklace with tiny bottles of nail varnish combined with white pearls. That is inspiration that knows no bounds. Text : ØYSTEIN HJORT |