BROKEN WHITE LINES
This series of jewelry that was made in 2016 and it’s a project that takes its inspiration from the formal language and in the action deconstruction.
BROKEN WHITE LINES
This series of jewelry that was made in 2016 and it’s a project that takes its inspiration from the formal language and in the action deconstruction. Broken white lines is a sister project to my other project Enchantmen. Both projects explore a similar topic but with different outcomes.
To deconstruct something is to take apart or examine an object in order to reveal the basis or composition often with the intention of exposing biases, flaws, or inconsistencies.
The starting point of this project was a baroque ornamented wood chair from early 1900. I have chosen this object since I have conflicted feelings relating to this object, and I was curious to explore this further. I have an affection to the object itself but I would never keep or use the piece of furniture in my home. On one hand, it represents an old aesthetic with its vulgar baroque shapes, highly ornate and with extravagant style. On the other hand, I was drawn to the baroque style that used contrast, movement and its intense details that causes a sense of wonder.
I spent a lot of time reflecting upon the chair and its forms, analyzing the round curvy ornaments, the longer I looked at the ornamentation the hollower and bleaker they appeared. It was like I by They felt like a frozen representation of the past, hard to reference due to its strong aesthetic and its history.
My gaze was refocused on the lines connecting the ornaments, they appeared as calm and clear in comparison to the intense ornaments. I reduced the chair to its constituent parts and it gave me the possibility to reinterpret it, by adapting or separating the elements of gave me the freedom to radically and in a new way reconstruct pieces of jewelry.
At this time, I did not use the ornaments instead I focused on the wood parts between the chairs heavily ornamented segments. I used the long beautiful lines that connected the chairs meeting points.By carefully taking apart the chair bit by bit with a Japanese hand saw gave me an understanding of the chairs basic structure and design, it unveiled its underlying structure and design. I later used this knowledge to rebuild the jewelry pieces, I reused fastening techniques and joining methods.
Cutting up and breaking the lines gave me the freedom to reassemble the fragmented part in a new constellation. By diffusing the original shape gave me the creative space to build jewelry with deconstructed expression. A pyramid-shaped obsidian stone was added to the jewelry piece to give the jewelry a duality of materiality. A counterpart to the white softwood is this machine cut cold stone that carries with it a feeling of precision and order.