Amphibian Living

Amphibian Living

Thoughts on Munich Jewellery Week, jewellery in a digital world, and translations between spheres.

Written in English.

These past few weeks, I have been very preoccupied by thoughts about art jewellery in a digital future. How can tangible objects, made of “real” materials in the “real” world and defined by their relationship to the body, be translated into a virtual sphere? Can we have virtual bodies? And can jewellery exist on our screens and in our imaginations only?

I have no answer; these questions crowd my brain as I try to fall asleep at night, making me wonder about the future of my art and craftsmanship in a world that has been catapulted into digitalization by Covid. In Germany alone, some companies have leapt ahead five years in a only couple of months, others still send faxes and prefer to be paid in cash. This is no judgement, just a statement. Even looking at my own group of friends, colleagues and clients: Some are talking about NFTs, others refuse to utilize the internet. I believe that there is power in being fluent in the analogue as well as the digital sphere, a sort of amphibian in a changing world.  It’s truly exciting to be alive in such times, feeling the shift beneath my feet.

To me, it’s also exciting to be faced with such an unknowable future – really, the only thing we can say for sure is that the future will be utterly, unimaginably different from our pasts. I don’t think we even understand how different life will be thirty years from now.

 Meanwhile, Munich Jewellery Week has come and gone, the event obviously having been cancelled due to our current Covid-19 restrictions. Some institutions, groups and individuals have attempted to take the event online, hosting discussions, virtual exhibitions and talks, and distributing print magazines, most notably Current Obsession with their compendium of jewellery-related articles and editorials in this year’s Munich Jewellery Week 2021 edition.

 But I have to admit: Personally, I feel a huge Munich-Jewellery-Week-shaped hole in the universe. There is something missing. What about all the energy? The field of art jewellery heavily relies on tactility, and it is incredibly difficult to fully appreciate these complex, three-dimensional art pieces on a flat screen or page - these pieces that often surprise us with a unique texture, an unexpected juxtaposition of materials that we simply can’t “get” without seeing (and sometimes touching) the real thing. More than that, these art pieces are exquisite little storytelling worlds that exude their own energy field, a mysterious force you can only feel when face to face with the piece.

 I like to think that it’s not only the energy of the materiality that we feel, but the fact that it was hand made by a human being. You can detect the invisible human traces on it, the indistinct web of criss-crossing micro-movements of a highly skilled artist. It reflects the imprint of this particular artist’s visual language. Compare this to the image framed by your laptop’s silver screen (or perhaps even spiderwebbed by your broken smartphone display). While a jewellery piece is arresting and intriguing on the screen, it is not fully comprehensible in the same way.

So how can we, I wonder, learn to speak these two languages with the same fluency? How can we translate the tangible 3D into the digital? Should we even? How can makers use digital possibilities to amplify their stories, and analogue techniques to create an imprint of their being that will touch us emotionally on a level that digital art cannot? I do think we are moving into a world where neither one of these realms of being can do without the other. How can we become amphibians in this sense?

My POMEGRANATE FANTASY brooch in an imaginary orchard created by illustrator Benjamin Langford, featuring jewellery by Vika Tonu, Birgit Wimmer, Suyu Chen, Marina Voronina, Barbora Lexová, Anne Irving and Emma Rose Bennett, Geesche Arning, H2ERG, Arielle Brackett, Linsey Fontijn, Mercedes Palmer-Higgins, Dawoon Jeong, Cecilia Kesman, Idil Laslo, Mariangela Jewellery London, Zsófia Neuzer, Mayumi Okuyama, Dorothea Schippel, and Larissa Thiel.

FLORILEGIUM 2020

FLORILEGIUM 2020

This year, in the absence of any “real” Christmas exhibitions, I have collected my favourite pieces in a digital FLORILEGIUM to browse and explore. It is reminiscent of medieval florilegia, where poetic snippets and images where curated and collected into new compositions.

Written in English.

This year, in the absence of any “real” Christmas exhibitions, I have collected my favourite pieces in a digital FLORILEGIUM to browse and explore. It is reminiscent of medieval florilegia, where poetic snippets and images where curated and collected into new compositions.

Join me on a stroll through these past seasons, measured in the greening and browning of things, and populated with surprising encounters, botanical dreams and an eternal yearning for the perfect garden.

 This collection is designed to celebrate human elegance with an edge of joyful eccentricity. Every jewellery piece is uniquely hand-crafted and one-of-a-kind. Combined with precious metals, pearls and unusual gemstones, these botanical treasures look as if they have been gathered on a dream-like journey to that internal imaginary garden.

Here is a sneak peak; the entire collection is made up of twenty-five carefully selected treasures. If you wish to view the entire document, please contact me at info@norakovats.com.