I work with jewellery as a drawing. I draw three-dimensional lines and mimic the motion of surface and materials.
With the series To Sea Yoder Klara Brynge has shown her work at prestigious galleries in Europe and Asia. She was awarded the 2009 Eric Ericson scholarship and this year she received a grant from the Swedish Arts Grants Committee.
A text by Siri Hustvedt serves as a leitmotif for the project:
“My father once asked me if I knew where yonder was. I said I thought yonder was another word for there. He smiled and said, “No, yonder is between here and there.” This little story has stayed with me for years as an example of linguistic magic: it identified a new space – a middle region that was neither here nor there – a place that simply didn’t exist for me until it was given a name.” from the essay collection Yonder by Siri Hustvedt, 1998.
Klara Brynge explains her jewellery as a space defined by what is around. By reshaping the inelastic metal plate she moves in a no man's land where anything can happen. Explores and dare to trust where the process leads her. She wants her work to support the concept more than the aesthetic expression.
By knowing the tradition but choosing to disrespect it, she wants to free herself from her and other people's idea about smithery. She investigates what is possible to do with smithery today.
One reason for Klara Brynges success is that she unreservedly stays away from trends in the art world. She asks what is jewellery art for me and choose to be true to herself.
With the series To Sea Yoder Klara Brynge has shown her work at prestigious galleries in Europe and Asia. She was awarded the 2009 Eric Ericson scholarship and this year she received a grant from the Swedish Arts Grants Committee.
A text by Siri Hustvedt serves as a leitmotif for the project:
“My father once asked me if I knew where yonder was. I said I thought yonder was another word for there. He smiled and said, “No, yonder is between here and there.” This little story has stayed with me for years as an example of linguistic magic: it identified a new space – a middle region that was neither here nor there – a place that simply didn’t exist for me until it was given a name.” from the essay collection Yonder by Siri Hustvedt, 1998.
Klara Brynge explains her jewellery as a space defined by what is around. By reshaping the inelastic metal plate she moves in a no man's land where anything can happen. Explores and dare to trust where the process leads her. She wants her work to support the concept more than the aesthetic expression.
By knowing the tradition but choosing to disrespect it, she wants to free herself from her and other people's idea about smithery. She investigates what is possible to do with smithery today.
One reason for Klara Brynges success is that she unreservedly stays away from trends in the art world. She asks what is jewellery art for me and choose to be true to herself.
Sehr schöne Arbeiten von der Schwedin Klara Brynge via: http://www.konstepidemin.se/hnoss/tidigareutst_hnoss.htm
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