Press Release for Contemporary Croatian Jewellery | Craft Council of Ireland - Year of Craft 2011
The Crafts Council of Ireland is pleased to introduce Contemporary Croatian Jewellery at Rubicon Gallery. Initiated by the Ministry of Culture of the Republic of Croatia, this exhibition has been seen in Prague, Bratislava, Helsinki, Innsbruck, Pečuh, Baja, Bekescsaba (Hungary), Subotica, Novi Sad, and Beijing.
We are grateful to her Excellency, Jasna Ognjanovac Ambassador at the Embassy of the Republic of Croatia for the invitation to show this collection in Dublin.
The Crafts Council of Ireland (CCoI) and Craft Northern Ireland (Craft NI) have designated 2011 as Year of Craft, a year long celebration of craft on the island of Ireland. This marks the 40th anniversary of CCoI, a highlight of which is the Annual General Assembly of the World Crafts Council - Europe in Dublin Castle June 8th & 9th 2011. In recognition of the importance of this initiative President of Ireland, Mary McAleese, is Patron of Year of Craft 2011. The programme of events for 2011 includes an estimated 900 events; for details see the dedicated website, www.craftinireland.com.
In 1997 Mario Beusan started a project called Contemporary Art Jewellery in Croatia (under the aegis of the Applied Arts Association) and successive exhibitions by this organisation have shown the creative power of makers of hand crafted jewellery. In this exhibition, there are 102 pieces of work from 16 artists whose focus is on unique jewellery.
•Stjepan Balja, employs a combination of smelting and tempering processes that turns the surfaces of fire-heated metals into subtly nuanced, seemingly organic colours.
•Mario Beusan builds structures that respond to the body of the wearer. Strong geometric slices, generally made of enamel on copper, follow the lines and curvature of the body.
•Boris Borovic work references geological phenomena, using silver, his work resembles fissures, lunar craters and barely touching tectonic plates.
•Mara Fabijancic Borovic finds inspiration in the plant world. Leaves, blades of grass, and woven birds nests are the basis for the playfulness of the forms.
•Rea Boschi Gogolja is experienced in fabric restoration, and weaves threads of gold into lumpy spheres like a butterfly’s cocoon.
•Vera Dajht Kralj’s jewellery tells a story. The narrative is surreal or absurd at times, a cascade of imagery from a dreaming state; her jewellery is a portal to an internal world.
•Eta Lincir utilizes translucent glass and metal with a dull patina. The robust nature of the work directly quotes the sources and raw state of the semi-precious gems and metals.
•Lazer Rok Lumezi sublimates normal expectations of the metals he uses. Inspired by fabrics; silk, brocade, kilims and carpets. His brooches, called Sailshe, draws attention to movement and energy.
•Eva Lumezi Simatovic is an explorer who works with found materials. A piece of tree trunk seasoned by sea becomes brooch or ring; it is reinvented, but still hints at an earlier existence.
•Zlatko Ordcic’s bold jewellery have familiar elements that draw you in before the drama unfolds; an olive branch turns into a purely sculptural form; blades of grass become a geometric grid.
•Karolina Pernar plays with line. The works contains no distraction, and no additional elements. The continuous line of the metal wire is the only formal and poetic challenge she sets herself.
•Luka Petrinjak is a connoisseur of metals and of the surface possibilities. He finds enough challenge in the given quality of the metal to eloquently express a broad creative range.
•Boris Pokos solid, polished metal surfaces are marked with subtle gestures and punctuated with coloured stones to create strong graphic statements.
•Nenad Roban approach is refined and visually sensitive. Individual works pulse with the rhythm of the movement of the wearer. The human gait ignites a change in jewellery.
•Max Skledar’s jewellery, with its robust workmanship, registers that the stone or metal were once part of a quarry, a crag or a cliff, and the fragment has not lost any of the vitality of its origin.
•Davor Suk tightly weaves metal threads stopping short to leave them unbound at the ends, the craftsmanship and fine detail on the one hand nicely balanced by a raw or unstructured frame.