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Noovo Editions

Noovo Editions is an independent editorial project with online and paper editions. First of its kind in Spain from an unique and contemporary perspective on the international panorama,
Noovo seeks not only to be an aesthetic arbiter but also a cultural mediator at the juncture between Fashion, Photography & Jewellery.
A platform to show the highest level of creativity from around the world

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Interviews ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
 
 
--------------------------------------------------------------------..........--------ANDREA WAGNER


 

"Beneath the obvious and visible manifestations of interaction, of living, and of communication lies submerged a whole realm of intricate layers of expresson or thought processes. These subtle and implicite issues connect to certain occurances and recurring themes around me, They have a habit of slowly percolating in my thoughts until they distill into a scenario of sorts in my head. That ultimately becomes a blueprint for my work". That´s how Andrea Wagner explains herself about her work in the contemporary jewellery field.

But you don´t have to be afraid, as much as a discourse of this kind could imply, the pieces of Andrea Wagner are truly conceptual treasures which have a deeper thought layer, and we can't turn a blind eye to so much beauty. With a reputation achieved through her own work, solo and collective exhibitions in the best galleries, work in public and private collections, museums and awards as warranty for her creativity, Andrea  kindly gives to Noovo Magazine a sort of deep analysis of her work.

Who is Andrea Wagner? 

I have a mixed cultural background: German born, grew up in Canada – Montreal area – for 12 years up until Highschool. After my return to Germany I first had an economical training before discovering jewelry. Later I came to Amsterdam to study at the jewelry department of the Gerrit Rietveld Academy. Since my graduation in 1997 I work and live in Amsterdam with my own studio and have been participating regularly in exhibitions in the Netherlands and abroad.

Your conceptual world that is art itself still has support andrecognition by some minoritys, is that interesting for you or is a risk to become a overcrowding author?

I think that the world of conceptual art jewelry is one of the art platforms with the most experimental and progressive developments. It is also, sadly, one of the least known, even though there is a constant attempt to bring art jewelry closer to the public. Besides that, this small field has a surprisingly large number of very strong artists. Even with these odds to deal with my passion lies completely in this kind of work. I find it more of a challenge than risk to work with a higher amount of competition.

What kind of things inspire you to build your pieces? and what kind of materials do you use to express yourself?, Do you think is there any material that suits your concepts better than the others ones? For instance, what kind of material would you use if you thing in something erotic?

Human interaction and communication fascinate me. It is mainly the imperfections, insecurities, and moments where things go wrong that inspire me. I choose those material(s) best suited to express myself in a series of work. Since every material has its own visual and tactile vocabulary, it would be impossible for me to stick to the same material for each and every collection.

For instance, my collection WONDERBLISS had many erotic undertones. I needed a material that suggested human warmth and intimacy. At the same time I wanted to show a kind of clumsiness and insecurity as is the case in many real-life scenarios. That is why I ended up using self-made and self-colored wool felt: warm, hairy, with a slightly clumsy and homey feeling. Since then felt hasn’t been my material of choice because I needed to express completely other things.

When you think a collection, do you adapt the material to the concept or viceversa?

I’m not always sure what exactly comes first with a new collection. I believe strongly that our subconscious being is a very powerful tool. That is probably why I always seem to find the right material at hand soon after thoughts or ideas have begun to become clearer in my mind. It has also happened that I started becoming interested in a certain new material and very soon after that my scattered thoughts finally began falling into place and making sense.

Do you consider the ambiguity as indissoluble part of the creative contemporary speech?

Ambiguity is not indissoluble with the creative contemporary language. I personally do find that it creates an intriguing tension which tickles the mind, and I very much enjoy seeing that in work – my own as well as others’.

What is the most important thing for you when you try to communicate something?

I try to communicate a certain atmosphere with my work. That way hopefully, even if viewers do not know the story behind my work they should be able to pick up something about it that in some way carries a relationship or connection to my ideas. In fact, I don’t really like to talk too much about the work and prefer that people see their own things in it.

Do you think to create beauty you have to be ambiguous by mixing terms as atracttion and repulsion ?

Beauty is a broad conception and completely in the eyes of the beholder. For many beauty disappears as soon as repulsion enters the picture. For me, beauty without a plot is boring, and beauty on the edge to repulsion can hold a strong magnetism. Although I had worked a lot with that combination for some years, it has been quite some time now in which it seems as if my inner need to express that in my work has receded and made more room for a bit of irony.

Could you talk us about your experience in the Gerrit Rietveld Academy and their influences afterwards?

I liked that the GRA stimulates cross-influences and delving into other non-jewelry typical disciplines. They very much encouraged experimenting with materials and also always going extremely further and beyond the first interesting ideas that come to mind when working. It’s this mentality of “going further” that is vital in the search of originality in a world where almost no idea is really new anymore or hasn’t been done yet. This mentality, of course, breeds a critical view when regarding the work of others too.

What is your evaluation since you start to your last collection? Is there still the same concepts or you changed them as same as the pieces?

In my last collection THE ARCHITECT WHO FACED HIS JARDIN INTERIEUR it was as with the others before. The concepts or story behind it progressed and adapted during experimenting and the making of the work. Of course I have a certain visual idea about the work beforehand, yet it is in making that I encounter new aspects or surprises which then make the work turn out the way it does. I do not force myself to follow and strictly stay on a certain path because that would definitely hinder any interesting progress or development.

Is there any image of the user before you start to create your pieces?

To imagine an image of the user before creating a piece may be academically interesting, but I personally find it quite a waste of time. If pieces are bought, then usually by someone I didn’t expect. I really don’t want to have to feel disappointed because a buyer is completely different from my wishful image! Besides, I have found it quite nice to see my pieces worn with whomever buys them, because anyone liking my piece enough to pay hard cash for it will have a satisfied or happy aura about them that actually makes it “their” piece.

How do you see contemporary jewellery as one goes along?

I think that the contemporary jewelry system as it is now with regards to the makers of contemporary jewelry plus the galeries as outlets will continue to exist. This despite the attempts of different artists to try to break away from that. But I do believe that artists will keep continuing to find other ways of circumventing the traditional gallery circuits. I believe that there will always be certain tendencies in the attitudes of newly graduated jewellers that have partly to do with whomever they got their training from. There will also be further geographically bound tendencies or characteristics, but on the whole geographical boundaries are continually fading away. There is no reason any more to revolt against the use of precious materials in contemporary jewelry because there is a whole history and world of jewelry made from all kinds of materials. I am not so much a prognosticist but curious as to what the future holds! In any case I will continue expressing myself through jewelry and love it! I hope to get interesting projects and activities on my path that will also help me to develope, expand my horizons, stay sharp, and get sharper.

Could you tell us something about your last project?

Well, I have working in “The Architect Who Faced His Jardin Interieur” (body of work 2006 - 2009) and in “Jardin interieur”: French for the private landscape - inside garden - in our mind. In this series it seems as if architectural forms and elements from nature such as plants and gardens have crossed over into each others' territory unlike how buildings and landscapes are clearly separate elements in normal urban surroundings. Like an architect discovering that he actually always wanted to be a gardener or landscape artist and henceforth starts melding together architecture with nature.
The Italian-American architect Paolo Soleri's created the term "Arcology" - a fusion of architecure and ecology according to his belief that underlying ideas of the inner nature of humanity are connected to the design of our social spaces, and that the esthetic can move us toward self-revelation without theological delusions. As a jeweller I played with this concept making models in representation of these two different elements might enter into a symbiotic alliance or transition in which they are totally reliant upon and in balance with each other.
This is Andrea Wagner ´s work, specially powerfull.


More Information: http://www.andreawagner.nl/

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