In searching for an image of a particular necklace last week [for this previous post], I literally stumbled across the below startling image on Klimt02. I immediately saw a connection between this neckpiece and the one I was searching for, and in fact the one Paloma wears in the image that kicked off this web of threads in the first place.
The above piece is ‘Neckpiece for Ophelia‘, 2009, of concrete and glass, by Kepa Karmona. It’s not exactly wearable, but my goodness it’s striking, yes?!
This was exhibited in Manchester Art Gallery, Jul-Oct2009, as part of the ‘Sting of Passion‘ exhibition.
The curator writes on Klimt02 [here] that this is: “An exhibition of jewellery made in response to Manchester Art Gallery’s collection of Pre-Raphaelite paintings. The title of this exhibition, The Sting of Passion, is taken from a line in a poem, which the Greek poet, Sappho wrote as a hymn to Aphrodite.”
The page on Klimt02 [here] shows a few more pieces alongside the artwork that inspired them – with permission, I have used a few of the images here. The one below is especially gorgeous – it’s a bracelet of sterling silver, fine gold and garnets, and is by Jivan Astfalck. Looking at it initially without knowing the scale, I thought it was a tiara, and thought that was just wonderful.
No, I didn’t see this exhibition personally. Aside from the connection to the other neckpieces I’ve been thinking of lately, another reason I write about it (and want to remember it for posterity) is that I sincerely love the idea of jewellery, or in fact any artwork, made ‘in response’ to other art. I’ve done a little of this myself, with some of my pieces in third year referencing portraits of Henry VIII and others of a similar era … I’ll share these another time.
Also, if it didn’t seem so daunting (and probably take years to develop and organise!), I have often thought about a project and exhibition where a handful of jewellers select an art work to ‘respond to’ (within a broad, as yet unspecified, concept/theme) and after the initial pieces are made, receive another jeweller’s piece to respond to; so two layers of response and two pieces from each jeweller … maybe some time in the future.
Update (25th February): it dawned on me that the last ‘past exhibition’ I wrote about was also a body of work responding to other art work, in that case ‘The Presence of Things’ exhibitors responded to pieces in the collection of the Embroiderers Guild of Victoria.
Update (28th February): I have been in contact with the curator of the project, Jo Bloxham, and her site has some wonderful images and information about this project – here.