From June 1st to 29th, gallery LA Joaillerie par Mazlo presents a selection of works by Judy McCaig and Jamie Bennett, two contemporary art jewellers who have chosen from their beginnings to place drawing and painting at the center of their approach.

As suggested by its title, which alludes to Vassily Kandinsky’s second theoretical book on painting, this exhibition questions the pictorial dimension of jewellery as expressed in the work of these two artists, establishing a dialogue in order to highlight what distinguishes as much as what unites them.

Through the selection of jewellery and graphic works, the exhibition shows the constant back-and-forth and the reciprocal influences at work between the different mediums summoned by these two artists, be it enamel and painting for Jamie Bennett or drawing and mixed media for Judy McCaig.

Regarded as one of the most prominent contemporary jewellers, Jamie Bennett is mostly known for his exceptional mastery of enamel technique. A discipline rooted in an ancestral tradition but which he nevertheless still contributes to renewing, by creating new forms as well as by inventing original techniques and textures.


His immediately identifiable style is characterized by fluid lines, reproducing all the freshness of a freehand drawing, combined with bold colour combinations and a network of geometric and abstract patterns, all displayed on an opaque enamel background.

In Bennett’s process, drawing and painting have a place of their own and, so to speak, parallel to enamel, whose implementation is particularly complex and procedural. Actually, it was a bit fortuitously at the beginning of his teaching career and after a visit to his studio that a gallerist encouraged him to paint. He succeeded in combining both activities for a few years, before definitely focusing on jewellery making and enamel. This fulfilled his need for experimentation. However, he did not give up drawing, which actually "more follows than precedes the enamel work", each technique infusing the other.

While confessing the influence of Paul Klee and Jasper Johns, JamieBennett rather draws his inspiration in more distant cultural and historical sources: Not only Byzantine and Medieval art, Islamic and Far Eastern arts but also botanical drawings, celestial maps and ornament grammars that show a common interest for the representation of Nature.
By focusing on the universal dimension of jewellery instead of exploring its social and/or political issues, Jamie Bennett inscribes himself into an artistic lineage which is as ancient as the history of humanity, that of the interpreters of nature. But the latter, as he conceives it, has much more to do with Persian miniatures than with naturalist painting. Nature as depicted in Bennett's work is a fantasized, domesticated, recomposed and stylized one, thus proving his clear preference "for parks over forests", as he puts it.

Jamie Bennett is some kind of gleaner, who picks up and accumulates sources without any previous calculation but rather according to his wanderings as a reader. Over time he thus has built his own visual vocabulary, a repertory of patterns, that appear recurrently within its different series. However, for him it is not about slavishly reproducing a natural or culturally proven model. Instead, he appropriates these patterns, cutting them into multiple fragments before recomposing, associating, and aggregating them into new and unique graphical entities.

Through sampling and assemblage work, he suggests some parts of a great All, whose infinity remains invisible to us. Thus allowing his works to escape the limits of the frame predetermined by the format of the jewel. Then in the form of an additional enigma, adorning the reverse of the jewel, the artist keeps on increasing our curiosity by playing on the opposition inherent to jewellery, between intimacy and public space.

 

 

For her part, Judy McCaig's artistic approach is characterized from the very beginning of her training as a jeweller by the desire to go beyond the confines of a single discipline in order to explore the many possibilities offered by the techniques of etching/printmaking, photography and drawing, the latter remaining the backbone of her practice. More than any other discipline, thanks to its extremely simple implementation, this nomadic medium indeed offers the freedom of expression sought by this great traveller.

A superficial reading of Judy McCaig's works may suggest that nature is central to her inspiration. However, it seems more relevant that it evokes the notion of environments or areas of interaction. While remaining totally absent from the representation, the human figure is essential here. Judy McCaig’s work indeed questions the human vision, the way mankind contemplates the world and comes into contact with what surrounds her/him.
The artist offers us a cartography of reality in the form of fragments of spaces whose contours remain unclear yet bathed in a familiar atmosphere. The colours, the light which plays subtly with the surfaces covered with gold leaf or punctuated with these stones, barely held by threads, evoke fragments of places and experiences that were once crossed by a presence and are now given back to memory.
The evocation of time is conveyed by a masterly use of patinas and textures, where rust with its sepia nuances, brings a tone of nostalgia that is reminiscent of these brownfields, vestiges of a glorious past but now abandoned to nature.

One might be surprised by the paradox that led Judy McCaig to set her sights almost exclusively on the brooch format. It might be a way to play with the apparent rigidity of this framework, which is ultimately a place of passage. A kind of miniature screen or window wide open onto the world and placed on the chest of its wearer. The bird landing on its branch, the hindquarters of an animal stepping out of the field, the volumes of a room moving like in a pop-up book, all these elements suggest a continuum between the time and space of the representation and what could overflow or escape from this structure. This invisible space where lies the essence of all things, the jewel being a mirror or the visual and metaphorical trigger of a journey in one's self.

In Judy McCaig's and Jamie Bennett’s work, drawing goes hand in hand with the need to connect with a form of abandonment, a phenomenon which psychologist Mihaly Csikszentmihaly, calls the creative flow. For example, Jamie Bennett explains that the phases when he devotes himself to drawing offer him an indispensable field of exploration. A way for him to reconnect with the spontaneity of the gesture and to escape the constraining aspect of the technique of enamel that does not permit margin for an approximation.
Judy McCaig's use of drawing and writing in any place and anytime allows her to accumulate traces, impressions and visual archives of her experiences. A slow incubation work follows the sketching and graphic work and supports the entire phase of pure creation, before passing them through her memory filter and transcribing them in the form of free associations of materials.

 

The graphic work carries in germ all the potentialities of the jewel to come, but it does not possess its materiality or wearability. Constantly oscillating between the lightness of the drawing and the durability of jewellery, Judy McCaig and Jamie Bennett reconcile each in a unique way two major goals of any artist: embracing the flow of the creative thought to capture it, before shaping it into a form both tangible and durable.

As an echo to the works of Judy McCaig and Jamie Bennett, an invitation was addressed to Heidemarie Herb. Visitors will discover a selection of her jewellery works, from the "Mini Pictures" series. The artist explores the relationship between man and nature, the mysteries of the cycle of life, from birth to death, either by exploiting the expressive dimension of colour or by adopting a style which recalls the Chinese Literati paintings.

 

Exhibition June 1st to 29th, 2019.
Opening reception June 1st, 3-6 pm.

Tuesday-Friday 2-7 pm.
Saturday 11:00 am- 1pm and 2-7 pm.

JAMIE BENNETT


Born in 1948 in Philadelphia, Jamie Bennett is an American artist and educator known for his enamel jewellery. He is Professor Emeritus of the State University of New York at New Paltz Metal/Jewellery Program, which he directed from 1986 to 2014. Recognized in 2016 with the James Renwick Alliance’s Outstanding Educator Award, Bennett is a three-time recipient of the National Endowment of the Arts Fellowship, and has been awarded three New York Foundation for the Arts Fellowships as well as the Aileen Osborn Webb Award for Fellow of the American Crafts Council. Bennett’s retrospective exhibition Edge of the Sublime: The Enamels of Jamie Bennett travelled throughout the US from 2007 to 2010, supported by grants from the Windgate Foundation and the Rotasa Foundation. His work is in the permanent collection of over twenty-five museums internationally, including the Metropolitan Museum of Art, New York, the Victoria and Albert Museum, London, the Musee des Arts Decoratifs, Paris, and the Hermitage Museum in St. Petersburg, Russia. His participation in many pioneering exhibitions such as American Masters at the Victoria and Albert Museum; Jewellery Moves at the National Museum of Scotland; New Times, New Thinking Jewellery in Europe and America at the National Museum of Whales underscore his influence and impact in contemporary jewellery.

JUDY McCAIG


Judy McCaig is a Scottish jeweller, printmaker and painter who since 1991 lives and works in Barcelona, Spain. Born in Edinburgh, she studied art and jewellery at Duncan of Jordanstone School of Art, Dundee, Scotland from 1975-79. In 1980, she post-graduated one year specialising in jewellery and photography. On the same year, she was awarded The Scottish Education Department Major Travel Scholarship. From 1980-83 she studied Master of Arts (M.A.) at The Royal College of Art in London. She travelled extensively in Europe after finishing college and on her return to London, studied printmaking for three years and set up studio there. Since 2001 until present she has taught at the Massana School of Art in Barcelona and since 2009 at Taller Perill, Barcelona, also acting as visiting lecturer in Schools in USA, Germany, Portugal and Scotland, Spain, Chile, Argentina and Canada. Her work is part of many public and private collections and has been shown extensively at galleries and museums around the world. She notably participated in some pioneering exhibitions such as Jewellery Moves at the National Museum of Scotland.

HEIDEMARIE HERB


Born in Germany (Bavaria) in 1969,  she obtained in 1991 the professional qualification as goldsmith with final examination from “Gold- und Silberschmiedeinnung” (Handwerkskammer) in Munich. She received a certificate in precious gems at the German Diamond Institute (DDI). She attended various courses, conferences and workshops. The amber research symposium and the DuPont powder coating further education in 2008 were milestones in her artistic development.She curated the Amber chamber project in USA, awarded in Poland, Russia and Italy. Her work is featured in the permanent collection Museum of amber PL, Malbork castle Museum PL, Permanent collection of Cominelli Foundation IT, and private collections in Austria, USA and Lituania.

PARTENAIRES