Friday, 18 April 2014

Archived Snip: Alexis Bittar, bracelets and bangles

Beautiful bits of jewellery mixed with walls cracking and crumbling. 
This jewellery designer is pretty clever and amazing with his variety of bracelets and bangles.
Not a single rough or sharp edge, the jewellery shapes often takes exaggerated forms, tubular and always so beautiful. They have an edge of other worldliness about them that I find fascinating, I think its his use of kind of frosted materials, or materials with a translucency to them.
Lucite, a material used to form the some of the bangles and bracelets he makes, is a type of thermoplastic which is known and used as a shatter-resistant alternative to glass, a material traditionally associated with bangles due to the way glass clinks and makes sounds when bumping or hitting each other - like bells? Plastic bangles don't share this sound, their more clunky really in that respect, but their safer and stronger than glass. Lucite is also known as perspex or acrylic.    

Alexis Bittar (2014) Alexis Bittar. Available at: (Accessed:15th April 2014).

Ellis, K. (2009) 'Alexis Bittar Crystal Bangles', The Gloss, 1st November. Available at: (Accessed:15th April 2014).

Scottsdalefashionista (2012) 'Flower power ! Don’t miss Alexis Bittar’s spring jewelry trunk show at Nordstrom !', 19th April (Online). Available at: (Accessed:15th April 2014).

Sunday, 30 March 2014

Yee Sook Yung, Blue Ceramics and Gold

Ceramic trash, epoxy, 24k gold leaf
Upon seeing this advert in an old copy of Art Review, I did a little digging on the artist.


Using what is thrown aside and normally thrown away by a ceramics master. An artisan who reproduces old Korean ceramics (Joseon Baekja or Celadon), the pieces deemed by the master as not up to a high enough standard are cast out.
After baking in a kiln by using the old method, these Korean ceramic masters break almost 70 percent of the porcelains, they don't reach up to their masterpiece standards. Then she takes over, putting 'the broken bits and pieces of ceramic trash together one by one as if I'm putting together a jigsaw puzzle. And I cover the seams with 24 karat gold leaf. The result was uncanny and bumpy objects. Each broken piece operates as a self forming into an infinite proliferation toward as unexpected fabrication-fictitious loquacity and stuttering discards from standard conventional masterpieces.' (Yung, 2014.)

Yung works with these pieces like she is forming a 3D collage, with cracks and raw or rough edges imitating the torn edges found on paper and card, and representing similarities with the sculptural forms of Henry Moor works, in terms of curved and bulbous shapes that look like their glooping in places and splitting by process of mitosis, a fantastic mess of what has been chucked. Busts and bodies and displayed limbs and creeping trunks that weave and wind and grow into obtuse shapes. These works give us a glimpse of a mastery that we may never really see again. Each piece is unique, and special in its present particular state, unlike the historical whole counterparts that are copied from - these have rebelled against their identities, their beautiful shapes becoming grotesque but then so brilliantly given lines of gold. Precious again.

Art Review. (2011) 'Yee Sook Yung 14.01.11 - 17.02.11', [Advertisement] issue. 47, January - February 2011, p.13.
Saatchi (2014) Yee Sook Yung. Available at: (accessed on: 3rd March 2014).
Y.S.Yung (2014) Translated Vase. Available at: (accessed on: 29th March 2014).