Interview with Mariko Husain - Japanese jewelry artist represented by Keiko Gallery, October 2011
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Ceramics Now Magazine : Your works are exquisite and embrace all the qualities of elegance and rhythm. Can you explain the constructing process? Do you work alone, do you have a studio? It sure needs a lot of delicacy.
Mariko Husain: I was very fortunate to have learned Jewelry design at Central School of Art and design in London, England where their focus was on teaching to follow the theme of one’s interest, explore all possibility and develop design fully.
The process of my work is very much involved on developing ideas, drawings, playing with paper models and metal samples. Using paper and fabric pressing to create texture on metal and mat finish are my preference.
All my work are created from sheet & wire of metal and hand made with no castings. The equipment I use includes various hand-tools, milling machine, flux soldering machine, etc. to produce my work. I have a studio where I work alone to create my designs and make my jewellery.
Earrings, 2011, Sterling silver, pearl, 1 1/3 (L) - View her works
The continuous forms and elements of nature seem to be your inspiration, but have you ever tried to do something more rigid, or geometrical?
In the early stage of my career I tried to work on geometric designs, however I found my self drawn to the themes of nature especially the rhythm, movement, texture, power, stillness and so many variations of form and pattern of water.
What can you tell us about the theme of your works and the materials you use?
The theme of my work has been mainly water, including ocean, river, stream, water fall and lake. I work mostly with sterling silver accented with 18K. yellow gold. I like the visual effect of the combination. I occasionally work with 18K white gold. Many of my work include pearls, precious & semi precious stones.
Necklace, 2011, Sterling silver, 18” (L) - View her works
Ceramics Now Magazine : The market for your jewelries consists in elegant women. Where do you sell your pieces? Do you think that exhibiting them helps you work to be more recognizable?
Mariko Husain: Unless I am working on a commissioned pieces I do not think of my market. My ideas come to me naturally. If I were to focus only on certain demographics, I feel that it would stifle my creativity. I sell my work at Keiko Gallery in Boston MA. and I do yearly exhibitions in Tokyo, Japan. Due to these exposures I have gained many customers who look forward to my work and continue to return often to see my new creations.
What’s the most important advice you can give to a young artist?
If you follow your passion and pursue your dream every thing will come true.
Broach, 2011, Sterling silver, 18K gold, pearl, 2 3/4” x 1/2” x 3/8” - View her works
Visit Keiko Gallery’s website.
Interview by Vasi Hîrdo - Editor of Ceramics Now Magazine
Corner Series by Wim Borst at Meesterlijk / RAI Amsterdam, Hall 9 stand 39
24 September - 2 October 2011
Meesterlijk presents designers and craftsmen who elevate ordinary utensils, objects, furniture and accessories to icons with timeless allure. This extraordinary quality of Dutch designers, to combine the esthetic with the practical, has been known worldwide for ages.
Meesterlijk strives to strengthen the bond between modern design and craftsmanship. At the fair designers and manufacturers of handmade products will be standing shoulder to shoulder with the practitioners of traditional crafts, such as jewelry making and woodcarving. Unique furniture and other products are for sale, such as glass, metal and ceramic objects and also fashion accessories, such as tailor made shirts, shoes (ladies and gentlemen’s), hats, bags, jewelry etc.
The fair takes place in the same building and at the same time as Woonbeurs Amsterdam, the largest event on living, interior and garden of The Netherlands.
Saturday, Sunday, Tuesday, Wednesday: 10.00 - 18.00 h
Thursday and Friday 10.00 - 22.00 h
Monday 26 September only open for invited professionals.
Interview with ceramic artist Claire Muckian - Artist of the month, September 2011
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Ceramics Now Magazine: You are a very young and talented ceramic artist. Can you tell us what was your first experience with ceramics?
Claire Muckian: Thank you, but I’m not that young actually. I studied art in school, liked it very much but never considered it as a possible career. After many years training and working in various environmental management roles, I began to realise how much I missed making art. So, I returned to the University of Ulster in Belfast to do the BA Fine and Applied Arts with a view to specialising in drawing. There, I had a brief introduction to clay, which I had never used before and had an instant connection with it as a material. I loved how malleable it was and how you could so easily transfer a quality of touch during making. I viewed it as an extension of my drawing practice. So, I made an impulsive decision to specialise in ceramics for my Degree after that.
Turbine, porcelain - View her works
Constructing using hand-building techniques give your works a sense of delicacy and lightness. How do you make your works? Tell us more about the process.
As I mentioned before, I enjoy making where I can transfer a sensitivity of touch to the material. It is important for me that the sculptures maintain a certain immediacy, vibrancy, and vulnerability that can be achieved easily with drawing, but that tends to be lost when making 3-dimensional work. I think this is the case with ceramics in particular, where so much time and processes are involved. I predominantly choose hand-building techniques such as pinching and coiling so you can build quickly and loosely. I’m not so interested in the perfect surface and I like to achieve an appearance of the handmade. I like the texture of hammered metal and to leave holes and marks like fingerprints. This gives the work an unfinished aesthetic that adds energy and immediacy to what are seemingly primitive works but that still feel fresh and relevant.
I wish to heighten the viewer’s awareness of space, air and silence. I am interested in the viewer’s experience and response to objects, particularly the handmade object. I believe that the viewer finishes these forms off in their mind and participates in their making to a certain degree.
Mark Goudy: Surface Detail (p47) - 17”w x 3.5”h
Simcha Even-Chen: Rhythmus
Simcha Even-Chen: Inside Outside
Simcha Even-Chen: Illusion III A