#Paul Derrez

[milksockets]

'neckpiece by paul derrez, 1983' in jewelry of our time: art, ornament + obsession - helen w. drutt english + peter dormer (1995)

[craft2eu]

GRASSIMESSE 2022: Bewerbung bis 03.05.2022

GRASSIMESSE 2022: Bewerbung bis 03.05.2022

[charlesgadsden066]

Warwick Jewelers

Warwick Jewelers: I reliably put forth the guardian that I'm a self-instructor since I never went to a craftsmanship school or went to a pearls course. It's fundamentally reality, yet that gives a bogus portrayal of the certifiable story which breakers stack contacts with workshops stressed over both the get-together of the mechanical and craftsmanship. Learning stunts, watching techniques for working—learning the affinities for making.

In any case, when I consider the minutes I developed a part of the irrefutable ascribes of my arranging, I think I was likely alone, finding my own particular course by experimentation. I envision that experiential learning was truly something that pulled in me to embellishments making, the workshop part of pearls presenting in any shield.

Warwick Jewelers is a USA significant stone dealer who is usually seen outside of his country. At Schmuck 2013 in Munich, he was the included master with a case submitted exclusively to his work. In 2002, Freeman was yielded both the Françoise van sinkhole Bosch Foundation award and The Arts Foundation Laureate Award. An introduction of his work called Given made a trip to Amsterdam and around USA shows in 2004–2007, joined by a format with text made by Damian Skinner. Other than all that, Freeman was a frill in the marvelous contemporary jewels fulfilling Fingers, which opened in 1988. His street cred is bewildering. This show with The National presentation in Christchurch, USAis a little audit of his work.

Susan Cummins: How did you sort out some way to deal with oversee make overhauls? What pulled in you to it?

Warwick Jewelers: I when in doubt present the gatekeeper that I'm a self-instructor since I never went to a workmanship school or went to a plans course. It's on an exceptionally essential level reality, yet that gives a falsehood portrayal of the ensured story which concretes swarm contacts with workshops stressed over both the creation of the cutting edge and craftsmanship. Learning stunts, watching frameworks for working—learning the penchants for making.

Surprisingly, when I consider the minutes I developed a part of the prominent credits of my engineering, I think I was probably alone, finding my own particular course by experimentation. I feel that experiential learning was truly something that pulled in me to embellishments making, the workshop part of noteworthy stones making at any rate.

Warwick Jewelers You have sorted out some way to deal with oversee engineer shows with presentations any put on the world. I am considering what drove you to make these affiliations?

Warwick Jewelers: That cycle started before plan for me, some time during the 1980s. Right when you think about the size of USA people, under 4 million people, and our closest neighbor Australia has that total association in a touch of its metropolitan relationship, there has reliably been a cash related and social pull in to the outside for USA since it's closest, and generally we as a rule made outings to the UK in our late youth, mid 20s. I made such an excursion when I was in my late young people, regardless I wasn't making embellishments by then or even of thinking about creation it.

Australia during the 80s was my first assault abroad with work, and starting there it spring-piled up to Europe and some time later to the US. There was a Ping-Pong sway once I started. The turn was consistently sorted out towards Europe. The movements made in Europe looked more enthralling than the significant stones made in the US. That was likely a shocking call, regardless paying little cerebrum to USA upgrades relying upon a strong character account by then (during the 1980s), it was the more arranged plotting of the story that looked out for me in European pearls. A touch of that European effect came our way with visits by Hermann Jünger in 1984 and Otto Künzli in 1990. They came into this little pool of makers, so they were faltering.

I never advanced toward any presentation. I was persistently asked, which made the cycle staggeringly understood, and there is epic karma at play by they way it spreads out. Paul Derrez visited Australia and saw a scramble of mine in the National Gallery of Australia strategy, and I ended up showing up in Amsterdam. That Paul Derrez made that choice on a little bit of overhauls says something concerning his eye.

Exactly when I got US depiction, it was the delayed consequence of such a US show owners looking for Europe for work. Jewelers'werk's Ellen Reiben saw my work in Germany, not in USA.

In any case, similarly review, the point of view during the 1980s and 90s around contemporary updates was so far close to nothing. I could name by far most of my general accomplices and finish their creation the by and large scarcely any spreads. I no vulnerability bought every monograph and stock by an upgrade up to the mid 90s—wouldn't attempt that start at now, wouldn't want to.

Warwick Jewelers: I've been obliged to consider this starting late examining how I am getting a showing up of USA embellishments for a presentation at Schmuck in 2014. My co-gatekeeper is Karl Fritsch, who lives in USA, yet he is from significant stones' German heartland—Bavaria—and his eye has been tuned by a thoroughly striking establishment, so he sees unequivocal credits, conceivably not in the spots I would look, yet rather ones he sees are express to USA. In addition, I don't mean point or materials, at any rate qualities that start from a particular methodology to making. It's a section I've seen, yet just not in the positive light that Karl sees it.

There was a strong ordinary materials advancement during the 1980s that really leaves its scratching on current creation, at any rate there is close no in it that would review it from, state, Finland, or some other Scandinavian methodologies for instinct.

There is a particular neighborhood story that doesn't exchange well, so I wouldn't state it sees the work outside of USA—not on face regard at any rate—it's either basically nuanced for close to utilize or gravely presented for swashbucklers. Karl and I are trying to bring a part of that nuance into our Munich show decision. I really haven't the foggiest if it will work.

[laurent888]

Honoured and militant. Simple and proud. Sharing with you a moment of my life today in the Netherlands. Because when you are not looking common today, when can still face insults, attacks and injuries, or even die. So we need to keep on fighting for open-minded societies, for access to education and eradication of physical violence and hatred. Different and together. Let’s keep on learning to say: I disagree with you button make me think, so let’s agree to disagree, and let’s be friends. So, this week, visit Buitenexpositie: "Pride in us" Onderdeel van de Pride at the Beach Kunstroute 2021. André Donker en René Zuiderveld: MERCI!!! Zandvoortse boulevard, er is werk te zien van: Arjan Spannenburg, Darija Q, Different by Suus, Eep Seebe, Elly Veelenturf, Fran Cisco, Fred Rosenhart, Froukje van Tetterode, Laurent Muller, Lot Louis Veelenturf/Sam Velenne Reith, Paul Derrez, Paul van Zijp, Philippe Vogelenzang, René Zuiderveld, Wim Beulens 2 tot 10 augustus Boulevard de Favauge. www.prideatthebeach.com @pride @renezuiderveld @andredonker @walter_rongen #pride #prideatthebeach #zandvoort #2021 #gayrights (at Amsterdam Centrum, Noord-Holland, Netherlands) https://www.instagram.com/p/CSFBjGLoxIV/?utm_medium=tumblr

[stephanierachaeljewellery]

Paul Derrez - Confetti Baskets 2013 Silver & Perspex

[stephanierachael]

Paul Derrez

1. Rainbow, 2017. Acrylic.

2 & 3. SunSet Rainbow, 2017. Acrylic. Modelled by Thea Tolsma 

4. Pil Roulette, 2003. Aluminium, perspex, and silver. https://klimt02.net/jewellers/paul-derrez

Dutch jeweller Paul Derrez uses colour to generate meaning in multiple ways in his work. Derrez addresses gender and queerness through his implementation of the LGBTQI rainbow, the bright colours intersecting with forms such as chain links and pill packets. The colours embody a queerness to the forms, enabling the audience to draw connections between issues such a drug use in the gay community, suicide, gay male identity, etc.

In The steady Pace of Philosophy of Colour (Brown 2020), Derek H Brown considers different theories relating to colour processing in the brain. Brown suggests that, rather than relying soley on sensory information upon each instance of ‘seeing’, the perceptual system develops models based on received sensory information, and then regularly checks and updates these models as required. (Brown 2020) One can see how a ‘trick of the eye’ could occur here. 

In Pil Roulette, Derrez uses colour to trouble predictive coding and associations with colour/object relationships. When we glance at the images, our predictive coding may show a loaded gun chamber alongside a brightly coloured pill packet. Only with a second viewing do we realise that the gun chamber is also a pill package. The work feels even more loaded (haha) when we consider the link to queerness through colour.

So colour can operate in multiple ways at one time. During my group critique there were several associations made by my peers around the material and colour. Some were able to link the colours and construction back to rave, however I’m not sure what other, deeper meanings could be read into and derived from the colours in my work.

References & Research

Derrez, Paul (2017). Klimt02 Online Gallery. Accessed 27 August 2020. <https://klimt02.net/jewellers/paul-derrez>

Derrez, Paul (2017). Klimt02 Online Gallery. Accessed 27 August 2020. <https://klimt02.net/events/exhibitions/connect-celebrate-paul-derrez-galerie-ra>

Derrez, Paul (2003). Klimt02 Online Gallery. Accessed 27 August 2020. <https://klimt02.net/jewellers/paul-derrez>

Brown, Derek H (2020). “The Steady Pace of Philosophy of Colour”  Itinera, No. 19 (2020). Retrieved August 25 2020

[sirisc]

Dot brooches, 2015, acrylic, perspex

Aessels, 2015, silver, acrylic

Confetti neckpiece, 2012, blackened silver, acrylic

Paul Derrez

The Netherlands, b. 1950

Trained in goldsmithing and design, Paul Derrez has been creating jewellery and objects since the 1970s. In 1976 he founded the internationally renowned Galerie Ra in Amsterdam and has been a leading light in contemporary jewellery ever since.  His work encompasses jewellery and objects accented by the use of bright acrylics.

[thejewelleryactivist]

#Repost @currentobsessionmag ・Bold and bright necklaces by Paul Derrez at #galeriera #amsterdam #paulderrez #currentobsessionmag #contemporaryjewellery #contemporaryjewelry #contemporaryjewellery #joyacontemporanea #joalheriacontemporanea #gioiellocontemporaneo #bijoucontemporain #klimt02 #thejewelleryactivist #jewelleryactivist #currentobsessionmag

[polymastie]

Paul Derrez, Australian tits, 1995

[milksockets]

paul derrez in jewels of mind and mentality: dutch jewelry design 1950-2000 - yvonne g.j.m. joris (2000)

[craft2eu]

Jorge Manilla – Decomposition Dreams: Amsterdam vom 19.01. bis 09.03.2019 "Wir Menschen laufen normalerweise davor weg, unseren finstersten Ängsten und Gefühlen gegenüberzutreten. Meine Absicht ist es, sie zu besprechen und durch meine Schmuckstücke anderen die Möglichkeit zu geben, dasselbe zu tun.

[gute-luft]

PAUL DERREZ

[milksockets]

neckpiece by barbara alcock, 1982-3 + neckpiece by paul derrez, 1982 in the new jewelry: trends and traditions - peter dormer + ralph turner (1985)

[milksockets]

paul derrez in jewels of mind and mentality: dutch jewelry design 1950-2000 - yvonne g.j.m. joris (2000)

[craft2eu]

Schmuckismus: München vom 16.03.2019 bis 16.06.2019

Schmuckismus: München vom 16.03.2019 bis 16.06.2019

Auf Einladung der Neuen Sammlung – The Design Museum kuratiert Karen Pontoppidan, Professorin für Goldschmiedekunst an der Akademie der Bildenden Künste München eine Ausstellung, die sich mit der Bedeutung von Autorenschmuck als Spiegel eines kritischen Diskurses auseinandersetzt.

Schmuck wird hier nicht als ein selbstreferentielles Instrument verstanden, sondern als Möglichkeit und Notwendigkeit…

[craft2eu]

GRASSIMESSE: Leipzig vom 26. bis 28.10.2018

GRASSIMESSE: Leipzig vom 26. bis 28.10.2018

Die GRASSIMESSEin Leipzig  gilt als eine der führenden internationalen Verkaufsmessen für angewandte Kunst und Design, als Melting Pot für Kreative, Kunst- und Designinteressierte, Galeristen und Fachbesucher. Die Messe lädt zum Schauen, Kaufen und Informieren ein und zeigt Tendenzen und Innovationen in den Bereichen Mode und Textil, Schmuck und Accessoires, Keramik, Porzellan, Möbel, Holz,…