Northern Norway Triennial 2008

As a jewellery artist, Inger Blix Kvammen is virtually self-taught. Her jewels are a result of a free approach to the art, which is seldom seen in traditionally-trained jewellery artists. The most usual way for an artist to work, is to choose the material on the basis of the goal. Materials have their own characteristics which emerge when their true nature is used; wood, metal or oil painting have traditionally had their own particular uses. Within jewellery design, the use of metal would therefore be a way of creating assoiations and awakening familiar preconceptions of costliness, solidity and durability. Kvammens methods therefore go in a liberating way across the normal expectations of jewellery artists working in metal. The outer aspect of the work, its " subject matter", as it were, follow to some extent the traditional expectations of the jewellery artists work. A necklace is a necklace, a cuff is a cuff. Some of them can be put on and worn, but the shaping of them challanges the ordinary expectations to which we are accustomed in respect of the material. These materials- silver, gold, copper and steel, are the commonest- re used in the form of metal wire, but are also used as though they were textile threads. A silver necklace has a texture that makes it seem woven or crocheted.

This results in a series of clashes of association, with the possibilities of thought this gives. Titles such as Sølvpels med gullstripe ( Silver fur with gold stripe) illustrate such contradictions. Can a metal collar protect against the cold? Can a knitted garment feel cold? Kvammens jewellery challanges customary expectations in their distinctive use of materials.

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