Elisabeth Holder

Form: Contrast | Fusion

Contrast

This is where the clash between nature and geometry is most visible. Simple geometric shapes become temporary carriers of things from nature, such as an interestingly shaped branch, a beautifully coloured leaf, or a feather. Extending this principle, specially shaped rings can hold anything that is flat, including colourful scraps of paper and little notes. Without these additions, the jewellery is incomplete.


Here, the geometric is dependent on the organic and vice versa. But this dependence also applies to irregularly shaped objects that are firmly connected to a geometric reference figure.


Contrast
1 / 6   Dazwischen. Brooch, 2001
Contrast
2 / 6   Garden Pieces I. Bracelet, 1994
Contrast
3 / 6   Garden Pieces II. Rings, 1997
Contrast
4 / 6   Garden Pieces II. Rings, 1997
Contrast
5 / 6   Garden Pieces II. Rings, 1997
Contrast
6 / 6   Himmelsgabe. Necklace, 1995
“The creations were born of an intriguing interplay between irregular, organic, found materials and precisely crafted metal; between nature and construction; between the fragmentary or random and form-giving precision.” Barbara Maas

Fusion

The additive-contrasting principle is juxtaposed with the integrative-fusing principle – no harsh contrasts, but transformation through convergence leading to a fusion of opposites.


Fusion
1 / 5   Second Hand. Chain from felted cat hair, 2002
Fusion
2 / 5   Bällchen. Pins, 2002
Fusion
3 / 5   Second Hand. Whisker rings, 2002
Fusion
4 / 5   Kleckschen. Pins, 2008
Fusion
5 / 5   Reflector. Pin, 2008