Modern Fetishes

My latest work is based on what I call modern fetishes, referring to well-known logotypes for strong brands such as Nike, Adidas and Puma. These logotypes can be seen as ornaments on clothes, bags and shoes, but they also represent a way of life. My question is how aware consumers are of this. Do they buy the product for its logo, or has the brand got its status due to the quality of the product? It is possible to compare these logotypes with religious symbols that also can be used without their original meanings. In the same way as a crucifix can be taken out of its religious context and made into a fashion accessory I have taken the logos out of theirs. I have copied the well-known silhouettes and transformed them into three dimensional jewellery. In some cases to make the connection to the originals less obvious, the silhouettes have been slightly deformed and other objects have been added to the composition.

By kidnapping the logotypes, I made them my own. But the question remains: who owns whom? By selling these jewellery the question gains significance: is it the actual jewelry or the brand that sells?


Used Materials

Today the definition of jewellery is quite open. Meanings are becoming blurred, and with them the boundaries between what is jewellery and what is not. What hasn't changed is the function of wearing jewellery on the body or on clothing or in clothing. But there are no longer any limits to the kinds of material used. On the contrary, jewellery can be made of anything which is considered worthy of being turned into jewellery.

In my most recent pieces of work the significance of a very specific material takes the foreground: a material whose previous use evokes a certain story. The source of this can vary. It could be figures who appeared in a fairy-tale or in a story or who are part of history, it could be the previous function of the material or the environment the object originates from and how one has come by it. An interesting aspect in employing this used material - aside from the history already mentioned - is the alienation which arises from its being arranged in a new context. An alienation which comes from a familiar material being given an unusual shape, or a familiar shape being made in an unusual material, or even by the simple combination of used and new material.

Thus, by transposing material with visible traces of use, which describe that material's past, into a different context, new pieces of jewellery come into being. And so it is that out of the past, on the foundation of jewellery in all its many aspects, at the very moment of wearing new future stories are born.