Contemporary Jeweller — Gijs Bakker
說到當代首飾上的大師級人物，Gijs Bakker的名字應該不會缺席。1942年於荷蘭出生，涉獵範疇不止於首飾，還包括家電、日常用品、室內及公共空間等工業設計。對他來說，首飾是通過金工工藝製作，但首飾的意義並不僅是裝飾而己。
為了表達他的想法，Gijs Bakker於1967年舉辦了”Sculpture to wear”展覽，將身體、雕塑與首飾的定義拉闊，重申首飾與配戴者的關係。
例如左圖作品”Shadow Jewellery”，表現的不只是首飾本身的形態，更呈現了佩戴過後留在身體上的痕跡，令人思考首飾的存在。右圖的作品”Shoulder Piece”以誇張的造型突顯肩膊與頸項線條，如果一般頸鏈的定義是裝飾和突出頸部線條，您又會如何評價這一件猶如雕塑一樣的「頸鏈」呢？
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Speaking of masters in contemporary jewellery, the name Gijs Bakker should not be absent. Born in the Netherlands in 1942, he is involved in various fields not only in jewellery but also the industrial design of home appliances, daily necessities, interiors and public spaces. For him, jewellery is made through silversmithing techniques, but the meaning of jewellery is not just decoration.
To express his ideas, Gijs Bakker organized the “Sculpture to wear” exhibition in 1967, which broadened the definition of human body, sculpture and jewellery, and reiterated the relationship between jewellery and the wearer. For example, the work “Shadow Jewellery” not only shows the shape of the jewellery itself but also shows the traces left on the body after wearing it, which makes people think about the existence of jewellery. The work “Shoulder Piece” highlights the shoulders and necklines with exaggerated shapes. If the definition of a general necklace is to decorate and highlight the neckline, how would you evaluate this “necklace” as a sculpture?
Originally published on instagram: SEPTEMBER 28, 2020
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