Elisabeth Holder

Context: Human

“Holders’ jewellery does not dominate its wearers, but it does demand their involvement. Though it eludes quick appropriation, it does allow for convergence. And it is only the wearer who liberates it from its pure object-like materiality.” Barbara Maas

Objects of Adornment

Pieces of jewellery only fulfil their purpose of adornment when they are worn, i.e., in the context of the piece of jewellery and the wearer. This statement does not change even if these pieces of jewellery – as was important to the author for a long time – can also endure as independent objects. Regardless of whether a piece of jewellery caresses the body or is edged against it, whether its form is final or is completed by the wearer’s action, whether it blends inconspicuously into the overall picture or sets striking accents, it will always lead to a unique connection and interaction between the person and the piece of jewellery.

 

Form: Constructed | Freehand

Objects of Adornment – Divided Squares
1 / 6   Divided Squares III. Necklace, 1990. Photography: Eunok Cho
Objects of Adornment – Divided Squares
2 / 6   Divided Squares III. Necklace, 1990. Photography: Eunok Cho
Objects of Adornment – Divided Squares
3 / 6   Divided Squares III. Necklace, 1990. Photography: Eunok Cho
Objects of Adornment – Divided Squares
4 / 6   Divided Squares III. Necklace, 1990. Photography: Eunok Cho
Objects of Adornment – Divided Squares
5 / 6   Divided Squares III. Necklace, 1990. Photography: Eunok Cho
Objects of Adornment – Divided Squares
6 / 6   Divided Squares III. Necklace, 1990. Photography: Eunok Cho
Objects of Adornment – Überkreuz
1 / 5   Überkreuz. Pendent, 1998. Photography: Eunok Cho
Objects of Adornment – Überkreuz
2 / 5   Überkreuz. Pendent, 1998. Photography: Eunok Cho
Objects of Adornment – Überkreuz
3 / 5   Überkreuz. Pendent, 1998. Photography: Eunok Cho
Objects of Adornment – Überkreuz
4 / 5   Überkreuz. Pendent, 1998. Photography: Eunok Cho
Objects of Adornment – Überkreuz
5 / 5   Überkreuz. Pendent, 1998. Photography: Eunok Cho


Signs: Ornament as Accentuation

Objects of Adornment – Magma
1 / 5   Magma. Brooches, 2004. Fotografie: Eunok Cho
Objects of Adornment – Magma
2 / 5   Magma. Brooches, 2004. Fotografie: Eunok Cho
Objects of Adornment – Magma
3 / 5   Magma. Brooches, 2004. Fotografie: Eunok Cho
Objects of Adornment – Magma
4 / 5   Magma. Brooches, 2004. Fotografie: Eunok Cho
Objects of Adornment – Magma
5 / 5   Magma. Brooches, 2004. Fotografie: Eunok Cho


Material: Gold, Magma

The Devil with the Three Golden Hairs

Student works on the theme of “Geschmückte Haut” (Adorned Skin) created in a course by the author were shown as part of the exhibition “Kunst hautnah”. During her lecture, the author wore a hair ornament she designed consisting of three chin hairs encased in gold tubes, analogous to the fairy tale of The Devil with the Three Golden Hairs. At the end of the lecture, these adorned chin hairs were plucked out individually in a small performance and placed between two silver plates. Both the confrontation with forms of adornment that are close to the skin and, as in the case of piercing, go under the skin, and the theft of hair in the fairy tale to gain knowledge, require bravery and courage.

 

he Devil with the Three Golden Hairs.
1 / 3   Lecture in Künstlerhaus Wien, 2000
he Devil with the Three Golden Hairs.
2 / 3   Silver plates to preserve the chin hairs encased in gold tubes, 2000
he Devil with the Three Golden Hairs.
3 / 3   Preserved. Necklace, 2000.

Körpergeschichten

The course “Körpergeschichten” (Body Stories) was based on the theme of forms of adornment that are close to the body and even violate the body. Students were challenged to engage with their bodies and aspects of their own corporeality. Their experiences contributed to a significant expansion of the common understanding of jewellery and the conventions associated with body modification.

 

Body Stories
1 / 6   Leibwächter. Piercing veil, Melanie Halbauer, 2001
Photography and image editing: Students of the Department of Design, Düsseldorf University of Applied Sciences
Body Stories
2 / 6   Atem Körper – Körper Atem. Bodyworks, Nicola Brand, 2001
Photography and image editing: Students of the Department of Design, Düsseldorf University of Applied Sciences
Body Stories
3 / 6   Acupuncture. Arm jewellery, Anne-Sybille Bierbach, 2001
Photography and image editing: Students of the Department of Design, Düsseldorf University of Applied Sciencesf
Body Stories
4 / 6   After 2000. Parasitic implant, Christiane Wink, 2001
Photography and image editing: Students of the Department of Design, Düsseldorf University of Applied Sciences
Body Stories
5 / 6   Leibwächter. Mouth jewellery, Melanie Halbauer, 2001
Photography and image editing: Students of the Department of Design, Düsseldorf University of Applied Sciences
Body Stories
6 / 6   Nackensitzer. Brooches, Nicole Hanselle, 2001
Photography and image editing: Students of the Department of Design, Düsseldorf University of Applied Sciences

Jewellery for Elisabeth

The works dedicated to the author grew out of the course “Klangkörper – Körperklang” (Sounding Body – Body Sound). The course focused on exploring the tonal qualities of a wide variety of materials and transforming them into jewellery or objects.

 

Jewellery for Elisabeth
1 / 2   Whisperer. Delfin Claes, 2003. Photography: Eib Eibelshäuser
Jewellery for Elisabeth
2 / 2   Trumpeter. Delfin Claes, 2003. Photography: Eib Eibelshäuser