{"id":18418,"date":"2020-05-14T11:54:47","date_gmt":"2020-05-14T09:54:47","guid":{"rendered":"https:\/\/wp.amber.com.pl\/ile-emocji-da-sie-zawrzec-w-bizuterii-rozmowa-z-malgorzata-kalinska\/"},"modified":"2025-12-14T11:06:50","modified_gmt":"2025-12-14T10:06:50","slug":"how-much-emotion-can-be-contained-in-jewellery-a-conversation-with-malgorzata-kalinska","status":"publish","type":"post","link":"https:\/\/amber.com.pl\/en\/aktualnosci\/ile-emocji-da-sie-zawrzec-w-bizuterii-rozmowa-z-malgorzata-kalinska\/","title":{"rendered":"How many emotions can be encapsulated in jewellery? - interview with Ma\u0142gorzata Kali\u0144ska"},"content":{"rendered":"

You have won the top prize in the Japan Jewellery Competition \u2013 congratulations.<\/strong><\/p>\n\n\n\n

Thank you. This award from the Japan Jewelry Designer Association is particularly valuable to me. The specific purity of form in Japanese design aligns with my own thinking about design. Participating in Japan's most important contemporary jewellery competition was a confrontation with my ideals. So you can imagine how immense my joy was when I received the news that my work had been awarded the top prize in the special Overseas Division category for participants from outside Japan. 639 works by 254 artists were selected for the competition and will be presented at an exhibition in the Tokyo Metropolitan Art Museum in June this year.<\/p>\n\n\n\n

The jury was impressed by your polyurethane resin jewellery.<\/strong><\/p>\n\n\n\n

These works are part of a larger project, which is the practical component of my doctoral dissertation, titled \u201eThe Painterly Gesture, Error and Chance as Factors Co-creating the Spatial Form of a Jewellery Object\u201d. In it, I am combining two fields of art in which I have been active for many years: painting and jewellery. I refer in it to what I engage with in painting and what I would like to adapt to the processes of creating jewellery. Jewellery is a domain of rigour and discipline, whereas painting is a world of emotion and intuition. In naturally formed new jewellery pieces, I strive to find a common ground for the experiences derived from these two sources. The search for means that would enable the expression of intuitive spontaneity in solid matter was quite a challenge. I undertook many attempts, experimenting with various materials, finally deciding on works with polyurethane resins. I found many common characteristics in them with the acrylic paints that I use in painting. Furthermore, resins allow for the creation of spatial forms with soft, rounded, biomorphic shapes, maintaining a specific lightness relative to the large size of these objects. And their colouring, achieving transparent and opaque structures, are almost painterly challenges.<\/p>\n\n\n\n

Although resins in jewellery are nothing new, your forms are novel. Did it take you a long time to develop your own technology?<\/strong><\/p>\n\n\n\n

Long hours, evenings, autumns, springs and winters, to achieve the effect I desired. I allow for the factor of error or chance, which is why I let these objects live their own lives \u2013 but I can also manage the material quite efficiently now. In this jewellery, I allude to painting processes, in which it is only by freeing the head from existing patterns, habits and routines that the subconscious comes to the fore. I applied the same principle in the case of the resin forms \u2013 it is creativity in its purest form, like painting or sculpture, where you \u201enegotiate\u201d with the material, and it is only the difference in the means that determines the unique singularity of the phenomenon. In this way, I have combined the goldsmith's craft, which I have mastered very well after 30 years in this profession, with the painter's craft.<\/p>\n\n\n\n

Mistake, chance, fault, tripping hazard, painterly brushstroke \u2013 how do you understand them?<\/strong><\/p>\n\n\n\n

While painting a picture, I don't think about the finished product; I stop describing what I see and start depicting what is hidden inside \u2013 I allow what lies deep in my subconscious to be released. This is the moment when a specific blend of conscious and subconscious knowledge occurs. It is expressed through a free painterly gesture \u2013 the gesture as an important means of expressing human emotion and the artist's creative expression. When releasing expression, unpredictable situations often arise: randomness manifests itself. Error and chance \u2013 for me, these are coherent, mutually permeating and complementary concepts. In nature, life is certain, from birth to death, and what happens in between is a constant risk of stumbling \u2013 we are exposed to it, and only our survival instinct and awareness allow us to avoid total failure. Art possesses the tools to express emotions most fully \u2013 our fears and ecstasies. Fullness encompasses all aspects, perfection and flaw. It seems that we are already a bit saturated with perfections \u2013 especially since producing a perfect product, repeatable in an infinite number of identical copies, has become very accessible, common and cheap. The eternal longing for individuality, for uniqueness, leads to searches in areas where imperfection, error, or flaw are annexed as full-fledged means of expression.<\/p>\n\n\n\n

Where is the flaw in your jewellery? The forms give the impression of being consciously created, even perfect.<\/strong><\/p>\n\n\n\n

Regarding the jewellery I submitted for the competition in Japan, it naturally has flaws too, but I cleverly concealed them, turning them into an asset. That, in my understanding, is what it's all about \u2013 I give myself permission to make mistakes and fully, consciously utilise them. The revelation of accidental occurrences during the creation of the piece opens up new spaces, introduces new desired value, and guides me down rarely trodden paths of my own creativity. Generally, I am open to change, eager to seek new solutions, but what I feel right now can be compared to a volcanic eruption where everything has been building up for a very long time. I am convinced that this Japanese award is merely a prelude to what is yet to come.<\/p>\n\n\n\n

When creating jewellery \u2013 disregarding your doctoral thesis \u2013 do you also allow yourself to unleash what lies deep within your subconscious?<\/strong><\/p>\n\n\n\n

Most of the jewellery created in my studio is commercial jewellery, where there is no room for chance, for showing emotion, for any kind of expression. I release these strictures of jewellery-making in my painting studio, where I can freely express my emotions. While writing my doctoral thesis, I wondered how far it would be possible to transfer the same thought processes that go into painting with the same intuitive spontaneity to artistic jewellery. The polyurethane resin collection opened up entirely new avenues in my thinking about jewellery, inspiring me to seek out in it what I had found in painting, namely the possibility of translating uninhibited emotionality and intuition into the language of jewellery. Jewellery that would contain an element of surprise, of chance \u2013 a manifestation of the subconscious.<\/p>\n\n\n\n

Jewellery is becoming more than just an adornment \u2013<\/strong> It's a form in which you shut down emotions.<\/strong><\/p>\n\n\n\n

For me, it is the most intimate of art forms, as we wear it close to our body \u2013 and that makes it a very personal object. Unlike paintings displayed in enclosed spaces, jewellery can be shown practically anytime and anywhere \u2013 it\u2019s a kind of living gallery \u2013 evoking emotions not only in those who wear it, but also in those who look at it. It is very strongly linked to our emotions, especially when it is passed down from generation to generation and is connected with a lot of family stories. I associate jewellery primarily with women \u2013 which is precisely why I make sure it is perceived as warm and \u201esoft\u201d to the touch. For me, jewellery is an image of femininity.<\/p>\n\n\n\n


Margaret Kali\u0144ska<\/strong> \u2013 a graduate of the Academy of Fine Arts in \u0141\u00f3d\u017a (with honours from the Department of Jewellery Design) and the State High School of Fine Arts in Szczecin. A scholarship holder of the Ministry of Culture and National Heritage. She creates jewellery (unique and repeatable pieces) and is also involved in painting and graphic design.<\/p>","protected":false},"excerpt":{"rendered":"

The search for common ground between experiences in painting and jewellery \u2013 two fields in which she has been active for many years \u2013 resulted in the taming of polyurethane resins and their surprising application in jewellery created for her doctoral thesis. Inspired by the intuitive spontaneity of the painterly gesture, she now translates this into artistic jewellery.<\/p>","protected":false},"author":4,"featured_media":18405,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"slim_seo":{"title":"Ile emocji da si\u0119 zawrze\u0107 w bi\u017cuterii? \u2013 rozmowa z Ma\u0142gorzat\u0105 Kali\u0144sk\u0105 - Amber Portal","description":"The search for common ground between the experiences gained from painting and jewellery \u2013 two fields in which she has been active for many years \u2013 has resulted in the mastering"},"footnotes":""},"categories":[118],"tags":[],"sekcja":[245],"class_list":["post-18418","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-wywiady","sekcja-ludzie-opinie"],"acf":[],"_links":{"self":[{"href":"https:\/\/amber.com.pl\/en\/wp-json\/wp\/v2\/posts\/18418","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/amber.com.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/amber.com.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/amber.com.pl\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/amber.com.pl\/en\/wp-json\/wp\/v2\/comments?post=18418"}],"version-history":[{"count":0,"href":"https:\/\/amber.com.pl\/en\/wp-json\/wp\/v2\/posts\/18418\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/amber.com.pl\/en\/wp-json\/wp\/v2\/media\/18405"}],"wp:attachment":[{"href":"https:\/\/amber.com.pl\/en\/wp-json\/wp\/v2\/media?parent=18418"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/amber.com.pl\/en\/wp-json\/wp\/v2\/categories?post=18418"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/amber.com.pl\/en\/wp-json\/wp\/v2\/tags?post=18418"},{"taxonomy":"sekcja","embeddable":true,"href":"https:\/\/amber.com.pl\/en\/wp-json\/wp\/v2\/sekcja?post=18418"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}