Klimt02: Lignel, Benjamin jewelry design unique handmade jewelry images jewelers

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Selected art jewellery artists listed by countries and name. Includes information of the artists, images of the work, cv, statement, publications, exhibitions, coming events, contact.


Paris, France
website: www.benjaminlignel.com mail: ben@hartlandvilla.com
Benjamin Lignel. photo: Baptiste Lignel, Paris Benjamin Lignel Piece: Io ce l'ho d'oro (yeah...but mine's gold) 2007 Fine gold 6,5 x 3,4 x 3,4 cm Beak extension for pigeon photo: Enrico Bartolucci, Paris An experiment on the ambivalent use of accessories to either mock, or ape, the demeanour of our betters. Benjamin Lignel Piece: Io ce l'ho d'oro (yeah...but mine's gold) 2007 Fine gold 6,5 x 3,4 x 3,4 cm Beak extension for pigeon photo: Enrico Bartolucci, Paris An experiment on the ambivalent use of accessories to either mock, or ape, the demeanour of our betters. Benjamin Lignel Piece: Suck my thumb 2006 Caramel-flavoured chocolate, branded beech 9 x 2,2 x 2,2 cm photo: Samantha Font-Sala An act of faith, designed to last the average length of a Tex Avery animation film, and procure a sweet kind of pleasure. Benjamin Lignel Piece: Wedding Goblets 1996 Sterling silver 9 x 7 x 12 & 8,8 x 6 x 14 cm photo: Joel Degen, London Let me spell this out: this is not a ring-hanger, nor some complicated chin support. This weird goblet is meant to be put on, and worn under the hand: this is proper drinking equipment. Take a groom, a bride: once this apparatus fitted on them, you pour the betrothal wine into the recently adorned palms of their hand: they must drink into each other’s hand, drink up from this ephemeral chalice. Benjamin Lignel Wedding Gobelets, 1996 Manual Benjamin Lignel Ring: Happy family Mrs 1999 Sterling silver, offset-printed card box, paper 9,3 x 3 x 5,8 cm Set of three fold-to-fit rings photo: Joel Degen, London A mild and temporary cure for the compulsively possessive: this ‘happy product’ should make you feel better, whilst having none of the drawbacks of actually meeting with the medical institution. It is especially recommended if you believe that health and beauty are the same thing; this purchase, in fact, should represent a marginal fraction of your monthly ‘splash-out’ on skin creams and slimming products - think of it as an aesthetic band-aid. Benjamin Lignel Ring: Happy family NHS 2002 Rubber, gauze, ink, screen printed card, plastic sleeve 8,4 x 13,7 x 0,3 cm Set of two adhesive rings individual ring 76 x 2 x 26 (top) / 76 x 2 x 20 (bottom) photo: Joel Degen, London Let us imagine that the NHS, just before its death rattle, adopts a liberal charter, simplified procedures, and a fresh, fashion-friendly attitude to dressings: while saving up to put your fatty deposits in the hands of overpaid, sublime surgeons, why not accessorise your minor cuts back to health! (I know you want to.) Benjamin Lignel Brooch: Support your local jeweller 2006 Aluminium, steel, acetate ? 3,2 x 0,8 cm Set of two badges (edition of 150) photo: Joel Degen, London Benjamin Lignel Ring: Super cheap thrills 2007 Fine gold, offset-printed card box 3,9 x 4,6 x 0,6 cm one instant ring photo: Benjamin Lignel, Paris The title refers to Janis Joplin's (almost) eponymous 1968 album, and purports that some memorable pleasures last no more than 9'38" (the ring does; avoid masonry work). Benjamin Lignel Brooch: Getting old sucks 2005-2006 Oxidised sterling silver, stainless steel pin medium 6 x 3,7 x 3,7 large 7 x 3,7 x 4,6 cm two brooches photo: still - Joel Degen, London portrait - Elène Usdin, Paris Brooches for mammal in the p.m., worn to signal some things other than protracted youth: sag, feed, and pride. (The pair). Benjamin Lignel Brooch: Getting old sucks 2005-2006 Oxidised sterling silver, stainless steel pin medium 6 x 3,7 x 3,7 large 7 x 3,7 x 4,6 cm two brooches photo: still - Joel Degen, London Brooches for mammal in the p.m., worn to signal some things other than protracted youth: sag, feed, and pride. (The pair). Benjamin Lignel Brooch: Thinking of you (portrait) 2006-2007 Sterling silver, fine silver, polyurethane paint, stainless steel pin dimensions variable, aprox 4 x 1 x 6,5 cm photo: Enrico Bartolucci, Paris “Thinking of you (portraits)” is a series of brooches that reproduces the ear of the user, or that of the user’s partner / friend/child etc.: each brooch is designed to order, and strives to render, much as a portrait painting would, the specific features of the sitter’s ear. It finds its inspiration in the Victorian hair work popular towards the end of the 19th century: mourning and sentimental jewellery, usually presented in the form of lockets, featuring a painted portrait on its visible side, and a braided hair lock on the flipside, or inside the medallion. It is poised, as the locket was, between remains and representation. Each brooch is delivered in a box, pinned to a folded newspaper page featuring a personal ad describing the sitter. Benjamin Lignel Brooch: Thinking of you (portrait) 2006-2007 Sterling silver, fine silver, polyurethane paint, stainless steel pin dimensions variable, aprox 4 x 1 x 6,5 cm photo: Enrico Bartolucci, Paris “Thinking of you (portraits)” is a series of brooches that reproduces the ear of the user, or that of the user’s partner / friend/child etc.: each brooch is designed to order, and strives to render, much as a portrait painting would, the specific features of the sitter’s ear. It finds its inspiration in the Victorian hair work popular towards the end of the 19th century: mourning and sentimental jewellery, usually presented in the form of lockets, featuring a painted portrait on its visible side, and a braided hair lock on the flipside, or inside the medallion. It is poised, as the locket was, between remains and representation. Each brooch is delivered in a box, pinned to a folded newspaper page featuring a personal ad describing the sitter. Benjamin Lignel Brooch: Thinking of you (portrait) 2006-2007 Sterling silver, fine silver, polyurethane paint, stainless steel pin dimensions variable, aprox 4 x 1 x 6,5 cm photo: Enrico Bartolucci, Paris “Thinking of you (portraits)” is a series of brooches that reproduces the ear of the user, or that of the user’s partner / friend/child etc.: each brooch is designed to order, and strives to render, much as a portrait painting would, the specific features of the sitter’s ear. It finds its inspiration in the Victorian hair work popular towards the end of the 19th century: mourning and sentimental jewellery, usually presented in the form of lockets, featuring a painted portrait on its visible side, and a braided hair lock on the flipside, or inside the medallion. It is poised, as the locket was, between remains and representation. Each brooch is delivered in a box, pinned to a folded newspaper page featuring a personal ad describing the sitter. Benjamin Lignel Brooch: Hello! My name is W 2006-2007 Dental gold, dental ceramics dimensions variable, aprox 1,8 x 0,4 x 3,8 cm set of six brooches photo: still - Enrico Bartolucci, Paris portrait - Elène Usdin, Paris Alongside the medal, which rewards military excellence, we find the trophy: no less a carrier of martial symbolism or an object of ornamental use, I found it surpasses the medal in indicating the flipside of victory, as it is usually procured directly from the carnage that conquest necessarily leaves behind. Quoth Melville, describing Ahab’s Ship: “She was apparelled like any barbaric Ethiopian emperor, his neck heavy with pendant of polished ivory. She was a thing of trophies. A cannibal of a craft, tricking herself forth in the chased bones of her enemies.” This set of brooches was created in response to the ANTI-WAR medals project initiated in 2003 by gallery Velvet da Vinci, in San Francisco. Benjamin Lignel Brooch: Hello! My name is W 2006-2007 Dental gold, dental ceramics dimensions variable, aprox 1,8 x 0,4 x 3,8 cm set of six brooches photo: still - Enrico Bartolucci, Paris Alongside the medal, which rewards military excellence, we find the trophy: no less a carrier of martial symbolism or an object of ornamental use, I found it surpasses the medal in indicating the flipside of victory, as it is usually procured directly from the carnage that conquest necessarily leaves behind. Quoth Melville, describing Ahab’s Ship: “She was apparelled like any barbaric Ethiopian emperor, his neck heavy with pendant of polished ivory. She was a thing of trophies. A cannibal of a craft, tricking herself forth in the chased bones of her enemies.” This set of brooches was created in response to the ANTI-WAR medals project initiated in 2003 by gallery Velvet da Vinci, in San Francisco.
Statement
I first trained in philosophy & literature, then in art history, at New York University, and finally in furniture design, in London: hence my interest in the functional object, complicated by a penchant for art, and further perverted by sustained exposures to literary works, often momentous, sometimes pertinent. The particulars of my training (two years of furniture design, and five days in jewellery making) defined the way I initially approached jewellery: I concerned myself primarily with notions of function and context of use, and usually worked towards self-appointed briefs, whilst one step removed from actual manufacture. Even though I am gradually taking over the manufacture of my work, I believe it continues to offer a design-led alternative to our craft-based profession: as an extended family of individual objects that hope to tackle specific aspects of body adornment - with little concern for overall stylistic or technical homogeneity.
CV
Benjamin Lignel, 1972. Neuilly s/Seine Education 1990-92 New York University, New York BA(Hons) Art History 1993-95 Royal College of Art, London MA Furniture Design Public collections 2006 Purchase by the Fonds Permanent du Bijoux Contemporain, Cagnes-sur-Mer 2007 Purchase by the Fonds National d’Art Contemporain, Paris *Group & Solo Exhibitions, after 2000 2000 Musée Galliera, Paris “modes à suivre” 2001 Frédéric Molenac, Paris “summer 2001” Haute Couture fashion show Felissimo, New York “Continuous Connection” 2003** Lesley Craze, London “Spotlight” solo presentation* 2004 Passage de Retz, Paris solo presentation* Lesley Craze, London “looking: over my shoulder” XXth Anniversary 2005 Galerie Artcore, Paris “Un vrai bijou!” \| Galerie Noël Guyomarc’h, Montréal “Bijoux de France” \| Espace Solidor, Cagnes-sur-Mer “La Chair des Mots” \| Espace Solidor, Cagnes-sur-Mer “Bijou Contemporain” 2006 Haus zum Güldenen Krönbacken, Erfurt “11. Erfurter Schmucksymposium” \| Contemporary Applied Arts, London “take me home” 2007 Chateau-Musée Grimaldi, Cagnes-sur-Mer “Un vrai bijou!” \| Contemporary Apllied Arts, London “eleven portraits by Benjamin Lignel” new member showcase \| Espace Solidor, Cagnes-sur-Mer “Fonds Permanent” (Sept 07 - June 08) \| “Contemporary jewellery from Italy” A group exhibition traveling to the following galleries: Flow gallery, London / Galeria Bielak, Kracow / Stanko Gallery, Wroclaw 2008 Galleria Hipotesi, Barcelona / Velvet Da Vinci, San Francisco ! Schmuckszene '08, Contemporary jewellery section, Münich, then traveling to the following venues: City University of Birmingham, Birmingham / Municipal Art Gallery, Lódz \| Contemporary Applied Arts, London “the Diamond show” \| Galerie Oberlin, Limoges “série-B / bretzels & badges: Sophie Hanagarth & Benjamin Lignel” Relevant Experience 2006 Participation to the 11th “Schmucksymposium”, Erfurt
Publications
1998 volume 7, a selection of 15 pieces - self published 1999 volume 8, a selection of 13 pieces - self published 2001 volume 9, a selection of 14 pieces - self published 2003 volume 11, a selection of 13 pieces - self published 2007 in "500 wedding rings", ed. by Marthe Le Van, Lark books 2008 page 1, a selection of 1 piece - self published (January) \| page 2, a selection of 12 pieces - self published (February) \| page 3, a selection of 1 piece - self published (March) \| page 4, a selection of 2 piece - self published (May) articles "On defining contemporary jewelry", op-ed for Metalsmith, Fall 2006 issue "Repeat after me", op-ed for Metalsmith, summer 2008 issue
On sale at
Alternatives via d’Ascanio, 19, Roma Lesley Craze 34 Clerkenwell green, London Velvet da Vinci 2015 Polk street, San Francisco FLOW gallery 1-5 Needham road, London Jungblut 7, rue de la Boucherie, Luxembourg Galerie Oberlin 2, place Etienne Pinchaud, Limoges
Coming exhibitions
"Contemporary jewellery from Italy", showing at Velvet da Vinci, San Francisco "Schmuckszene '08, Contemporary jewellery section", showing at the Municipal Art Gallery, Lódz
Lignel, Benjamin 77 rue de Charonne 75011 - Paris France


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