Left one: Brooch, 2019, Paper (made of Pine) thread, Nylon thread, Gold thread (18 kt), Pin- 950 Silver, Color with Japanese New URUSHI, 80 x 90 x 50.
Right one: Brooch, 2019, Bamboo Tape, Nylon thread, Gold thread (18ct), Pin- 950 Silver, 80 X 80 X 40. Credits: Mr.Ryota Sekiguchi
The Japanese Kazumi Nagano will be one of the main guests of the Florence Jewellery Week 2020, a cultural event organized by Le Arti Orafe Jewellery School and completely devoted to contemporary body decoration. It will take place from 28th May to 4th June, located around the city, in historic buildings and art galleries. Nagano’s masterpieces will be exhibited in the former refectory inside the Santa Maria Novella museum complex, together with other works by Giovanni Corvaja, Suk Chun Oh, Cóilín Ó Dubhghaill, Barbara Paganin, Sam Tho Duong and alongside the Karl & Heidi Bollman Collection.
Kazumi Nagano, Brooches
2019-2020, Paper (made of Pine) thread, Nylon thread, Gold thread (18 kt), Pin- 950 Silver, 110 X 110 X 45 (left one), 120 X 90 X 40 (right one). Credits: Mr.Ryota Sekiguchi
I had the pleasure of asking Kazumi about her work:
Your jewels radiate refinement and passionate devotion, aspects that characterize good craftsmanship and which immediately reflect your culture of origin. You work not only with gold and silver, but also with a fragile and fascinating material such as paper. Do you want to talk about the creative process that allows you to achieve these results?
KAZUMI NAGANO: “I believe that crossing paths with contemporary jewellery has given me the chance to return to the world of art. As this world is a completely different one from the one that I had previously known, it drew me in completely.
I believe contemporary jewellery is art that one can wear. The aesthetics and the thought processes of the maker and the wearer entwine as one, and an intriguing synergy gives birth to a new aesthetic.
Although it was a chance meeting, my discovery of contemporary jewellery helped me to find a mode of expression that was more free and unrestrictive than the world of art that I had become accustomed to.
Left one: Brooch, 2017-2020, Linen paper thread, Nylon thread, Gold thread (18ct), Pin- 950 Silver, Colored with SUMI, 85 X 95 X 50. Right one: Brooch, 2017, Linen paper thread, Nylon thread, Gold thread (18ct), Pin- 950 Silver, Colored with SUMI, 80 X 90 X 50. Credits: Mr.Ryota Sekiguchi
Left one: Brooch, 2019-2020, Gold thread (18ct), Gold plate (14ct), Nylon thread, 55 X 65 X 25.
Right one: Brooch, 2019-2020, Gold thread (18ct), Platinum 900 thread, Nylon thread, Pin- 950 Silver, 60 X 45 X 75. Credits: Mr.Ryota Sekiguchi
I had studied Japanese painting, or Nihonga, during my days at university. The colours of Japanese painting I found to be more suited to my sensibilities, and although I had previously painted with oils, I had switched to Japanese painting.
Even when creating jewellery, I try and cherish this sensibility. When creating, the process is similar to when I paint. With a loom, I take a thread of Japanese paper and weave it within a canvas sheet. By weaving, I not only add durability but expression to the canvas. With this reinforced canvas, I begin to place onto it black charcoal ink and other pigments. At times, to enhance the soft whiteness of the Japanese paper, I refrain from placing colour upon it. Up to this point, the work is no different to a work that I would make in Japanese painting. Yet, to imagine how I can make this single canvas into something wearable is where the difficulty lies.
After many bouts of trial and error, by drawing inspiration from the traditions of Japan and its origami folding, I discovered that I could fold, bend, and twist the canvas into new forms found serendipitously. By using nylon thread as the warp, the resilience of the nylon will lead to the creation of forms that cannot be repeated. Yet this is an aspect that I must admit I enjoy. Even in my gold and platinum works, the same cognitive and creative processes occur during creation. Contemporary jewellery had evolved from such countries as the Netherlands and Germany. Although I may be able to learn their ways of approaching jewellery, it would be difficult for me to understand what lies within their sensibilities.
For me, it is when Western thinking blends with the Japanese sensibility that a soft serenity is borne, and it is my wish to try to imbue my works with this aesthetic. I only hope that I will be able to grow a step closer to this ideal.”
Kazumi Nagano, Bracelet
2020, Gold thread (18ct), Gold plate (14ct), Platinum thread, Nylon thread, 70 X 65 X 53. Credits: Mr.Ryota Sekiguchi