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Amber is a fossil from around 44 million years ago; it is well known with its history and myths and was also widely used during Soviet Union. I have seen it so many times polished and placed in metal frames. My great-grandmother used to have plenty of this kind of jewellery.
Repeated use of a similar approach to the material creates stereotypes. Amber is usually valued by its size, color, and inclusions. I aim to destroy this familiar perception and its accepted value by sewing, dyeing, and ignoring its inclusions; stepping away from what I have seen so many times before.
I use 14 K red gold whose, already obsolete, name is Russian gold. In contrast to that, I place it together with an amber cord made from amber fiber that was developed around ten years ago in Riga Technical University. I either spin or weave the cords by hand, dyeing it afterwards.
55x11x2
0.03
amber fibre, Baltic amber, Gold, red gold
2019
aqua green, Blue, Blue/Green, Green, lipstick red, multi colored, Multicolors
Liza (short for Jelizaveta Suska) was born in Latvia (1989), where she completed her Bachelor degree education in Art Academy of Latvia as a metal designer. At the age of 24 she moved to Gothenburg in Sweden for studying and permanent living. In 2015 she graduated from Academy of Design and Crafts (HDK) at University of Gothenburg. She also has been educated in Germany and Japan. In 2016 she received Amberif: Amber prize and Dr. Herbert Hofmann Prize at Schmuck. In 2018 she was one of the finalists of Art Jewellery Forum and Mari Funaki Awards as an emerging artist. Her works are in Stockholm National Museum of Art and Design, RIAN Design museum in Falkenberg, gallery Platina, gallery Four, gallery Beyond, gallery Alice Floriano and several private collections. Website: www.jelizavetasuska.com
Often the ordinary and visible present becomes vague and forgotten. Analogue experiences have boiled down to a minimum during the last years. We are currently in a situation where much of our regular rhythm was interrupted, the everyday was frozen and almost disappeared for a while. It became particularly evident how the environment we are functioning in, what we have or possess, matters. Layers of the past provide a means to describe the world and rethink the evident. Remembering and untangling the past and the local provides a captivating perspective through types of objects, materials, and methods of making. The Estonian collection, “Revisiting the Past”, is based on tracking the everyday and the conventional, translating observations, reconsiderations, and hints of the past into contemporary design. More than ever, the future is about rethinking the present and the past, of what we have and need. The past is heavily coded in our future.
