Ioana Ardelean

10/9/2017

Where is your inspiration coming from?
Inspiration can be anything. For me is rather a space where my inner, very personal world gets to resonate with the exterior world – an intermediate space between the two. Like any abstract space it can contain anything and everything. It matters only how you communicate it to the rest of the world. It is an instant meeting, a surprising moment that takes place in this space between two worlds. It takes a lot of involvement and training in the process of ‘taking the right measures’ for creating something palpable out of it, but once you acknowledge this space, you can just dive in and enjoy the wonders.

What are you trying to communicate in particular with your artwork?
I am interested to give shape and expression to this instant meeting, while also trying constantly to expand and enrich this intermediate space and its potential. I find it fascinating and challenging to transform the abstract content into palpable, convincing reality. So if you’d ask me what I want to become when I “grow older”, I would answer that I intend to be a creator of expression.

Which material you prefer to use and why?
I am fascinated by metal as material: its states, its qualities and the processes that can transform it. In this phase I love to work with graphite, charcoal and colored chalk. I have chosen these materials as fit for the concept of my collection – EPHEMERAL MATTERS. Their quality of consuming, of leaving marks, of transforming from a physical state (apparently without value) to an abstract one (with conceptual value) is very important in my approach. The use of these materials is part of the concept: graphite is the opposite of the diamond; while one is the most perishable the other has the greatest preciousness and hardness. I also like to leave marks on the material, to sculpt in it or to cut it, to give it new expression out of the process I am applying. I understand these materials so much related to art: as drawing or painting – are some of the primary forms of art. So the idea of consuming them and transforming these, first into a jewelry generating an emotion, a state of mind and finally into a lived moment, is the key of my approach. It is also my statement in addressing Art itself, questioning the value of jewelry trough art, material value versus conceptual value, consuming one or the other. Within this collection, the material value is substituted by the idea of fragility and joy. If one dares to wear a piece of jewelry that is ephemeral, one becomes more involved with it, really conscious about consuming it. The piece gains value from the idea of fragility and from the emotions it generate, all these qualities bring awareness over its value because people do collect material values or emotional ones…

How much value do you give to researching material for your creations?
I value a lot researching materials and processes, shapes and expressions, abstract nature versus real nature. These are all definitely filling the “space of inspiration” that I was mentioning before. I like instinctive approaches, but these are not always enough. By making research I expand and premeditate the universe of my projects. I think this brings always complexity and freedom to any approach. I also think that any research has to be reflected into palpable results, so exercising both the mind and the hand until they become perfectly synchronized is vital.

Is it more important for you the process, or the final artwork itself?
I find processes fascinating, with an endless potential. Both the process and the final artwork are important. Most of the time I know exactly how a piece will look like, it’s just a matter of time to produce it. I also observe processes and challenge the possible result in a personal way. Understanding the material, manipulating the process, charging the complexity and the content are always part of my approach. I am interested to create content and shape in a complete match; this is what I understand through expression.

Is there an artist you prefer and why?
Since I’m a jewelry maker and an architect I love Jacqueline Ryan and Herzog & De Meuron. I see their work as being constantly surprising, coherent and extremely convincing – always the fit answer. It tells there is a lot of thought and assimilation in it, and I admire that a lot.

Have you ever thought to collaborate with other artists, or you like to work on your own?
It would really like to have an artistic dialogue or challenge with other artists. I find so interesting to get a glimpse of another artist’s universe, and to share mine. There are for sure a lot of channels of communication between artists, that worth to be explored.

Where do you feel you are at with this last collection?
EPHEMERAL MATTERS expresses very well my intentions in approaching jewelry. I feel like in a great journey. Therefore in any great journey there is always something more to explore, and I am a keen explorer.

What have you discovered of yourself, are you satisfied?
I am conscious about my work, I have trained a lot in “taking the right measures” while working with a concept, so I can’t wait to experiment some more. I am satisfied but in the same time I am always eager to take the next step further.

Two words to describe your last artwork collection.
Poetic structures.