Collective Design fair
New York
May 13 – 17, 2015

featuring 
LOLA BROOKS

special presentations
HELEN BRITTON + SETH PAPAC

with 
selected pieces from gallery artists

At booth C14 we will feature the enigmatic Lola Brooks’ latest series flights of fancy, a poetic exploration of love and loss, woven in stainless steel, embodying all of the haunting and sublime enchantment of a fairy tale. We are also enchanted to present Helen Britton‘s new series of one of kind rings, Devils and Their Friends showcasing the delightful world of this world renowned innovative jeweler. Seth Papac‘s newest body of work, Cali Condensation to be exhibited in full at the gallery in June will be spotlighted at the fair, highlighting the diverse and provocative world of artist made jewelry and object.

 

Saturday, May 16

11:30 am
Join artists Lola Brooks and Kiff Slemmons, curator Jane Adlin and Editor-in-chief of Art in America, Lindsay Pollock, at an intimate conversation during Collective Design fair. The discussion, Nostalgia Narrative in Contemporary Jewelry will look at contemporary studio jewelry and its relationship to both the history of jewelry and culture at large.

12:30pm
At booth C14, Seth Papac will discuss his newest work, Cali Condensation and Lola Brooks will give a brief talk about her exhibition, flights of fancy.

visit ARTSY for a images of our booth

Collective Design
celebrates design thinking and innovation from the start of the 20th century to today. The annual fair features New York’s most exciting design voices alongside established and emerging exhibitors from across the world’s creative capitals.
more infomation

Lola Brooks is an artist, metalsmith, clotheshorse and sometimes writer who studied fashion at Pratt Institute. Deciding to pursue jewelry with an interest in its’ intimate scale, she went on to earn her BFA in metals from SUNY New Paltz in upstate New York under Myra Mimlitsch-­‐Gray and Jamie Bennett.

Fascinated by jewelry as a cultural signifier, she is influenced by both historical jewels and material hierarchies which she believes are both imbued with meaning far beyond the mere physicality of themselves. Her inspiration is located somewhere between the Victorian obsession with death and sentimentality, and the optimistic creative vigor and largesse of 20th century costume jewels. She is driven by her never-­‐ending search for the rich variety of strange and beautiful materials she collects, storytelling and her love of making things by hand.

Lola Brooks has taught at the University of Georgia, Rhode Island School of Design, University of the Arts in Philadelphia, and SUNY New Paltz, as well as the 92nd St Y in NYC, Haystack and Penland School of Crafts. Lola’s work has been reviewed and/or included in many publications including four of the Lark Books jewelry series; American Craft, Metalsmith, Out, W, Vogue, Lucky and BlackBook magazines. Her work can be found in the public collections around the world including the of the Yale Art Gallery, New Haven, CT,  The Museum of Art and Design, NY; and the Metropolitan Museum of Art.

Helen Britton‘s newest work, Devils and Their Friends, has roots in her long time fascination with popular culture and its everyday remains. From her travels to the forests of Thüringen to the recent revisiting of drawings she made in her teens, devils and sprites arise. Sometimes spooky, often comical and harmless, these characters are frequently spotted at the fairground, in cartoons on TV, and on the jewelry rolling out of the trinket automat at the supermarket. Britton rescues these creatures from the dank and mossy worlds they come from, capturing a bit of their essence before they slip back under the surface and head on their merry way.

Helen Britton is one of the most influential and eloquent artists working in contemporary jewelry today. Originally from Western Australia where she received her Master of Fine Arts from Curtin University, she currently works and lives in Munich, Germany. Since completing her postgraduate study at the Academy of Fine Arts in Munich her work has been seen in museums and galleries around the world. Public collections include: The National Gallery of Australia; Pinakothek der Modern, Munich; the Schmuck Museum Pforzheim; The Stedelijk Museum, Amsterdam; The Boston Museum of Fine Art; and The Metropolitan Museum of Art, New York. A recipient of the distinguished Herbert Hofmann Prize, she has also been awarded The State Prize of Bavaria and most recently the Förder Preis of the city of Munich. In 2013, at the invitation of the International Design Museum, Munich, an overview of the past twenty years of her work was presented in a solo exhibition at the Neues Museum in Nürnberg.

Seth Papac is a full time Lecturer in the Jewelry and Metalwork Department at San Diego State University. He received his BFA in Jewelry/Metalsmithing (2004) from the University of Washington and his MFA in Jewelry/Metalsmithing (2009) from the Cranbrook Academy of Art. Seth’s work is exhibited and published in Europe as well as the United States. He is the recent recipient of a Louis Comfort Tiffany Foundation Grant, a Peter S. Reed Foundation grant and a Tobey Devan Lewis Fellowship. His work is included in the permanent collections of the Museum of Fine Arts, Houston, TX, Cranbrook Art Museum, Bloomfield Hills, MI, Tacoma Art Museum, Tacoma, WA, Museum of Contemporary Craft, Portland, OR and the Rotasa Foundation, Mill Valley, CA.

“Life in Southern California, with it’s unreal-real sunsets, the faded colors of light-bleached buildings, and the vestiges of seventies SoCal lifestyle in all it’s cliched glory, brought my foggy memory to a saturation point, forming crystals of an experience known and unknown to me. This California “dream” condensed into symbols of deeper meaning —tacky images of palm trees and sunsets, mid-century modern architectural screens, men’s striped velour sweaters, and phallic vessels. These symbols coalesced into objects with varying physical relationships to the body —some at the scale of architecture, some at the scale of jewelry, some in between. These degrees of magnification describe levels of intimacy and highlight the similarities between how architecture and jewelry operate. Both contain more than just the body.”