October 5, 2022

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Checking In with Marion Delarue

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Much more than 100 global artists applied for this year’s Young Artist Award. Marion Delarue was selected as one of the finalists. She acquired an unrestricted dollars award of US$1,000 and will exhibit her work in Platina’s booth at Schmuck, in July 2022. Her operate represents a group of superb items of modern day jewelry. We questioned her to convey to us a little bit about her track record and thoughts on the future of the artwork jewellery area. Hers is the third of our interviews with the honorees. (Go through the interview with Young Artist Award winner Mallory Weston listed here. Our job interview with finalist Taisha Carrington is below.)

AJF’s Youthful Artist Award acknowledges promise, innovation, and individuality, advancing the occupations of climbing artists. The level of competition was open to makers of wearable artwork age 35 and beneath who are not currently enrolled in a professional training method. Judging was based mostly on originality, depth of concept, and quality of craftsmanship. This year’s jurors were 2020 AJF Artist Award winner MJ Tyson (US) collector and gallerist Karen Rotenberg (US) and educator and curator Chequita Nahar (The Netherlands).

Marion Delarue, Parrot Devotee
Marion Delarue, Parrot Devotee, 2021, shoulder brooch, all-natural goose, rooster, and pigeon feathers, rice paper pulp, metal, silver, 80 x 57 x 27 mm, photograph courtesy of the artist

Bonnie Levine: How did you become intrigued in jewellery? What inspires your operate?  

Marion Delarue: I have generally been a excellent admirer of objects, but jewellery was quite exclusive. When I turned 15, I dreamt I would just one day attend the École Supérieure des Arts Décoratifs de Strasbourg (today referred to as Listen to), which was the only French graduate artwork university to have a master’s degree in modern day jewelry. (The École Nationale Supérieure d’Art de Limoges now also runs these kinds of a application.)

Funnily adequate, when I was admitted, I wondered regardless of whether I desired to sign up for the ceramics office to become a sculptress rather. But incredibly swiftly I located utilizing 1 single product really annoying. On best of that, I felt I couldn’t pay as a lot focus to specifics as I wished, presented the size of the performs.

I shortly returned to my very first really like. Led by Sophie Hanagarth and Florence Lehmann, the modern jewelry department was a best suit: a conceptual solution, great independence, and limitless experimentations. We also had unrestricted access to all the other workshops, these types of as ceramics, glass, wood, and so on. This was definitely important to me as I was—already at that time—avoiding metallic work, since I experienced no affinity with the materials (until it is metallic that doesn’t get together with me?) and enjoyed deciding upon the elements most fitting for each and every piece.

What does being a finalist mean for you? Will it impact you likely ahead?

Marion Delarue: Being a finalist implies a great deal to me. I truly feel seriously honored. I have been applying for 10 years, given that I was a pupil. I have held an eye on the competitors. This yr was my very last prospect to use!

I hope that remaining a finalist will be a stepping-stone to a lengthy-lasting partnership with the US art jewellery field. (I visited for the 1st time in 2019, as aspect of NYCJW, and I completely loved it!)

Marion Delarue, Parrot Devotee
Marion Delarue, Parrot Devotee, 2021, shoulder brooch, pure goose, rooster, and pigeon feathers, rice paper pulp, steel, silver, 80 x 57 x 27 mm, photograph courtesy of the artist

Inform us about the function you applied with.  

Marion Delarue: My operate frequently results in confusion among authenticity and imitation, character and artifice, referencing simulacrum, bogus pretenses, and lures.

The two assignments I used with illustrate this strategy in different approaches.

The initial task is the most current piece from my series Parrot Devotees. The strategy of artifice and duplicity is embodied here by means of the very picture of the parrot. “Every human being has a parrot on his shoulder (…),” reported Cocteau about imitation.

A barnyard fowl swoons with admiration and jealousy over a parrot: the very wonderful chook enjoys a specific intimacy with its master, whose shoulder he perches on to converse. In a need to go them selves off as the parrot, the poultry birds arrange them selves and place together their most stunning feathers to re-produce the illusion of his presence.

Marion Delarue, Tennennomono
Marion Delarue, Tennennomono, 2019–2021, Kushis (combs), Kogais (hair sticks), and Kanzashis (hairpins), bone, wooden, shell, stone, horse hoof, variable dimensions, photo courtesy of the artist. Artist-in-residence job at Villa Kujoyama, Kyoto, Japan, in 2019.

The second task is the fruit of investigation finished although I was in an artist residency at Villa Kujoyama, in Japan, in 2019. Throughout the Edo period of time, Japanese girls employed really precise objects to help their imposing hairstyles: Kushis (combs), Kogais (hair sticks), and Kanzashis (hairpins), whose utilitarian purpose lessened until they grew to become purely decorative. In the course of my 6-thirty day period residency in Kyoto—the coronary heart of refinement in the arts and the cradle of hair accessories—I strived to outline the singularities and specificities of these extraordinary objects, focusing on the most characteristic excellent: the decoration.

This sequence has been conceived from bone, wooden, shell, stone, and horse hoof. These are elements of organic origin usually used for earning Japanese hair ornaments. (I excluded ivory, coral, and turtle shell for moral and regulatory factors.) The purpose is to look for within just these “raw materials” for attractive options inherent to them, to harness their “natural patterns” and their unusual chromatic shades: to reveal the unexpected in the familiar. Playing with the confusion among the all-natural and the ornamental, the items create ambiguity and destabilize the viewer.

Marion Delarue, Kushi (comb)
Marion Delarue, Kushi (comb), 2021, wooden, 115 x 47 x 6 mm, photo courtesy of the artist

What excites you about the artwork jewellery area?   

Marion Delarue: Since the subject is so specialized niche, every job you run rapidly will become international. Your jewellery pals commonly appear from all around the planet and you need to travel to show up at the events devoted to the subject. You wouldn’t do much, doing the job only in your very own nation (in particular in France, exactly where the scene is largely beneath-represented). Funnily more than enough, regardless of, or alternatively simply because of its measurement, the taking part in floor is substantial!

Also, I am fascinated by the variety of supplies and procedures applied, as well as the creative imagination I come across every working day. You can never get bored. I believe this is pretty one of a kind.

Marion Delarue, Kanzashi (hairpin)
Marion Delarue, Kanzashi (hairpin), 2021, shell, 163 x 5 x 5 mm, picture courtesy of the artist

Any frustrations that you see or have knowledgeable?  

Marion Delarue: I want there were being far more theorists and art critics specialised in the area. I am convinced that they could come to be an important aspect in the approach of questioning and knowledge artwork jewelry. They would absolutely drastically aid the enlargement and the vigor of the subject.

Marion Delarue, Kogai (hair stick)
Marion Delarue, Kogai (hair adhere), 2021, stone, 158 x 19 x 7 mm, photo courtesy of the artist

In which do you feel the artwork jewelry industry is going? Do you see new and fascinating trends?

Marion Delarue: I have the sensation that its exposure and recognition are increasing 12 months soon after calendar year, many thanks to prizes these types of as this one. Sure, there is even now education to be carried out, and I hope the standard community will be sensitized to this discipline like it is to other artwork fields. But I think we are on the appropriate observe!

Marion Delarue, Kushi (comb)
Marion Delarue, Kushi (comb), 2021, stone, 145 x 46 x 5 mm, photo courtesy of the artist

If you could publish a learn strategy for your follow, exactly where would you like to be five years from now?

Marion Delarue: This will likely seem both of those terribly pretentious and ludicrous if none of this happens, but let’s give it a attempt.

I hope to have my personal studio in the countryside close to Paris, entirely equipped with complex devices inside, and two longhaired goats, a dog, a duck pond, and, previous but not least, fruit trees at the doorstep. I hope I’ll get a chance to function once more in Japan, a place which I observed exceptionally inspiring. I hope to have an prospect to go back to New York to exploration or to exhibit. I hope I’ll be component of artist residencies all over Europe, notably in Sweden and in the Netherlands, which I’ve visited pair of occasions and the place I fulfilled unbelievable individuals. I typically hope not to appear preposterous in 2027.

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