Object 7: Black Cloud, by Camilla Luihn, Norway

Curator's reflection by Marianne Zamecznik:
The object I received by the Danish curator Katrine Borup was an enchanting item; semiprecious stones set into a molded silver frame, slightly rough design. The fresh colours, the polished stones and frame's delicate details made the piece resemble a stylized version of two of nature's most enchanting archetypes; the flower and the insect. The beauty and mythical quality that characterizes these two mythic archetypes was hard to ignore. I was transfixed, while at the same time a question began to register; are these archetypes not in fact abstractions? Because magic language///game of whispers strives to hold overturn abstraction as a tool for thinking, this was reason good enough to attempt to look at the piece in another way. In trying to ignore the jewellery’s two most striking associations, my eyes suddenly discovered something else: The tendency to droop, from out of an opening, began to appear as a form in itself. In this object in front of me, this vague tendency; to hang out and run downwards, became something I tried to imagine as something concrete, as if this movement pattern could be captured in an image. I found a stylized version of this tendency in the necklace of Camilla Luihn; Black Cloud is like a Japanese tattoo on the skin, outlining a stylized wave in oxidised silver hanging from a bright yellow square.

Réflexion de la curatrice Marianne Zamecznik:
L'objet que j’ai reçu de Katrine est envoûtant : des pierres semi-précieuses serties dans un cadre en argent moulé, avec un design légèrement brut. Les couleurs fraîches, les pierres polies et les détails délicats font ressembler l’objet à une version stylisée de deux des archétypes parmi les plus enchanteurs de la Nature : la fleur et l'insecte. La beauté qui caractérise ces deux archétypes mythiques ne peut être ignorée. J’étais subjuguée, et, en même temps, une question me venait. Ces archétypes ne sont-ils pas en fait des abstractions en soi ? Le principe de Game of whispers (« le jeu du téléphone arabe ») contrecarrant justement l'abstraction comme outil de réflexion, cela justifiait de tenter de porter un autre regard. En ignorant donc délibérément l’association des pierres, la plus frappante, j’ai alors soudain découvert quelque chose d'autre : la tendance à tomber, à pendre, comme à partir d'une ouverture, a commencé à se dessiner telle une forme en soi. Dans cet objet, face à moi, cette vague tendance : ce fait de pendre et de se répandre, que j’ai essayé d’imaginer comme quelque chose de concret, comme si ce mouvement pouvait être capturé dans une image. J’ai trouvé une version stylisée de cette tendance dans le collier de Camilla Luihn. Black Cloud (Nuage noir) est comme un tatouage japonais sur la peau. Ce collier a la forme d’une vague stylisée en argent oxydé, suspendue à un carré jaune vif.

Camilla Luihn (b. 1968) lives and works in Oslo, Norway. She graduated from Oslo National Academy of the Arts in 1994 and has since then been working as an artist and designer. She has participated in numerous exhibitions nationally and internationally and is represented in several public collections. Her artistic work spans many formats and functions, from graphics to large installations. Luihn use a wide range of materials and techniques, thus providing the process for each project an extra dimension and giving herself the freedom to explore and test in various media and fields.

Her work with contemporary jewellery is based on the unique and intimate relationship that occur between objects and human, interaction and mobility. The idea that jewellery can act as an intermediary between the wearer´s inner and outer self gives them an extra dimension. No other art forms relate so closely to man, and for most people jewellery has a personal and private meaning, often regardless of aesthetic or visual characteristics, other times just as pure ornament. Luihn finds it interesting to play on these differences to give her work a wide range of associations.