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Spaces
The Form Of Void

What are the properties of a void?

The word void originally refers to the field of astronomy and denotes either a state or an empty space of low density. These voids, which can also be found in various areas outside the astronomical field, form the basis for the jewelry series I have created.
In my work process I will focus on the properties of voids and I will develop three-dimensional shapes based on this kind of state/spaces.

Void in architecture 

I first discovered an architectural space named void in the Jewish Museum in Berlin: it was a space of emptiness. In this case architecture contained a space devoid of any function with the sole purpose of enclosing emptiness. So if a void stands for emptiness then in architecture this type of emptiness can be found, among others, in spaces without function. In these spaces associations can dart off in all directions, thoughts are boundless. 

Part 1: Jewelry and space/architecture

In order to define a space, however, you need some kind of boundary. The way I have chosen to display this boundary originates from my earlier series “Stones” and “Covers” in which I also built up a construction of PVC dots around a core.

With regard to the voids I likewise work with a core that I shape from styrofoam. Around this core I then raise walls of PVC dots. After the construction of the walls the core is removed and thus turns into a void itself. The core makes room for emptiness.

The forms that are created this way refer to architecture. The perspective can vary. The only specifications are the boundary that makes the emptiness visible as well as a sense of space with reference to architecture.

The buildings of the Iraqi architect Zaha Hadid (1950-2016) with their complex and dynamically curved linearity serve as an inspiration for my form-finding process. Her buildings are independent objects, which appear to me like large shells or huge jewels on the body of the earth. To think about void space in her buildings seems abstract, but it is fascinating to imagine their inside as hollow and deprived of any function.

My jewels developed by means of this process could refer to many kinds of spaces or architectonic fragments: to high towers, showcases, flat tent constructions, to roofs, chimneys, silos etc.
What is visible are the walls of these spaces with their structures reminding one of bricks or mosaics as well as of shed animal skins with fish scales or swirls, of leaf structures or similar geometrically built up patterns, which repeat themselves.
It is the skin of the space, the boundary, which makes the emptiness visible and carefully clasps it.
The voids are located inside these skins, partially turned outward, partially hidden on the inside.

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