Jasmin Matzakow

by jasminmatzakow

Photo-Mikael Bergman, objects-masterstudents of Adellab

 

I’m a 33 year old German-Greek jewellery artist, living in Stockholm, and auditing this course. I’m curious to learn more about ways of making the implicit actions in the art jewellery scene explicit not only through objects but also through verbal language.

I apprenticed to a goldsmith for one year before attending the jewellery of Burg Giebichenstein Kunsthochschule Halle, where I received my Diploma of Arts in 2010. In 2008, I co-founded Schmuckkantine, a platform that organized workshops, exhibitions and catalogues. In 2013, I moved to Stockholm to pursue studies in the Ädellab department at Konstfack University College of Arts, Crafts and Design, from which I graduated 2015 with an MFA. During my studies, I co-founded The Pack, a team of two artists and one designer researching the meaning of craft in our society in a philosophical context.

The focus of my latest body of work lies on the function of jewellery as a wearable reminder of healing and the responsibility for taking care of ourselves. Jewellery is a good medium for being a reminder as we carry it with us in an intimate, yet visible way, and we enjoy it. I circled around the question of how the reminding can take place by looking at different sociological and philosophical theories on how and why we engage with objects, in particular from Deleuze and Guattari. I researched tattooing and scarification traditions that humans created for protective reasons on physical and magical levels. Tattoos and scarifications create pain and small injuries in a controlled and ritualised setting, and I am interested in how this connects to healing: the painful experience is supposed to have transforming powers.
I chose wood as my base material because it has similarities to the human body. Trees have joints and a skin-like bark which can become scarred. I have applied my findings to wood that I cut, burned, sliced and tattooed. My work process is ritualised, disciplined and repetitive. The transformation the pieces undergo is aggressive, yet resolved to a point that exposes a beauty inherent to the process and to the outcome. This beauty is important to me: It is here that one can be reminded of the possibility of healing after a painful experience.