"Oustok - Jongstok" exhibition catalogue

I’ve created an online catalogue of my work currently displayed at “Oustok - Jongstok”. If you are interested in seeing any more detailed photographs, don’t hesitate to email me at info@norakovats.com.

I will try to keep this post updated for the next two weeks as to which pieces are sold and which still are available. Prices are in South African Rand.

1.     Just before Waking.

Wall Art. Enamel on copper, nylon, pyrite, moss agate, freshwater pearls, labradorite, watercolour & ink on paper. Size: 20 x 20 cm.

R 8 200 (SOLD)

Just before Waking.

Just before Waking.

2.     Sterretjies.

Earrings. Faceted garnet drops & 18 carat yellow gold. Watercolour & ink drawing. Size: 20 x 20 cm.

R 6 400 (SOLD)

Sterretjies.

Sterretjies.

3.     Pomegranate Fantasy.

Wall Art. Enamel on copper, pyrite, carnelian, nylon, black pearl, Datura Stramonium seed pods, paint, silk thread, watercolour & graphite on paper. Size: 20 x 20 cm.

R 8 700

Pomegranate Fantasy.

Pomegranate Fantasy.

4.     Bloekom.

Earrings. Enamel, copper, silver, pink freshwater pearls, quartz drops, nylon, ink, watercolour, print, paper. Size: 20 x 20 cm.

R 4 300

Bloekom.

Bloekom.

5.     Noon Pomegranates.

Earrings. Red enamel, copper, silver, garnets, black silk string; watercolour, ink & wax on paper. Size: 20 x 20 cm.

R 4 500

Noon Pomegranates.

Noon Pomegranates.

6.     Agtergelos.

Wall Art. Enamel, copper, freshwater pearls, nylon, mixed gemstones; ink & watercolour on paper. Size: 20 x 20 cm.

R 3 800 (SOLD)

Agtergelos.

Agtergelos.

 7.     Morning Pomegranates.

Earrings. Lime green enamel, sterling silver, 18 carat gold, miniature Keshi pearls, nylon; watercolour & ink on paper. Size: 20 x 20 cm.

R 8 200

Morning Pomegranates.

Morning Pomegranates.

8.     Leaf Eaters.

Earrings. Enamel, sterling silver, 18 carat gold, pyrite, nylon, gold-silver-doublé; watercolour & ink on paper. Size: 20 x 20 cm.

R 6 200

Leaf Eaters.

Leaf Eaters.

9.     Spatter.

Earrings. Enamel, silver, garnet drops, peridot, citrine, carnelian, nylon, steel wire; watercolour & ink drawing on paper. Size: 20 x 20 cm.

R 6 800

Spatter.

Spatter.

10.     Kloof.

Wall Art. Watercolour, ink & wax on paper. Size: 20 x 20 cm.

R 2 900

Kloof.

Kloof.

11.     Saatstreuer I.

Earrings. Red enamel, copper, silver, white freshwater pearls, black nylon; ink drawing on hand-made paper. Size: 15 x 15 cm.

R 2 500 (SOLD)

Saatstreuer I.

Saatstreuer I.

12.  Saatstreuer II.

Earrings. Enamel, copper, oxidized sterling silver, nylon, citrine drops, garnets, rubies; ink drawing on hand-made paper. Size: 15 x 15 cm.

R 2 500 (SOLD)

Saatstreuer II.

Saatstreuer II.

13.  Pomegranate Skeletons.

Earrings. Oxidized silver, faceted prasiolite drops; watercolour & ink painting. Size: 15 x 15 cm.

R 2 800 (SOLD)

Pomegranate Skeletons.

Pomegranate Skeletons.

 14.  Saatstreuer III.

Earrings. Enamel, copper, silver, pink and black freshwater pearls, peridot, carnelian, nylon; watercolour & ink drawing, paper collage. Size: 15 x 15 cm.

R 2 800

Saatstreuer III.

Saatstreuer III.

15.  Veld & Vuur.

Wall Art. Datura Stramonium seed pod cast in silver, oxidized copper, pearls, nylon; watercolour & ink on paper. Size: 30 x 40 cm.

R 12 500

Veld & Vuur.

Veld & Vuur.

 16.  The Density of your Dreams.

Bracelet. Enamel, copper, oxidized silver, steel wire, nylon, pyrite; watercolour on paper. Size: 30 x 30 cm.

R 8 700

The Density of your Dreams.

The Density of your Dreams.

17.  Wintergarten.

Neckpiece. Green enamel, silver, oxidized silver chain, garnet, chrysoberyl, 18 carat gold wire, pink cultured pearl; watercolour & ink drawing. Size: 30 x 30 cm.

R 9 400

Wintergarten.

Wintergarten.

18.  Aninka’s Dreams.

Neckpiece. 18 carat white gold, blue sapphire, ruby, watercolour drawing on paper. Size: 28 x 20 cm.

R 21 600 (SOLD)

Aninka’s Dreams.

Aninka’s Dreams.

19.  Frost.

Neckpiece. Silver, garnets, black pearls, steel wire, nylon; watercolour & ink drawing on paper. Size: 28 x 20 cm.

R 10 300

Frost.

Frost.

 20.  Mottle.

Neckpiece. Citrine drops, freshwater pearls, rutile quartz, steel wire, sterling silver, nylon; ink & watercolour drawing on paper. Size: 28 x 20 cm.

R 7 600

IMG_20190914_114642-01.jpeg

21.  Verblüht.

Wall Art. Watercolour & ink drawing, enamel, copper, oxidized copper, Datura Stramonium seed pod. Size: 28 x 20 cm.

R 5 900

Verblüht.

Verblüht.

22.  Midnight Pomegranates.

Earrings. Enamel, silver, iolite, black nylon; watercolour & ink drawing. Size: 28 x 20 cm.

R 5 000 (SOLD)

Midnight Pomegranates.

Midnight Pomegranates.

23.  Strelitzia Forest.

Wall Art. Watercolour & ink on paper. Size: 28 x 20 cm.

R 4 800

Strelitzia Forest.

Strelitzia Forest.

 24.  Ashes.

Neckpiece. Oxidized sterling silver, grey and black freshwater pearls, nylon, steel wire; watercolour & ink drawing on paper. Size: 28 x 20 cm.

R 8 600 (SOLD)

Ashes.

Ashes.

25.  Goldflock.

Neckpiece. 18 carat yellow gold, yellow diamonds; watercolour & ink drawing on paper. Size: 28 x 20 cm.

R 34 800

Goldflock.

Goldflock.

26.  Slangtak.

Earrings. Enamel, sterling silver (partially oxidized), iolite, black nylon; watercolour & ink on paper. Size: 10 x 24 cm.

R 4 900 (SOLD)

S langtak.

Slangtak.

 27.    Gogga.

Wall Art. Enamel, copper, sterling silver, iolite, carnelian, black pearls, quartz, amber, nylon; watercolour & ink drawing. Size: 30 x 34 cm.

R 9 800

Gogga.

Gogga.

Oustok - Jongstok: A contemporary craft exhibition

You are cordially invited to “Oustok- Jongstok”, a visual dialogue between a ceramicist grandmother and a contemporary jeweller granddaughter. Find out more details about the exhibition here.

After two years abroad, I am returning to exhibit in and visit a place that has played a significant role in shaping who I am today: Brandwag (not to be confused with the other Brandwag, even closer to Stellenbosch), a little farm nestled between the vineyards on the exact spot where the sandy dunes of the Cape Flats meet the first boulders of the Cape Granite Suite (of which Paarl Mountain is the most well-known example). My grandparents bought this place in the 1980’s when they relocated from the Free State.

A glimpse of my beloved Brandwag.

A glimpse of my beloved Brandwag.

Although tiny compared to its neighbours, Brandwag offered enough space to serve as a diverse learning ground for myself and my brother. We only lived on the farm itself for about six years, but frequent visits allowed us to stay intimately acquainted with the farm environment and its natural cycles. Now, it harbours the memories of countless childhood and adolescent adventures, stories of discovering and becoming, of watching things grow and nurturing them and watching them fade again.

 Here, we watched my grandmother throw pots in her workshop and followed her around the house to observe the daily tasks of an experienced farm manager. We played in the garden under the large oaks, picked fruit, hid in the reeds, watched the sheep with their adorable, feeble-legged new-born lambs, gave new, made-up names to the wildflowers. We watched everything dance in unison as the seasons faded into each other, we became part of that rhythm. Above all, it is here on this farm and in that time of my life, I believe, that I learned the importance of two things: of making with our hands, and of acquiescing to the power of nature.

Time passing.

Time passing.

The vineyards there serve as the most prominent markers of time passing – rusted leaves slowly corroding into nakedness in winter, then an explosion of lime green in spring, followed by a darkening of greens everywhere and mutating of leaves into large, weathered things, and finally those ripe grapes, stickiness on sultry summer afternoons.

I will be showing contemporary jewellery accompanied by watercolour and ink paintings that attempt to capture a dream-like, paradisiacal space within nature.

I will be showing contemporary jewellery accompanied by watercolour and ink paintings that attempt to capture a dream-like, paradisiacal space within nature.

One hill of cabernet sauvignon was planted when I was born, and in vineyard terms, it is quite old. Many farmers will rip an almost thirty-year-old vineyard out to make space for younger vines that can perhaps yield a more profitable harvest. But what does more profitable really mean? More grapes, more money? Perhaps yes, but not better quality. It is often the oldest vineyards that produce grapes of the most outstanding quality, though they may gradually become fewer each year. I always feel a pang of sadness when I see yet another pile of torn-out, twisted roots on the side of a ploughed and bare vineyard, just good enough for fire wood now.  

The vineyard is not just a thing to be used, harvested, depleted. It is an environment, an eco-system that shelters whole life cycles, short ones and immeasurably long ones, cycles in field-mouse-time and cycles in geological time. When I stand there, in the middle of the vineyard, I myself feel part of a large and moving and circular force, I feel sheltered. I feel energised by this life force that gives and takes and moves.

Our 1990 vineyard of cabernet sauvignon turning the colour of rust and amber and rubies in autumn.

Our 1990 vineyard of cabernet sauvignon turning the colour of rust and amber and rubies in autumn.

To celebrate our living and our making, I am showing my newest collection of contemporary jewellery and watercolour paintings alongside my grandmother, Konstanze Harms’, timeless ceramics. Both our work reflects a deep respect for nature, a love of organic forms and a devotion to meticulous, time-consuming craftsmanship.

A kiln packed to the brim with unglazed ceramics by Konstanze Harms.

A kiln packed to the brim with unglazed ceramics by Konstanze Harms.

Large ceramic bowls by Konstanze Harms in the slanted evening sun.

Large ceramic bowls by Konstanze Harms in the slanted evening sun.

You are invited to join us for a glass of wine and a talk by Rosa Krüger at the opening on September 14th at 16:00. You are of course welcome to bring friends and partners, just please let us know if you are planning to come so we can accommodate everyone in terms of parking and beverages (Tel:021 881 3435 or info@norakovats.com).

The exhibition will run from the 15th to the 21st of September, be opened daily between 11:00 and 18:00, and end with a Finissage coffee and tea gathering – for all those that couldn’t make it to the opening – on the 21st at 16:00. You can find a map of the location here (coordinates: 33°58'35.4"S 18°44'59.8"E).

Looking forward to your visit!

Spring Explosion. Wall art/painting. Enamel on copper, black freshwater pearls, nylon, mixed gemstones, watercolour, ink, Fabriono paper.

Spring Explosion. Wall art/painting. Enamel on copper, black freshwater pearls, nylon, mixed gemstones, watercolour, ink, Fabriono paper.

 

 

 

The Enamel Dance

More thoughts on what it means to be enamelling.

Imaginary self-portrait as enamel dancer.

Imaginary self-portrait as enamel dancer.

My thoughts keep returning to the process of enamelling and the complete devotion it demands of its practitioner. This creative process, with its vivid possibilities of colour, its laborious ritualistic method and its ties to alchemical practices, inspires a creative drive in me that compels me to make. The making, in its quality of searching, almost becomes more important than the finished work. Making becomes a rhythmic ritual, demanding respect and reverie, as well as the need to be patiently observed, step by step, without rush. To me, the enamels are governed by their own rules, almost taking on a life of their own.

As I make, I am concerned with growing something from nothing, and with controlling that created something to a certain extent. A contradiction exists between the tight control imposed on the contained microcosm of my work, or on the enamel kiln as closed environment, and the spontaneity, impulsiveness and freedom required to permit a truly successful result – one that lives. This duality intrigues me – a constant balance between tight control and letting go. A dance. It has allowed a particular style to emerge in my work: with an emphasis placed on intuition and playfulness, I focus on growing, twisting, branching botanical shapes and vivid, unexpected colour combinations. The garden underpins my work in every respect; however, this mythic garden in my jewellery art is vastly different from the sunny vegetable patch people grow in their back yards. The enamelled garden is dark and twisted as well as vibrant and playful.

The studio, as a small universe that is removed from ordinary space and time and severed from the ‘real’, mundane world like a magnificent imaginary garden behind walls, becomes metaphorical for the process of making. As the site for the manifestation of my own jewelled garden fantasy, the studio is transformed into a somewhat sacred space.

An Ode to Multidentities

I was nervous about that visit: I barely have an inkling of the emotional power that landscape can wield, but it’s enough to recognize that landscape is etched into our souls, that a mountain or an ocean can cry out to you and make you scatter all rationality to the winds, until you forget your very valid reasons for leaving that mountain, that sea, the very earth that brought you forth, even if they are reasons your very existence may depend upon.

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