“I don’t have a favourite material, what I like is the act of doing. It’s the physical involvement of the body, the feel of the material, the sensation, the smell, it’s the instinct that awakens and can express itself. Being the tool, being the fire, being the thread that comes to life, the time to tell a story. Then fall back into the void, wait, hibernate, store the flows until the next jolt. It’s all about slowness” Chloé Noyon
Lightness and fluidity, this is what Franziska Rappold’s jewellery evokes. The designer lives in south-west Germany. In the technique of electroforming, she has found a sober and minimalist language that makes her creations timeless. As close as possible to the body, small touches of light twirl around.
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Juliette Même reinvents adornment with her Faux-semblants series, transforming cans into refined Jewellery through expert techniques. A subtle play between illusion, preciousness, and material reinterpretation.
Juliette Même transforms everyday objects into exceptional adornments. Her work explores the notion of value through a subtle interplay between form and material. In her series Faux-semblants, she reinterprets historic jewellery depicted in portraits of queens and princesses, using an unexpected material: the aluminium can. This transformation challenges our perceptions of luxury and preciousness while breathing new life into these ordinary objects. Through her intervention, she elevates a commonplace material to the rank of a noble ornament, blurring the lines between illusion and reality to inspire a fresh perspective on the world around us.
Technically, Juliette Même employs traditional jewellery-making techniques to enhance her chosen material. She uses stone setting and chiselling to imitate precious gems and ceremonial ornaments. Every detail is meticulously crafted to transform aluminium into a refined piece of adornment. Its polished and shiny appearance captures the light while maintaining a remarkable lightness, even for jewellery of substantial size.
Juliette Même is an artist with a committed approach, fully embracing each step of her creative process. She makes her jewellery entirely by hand, from collecting the materials to crafting the packaging. Nothing is left to chance: each piece is accompanied by an explanatory card that tells the story of the object and specifies the origin of the materials. A graduate of HEAR in Strasbourg in 2020, Juliette Même’s work reflects a commitment to transformation and a rethinking of everyday materials. Her series Faux-semblants continues the research initiated with Krollection, an exploration of beer packaging. Her approach aligns with a common dynamic shared by other artists exhibited at Hectare Galerie, particularly during Matières cueillies, an exhibition that highlighted creators who transform everyday materials into precious objects. Her work continues to evolve, offering a critical and poetic reflection on the notions of adornment and appearance.
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At the heart of Annie Sibert’s creations lies the intimate gesture shared between jewellery and body. The French jeweller explores the intimate relationship between the body, movement and the object. Her pieces question the act of wearing, taking off, putting on and reusing a piece of jewellery. In series such as I’ve Got You and Aerolite, she sublimates everyday objects by transforming them into works of art. A simple rubber band becomes an evocative adornment, while massive rings demand special attention to weight and texture. Wearing a piece of jewellery by this designer goes beyond ornamentation: it’s a unique experience. Her jewellery is characterised by an experimental approach. Annie Sibert mixes traditional techniques with innovative processes to reveal new forms. In Aerolite, she works the metal with a metal lathe, revealing random patterns created by accidents and variations in the materials. The results are unique, combining visual power with tactile interaction. The elastic bands in the I’ve got you series, moulded and reconfigured, retain their symbolic link with gesture while becoming precious works of art. These creations invite us to rethink jewellery as a dialogue between the object and the wearer.
Annie Sibert studied design and the art of the object at the Haute École des Arts du Rhin (HEAR) in Strasbourg, where she obtained a Master’s degree in 2009 with the congratulations of the jury. Her career path includes an Erasmus exchange in Geneva and several artistic residencies in France and abroad. She also teaches jewellery design at the HEAR in Strasbourg.
We had the pleasure of exhibiting her creations at the Boîte avec couvercle exhibition in 2021, an event that explored the relationship between jewellery and its receptacle.
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The jewellery of Yoko Takiraï and Pietro Pellitteri, based in Florence, Italy, comes in geometric lines and shapes, in blue, red or gold. The designers express their plastic language by combining steel and precious metals where the body becomes the support of a minimalist architecture.
A designer who is a must in the world of jewellery and who has been copied so many times, offers us real little sculptures in which the hand becomes the base. She explores the anatomy to upset and turn our habits upside down and surprise us. A certain strength emerges from her rings matching with the emotion they evoke.
Julie Decubber transforms antique tableware into unique jewellery, enhancing ceramics with a poetic artisanal approach. Her creations delicately reinvent the memory of everyday objects.
Julie Decubber’s jewellery elevates materials by metamorphosing everyday objects into unique and precious pieces. Her work stems from a fascination with ceramics, particularly antique tableware, which she gathers during her travels or from her daily environment. This material, a witness to a bygone era and the lives it has touched, becomes a reinvented memory in her hands. Through her creations, Julie Decubber restores ceramics to a sacred place, blending traditional techniques with a contemporary vision.
Julie plays with the patterns, textures, and colours of the fragments she collects. Through meticulous craftsmanship, she transforms them into unique works of art by applying techniques borrowed from lapidary, ceramics, and jewellery making. Her remarkable finishes reveal the beauty of her creations, accentuating the contrast between the smooth coldness of ceramics and the soft warmth of the cotton link that connects them. Among her emblematic creations, the Petits pas necklace exemplifies her relentless collecting efforts: more than 30 plates with distinctive feet were assembled to create a unique piece, while some plates became standalone necklaces thanks to the singularity of their shape or decoration.
Julie Decubber developed her interest in adornment during her travels through Latin America, Morocco, and Europe. Her nomadic experiences and apprenticeship with master jeweller Gilles Jonemann have honed her sensitive and poetic approach to contemporary jewellery.
We had the pleasure of showcasing Julie Decubber’s work during the Matières cueillies exhibition in November 2024, alongside Juliette Même, Isabelle Azaïs, Charlotte Van de Velde, Ognyana Teneva, and Xinyi Chen.
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The jewellery of Isabelle Carpentier embodies abstraction in micro-mosaic, with colourful and shimmering glass fragments capturing light like landscapes swept by the wind. Her meticulous and artistic approach combines goldsmith techniques with vibrant colour gradients, offering a subtle balance between raw and precious materials.
The jewellery of Isabelle Carpentier expresses abstraction in micro-mosaic, where spun glass, precisely shaped, seems ready to escape from its structure. The colourful, shiny, and shimmering fragments capture light with a subtle vibration, like landscapes swept by the wind. The pieces, with their organic shapes, resemble pebbles polished by time, where each reflection creates a new sparkle. The meticulous assembly of raw and precious materials gives rise to sensitive and poetic creations.
Like a goldsmith, Isabelle Carpentier applies the precise gestures of micro-mosaic to her creations. The glass rods are first filed and then broken to obtain coloured fragments of varying sizes, forming a rich and nuanced chromatic palette. The tesserae are then carefully arranged to create the final piece. The contrast between the brilliance of the glass and the matte texture of the joint, punctuated by flashes of gold or silver leaf, results in harmonious and unique jewellery with vibrant colour gradients.
Based in Brussels, Isabelle Carpentier has also been teaching visual arts and mosaic since 1995. Her career is rich and varied: she studied jewellery, enamelling, and casting in Brussels, followed by training in contemporary mosaic and heritage restoration in Belgium, France, and Italy. Her creations, exhibited in Belgium and internationally, reflect her unique approach, reinventing traditional codes to breathe new life into the art of micro-mosaic jewellery.
Isabelle is one of our Brussels artists, as are Claire Lavendhomme, Anne Goy and Jacqueline Lecarme.
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Pascale Lion, or the grace and the elegance of the chain mail revisited. Set of iridescent tones on steel, copper or titanium texture. Light upgrades the material, the piece of jewellery attracts the eye, invites to be touched and surprises.
Anne Goy, a Brussels-based designer, bridges the gap between very different worlds. As a book and paper designer, she has turned her attention to jewellery by rearranging her technique and her plastic research in this field. In her work, colour is used alongside high-quality leather and is inserted into polyester paper necklaces or it vanishes. So many surprising materials diverted and a great mastery of an art that she teaches.
