Posted by Seena Shahmardi on


Case Study: What’s the next color after black?

FESWA: Are there other colors!?


CS: So no pink?

F: No, or if so it has to be the right one, the one that hurts your eye..is a good way.


CS: What comes first, the materials or the idea?

F: Im quite picky when it comes to the materials I use, they have to be there for a reason, if that makes sense… I think they shape each other. I’m often looking for the perfect balance and contrast, say a rigid shape combined with something that I can’t control, like metal and a baroque pearl or like the wood / fur bangle.


CS: What your thoughts on ebony.



CS: Why’s that?

F: It’s just perfect in every single way, the blackness, the feeling of working with it and wearing it, its preciousness and also because it’s a bit wrong. Wrong in the same way as ivory, but too beautiful to stay away from.


CS: So because there is this deep feeling around ebony, its not something your drawing out, you have to feel it, how did the ebony bracelet come along?

F: it emerged through the same process as with most of the objects and jewelry I do. Child-looking scribbles that then becomes models to see and feel how different shapes work together to then being brought to life in its appropriate material. The fur was me being frustrated on the shape missing something and when I attached it the whole piece made sense.


CS: Would you say your work happens unconsciously then?

F: Not unconsciously, I’d rather say that shapes and materials get added onto or removed from the object along the development process and depending on my state.


CS: Is there a formula to get to that?

F: Yes, I’m letting me being myself. No compromises.


CS: Do you think it happens after a long process of work?

F: Yes and no, certain objects take a long time to develop, find the right balance and make. Whilst some pieces come to life by just letting go, test and play.


CS: Tell me about the process to shape the rings?

F: that’s one of those pieces…I started to play around with some silver I had, without looking for an outcome apart from finding the right texture and aesthetic. I wanted it to look like something precious you’d dug up form the ground. I manipulated it and forced it into shapes that is now a process that I can do whilst sleeping, no but almost, as every ring is a one off handmade piece.


CS: Like finding treasure.

F: Yes, that’s exactly what the process is about and to only control it to a certain point, the rest is up to the metal.



F: Yeah- that’s my name, or its an abstract letter combination of my full name.


CS: Crushed together?

F: Yeah, (laughs) I never thought of it like that, but yes.


CS: Are you constantly searching for beautiful things? Whether you make it or find it.

F: Yes of course, all the time! It’s a never fading obsession.


CS: Does the size of jewelry district you sometimes?

F: No, never actually. Mostly because I don’t really have any restrictions when I’m working. And who says jewelry has to be small? I wouldn’t exactly say that any of my pieces are small. Although I guess it depends on what you see or count as jewelry and where you’d draw the line for what’s jewelry or what’s clothes or even what’s sculpture. For me it’s all merged, or possesses an ambiguous duplicity to at any point spill over to become the other.


CS: So it’s about scale?

FS: Yes scale is an important factor, but so is also sound, weight and the intimate and immediate communication through the touch of materials.


CS: Do you think jewelry is the best way to realize your ideas, or could you see yourself doing larger “sculpture” like pieces?

FS:  A lot of my work has already started to spill over the idea of just being jewelry as a body adornment, so yes there is definitely a curiosity to take it further…

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