Many jewellery collections have one or many sources of inspiration. They refer, perhaps, to a particular time, culture, material, story or person. Often it’s about the friction that results from unusual combinations of topics, materials and craftsmanship. “Orchid Hybrid” cannot be understood according to these criteria.
We can of course describe the collection. We see a five-petal flower, on which has been placed a rhinestone hemisphere that looks very spacey and glamorous. But can we also categorize the ornament or, more generally, the collection?
Other jewellery in the series lacks this flower motif. Its place is taken by a mosaic made of oval glass beads. It’s a pithy but strange structure. Is it an arbitrarily intuitive fantasy, or does the order follow some kind of logical principle? The mosaics are reminiscent of visualisations of chemical structures. Are we, then, looking through a microscope at what might just be an imaginary, unknown element? Or, instead, its surreal adaptation?
The play of colour and patterns in “Orchid Hybrid” is like many of the things that we sense with our vision: we believe that we recognize something, but in the next instant, from another perspective, it seems to disappear. With the change in context, that which we think we see appears as something quite different, or as something that we can’t quite grasp, such as a brief refraction of light, a reflection or a fleeting dream. It seems to have no reference to a particular time, culture or idea. “Orchid Hybrid” is more than an organism caught somewhere between technology and nature, between intuition and knowledge. It is always all of this at the same time. What's important is something else: our gaze and how long we allow it to wander.