Artists of contemporary jewelry dispute the traditional perception of the unique relations between the human body and jewelry. They use both modern and conventional classy materials with an attraction to the design and creation of jewelry. Thus, contemporary artists think that jewelry does not have a direct link to the human body even though the body can act inspire art. Emiko Oye is one of the modern artists who oppose the traditions of jewelry. She is born by a Japanese-American father and Caucasian mother. Oye is an artist based in San-Francisco and renowned for her creative object-based jewelry line, which incorporates both new and used LEGO bricks. Her love for jewelry started way back to a tender age. As a child, she could play with just anything that she found in the house. Oye studies art at Syracuse with specialization in costume design, metal-smithing, and fashion. She is of the opinion that jewelry is fresh, spectacular, lively and instantly memorable (Handful of salt para. 2-3).
Oye contradicts the conventional ascription of value in jewelry to the natural value of the materials used in making them wearable. She points out that value can be achieved through the labor of the artist and the intangible prospective of jewelry as a form of art. The use of low quality materials has been frequently applied since the early 1960s. Through the use of New and used LEGO, Oye is able to design small and versatile jewelry that are popularly adorned by kids and even grown-ups. She stresses that the intricacy of the world is generating a demand for cognition-facilitated boundary that will enhance the way in which people in the environment relate with each other. She uses materials that are not conventional like discarded toys and factory scraps to start up discussions on existing socio-political issues. Her main topics revolve around corporate greed, consumerism and value, and civil rights violations (Mok para. 2)
The artist says that jewelry is classified in the group of objects that have the capability of beautification, signification and decoration but has no use because it is practically ineffective. The functions of jewelry are quite diverse. Those that are wearable can include anything that has a connection to the human body. The body is designed in such a way that it facilitates such interactions. Thus, jewelry can be defined as anything that is worn on the body and does not pay any particular attention to the materials used in making it. Her pieces resemble intangible art instead of conventional jewelry. Oye drives her inspiration from typical jewelry that she re-invents using LEGO and other materials. Her works are stylish and also very dramatic. With a perceptive eye and proper selection of materials, that are well-incorporated, Oye’s products indicate that almost all ordinary things can be transformed into wearable items (Mok para. 2).
Contemporary view of wearable facilitates novel forms of human intent appreciation that promotes the natural interaction of people within a shared environment. The infrastructure of modern jewelry is slim and they are not also frequently displayed on art museums. There are very few specialized galleries in various parts of the world. Modern wearable rely heavily on sumptuous experience for its influence. Pieces by conceptual artists rely on the intellect of the artist. This means that no jewelry is better that another. Oye hopes that in future, contemporary wearable will be perceived as the ideal part of modern art.
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Mok, Kimberley. “Reware’s recycled LEGO jewelry turns child’s play into elegant glam,” Treehugger 7, June 2013. Web 4 Nov. 2013. <http://www.treehugger.com/sustainable-fashion/reware-recycled-lego-jewelry-emiko-oye.html >
Handful of salt “Noticed: emiko oye”, Handful of salt, 9 April 2013. Web 4 Nov. 2013 <http://www.handfulofsalt.com/noticed-emiko-oye/>