Ornament Magazine

VOL39.1 2016

Ornament is the leading magazine celebrating wearable art. Explore jewelry, fashion, beads; contemporary, ancient and ethnographic.

Issue link: http://ornamentmagazine.epubxp.com/i/708711

Contents of this Issue


Page 45 of 68

43 ORNAMENT 39.1.2016 The desire, Thurman explains, is for viewers to read the work aesthetically: to experience letters as lines and shapes that submit themselves principally to visual rather than literary composition. Consequently he selects his pages with the eye of an artist rather than the intent of a chronicler, always c o n s i d e r i n g t h e i m a g i s t i c tensions and harmonies in which the visual components w i l l p a r t i c i p a t e i n t h e f i n i s h e d w o r k . O f t e n , a second experienced pair of eyes proves helpful in the selection process. "Umut's much better at the color combinations," Thurman admits. "I think it comes from all the enameling that she's done. I've tended to work more with just the colors of the materials that I'm using. We'll just go through and shuffle the pages t o g e t h e r a n d p l a y w i t h d i f f e r e n t color combinations." Demirgüç Thurman's experienced perspective on colors and patterns in part reflects her undergraduate study of textile and fashion design at Mimar Sinan Fine Arts University in Istanbul, where she received her BFA in 1997. Incorporating Ottoman Empire motifs from carpets and tiles in her textile art, she explored vibrant color combinations. "Then, when I went to study metals and jewelry as an MFA student at UNT, I continued with the same style," she explains. "I started piercing a lot of my work in metal, using the motifs I used in my previous textile work. I asked, how can I add color to this? I was Harlan Butt's student, so enamel, well of course you have to be interested in that. At first I didn't like it because it was full of surprises. You put it in the kiln and it comes out like something else. Then slowly I started learning the language." The enameling skills that Demirgüç Thurman developed through graduate study would eventually find a natural complement in Thurman's expertise at l a t h e - t u r n i n g h i s l a m i n a t e d m e d i u m , b u t t h e circumstances that brought the two artists together were Opposite page: FRAMED PENÇ NECKLACE by UJ Design Studios of lathe-turned Thurmanite ® , enamel, sterling silver, and copper, 5.08 x 3.81 x 0.64 centimeters, 2014. Photograph by Rafael Molina. LOTUS BROOCH NECKLACE by UJ Design Studios of handcarved Thurmanite ® and sterling silver, 5.08 x 5.08 x 3.81 c e n t i m e t e r s , 2 0 1 3 . P h o t o g r a p h b y Rafael Molina. Right: FRAMED HATAYI NECKLACE by U J D e s i g n S t u d i o s o f l a t h e - t u r n e d Thurmanite ® , enamel, sterling silver, and copper 6.99 x 5.72 x 0.95 centimeters, 2014. Photograph by Rafael Molina. Center: WEDDED RING by UJ Design Studios of lathe-turned Thurmanite ® , enamel, sterling silver, and copper, 5.08 x 5.08 x 3.81 centimeters, 2013. Photograph by James Thurman. JAMES THURMAN w e e n t h e k i n d s o f w o r k t h a t T h u r m a n a n d D e m i r g ü ç T h u r m a n p r o d u c e d p r e v i o u s l y ( a n d c o n t i n u e t o p r o d u c e ) i n t h e i r i n d i v i d u a l e x p l o r a t i o n s o f m e d i a .

Articles in this issue

Archives of this issue

view archives of Ornament Magazine - VOL39.1 2016