Text from the catalog of the exhibition Also Know as Jewellery, a project curated by Christian Alandete & Benjamin Lignel for La Garantie association pour le bijou. 2009
Brune Boyer-Pellerej is among the few jewellers in France today whose works can comfortably positioned in the contemporary jewellery field. She is an artist who has been capable of escaping from the french cultural heritage to find meaning and content that goes beyond the traditional. Her works are unqueastionably not just a pretty jewel or a casual composition of leasing forms to be worn. On the contrary, these body ornaments are the outcome of a meticulous study of different themes that the artist has researched, where nothing is left to chance and each detail can be further investigated. Everything takes on profound significance, as the pieces are the result of diverse personal experiences that the artist communicates to us through her works.
The key to Boyer’s jewellery is in the intimate relationship between object and wearer. In a group of works entitled Cheminez, inspired by the chimney tops of Paris, a part of the brooch or ring is placed inside of the garment or held in hand. This direct body contact engenders a very personal relationship between the wearer and the jewellery piece, creating what develops into an attachment that goes beyond the simple wearing of ornaments. An atmosphere of secrecy and intimacy can be detected. In addition, Boyer’s intention with this collection of works is that exemplifying the hidden value of a jewel. The most precious part of the piece remains concealed, only for the wearer to be conscious of.
The works that fall under the title Promise came about after having read a book by the french philosopher Pierre Janet. They explore the link between memory and promise, that can be interpreted as a promise of what is to come and the memory of what (the piece) was, insofar as these works undergo modification by the person who wears them. Marks are made on the surface the gold or silver by elements that move and rub against the metal, producing an imprint or changing the shape of the piece altogether after it has been worn, consequently altering the initial aspect of the jewel as well as making the piece extremely personal and intimate. The same object could potentially acquire a distinct aspect when worn by different individuals, depending on the gestures, movements, mannerisms or habits of the person, in what could be defined as of a continuation of the making process. Through this works, Boyer underlines the importance of wearing jewellery. We not only make the acquaintance of the maker by means of this works, but later also of the wearer, through jewellery that has been formed as the result of an unintentional cooperation between two people.
Promesse, portrait of mouvements
pendent, silver, iron, fire opal
The evolution of the piece brings about a dynamic object, in contradiction with the static nature inherent of jewellery, allowing it to develop into a personalized possesion. As a consequence, this triggers a profound psychological attachment toward the pieces on behalf of its proprietor. This introduces the concept of jewellery becoming an heirloom, and the idea of one being so attached to an object, to the point that wanting to pass it down to the next generation. As with the most things we cherish, there is an innate desire to want to leave these belongings to those we love. By doing so, in some way we feel that we are leaving a part of ourselves behind. This is all the more so with Boyer’s pieces that change after being worn, since in this case the wearer creates a “document”, or what maybe better defined as a testimony about him-herself that can be passed down the future generations.
Brune Boyer’s jewels are a contemplation of life and convey experiences and messages that are brought to us through her art. The pieces are filled with meaning, with beauty that is disclosed gradually and that can be further explored with the passing of time. In fact, the messages contained within Boyer’s jewels are released little by little, enabling us decipher them progressively, making the work all the more intriguing, surprising and revealing.
Rita Marcangelo was trained in England before moving to Italy. She is the director of Alternatives gallery (Rome), which she opened in 1997, as well as chairwoman and co-founder of AGC Associzione Gioiello Contemporaneo.