Report by Renata Petkute
“My work is an investigation into the ability of objects. It is a constant question of
history, formation, prehistory, marks, and value. I’m looking for the connecting threads.
The ability of an object to become dear to you at the first moment of recognition...” says jeweller Adam Grinovich.
Adam, you have born in USA, please, tell us why have you chosen Sweden for studies?
The desire for me to come to Europe started in 2003 when I attended the “cOw nOw” workshop with Ruudt Peters in the Netherlands. That workshop had a huge impact and greatly affected my artistic development. When I was ready to start my graduate studies I was mainly looking for teachers with whom I could develop in a similar manner. At the time Ruudt Peters was teaching in Stockholm at Konstfack University, so I applied and three years later I’m still here.
Were there any doubts that you could do anything else instead being a jeweller?
I have always had the idea of working on a boat. One of those boats that sails for weeks on end. I’d like to witness that sort of thing. The idea of strict discipline has always been attractive to me.
Please, portray your creation environment?
Currently I’m working in a very small basement space alone. I quite like the isolation. I’ve been trying to create a space that is a nucleus of my life. Four walls that surround me and reflect like a mirror. I need to be surrounded by images and objects in order to understand myself.
Where do you get creative ideas? What is your inspiration?
One of the main things that I have learned is to focus on a moment; I’m not the kind of artist that can start a theoretical or conceptual process. The main priority is to find a single moment that affects me profoundly, be that banal or monumental, and revolve around that with my working process. I have to say that generally what inspires me is the banal; parts of life that we all share. It is my hope that the objects that I create can be understood by anyone.
Do your jewellery goods mostly suit for men or women?
At a certain point I decide whether a piece will be for a man or a woman. I have somewhat traditional ideas about the role of jewellery in the sense of gender. For instance I do not believe that a male would wear a large necklace or complex earrings. I try to respect the role of jewellery as it is, in speaking about gender. However, when putting together a series of work, I make it a point to address both of the sexes. A large amount of the jewellery made today is aimed specifically towards women and I simply don’t agree with that point of view.
You are a young artist; don’t you think that for young jewellers is very difficult to become recognized?
I do think that it is extremely hard to become recognized. There are several formulas for success in the jewellery world and I can tell you first hand that they don’t work for everyone. I do believe that it’s important to be present and engaged in the jewellery field if one desires to build a name for oneself. At the same point I really believe that it’s all about the work. To stay honest and continue to take risks is the most important thing for me. I’m not the kind of artist that has a single aesthetic or idea and produces that continuously
What are jewellery tendencies in Sweden and abroad? Do you see any differences? And what are they?
Sweden is an interesting country at the moment. As far as jewellery Europe has seen the rise of Germany and other countries to a place of international esteem. I feel that Sweden is hungry for some sort of new energy. Personally I can see many people around me with similar ambitions. From my point of view we are on the edge of a definitive moment in Sweden.
A major difference that I’ve noticed is that Sweden is an extremely small place; the jewellery world is small as it is, and in Sweden it’s even more so. I guess coming from the states I’m more accustomed to millions of people and points of view. It’s not necessarily a bad thing, just a bit odd for me
As far as jewellery tendencies go I think that Sweden is dealing more with the question of experimentation and the boundaries of jewellery, other countries might deal more with the idea of traditional jewellery or conceptual jewellery. I’m attracted to very physical, basic, tangible ideas and I think one can find a lot of that in Sweden at the moment.
About the “Amber Trip” show contest “FOR YOU”. What or who was your initiator?
Well at first I received an email and the project of making a piece for someone seemed interesting. As an artist I work best with a specific idea, and its best for me if that idea is randomly thrown at me. I ended up making the pieces for myself, the future me, and this was largely based upon the fact that I was, and still am, in a point of transition and upheaval. To create an image of ones values is most important when they are crystallizing and dissolving.
Have you expected to win 2 place of this contest?
Well whenever I start a project I’m quite insecure about it. For me it’s good to be extremely hard on myself in the beginning of a process in order to delve deep into it. I am fortunate to have a network of talented artists surrounding me. After several talks and critique the idea became developed to the point where I was confident with the work that came out. I can’t honestly say that I expected to win 2 place, or anything for that matter, but I can say that through a dialogue I was able to build a strong statement that I was proud to exhibit.
What are your plans for the near future?
I am in the process of developing a new body of work. I’ve been writing, drawing, and taking photographs a lot over the summer and I would like to incorporate that work. Recently two colleagues and I have started a group, A5, which is made up of Annika Pettersson, Romina Fuentes, and myself, we are in the process of setting up several exhibitions. And travel, I need to move around a bit and fill myself up with inspiration
