Outward entities

Anca Macavei in conversation with Nora Renaud.

VI. Do you sketch everything before or it’s a matter of ‘leaving it to chance’ in the process of creation? Could you please speak about your methodology, about your research, materials, techniques you are using.
I sketch a lot but not for my pieces specifically, rather it’s free sketching that helps me express my feelings and that indirectly appears in ADAL creations. The process I use so far for the jewelry is very uninhibited; I just form freely without knowing if the result will be a belt or a bracelet. Then I cast some elements and once they are in metal I compose a sort of assemblage. I play with tools instinctively, I discuss with the few handcraft people I know and afterwards I decide what these compositions will become. If I make a collaboration with a designer the chosen process can be different: I work with a particular reference or “envie” transcribed into sketches that are further developed in an atelier (cf: ADAL for Nicolas Andreas Taralis).

VII. Seen as techne, is your work intended to produce a transformative effect, to mold and leave its wearer different? Why would one choose to wear ADAL?
The transformative effect is not at all intended, except of the weight that is very present and important for me, but I do not see it as an effect but as a fact, as I have been noticing a sort of a “What is it?” type of reaction, so far. I think it is not a choice: you either leave it, or you take it if you are ready to have a piece in spite of the fact of not knowing exactly what you are going to do with it (the easy rings and bracelets developed in the last collection are an exception).

VIII. There is a certain poetic of sensuality in your work, are there any stories you are trying to tell through your designs?
It is not about trying, it is by doing that you realize or analyze what you are saying. It is just real, in the end we are bodies and the body is the first one to disclose things. There are so many bodies around and so many things are being said… and I love listening. Though I am not sure about the poetic side because I just do not believe in poetry, or maybe it is a kind of poetry that I am not aware of. And sensuality is present because it is the body that is speaking; a language and gestures concentrated in a static object.

IX. Are we wearing your jewels or are your jewels wearing us?
There is a real confrontation between my jewelry and the wearer; there is a tension between them because my creations are saying things, and most of the times not in the softest way. Once in a while I get a feeling of submission or slavery (but nothing intended and nothing SM oriented) when wearing some of the pieces but some others, on the contrary, give me a sort of strength

X. The masculine compared to the feminine in your life & work.
The substantial mystery is that we are defined by our constitution as male or female and we respond with what we have been taught about it – what it is to be a woman or a man. A difficult and exciting point. It is maybe a topic that I am generally articulating in my work as I can only speak about it through objects and not with my thinking or through words.

XI. Are there any contemporary artists you are looking at with appreciation?
With art I stay quite passive until I randomly hear about something that really convinces me. I am sensitive to Oscar Tuazon’s work and thinking, at the way he defines or questions art/architecture/space design/object problematics – and the physical and emotional aspects of it. Everything comes from the body – said Kapoor …I consider my sculpted objects having a real connection with the body expression both in the process and in the final looking result. As for the feeling, it makes sense, it is always about a physical act at the end.

XII. Based on Damien Hirst’s definition of life you chose the name ADAL: ARRIVE DISTURB ARRANGE LEAVE – by adding the third phase “ARRANGE”. Can you tell us more about the other activities that are part of your “way to create” besides jewelry design? [“arrive is birth, disturb is our first scream, our first foot on the grass, arrange is because we always find a way to create something constructive out of it, and leave is death, we have no choice, we have to leave sooner or later.”]
I cannot be considered a jeweler, it is just a part of ADAL. You have to start with something, else you end up keeping your creative world only for yourself and it is too easy and too difficult in the same time to live in your “hutte”, you need to challenge your creations in reality, at least to give it a try. As for the other activities, I presented a triptych drawing at SOME/THINGS gallery and I illustrated their CHAPTER006 box. I have also started a series of thread drawings that I showed at Dover Street Market, I am working on some textile pieces and sculptures on a bigger scale etc…but I have no rush at all.

XIII. If you could dream ( / live – added by Nora) any dream what would that one be?
Let’s say that there are two scenarios:
1. what we call reality
2. what we call dreams
What happens in my dreams I keep them in reality 2
What happens in my reality is simply what happens in reality 1

XIV. Is there something you would define as concrete in your life?
Everything that I consider physical is at the moment I get paid for a job.

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