Cavea (24). Brooch, 2013, silver, enamel, crushed hematite, glimmer, lacquer

Cavea (29). Brooch, 2014, silver, enamel, crushed hematite, glimmer, lacquer

Cavea (23). Brooch, 2013, silver, enamel, crushed hematite, glimmer, lacquer, string

Cavea (23). Brooch, 2013, silver, enamel, crushed hematite, glimmer, lacquer

Cavea (41). Brooch, 2015, silver, enamel, crushed hematite and pearls, glimmer, lacquer, string

Cavea (22). Brooch, 2013, silver, enamel, crushed peridot, glimmer, lacquer

Gallery Loupe and The Gallery at Reinstein|Ross are proud to present In Other Smiles, a recent body of work by German jeweler Melanie Isverding. The exhibition will be held at The Gallery at Reinstein|Ross, 30 Gansevoort Street in NYC from April 23 – May 10, 2015. The opening reception will take place Thurs., April 23, 2015 6-8 pm. This outstanding series further details Isverding’s exploration of large but airy structural forms imbued with subtle secrets. There are many mechanical/industrial references contained within Isverding’s powerful jewels. Nonetheless, they are each endowed with softness, approachability, and humanity. What at first glance seems rigidly geometric withers when one perceives the pulverized gemstones dusting the tiny, repetitive, laser-cut holes that occupy areas of her elegant surfaces.

Isverding is a perfectionist. Each piece is meticulously crafted, its many parts admirably connected – the backs as complete as the fronts. Some are kinetic, others stationary; some are monochromatic, others possess colored planes. They are all mysterious; and in studying the works, it soon becomes apparent that they are not what they initially appear. The jewels are regular but not robotic; architectural yet not enclosed; classical nonetheless futuristic. Necklaces and brooches, they connote spacesuit regalia, yet equally recall artifacts from antiquity, medieval chains of office, Victorian chatelaines. They speak of traditional jewelry-making techniques and formats, however, Isverding subverts time-honored rules by darkening the metal, crushing gems and pearls, creating a whisper of luxury rather than a scream.

The jewels are numbered in a series titled Cavea – hollow space. Clearly, Isverding revels in the interstices, the miniscule, patterned voids covering much of her irregularly rational shapes. Nevertheless, the nomenclature is enigmatic, just like her output. She means her jewels to be elusive – objects filled with memory, longing, expectancy – solid, yet ephemeral; equivocal yet emotive.  With In Other Smiles, Isverding beckons us to look beyond the façade.

Artist Reception: Thurs., April 23, 2015 6-8 pm