Atelier
 
 

Arbeitsweise
Meine Arbeiten sind aus Porzellan. Gelegentlich belasse ich das Material weiß. So reflektiert es Licht, wirkt rein, aber auch abweisend und hart.
Oft kommt Farbe hinzu. Es wird bunter, lebendiger. Und mit der Verwendung von Grautönen wechselt erneut die Stimmung.
Ich fertige hunderte gleich scheinender Einzelteile, die jedoch Spuren der manuellen Bearbeitung zeigen. Sie werden gerollt, gedrückt, gestanzt und gegossen, danach perforiert und gesäubert. Auch nach dem Brennvorgang sind meine Handlungen immer wieder dieselben: fädeln, Ösen pressen, Ringe öffnen und schließen, knoten und kleben.
Erst die Reihung der Einzelteile bringt den Rhythmus in das entstehende Schmuckstück. Die Anordnung der Elemente bedingt deren Verhalten und unsere Wahrnehmung. Die Perlen sind nicht starr fixiert, sondern flexibel und erzeugen so nicht nur eine Bewegung, sondern auch einen Klang. Einige Stücke sind leise, andere „musizieren“, aber immer werden Gefühle angesprochen und Assoziationen geweckt.

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Beate Pfefferkorn’s work approach
In the beginning, there is the material: porcelain, a raw material, which requires, and allows, specific handling because it is not hard but soft. When it is liquid it can be casted in (plaster) forms; when it is a little harder it can be modelled, squeezed, rolled and pressed. You can easily take material away or add some. Furthermore, you can give it extremely delicate surface textures; something which is the base and centre of my works. For even if I repeat the same manufacturing process again and again, the single pieces are still unique. When working by hand tiny prints from the hand’s lines stay on the material, which I do not only tolerate but also appreciate; and the shape of the single elements is similar but never exactly the same. The repetitive is of fundamental importance to my work. Countless single porcelain elements unite to a whole piece; they complete only in a group. The whole is more than just the sum of its parts.
But the outer appearance of the whole is directly linked to its single parts. The single parts determine their own sequence, how close or distant one part may be from the other, and, finally, they also determine the size of the whole work. The ranking, in turn, determines the tone of the jewelry. Some pieces sound delightful, others dull and some do not have any sound at all. The impression the jewelry conveys is highly influenced by the way the piece of jewelry sounds. Emotions are evoked unconsciously, both the wearer‘s and his/her opposite’s emotions. In addition, the jewelry’s atmosphere is underlined by its colours. In its basic composition porcelain is white and thus appears virgin and pure, but also hard and cold. Sometimes I just leave it like that, but often I add coloring pigments in order to make the material appear more vivid.
For my diploma I have made big jewelry pieces for the neck. These porcelain collars follow ritual jewelry. They are carried on the shoulders and frame the wearer’s head. Thus the attention is drawn to the wearer’s words and mimic. Moreover, the wearer’s posture is changed: the porcelain collar makes him or her stand up straight and thus appear particularly dignified. With the porcelain collar the wearer carries a weight on his/her shoulders and it is up to him / her how to take it: It can be a lovely hug or an unpleasant burden. It can restrict or give shelter; it can hurt or calm down.

The Magic of the mass/ Magic mass
Elementaris does not take porcelain for embellishment, but for a basic and shape-giving element.
It is the ranking of countless single porcelain parts which leads to the jewelry piece. Only when the singly parts are united they begin to live and to create a complete whole. At the same time, repeating is of fundamental importance. During the working process, similar but never identical single parts are created thanks to the constant repetition of the working steps.
The repetition of the single tasks ensures on the hand the similarity of the single parts and on the other hand their uniqueness, because when the material is worked by hand, hand line prints will appear on the material and be tolerated consciously. This is why every single jewelry piece is as unique as its wearer.
Furthermore, the specific characteristics of the material are of great importance. At the beginning of the work process porcelain is a malleable mass and allows highly delicate handling, which is perpetuated by firing it at 1250 °C. The material, which has become very hard now, is not only lovely and beautiful but also very comfortable to wear. It takes the body temperature without getting uncomfortably hot. During movement the single parts produce soft sounds and that the jewelry pieces, depending on the ranking and shape of their single parts, never sound the same. Moreover, the coulours of the single pieces vary: Vivid tones are placed equally next to virgin white.