Polya Medvedeva launched her contemporary jewellery line in 2010, she is an oil and ink painter, who works in Berlin. Her inspiration takes it’s roots from the aesthetics western and asian theoretics, such as Xie He (China, 5th century) or soviet philosopher Mikhail Lifshitz.
Her jewellery work is made of two parts: technical accurate work by jewellers with years of experience and new sculptural ideas by the artist. Each piece is a limited edition. Polya's designer jewellery pieces were featured in Vogue UA, Harper’s Bazaar UA, Another magazine UK and the other magazines.
One of the connoisseurs of Polya’s artwork is the German actress Anne Ratte-Polle, who chose the jewellery for the 64th Berlinale Film Festival. For ten years Polya showcases her jewellery in boutique Atelier1, which first foray internationally was a corner in Dover street market (London).
Artist discovered the unique way to encrust colourful gems, hid the spinels, tanzanites, emeralds, diamonds, tourmalines Paraiba, rubies, and sapphires between the filigreed lace of the flowers, combining with fig fruits and the other shapes.
About ink, oil and digital painting
While working one realises that the most important thing in painting is to let the brush flow. The flow may give more elegance in each part of the artwork. This refers to Xie He art theory “Six principles of Chinese painting” (5th century), where the first principle is "spirit resonance", the vitality (or nervous energy) which is transferred from the artist into his work.
One can use plants as brushes for ink painting. Plants have an even longer evolution on earth than humans. Asian artists choose plants as a main inspiration in understanding human nature. Plants as brushes add technical natural proportions and impart “rules of nature” into work, as a new graphical language which gives us inspiration. Plants acting as brushes are soft enough to give more freedom to let the ink flow. Speaking through ink the language of the plants proportions is the process of searching for the balance between chaos and order, using a traditional ink technique equilibrating spots and lines. This also works graphically for jewellery, searching for the shapes in flowers, bamboos or pines in silver or gold. It is a process of learning the hidden math of beauty from plants.
About plants "language of proportions"
For 15 years Polya was working as a designer, watercolour and vector graphic illustrator. She was later creating a vector imitations of watercolour. But both of the styles, classical watercolour and vector paintings, were still way too anthropocentric.
Work with ink and real paper enables another level of “brush flow”. Plants and flowers can be used not only as inspiration for jewellery and paintings, which is typical for asian ink painting and old poetry, but also can be used as brushes. Plants have a longer evolution on earth than humans. Asian artists choose plants as an inspiration in understanding human nature. This graphical language of plants can give us a graphical transfer of “rules of nature” into the artwork.
Plants as brushes impart “rules of nature” into work, when digital and classical brushes take so much energy to go out of your own standards of proportions as human being. But plants as brushes are soft enough to have more freedom to let ink go. It is a play of the balance between chaos and order, using a traditional ink technique to equilibrate spots and lines. And it is also a process of learning from plants.
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