Spot the Designer - Ani Flys/ Spain

What did you want to be when you were a child?

Everything from being a veterinarian to a ballerina.  Art was always a constant, balancing my other whims. I finally opted to study Fine Arts at the University.  At that time, I was all about painting and generally speaking, creating 2D images, until I met an inspiring professor that led me to sculpture, installations and performance art. Ironically, at the time, I distained the jewelry makers and their cool fashion image; clinging on to my hiking boots, torn jeans and tough act. I was seduced by that which was bigger than me, or incomprehensible, and not by personal ornamentation (clearly not understanding its potential role at the time). 

When have you started creating jewelry? How did this passion come about?

Decades after finishing my studies and dedicating my life to study abroad education, I felt artistically empty. Call it a personal crisis? However, I had always maintained a family tradition of decorating Ukrainian Easter eggs. One day, a friend gave me some lovebird eggs to decorate, and the idea of making them into earrings led me to find ways to reinforce the eggs (filling them with resin) to be able to wear them. Unsatisfied with commercial ear hoops, I started to take jewelry classes, hoping to create unique silver findings. And that is when jewelry captivated me. Moving metal, fire and hammer blows, empowered me in ways I never expected. And suddenly I realized that jewelry was in fact, a small sculpture, and not necessarily a whimsical fashion accessory.  Jewelry could be personally defining.

  What was your first project or significant piece for you and from what point of view?

 In spite my efforts, the decorated eggs continued to be perceived as painted beads instead of egg shells. And I really needed my work to scream “this is a real eggshell!” I devised a way to use the eggs, maintaining its identity and fragile aspect, yet strong enough to wear. The collection Portholes to the Origins together with a small collection called Surprise Eggs (based on Kinder eggs with toys inside), would be the turning stones in my work; I stopped the ornamentation on the surface, and continued to work with the plain eggshell.

How do you charge your batteries? What other passions and creative interests do you have?

I tend to be an active person: I maintain a full-time job in study abroad education, family life and I practice martial arts (Kung Fu and Tai chi). My jewelry making is my most precious Zen moment. It is all about those hours where the bustle and activity take the backstage and I focus on my work and my emotions expressed through this venue.

What does the connection between manufacturing tradition and contemporary design mean to you?

I think there needs to be a lot more education on this. Much of the manufacturing tradition has now been absorbed by fast fashion from big companies with tremendous marketing possibilities and/or cheap prices. Original and quality artisanal pieces have taken a backstage and are mostly only accessible to people in the field (that appreciate the work involved) or those with lined purses. I think art shows and online media, such as Instagram, are helping work towards that goal but I question whether it will reach a general public.

Is there a self-portrait piece that speaks most about you?

The Breaking Free collection was one of the first to express what I needed to say, breaking free from my past (more commercial and decorated jewelry), and being truly honest with the medium I use. But my jewelry, as my persona, are in continuous evolution, so I would also have to include pieces from the Molecular collections as well: a constant transformation of the eggshell to other forms: with portholes to interiors or to what lies beyond.

Which material have you not yet used is a temptation and a challenge for you?

Frankly, traditional jewelry materials such as gems, gold, etc. Sometimes using eggshells feel like a constraint, but when I try to work with different materials, like predominantly metal forms, eggshells always find their way back into the language I use.

How was the pandemic period for you as a jewelry designer?

In the beginning, like many, I was stunned, drained and unproductive. But as this new reality was digested, I found the energy and creative inspiration to move forward with my work. And perhaps, with more freedom. I really no longer care if my work is commercial. I only seek to develop a more personal and creative expression, pushing the limits a little bit more each day.

How do you see the future of contemporary jewelry?

I think it is more exciting and cutting edge as time goes by; and now recognized as an art form in itself, as the different exhibits and museum collections confirm. Yet sadly, it is still restrained to a specific public, since it will never have the commercial backing for the average person to appreciate, or in many cases, to wear.

Find more about the designer  Ani Flys