Spot the Designer - Aysa Posthuma/ The Netherlands
What did you want to be when you were a child?
As a child I wanted to become an archaeologist. I was fascinated by ancient civilizations and how the past could be reconstructed through findings, discoveries, and research. In particular, the ancient Egyptian civilization captivated me with its intriguing culture and artifacts. My logo features a scarab beetle, a sacred creature in the eyes of the Egyptians, representing rebirth and resurrection.
When have you started creating jewelry? How did this passion come about?
As far back as I can remember, I have been making jewelry. As a young girl, I braided shell necklaces with nautical rope I found on the beach, with its distinctive orange and turquoise hues. My mother proudly wore my creations all summer long. And I clearly remember receiving a box full of beads once from a colleague of my father, an art teacher cleaning out his classroom. I began stringing bracelets and necklaces. I never stopped, and my mother never stopped wearing my necklaces, the more extravagant, the better! During my college years, I worked part-time at a beadshop, and after graduating in Art History, I attended a school for goldsmithing to broaden my jewelry-making skills.
What was your first project or significant piece for you and from what point of view?
In my early years as a goldsmith, I worked a lot on commission. Creating conventional jewelry for clients, which I still love doing. But in recent years, I have shifted more towards making wearable artworks or less wearable, contemporary jewelry. The 'Balloon Ring' was the first of its kind and marked the beginning of a series of rings where I was searching for an unexpected, captivating image combined with an openness to and exploration of materials other than gold, silver, and gemstones. I prefer to display them under a glass dome and consider them as small artifacts.
How do you charge your batteries? What other passions and creative interests do you have?
When I'm not making jewelry, I enjoy DIY projects and crafting furniture. This is a passion I inherited from my father. There are already quite a few cabinets in my house that have proven sturdy enough to withstand several years. These projects often begin with the purchase of a single drawer at a flea market or vintage store. It's essentially "goldsmithing on a larger scale", but with a folding rule instead of calipers.
What does the connection between manufacturing tradition and contemporary design mean to you?
For me, the connection between tradition and contemporary is an amplifier. With knowledge of traditional techniques, materials, and aesthetics, you lay a foundation for innovation. It's a cliché, but what is now old was once groundbreaking and has stood the test of time, proving itself to be good and reliable. Ultimately, becoming traditional is the highest compliment for contemporary designs.
Is there a self-portrait piece that speaks most about you?
My asymmetrical set of "Bla Blabla" earrings says a lot about me. Interestingly, it originated from a feeling of frustration. In a previous job, I had many meetings where much was said, and little was listened to. I'm sure everyone can relate to such a situation. I created these earrings as a silent protest with a wink, and they found eager buyers. They remind me not to get too worked up about certain situations. I enjoy making asymmetrical sets and incorporating text into my designs.
Which material have you not yet used is a temptation and a challenge for you?
I've had the idea of working with plastic, especially old plastic packaging. Shampoo bottles, containers etc. designed to entice consumers into buying them. Yet, they are discarded in the blink of an eye. Maintaining their recognizability while creating an elegant and sustainable design that lasts longer than a few showers is a challenge I'd like to tackle.
How was the pandemic period for you as a jewelry designer?
The pandemic has brought unexpected inspiration and a new style of designing. During a well-known lockdown stroll for instance, I found a dead bumblebee on the sidewalk. It was on its back with its legs up, resembling a claw setting for a gemstone. I turned it into a ring and created 'The Pollinator.' With this piece, I wanted to emphasize the importance of insects; without them, we cannot survive, and if we're not careful, the world could face a very different crisis.
How do you see the future of contemporary jewelry?
People are drawn to pieces that stand out, experimenting with non-traditional materials and forms. It's not just the designers but also the customers who have a desire to express themselves, and both are pushing boundaries. Collaborations between jewelry designers and artists from other disciplines, such as fashion and industrial design, enhance this. There's a cross-pollination of ideas leading to innovative and unique jewelry creations. I'm curious to see where that goes.
