Using laboratory created replicas of the world’s most famous diamonds, and traditional reflection holography, Schrijer presents a range of holographic gems alongside sculptural necklaces and pendants.
The work is theatrically staged at City Gallery Wellington in an exhibition titled Moniek Schrijer: The Jewel Room, in a vault-like space that echoes those in which valuable objects are often secured, such as museum jewel rooms and luxury retail spaces.
Highlighting the conspicuous consumption of high-end jewellery, The Jewel Room riffs on our expectations of value, drawing parallels between taste, modernity and the often illusionistic foundations of the diamond and jewellery industries.
How long were you working on A Hologram of a Diamond?
The sparks of this project started in 2019 after being included in an exhibition called Non-Stick Nostalgia Y2K Retrofuturism in Contemporary Jewellery at the Museum of Arts and Design in New York, where I exhibited my first jewellery works that used holograms. So I have been working towards this project since then.
How did you come up with the concept, and how it is presented in The Jewel Room?
As mentioned New York was fundamental to this project; in the exhibition there, I had repurposed hologram skull glasses, creating earrings and a necklace. A fellow jeweller mentioned that there were a few Hologramers in New York, including a museum, I was only able to visit one holographic studio, but that led me to the question— what would I make a hologram recording of?
What can viewers expect from the body of work? How does it challenge notions of authenticity and value?
Contemporary Art Jewellery challenges our perceived value in multiple ways, deconstructing concepts that the jewellery industry is built upon. This body of work explores holograms and diamonds, both of which can be considered illusions; illisions of the flat plane and illusions of rarity, preciousness and worth. At the same time, this work also speaks to the tastes of NOW, the age of bootlegs, riffs, post-copyright replicas, fakes, imitations and tropes that have been re-invented and reimagined.
Which famous jewels are represented? Tell us about the process of recreating these.
Within the 15 necklaces, I have incorporated 42 famous diamond stimulants from The Taylor-Burton to The Great Table. The cubic zirconias are lab grown, pre-formed, and faceted the same way that other gemstones are produced, from the raw stone; each replica has been cut to the exact dimensions as its famous diamond counterpart.
How has holography been used in the exhibition, and what effect does it achieve?
The hologram works in this exhibition are all pendants; they are suspended from a grid mesh triangle to appear as if hovering in space, allowing for natural movement of each work, as light and angle are integral to viewing the full depth of the hologram.
Holography has captured the third-dimensionality of the diamonds within a flat plane, recording the gem cuts, optics and illusions with opal-like effects.
Tell us about the theatrical staging and the process of creating the space.
This installation has pulled various elements from vintage and recent high-end jewellery store-fit outs, film and cartoon concepts, secure storage and vaults, while also leaning towards jewellery rooms within museum spaces. My main objective was to create an atmosphere that would be as vivid as the jewellery works. To clarify concepts, I built a miniature of my vision for the gallery space, utilising existing details and architectural aspects of the building and gallery environment.
Do you have a favourite piece in the exhibition?
No favourite, but I love to challenge my making and how a necklace will sit on the body; the flower and lightning drip down the torso’s front and back when worn. I also rather like the heart chocker necklace for its classic jewellery form and wearability.
Moniek Schrijer: The Jewel Room
Until 3 September
City Gallery Wellington Te Whare Toi
citygallery.org.nz
