Collect Open: Katrin Spranger

When you think of jewellery, chances are you think of extravagance and self-indulgence. Precious and often expensive materials; gems delicately balanced on strings of gold.

Katrin Spranger challenges such definition. A conceptual jewellery designer, her practice centres upon the unconventional use of rapidly depleting natural resources – crude oil, water and honey – to create wearable pieces of jewellery. Her work typically responds to consumer culture and the environment and, in doing so, is a far cry from the lavishness often associated with the jewellery industry.

From 22-25 February 2018, Katrin will exhibit her most recent collection, Aquatopia, at London’s Saatchi Gallery. Katrin is one of 14 practitioners exhibiting as part of Collect Open, the experimental arm of the sprawling art fair Collect.

A series of intricate vessels formed from copper and glass, Aquatopia offers a dystopian visualisation of the world’s fresh water supply; both the increasing demand for it and the pollution that threatens it. The vessels are inspired by water systems and combine copper-coated industrial piping with glass.

Katrin is no stranger to Collect. In 2015, the designer exhibited a site-specific sculpture made from dehydrated honey, a response to the decline of bees in the UK. For the duration of the fair, the installation remained untouched. However, on the last day, Katrin invited visitors to taste the honey. Visitors picked away at the sculpture until there was very little left. A sticky mess was all that remained.

Where did the inspiration from Aquatopia come from?

From crude oil and honey, to precious metals and recently fresh water, my creations embrace and implement a diverse materiality. But a common inspiration for each of my projects is the projection of a dystopian future – where materials that we take for granted today may be severely depleted and would then become as precious as gold today. So, Aquatopia is inspired by the idea of commenting on scarcity values as well.

What techniques have you used to make the different vessels? Did using found objects – such original plumbing elements – pose any additional challenges?

All the pieces are made and assembled from found glass objects and plumbing parts. They are created using electroforming, a technique in which metal (in my case copper) is deposited on non-conductive materials, using an electrolyte solution. I have been working with the technique, and teaching it, for many years and I’m currently studying how to manipulate and control it to achieve a different, unprecedented level of outcome. To create a piece of work that is up to my personal standard always feels like a challenge, no matter what found objects, shapes or materials are the starting point.

How will the body of work be presented at Collect 2018?

It will be shown on simple museum pedestals, though the objects will be placed on mirrors, so that viewers are able to see the objects from all angles.

How does Aquatopia evolve ideas from your previous jewellery projects or is it quite different?

The main difference is that the objects for this project are not jewellery, but decorative craft objects with an imaginative function. I am also scaling up my work, which feels exciting but also challenging in terms of technical execution and studio size.

In the past you’ve used materials that degrade – like sugar, honey, crude oil – what appeals to you about the temporary nature of these materials?

I very much like working with ephemeral materials. Intentionally made to last for only a temporary period, such as a performance, I think it increases their perceived and aesthetic value.

Tell us a little bit about the installation you made as part of Collect Open in 2015...

For Collect Open 2015, I created a site-specific 3D-printed sculpture made from dehydrated honey. The piece focused on the issues of bee decline and the alarming Colony Collapse Disorder. Within the design, I used visual representations of the food chain and elements of traditional adornment. I drew upon the perceived value of precious metals and the continuous esteem of traditional jewellery materials and in doing so compared gold to honey.

The work aimed to communicate that honey is not merely honey, but pollination that is responsible for more than half of our food supplies. For the duration of the fair, the installation remained untouched. However, on the last day, the Collect audience was invited to interact with, experience and taste the installation. So basically they dismantled the piece. I was surprised how happy they were about destroying it!

There’s often a performative element to your work, what excites you about presenting craft in this way?

Imagining how objects could be used through performance increases the narrative potential and it can generate the scope for meaningful debate. My aim is to make an impact to this under-appreciated way of working in craft, especially because craft objects are supposed to be used (jewellery, for example, is supposed to be worn on the body).

Why did you decide to set up a jewellery school at Cockpit Arts Centre and what form does the teaching take?

I have been working in education for some years now and I find teaching very rewarding. Initially I never intended to found my own school, but it was working for other institutions that the idea emerged. I felt that there was a need and demand for rigorous technical training underpinned by a conceptual and free-thinking approach to jewellery design.    

Having received thorough training in Germany and Sweden, I was surprised when I moved to the UK: provisions here are very different from the countries that I received my education. Because my 10 years of intensively studying jewellery, metals, design and sculpture was the best time of my life, I have developed my own vision for teaching, which I now try to integrate in my own school.

Which other artist are you most looking forward to at Collect 2018?

Alison Cooke.

Want to know who else is exhibiting at Collect Open 2018? Read up here.