A Conversation with the French Jewelry Artist Marguerite Bones,

on the occasion of her residency at Uni.Versus Art Room.

Welcome Marguerite! I’m so happy that you chose Uni.Versus Art Room for your residency in Greece. Tell me…

What brought you to Athens?

I met you last October during Parcours Bijoux. I was doing social media at Maison Cheret where you were exhibiting, and we instantly hit it off! We realized that we shared many values in our aesthetic approach, and things just flowed smoothly from then on. I had been thinking for two years about doing a “self-residency” essentially, and of course, I had been wanting to visit Greece for a long time. I believe that for a jewelry maker, Greece is one of those historical places that offers a lot to be discovered. It is also a center for a variety of cultural influences, including Celtic culture, full of healing energy as I discovered along the way. I truly felt that Athens was going to be a good place for me, and it is!

Tell me a few things about the project you decided to develop here at Uni.Versus Gallery.

I decided to work with combs. I’m interested in the comb both as an object and as a symbol. I had thought about combs before. When I was studying, I had an idea of making a hair comb. I experimented with 3D printing and produced one, but I set it aside. The time has come to revisit that idea, conduct more research, develop more models, and delve into what it means to me and what it has to teach me. I think I’m mostly interested in its relationship with the body. We use hair combs, hair accessories, and other objects derived from these to adorn our heads; the crowns of our bodies. If you imagine a comb as a hair/head jewel, you can see that it works best when aligned with our bodily axis, our spine. One could even say that it resembles a protrusion, an antenna, a means of controlling energy.

On another note, my residency project is also an opportunity for me to work with jewelry on a different scale; to produce jewelry that feels more intricate, occupies more space, and has weight. I had seen combs and fell in love with a particular one. When I arrived in Athens, I sought more inspiration. I visited museums and walked in the city, filled with my inner images but also with eyes wide open, capturing moments of visual impact. For example, I was fascinated by the sword handles showcased in the archaeological museum. A specific pair of these sword handles represented the shape of the body but were designed to be held by a hand. What a paradox. The strangest part was that they were just handles, serving as a tool for the hand to efficiently wield the blade. They were produced through repousse. I wanted to try the technique and went to experience it at Anamma School, where I attended a related seminar.

How does this project relate to your work? Your spikes and your joints?

I find the fork-shaped design of the comb intriguing. It embodies both the functionality of a tool and the artistry of a sculpture. Exploring this duality presents an opportunity for me to experiment with various techniques, pushing boundaries, and bringing elements together. Another source of inspiration for me is the striking contrast between the pristine cleanliness of cars, motorbikes, and garages amidst the occasional chaos of the streets. The aesthetic of speed and mechanical precision captivates me. While still connected to the body, these metal structures serve as extensions of our physical selves, creating a fascinating interplay. It all seems to come full circle in a unique and exciting way.

How do you incorporate cultural or historical influences into your comb research designs?

I look around. I explore Instagram, I find myself drawn to museums, I walk in the streets, i meet new people, observing volumes/forms/shapes, always unraveling the reasons behind my attraction to them. This sparks my creativity. I seek inspiration, yet I strive to avoid mere replication, opting instead to interpret and infuse my unique perspective. It is crucial for me to digest these influences, which is why I frequently turn to drawing. Drawing serves as a bridge, connecting what I observe with what I aspire to create, allowing me to translate my vision into tangible expressions of art.

How do you approach the balance between functionality and aesthetics in your process from idea to implementation?

Ensuring that my pieces are wearable is a top priority for me, leading to numerous trials and adjustments in the creation process. Once a piece is crafted, I test it by wearing it to evaluate its attachment and functionality. However, beyond the practical aspect, what truly drives me is the aesthetics. I am constantly drawn to seeking harmony in my designs, as if I am orchestrating a symphony in my mind, blending elements together to achieve a cohesive and visually pleasing outcome. This pursuit of harmony and balance fuels my creative process and pushes me to create pieces that resonate both in form and function.

Can you walk us through the creative process behind one of your most intricate comb jewelry designs?

I find myself navigating through a myriad of ideas and concepts, each layer intertwining with the next in a complex tapestry of creativity. In the past, my focus leaned towards creating pieces with a commercial appeal, often fixating on pricing and costs. However, after a prolonged period away from the freedom that the process of making gives, this residency at Uni.Versus gave me the opportunity to return to a more research-oriented approach. I almost feel that I am a student again. This shift has posed a refreshing challenge, pushing me to explore uncharted territories in my work. While the journey is ongoing and the conclusion remains elusive, I am captivated by the idea of layering. These layers, akin to emotions, add depth and richness to my creations, inviting introspection and contemplation. It’s a process of delving into the complexity of human experience, where each layer contributes to the overall narrative.

What is the importance of self-expression through jewelry for you?

Jewelry has become an integral part of who I am, so much so that I find it challenging to define myself without the title of a jeweler. Recently, a new friend asked me about my hobbies, and I realized that my passions and obsessions seamlessly blend into my work. Self-expression plays a significant role in my creative process as I strive to replicate feelings and emotions while incorporating a technical approach. My mind is constantly buzzing with ideas for new jewelry pieces, making it difficult to hit the brakes. This deep connection to my craft brings me immense joy and fulfillment.

Do you enjoy sharing the knowledge gained with viewers and the general audience? Or are you the introverted artist who prefers the silence of their studio?

One of the things I truly love about jewelry is its ability to offer a blend of independence and social connection. While I enjoy the solitude of creating pieces, I find immense joy in knowing that these creations will be worn and appreciated by others. It’s a delicate balance between personal expression and communal interaction that resonates deeply with me. The most rewarding feeling is when someone is drawn to a piece not just for its value, but for the emotional connection it sparks. Making a living from my passion is fulfilling, but the real triumph lies in seeing someone resonate with a piece to the point of wanting to adorn themselves with it. Witnessing how individuals interpret and integrate my creations into their daily lives is a source of inspiration and wonder. It’s truly fascinating to see how these objects, crafted with care, take on a life of their own, adding a touch of uniqueness to the world around them.

If you like to share, how do you see sharing in our times? What works more as a transmitting means? What are the new forms or ways of sharing that you see surfacing?

I’m unsure if sharing is limited to exchanging knowledge or sharing jewelry in a commercial sense. I strongly believe in the power of collectivity and the ability to unite and create together. Currently, I am a member of a collective in Amsterdam called The Pool, and my vision extends to establishing another jewelry collective in the form of a shop in Paris. While Instagram images have been a great platform for connection and networking, I find immense value in the tangible reality of physical objects. It brings me joy to create pieces that can circulate, be touched, and interact with individuals in a more personal and intimate manner.

About Marguerite…

Marguerite Bones is a french jewellery designer and maker. She graduated from the jewellery department of the Gerrit Rietveld Academie in 2019 and the graphic design bachelor of École de Condé, Paris, in 2015. She makes spiky and sharp full-gender blingz that ai