Annelies Planteijdt’s jewellery investigates the ideas and aesthetics of floor plans and maps. Composed of gold and other precious metals, some coloured with pigment, others hung with pearls or glass beads, her necklaces reflect her thinking. Designed to be experienced both on and off the body, they represent two fundamental elements which inform her practice: time and space. Unworn, they are geometric, structured, two-dimensional – ‘jewellery for the mind’ – but on the body the map disappears and they become more three-dimensional, arranging themselves naturally on the wearer, the structure becoming all but invisible.
Born in Rotterdam in 1956, Annelies studied at Schoonhoven technical school and then the Gerrit Rietveld Academie in Amsterdam under Onno Boekhoudt. Annelies has received many awards, including the Marzee Prize in 2004, and her work is held in public collections including the Marzee Collection, CODA Apeldoorn, Stedelijk Museum Amsterdam, the Musée des Arts Décoratifs in Paris, Schmuckmuseum Pforzheim, Die Neue Sammlung in Munich, the RCA Collection at the Victoria & Albert Museum in London and the Helen Williams Drutt Collection in the US.
Annelies Planteijdt in conversation with Marie-José van den Hout during the setting-up of her exhibition ‘Beautiful City – Album’ on 11 June 2017.
Dutch spoken, subtitles in English available
Beautiful City – Album is an artistic exploration which Annelies Planteijdt began in 2000. As she continues to investigate the ideas and aesthetics of maps, these new pieces chart her personal environment. Each of the still life necklaces in this collection has a ‘relation’, an object from Planteijdt’s immediate, everyday surroundings and to her these objects and jewels belong together. They are personal things that have been part of her life for a long time, informing her work, and shown together they become a sort of three-dimensional archive, a dialogue between the artist, object and environment and provide an insight into her way(s) of seeing.