Letizia Plankensteiner’s Imperfect Jewelry

Letizia Plankensteiner’s œvre is a testament to the natural world, its subtle lines and simple forms. It is the perfect refuge from the overly perfected and overly engineered aesthetics we have become privy to in the 21st century.

 

Sculpting and molding recycled and fair trade silver and gold metals, is a constant, as Letizia Plankensteiner tells us. Longevity speaks to her and the notions of reducing, reusing and recycling – common parlance with the globe’s push to increase awareness on the climate change front and sustainability.

 

In looking to nature, Plankensteiner embraces elements in their most essential forms, preferring to work with rough pearls and corals in their raw state, as compared to painstakingly set diamonds and precious metals. Her jewelry pieces embrace the asymmetrical, the unfinished and the uneven, challenging the norms of beauty.

 

“When I am on the go or travelling, I like to collect stones, dried plants or wood with special surfaces. I use them often in the process of creating wax models, into which I pour precious metals to create a unique piece of jewelry that conserves these incredible forms,” Plankensteiner tells Melting Pot.

 

After her move to Vienna, Plankensteiner set out to achieve her long held dream of being exhibited at a gallery. Since then, she has come full circle and her work is currently being exhibited at Galerie Slavik, a gallery for international contemporary jewelry in the heart of Vienna.

 

Art is a wellspring of inspiration for the sculptor-jewelr, as is looking to artists from other disciplines, such as Frank Gehry and Hans Arp, who have helped to stimulate her imagination time and again. “I recently visited Xenia Hausner’s exhibition in Vienna’s Albertina,” she tells us “and was quite impressed. It would be an honour for her to wear my jewelry.”

 

Plankensteiner’s work is available for purchase on her website and through her Vienna-based atelier.

If an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi.
— Andrew Juniper

Letizia Plankensteiner
Portraits by Erie Ehrenberg

Kimberly Lloyd: Sustainability and social responsibility are becoming common parlance in many industries, what drew you to fair trade and recycled fine metals?

 

Letizia Plankensteiner: The company I have always bought my precious metals from is a gold and silver recycling company which only sources from fair trade gold and silver mines. I also collect singular gold and silver pieces and recycle them myself to create new pieces. This is how I was trained during my goldsmith studies and, for me, it has always been important to reduce the production of ephemeral things.

 

Oftentimes, they cannot be recycled properly and create more pollution in our environment, which is exactly why I love working with gold and silver. Putting recycled and fair mined materials to use has always been a no brainer for me.

 

There are endless options to create different objects. These materials are kept as my constant, and I always focus on varying my crafting approaches and techniques. When testing out new ideas with results I’m not so keen on, I can easily recycle the materials by melting them and starting anew.

 

Reduce, reuse, recycle – we definitely hear you on that one. How do you go about sourcing your raw materials?

 

My first address is Ögussa, Austria’s leading company in precious material processing. They only buy their materials from fair trade mines and are big on recycling.

 

For gemstones I have to go to a supplier, but I rarely use them in my artistic creations. In my opinion, they subtract attention from the material itself. Also everything too refined or too perfect messes with my taste buds. What I like to add are pearls and corals in their naturally shaped form.

 

When I am on the go or travelling, I like to collect stones, dried plants or wood with special surfaces. I use them often in the process of creating wax models, into which I pour precious metals to create a unique piece of jewelry that conserves these incredible forms.

Your best work is your expression of yourself. Now, you may not be the greatest at it, but when you do it, you’re the only expert.
— Frank Gehry

We hear the sentiments of wabi sabi and imperfection echoed through your work. How does your background in sculpture inform your creative process in jewelry design?

 

If it wasn’t for my background in sculpting, I would never have become a goldsmith. I started sculpture schooling when I was 14, so it really influenced me in my formative years and as an artist. I was always surrounded by creative people throughout those years. That’s exactly why I have never been interested in being a classical goldsmith who sets colorful gemstones in painstakingly perfect settings or does commissioned work without my special style.

 

When an artist works, it’s important how a pen is held and how one’s hands are used – whether changing pressure, being soft or wild; fast or slow. That’s what influences the finished product the most. I also have completely different access to the materials as I first began working with various metals during my sculpture education.

 

I usually set off with paper sketches without a precise plan, just collecting ideas and concepts. When I feel into the materials and what they allow me to do, I realize opportunities I haven’t ever thought of before. That is an uplifting feeling.

 

Sculpture schooling since your early teens – that is impressive, to say the least. What was your biggest takeaway from your studies?

 

To trust in myself while thinking out of the box. And that you can create a big difference while changing a single detail. But the most important thing for me always was and continues to be to just do it.

 

Simple and straight to the point, we like that. Any advice for up and coming jewelry designers?

 

Looking to artists from other disciplines, such as Frank Gehry and Hans Arp for me, has always helped to stimulate my imagination. Of course it takes time to evolve your skills, but when you love what you do and keep yourself inspired and really care about the quality and the people who purchase your pieces, then you will find your way.

Often the hands grasp more quickly than the head.
— Hans Arp

Build it and they will come.
What is most fulfilling in your day to day work?

 

It’s the mix of being my own boss, doing what I love and the interaction with my amazing clients. Both myself and my self-employed husband are raising two school kids and I appreciate the flexibility our work lends us. And the cherry on top is when clients are happy with their handmade jewelry – some of them are even friends until today.

 

A couple from Switzerland once travelled specially to Vienna to visit me in my atelier and order custom wedding bands. We had such a good time together that the appointment ended at a bar, chatting, laughing and drinking a bottle of wine until the bar closed. They also invited me to their wedding.

 

This takes work and pleasure to new frontiers and really “knowing thy customer.” Tell us about your workspace and atelier.

 

My beloved atelier is located in the 6th district of Vienna. It is located directly on the busy shopping street at Mariahilfer Straße, but in the inner courtyard which is very calm and personable. My beloved atelier is tiny, but it has a large window and is the perfect place for me.

 

I work in a shared space with my husband and a good friend. My husband runs a sound engineering and recording studio and we first got to know each other while making music. It’s what originally connected us and remains an important part of our life.

 

I’m enjoying this musical environment with his clients and the sounds I can listen to while working. Although I have just a small space, I have everything I need: a rolling machine and fireplace to recycle my materials, good music and great musical company.

A lot of lines have been blurred on the workspace front since the pandemic came into being. Are there any trends you’ve taken note of, or a shift you’d like to see overall in the jewelry industry?

 

I’m not so much into the jewelry game because I completely work on my own, but I think this industry is changing like all other industries have been for some time. The shift is happening very slowly, but there’s definitely a trend towards more fair and ethical practices. People are much more aware of what they are buying and where it’s from.

 

Still, there will always be people who are more interested in bulk goods or simply can’t afford handmade jewelry. I am glad that sustainability is taking root in more and more areas of production. Facing the reality of climate change, I hope sustainability won’t be a trend, but an industry standard.

 

We all have our bucket lists, what is a dream commission or project for you?

 

When I first moved to Vienna, it was my dream to exhibit in a gallery. Hard work paid off and for the past 14 years I have been working with Galerie Slavik, a gallery for international contemporary jewelry in the heart of Vienna. It makes me incredibly happy and proud to develop some extraordinary ideas and create new art jewelry for upcoming exhibitions.

 

What I dream of now is to design jewelry for famous and contemporary artists. I recently visited Xenia Hausner’s exhibition in Vienna’s Albertina and was quite impressed. It would be an honour for her to wear my jewelry.

PERFECT IMPERFECTION

1 of 5
2 of 5
3 of 5
4 of 5
5 of 5

How do you strike a balance between work and life outside of the atelier, what are your go-to spots in and around Tyrol and Vienna?

 

In Tyrol, I enjoy having breakfast at the classy Cafe Central in the center of Innsbruck. My mother grew up in a valley known as Ötztal, so I love hiking the highest mountains there because it feels like home to me and there’s always an amazing view.

 

If you are into winter sports, I recommend riding the Nordkette with a snowboard, which also offers up some of the best views over the town and the whole Innsbruck valley.

 

In Vienna, I like to have a coffee at the old fashioned Cafe Jelinek or modern cafes like Brass Monkey. In the 7th district, there are a lot of beautiful design shops like Volta directly beside my favorite goldsmith tool shop, Felber’s Nachfolger.

 

To re-energize, I love the Viennese forest or having a picnic with friends at Prater Park. When our kids were smaller, we spent lots of time at the Steinhofgründe with its beautiful Otto Wagner Church and lots of grass to lie down and trees to climb.

 

And, of course, not to forget the cultural variety of Vienna: Mumok, MAK (Museum der Angewandten Künste) and the antique jewelry exhibition at the Kunsthistorisches Museum.

-
X
ALL CURIOSITIES EXHIBITIONS LUMINARIES RESOURCES SCHMUCKMUSEUM COLLECTIONS PAST EXHIBITIONS SHOP ABOUT
SHORT VIEW   FULL VIEW

M

Visit Museum

Tuesday to Sunday
10 am to 5 am
Jahnstraße 42, 75173 Pforzheim

info@schmuckmuseum.com
+49 (0) 7231 39 2126
Social Media

Instagram
Pinterest


Imprint
Press
-
CURIOSITIES EXHIBITIONS LUMINARIES RESOURCES SCHMUCKMUSEUM COLLECTIONS PAST EXHIBITIONS SHOP ABOUT
X