Heavy-duty rubber
gloves become an
industrial-strength
boa and convenient
hand-rest in the
Handschuhkette
Gummi neckpiece.
CAMILLA PRASCH’s NECKLACE
Kragenstiick stands up from the
neck, like a veil in reverse,
w oven from a nylon net so light
that it can cariy its ow n w eight.
T he Danish designer makes
jew elry, like K ragenstiick or
her cum bersome string o f large
w ooden ink stamps, from found
objects that “ invade the body,”
forcing the w earer to move
differently or be more aware
o f her physical self. T h e stamp
necklace w eighs more than
3 pounds, but is visually even
heavier. “It is not,” Prasch
notes, “very practical.”
She turns objects that are
small in their original form -
garment fasteners, price tags,
fishing line—into large objects,
at least compared to the human
body. But it’s not an exercise in
scale: “ It’s more the desire to
w ork at the edge o f things, to
stretch, press and challenge.
... I play w ith the idea o f w ear-
ability and unwearability,” she
explains. “W h ere is the lim it?”
Prasch repurposes ordinary
materials that she finds in hard-
w are stores, sew ing shops,
flea markets and secondhand
stores, describing the results as
readymades. W ear her collar
o f gloves as neckw ear and slip
your hands into a low-hanging
pair, as pockets. Some materials
have been used and retain the
patina o f their first life, but
the snaps and tags, for instance,
are new. “I chose those because
they are materials w e use all
the tim e, that w e are surround-
ed b y, but that w e don’t see
anym ore.”
dec/jann american craft 037
worldmags
