Editor’s Note: This article includes interviews conducted with three contemporary jewelry gallery owners from around the world. Their conversations reveal unique insights into the market, its challenges, ongoing changes, and the relevance of jewelry and wearable objects in today’s complex reality. We wish you an enriching and enjoyable read. Our thanks to Noel, Anna, Yotam and Daniel for generously sharing their experiences and perspectives.
Interview with Noel Guyomarc’h,
Owner of Noel Guyomarc’h Gallery, Montreal
1. Introduction to the Gallery
What inspired you to create a space for contemporary jewelry, and how do you define its mission?
Before opening my gallery in 1996, I worked as an assistant for five years in a jewelry store, which, over the years, began to dedicate a space to contemporary Canadian jewelry. Encountering these designers was a defining moment in my career. Since then, I have devoted myself to understanding contemporary jewelry and its history, through the few publications available at the time—magazines, books, and exhibition catalogs. When this space got closed for various reasons, I decided to embark on the adventure and to create a gallery dedicated solely to contemporary jewelry.
Initially, my intention was to encourage Canadian artists, but I quickly began organizing exhibitions with international jewelry artists.
2. Artistic Selection and Curation
How do you approach the process of selecting and presenting jewelry to create a meaningful connection between the pieces, the artists, and your audience?
To be honest, I don’t make choices based on my audience. My job as a gallery owner is to promote and champion the expressive possibilities of jewelry. My artistic choices may seem eclectic, but ultimately, once presented in the space, connections are created—whether through ideas, materials, or visual arts. I appreciate the work with the material(traditional or not) as much as the reflections and references contained in the jewelry.
As a gallery owner, I build long-term relationships with artists, I have represented some of them for almost 30 years. Over the years, there have been changes—some artists have stopped practicing for various reasons. Among the represented artists, there are different generations, different points of view, and that’s what I like.
3. Shaping the Future
How do you see the evolving role of contemporary jewelry within the broader art and fashion industries? What global trends or developments have you observed recently in the contemporary jewelry market?
The relationship between designed jewelry, industry, and fashion has existed for a very long time. The industry has long been inspired by contemporary artists’ research into the production of affordable jewelry. As for fashion, initially focused on affordable jewelry imitating fine jewelry, it is now closely observing the current boom in contemporary jewelry. Several designers are exploring both worlds. But fashion jewelry doesn’t seem to share the same intentions, being more accessory than artistic. Furthermore, the fashion world operates by season, by collection and multiples.
It’s difficult to talk about trends, even though the influence of social media and international events (numerous jewelry weeks) allows us to know what’s happening in the world. Even in the field of education, schools and universities welcome international professors.
Even if we can guess the origin of certain pieces of jewelry (for example, from South Korea, South America, or New Zealand), it’s more the work of an artist that we recognize. It’s through their research, their aesthetic, and their intention that we identify the artist.
4. Management, Development, and Balance
What have been the most significant challenges you’ve faced in running a contemporary jewelry gallery, and how have those experiences shaped your approach to the business?
Opening a gallery dedicated to contemporary jewelry is a challenge. We know that the market is very small. My daily job is to inform, educate, and of course, do my best to sell in order to maintain my business while supporting and motivating my artists. Building up a clientele is a long and continuous process. Nothing can be taken for granted. It’s a job you do because you’re passionate about it. There’s a generation of collectors who are now older, who buy less, and consider making donations to museums—which in itself is an interesting idea, if the works are shown to the public. I should mention that I have an enthusiastic clientele who regularly make acquisitions.
Isolation is also a challenge. I must therefore participate in international fairs to present my artists.
Despite these challenges, I continue to make often bold and risky artistic choices in my programming. I must keep myself motivated.
How do you approach pricing and inventory management for the pieces you feature?
We must make it easy for ourselves. Since we’re mainly dealing with one-of-a-kind pieces, inventories are simple. Payments to artists are important; receiving money from one or more sales is motivating and above all necessary for the artists. I rarely discuss prices; I trust them to assess the value of their work. However, the Canadian dollar has been low for several years. With the conversion, for example, of American or European currencies, the prices of works appear expensive on the Canadian market. Even if prices are ultimately the same in different exhibition venues, the perception of a higher price affects sales.
5. Legacy and Advice
What do you hope your gallery will contribute to the world of contemporary jewelry, and what qualities do you believe are essential for success in our field today? (What advice would you give to emerging jewelry artists seeking to thrive in this dynamic field?)
My work is appreciated by artists and members of the community alike. Even though there aren’t many galleries, we all have an important role to play. Our visions are sometimes similar, sometimes very different. I believe that my respect for artists, my views on the world of contemporary jewelry, and the work I do to promote and encourage it are appreciated. You must be persistent and know the field well.
Even if the milieu is dynamic, it’s hard to find venues for young artists. Introducing yourself to the world, submitting your portfolio, looking at open calls for group exhibitions, visiting galleries, international events like Munich Jewelry Week—all these aspects, help you know where you are.
And be persistent!
Biography
Winner of the 2023 Prix Charles-Biddle for his outstanding contribution to Québec culture, Noel Guyomarc’h has been a leading figure in art jewelry for nearly 35 years. After studying jewelry design at the Saidye Bronfman Center and working in a boutique, he opened his gallery in Montreal in 1996. As a curator, consultant, and promoter, he has organized over 175 exhibitions worldwide. Guyomarc’h frequently lectures, serves on juries, and evaluates collections for major institutions. A former board president of the École de joaillerie de Montréal, he also teaches workshops and is active in various professional associations. His work is widely published.
Interview with Anna Schetelich,
Owner of OONA Gallery, Berlin
1. Introduction to the Gallery
What inspired you to create a space for contemporary jewelry, and how do you define its mission?
It was love at first sight, when I first encountered contemporary jewelry.
From the first moment on I was inspired by the idea of jewelry that has a dimension beyond decoration or status.
To this day, I find it fascinating to deal with those small scales objects, expressing a wide spectrum of ideas. It is like a high concentration of thoughts.
The 90s and the turn of millennium were a very inspiring, vivid time in Berlin. Many creative places grew in the city. At that time I finished my studies of Cultural Science … the way was open to take the risk of starting my own project.
With OONA Galerie I wanted to create a platform for contemporary art jewelry in Berlin, particularly for artists of more or less my generation.
I was particularly attracted by the two sights of this subject – on one hand, jewelry as a wearable piece, related to the human body, and on the other hand as an autonomous object.
I consider it my mission to communicate this double quality of artistic jewelry.
2. Artistic Selection and Curation
How do you approach the process of selecting and presenting jewelry to create a meaningful connection between the pieces, the artists, and your audience?
Curation is an essential part of my work for the gallery.
I constantly observe artists, love to discover new work, sometimes it can be a bit like hunting for treasure. Fairs, exhibitions or competitions are a good opportunity to see pieces in person.
In general I’m looking for jewelry that provides a certain level of abstraction. I always keep in mind that the pieces are made to be worn on a person’s body. For this occasion I imagine, it’s important not to overload pieces with information such as concept, material, technique or even very personal thoughts – the wearing person might feel like an advertising column. I prefer the option to create a connection between the piece and the wearing person. It can be more interesting to know the story behind than to reveal it immediately.
In my way of curation I tend toward a reduced or even minimalistic language.
The longer you do something, the clearer it becomes what you’re striving for. At the end it is necessary to select a good variety of inspiring positions and at the same time all of them need to coexist in a harmonious and stimulating way.
It is maybe similar to an orchestra – all the voices together need to create a great, inspiring sound.
Of course, whether in exhibitions or in the presentation of works from the inventory it is part of OONA’s character. The artist’s work is a result of a challenging process, sometimes struggling with material and technique, finding an aesthetic quality, transforming messages, ideas… at the end the essence emerges. I want to treat these pieces with respect, giving them a stage to provide their quality and beauty to an audience. A variable system of white cubes/ tables offers space and a kind of quietness … the pieces can “breathe“. At the same time I like, if there is an interesting interaction between the different works – to work with it, this can be so inspiring.
As a student I worked on a photo project at the Museum der Dinge in Berlin.
We created settings of the museum’s amazing inventory – objects of daily life – designed and non designed. This work has influenced me in a long-lasting way. I greatly enjoy discovering relations in form and content of the small objects. Often visitors are attracted by these arrangements of different pieces and this can be a gateway to a deeper conversation.
Finally, there is also the opportunity to physically interact with the jewelry, which is a basic experience to form a connection relationship with it. To bring people joy and the feeling of having discovered something, is the most exciting moment for me.
Sometimes I like to challenge my audience a bit with uncommon pieces, it’s nice to take a new experience home.
3. Shaping the Future
How do you see the role of contemporary jewelry evolving within the broader art and fashion industries? What global trends or shifts have you observed in the contemporary jewelry market recently?
When I started to run OONA Gallery, I was convinced that there was a strong relationship between contemporary jewelry and fine art as well as fashion. Meanwhile my experience is different from that initial idea, fashion is too fast and caught in the strict rhythm of seasons.
This is completely contrary to the work of a jewelry artist, who creates a timeless, long-lasting object. Also, the pricing of fashion industries doesn’t fit with our idea of contemporary jewelry; in fashion – jewelry is always considered as an accessory, being clearly priced lower than garments, which are seen as the “main character“.
I see contemporary jewelry as more closely aligned with fine art. For me it represents a particularly contemporary form of art – the small jewelry objects are never fixed on a wall or base. Each environment creates a new interaction – we live in a time of flexibility.
You don’t need to own a big representative house to display art. Maybe this is the chance for contemporary jewelry in the current crisis of the art market.
4. Management, Development and Balance
What have been the most significant challenges you’ve faced in running a contemporary jewelry gallery, and how have those experiences shaped your approach to the business?
The most significant challenge is to sustain the business. To like and admire what happens in the gallery is one thing – to spend money to purchase a piece is something else.
I think excellent service is absolutely necessary.
I always aim to offer the audience a relaxed and inspiring visit in the gallery space without feeling any duty. To be in dialogue with customers and visitors is the best condition for a good business.
What a nice moment – when someone decides on a piece.
The other side of gallery business is the relationship with the artists. As I have the most pieces in consignment, I feel a big responsibility to take good care of the pieces – present and provide them in the best possible way. Just like me, the artists need to live from their work, this can only be achieved with mutual respect and responsibility.
How do you approach pricing and inventory management for the pieces you feature?
Pricing is a tricky thing.
Creating a piece involves significant effort – investment of time, material and tools from the artist’s side. Some of them give me detailed calculations, and this is very helpful. Also, there is the commission of the gallery that needs to cover all aspects of running a space like this.
Sometimes a high price is justified but if no one will buy the piece, it may not make sense, over the years you gain experience in pricing a piece.
5. Legacy and Advice
What do you hope your gallery will contribute to the world of contemporary jewelry, and what qualities do you believe are essential for success in our field today? (What advice would you give to emerging jewelry artists seeking to thrive in this dynamic field?)
A gallery is always an interface between artist and the audience.
Compared to museums and public institutions we can work and react more flexibly and even spontaneously, which makes the gallery a lively place.
We can include brand new pieces directly from the studio, without long term planning.
Also the permanent direct interaction with the public helps create the conditions for a market. The artists are interested in receiving feedback from the audience and customers.
Love at first sight can turn into never-ending love.
Biography:
Anna Schetelich (b. 1971, Germany) is a Berlin-based curator and gallerist specializing in contemporary jewelry. With a background in Art History and Cultural Science from Humboldt University, she founded OONA Gallery in 2000, establishing a platform for international art jewelry. Schetelich has curated projects such as the 2010 jewelry exhibition at Bon Marché in Paris and has lectured widely at symposia across Europe. She has also served on juries for major awards including the Dannerpreis (Munich), Pierre Lang Award (Vienna), and Bezalel Academy (Jerusalem).
Interview with Yotam Bahat and Daniel Jirkovsky,
Owners of studio and gallery The WearHouse, Amsterdam
1. Introduction to the Gallery
What inspired you to create a space for contemporary jewelry, and how do you define its mission?
We like to say that The WearHouse isa home for jewelry – a place for making, exhibiting, and reflecting on wearable art. We opened The WearHouse in November 2024, following several jewelry events we organized together, which inspired us to create a physical space for our shared experiments.
Our mission is to promote new ideas and concepts through the medium of jewelry. We focus on experimental projects, curated events, and open-call exhibitions that challenge conventional boundaries in the field. We’re not a traditional jewelry gallery – Instead, The WearHouse is a site-specific space: each event transforms the character of the space, redefining its structure and guidelines.
In addition to its role as an exhibition space, The WearHouse also serves as the studio of jewelry makers Yotam Bahat and Daniel Jirkovsky.
2. Artistic Selection and Curation
How do you approach the process of selecting and presenting jewelry to create a meaningful connection between the pieces, the artists, and your audience?
As an event-based space, our selection process changes depending on the aim of each event. We strive to choose works as anonymously as possible to keep the selection process focused and true to the event’s concept. We believe that a thoughtful balance between the display and the selected pieces can create a stronger voice and offer diverse perspectives on the chosen theme. By focusing our selections on the work itself – rather than the artist’s CV or reputation – we aim to foster fresh and unexpected reflections within the field of art jewelry.
3. Shaping the Future
How do you see the role of contemporary jewelry evolving within the broader art and fashion industries? What global trends or shifts have you observed in the contemporary jewelry market recently?
The historical connection between author jewelry and self-expression remains a strong and relevant action today. We’re seeing more and more examples in mass media and pop culture of avant-garde jewelry that carries meaning or messages – and we’re thrilled about it. Increasingly, major fashion houses and brands are choosing the power of jewelry to communicate identity and make bold statements.
Despite this, the contemporary jewelry market still relies on a relatively limited clientele, as both the art and fashion industries offer only limited access to author jewelry within their mainstream platforms. We believe that jewelry initiatives should work to establish their own presence beyond the traditional jewelry events – by connecting with both local and global communities, and engaging with other industries. This could mean participating in art weeks, fashion weeks, pride parades, and other cultural events that invite broader audiences beyond the professional or academic circles.
4. Management, Development and Balance
What have been the most significant challenges you’ve faced in running a contemporary jewelry gallery, and how have those experiences shaped your approach to the business?
One of the biggest challenges is to consistently create valid and up-to-date content. When we launched the initiative, we deliberately decided not to rely on a fixed roster of represented artists. Instead, by combining open-call models for our events, we’ve developed a dynamic system that constantly evolves and continuously fuels our need for fresh ideas and content.
As an event-based initiative, we don’t maintain an inventory that sits unused in our space. We continuously rotate the exhibited pieces, and once an exhibition ends, we return the works to their creators. We do not alter the prices set by the artists but recommend keeping prices accessible. We believe this approach encourages new customers and audiences to engage with contemporary jewelry.
5. Legacy and Advice
What do you hope your gallery will contribute to the world of contemporary jewelry, and what qualities do you believe are essential for success in our field today? (What advice would you give to emerging jewelry artists seeking to thrive in this dynamic field?)
We opened The WearHouse with the goal of making contemporary jewelry as accessible and visible as possible. We believe that through our approach to content and pricing, we are creating a shift that makes jewelry more inviting to new audiences and young makers – ultimately inspiring and fueling the next generation to be more active and experimental. Jewelry is a powerful tool for expression from many angles, and we want to see it more on the streets and worn proudly by people everywhere. Let’s make jewelry cool again!
Biography:
Daniel jirkovsky is a Czech jewelry artist based in Amsterdam. After completing his studies at renowned institutions such as Alchimia (Italy), the West Bohemian University (Czech Republic), and the MASieraad program (Belgium), he embarked on his journey as an independent jewelry maker. Passionate about promoting contemporary art jewelry, he founded the WearHouse – a dedicated space for showcasing and supporting innovative jewelry design.
Yotam Bahat is an Israeli jewellery designer now based in Amsterdam. Graduate from Shenkar design college (IL) with B.design degree and MAsieraad program at PXL university (BE), and is now active In the field of contemporary jewellery in Europe. His work focused on social commentary and documentary design approaches. Now also one of the founders of Studio WearHouse – a space for jewellery thoughts in the heart of Amsterdam.
