COLORED MARBLE AND ONYX MASKS AS MISCHIEVOUS DISPLAYS OF WHIMSICAL JEWELRY.
Serious pieces with a sense of humor and feminine touch: jewelry by Suzanne Syz is anything but conservative.
Ultimate luxury fused with a mixture of both traditional and unconventional materials which allows greater freedom of size, form and palette, coupled with the outstanding technical knowledge, material mastery and artistry of Suzanne’s Geneva-based team, and topped with imaginative flair taken to extremes.
Colorful and ironic, temperamental and lighthearted, complex and chic, Suzanne’s designs are a product of exceptional creativity, intelligence and refined taste, as well as remarkable attention to detail. Her creations effuse color and sensuality, freedom and joy. They defy the ordinary.
Suzanne, who is an art collector herself, breathes love into each and every one of her unique pieces. It’s not that she doesn’t take things seriously. She does—but always with a smile. A beautiful smile.
Suzanne has created more than a thousand inimitable pieces. The symbolic culmination of her jewelry journey—before she decided to switch her focus to organic winemaking—is this final artistic collaboration with Matthew Lutz-Kinoy which sums up 20 years’ work and her love for jewelry.
Over the past few years, Suzanne has invited a selection of contemporary artists and friends to re-envision in the form of sculpture some of the conservative ways jewelry is displayed. Her former collaborations—“Dorayaki” by John Armeleder, “Frozen Yogurt” by Alex Israel, “Magnifying” by Sylvie Fleury, and “Dino Runes” by Kerstin Bratsch—have now been complemented by five colored marble and onyx masks, created by Matthew Lutz-Kinoy, which he calls “A Spear of Summer Grass”, after Walt Whitman’s poem “Song of Myself”.
The orifices, curves and nooks of the masks serve as vessels and carriers for Suzanne’s jewels, while her jewels in turn serve as means of self-actualization for the masks, complementing and interplaying with each other.
The theatrical marble displays are expressive and dynamic, changing with the source and angle of light, simultaneously changing the pieces of jewelry displayed on—and in—them as they go through the flow of transformation.
Each piece of jewelry changes its appearance and purpose depending on the way it is placed on the masks: in the mouth or the eye socket, under the eye, on the ear.
The narrative constructed by the interlacing and synchronization of the two art forms is physically and intellectually immersive. The freedom of interpretation and exploration yielded by this amusing, interdisciplinary collaboration, is infinite.