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Gijs Bakker

Ter Horst Set, 1972

Aluminium
location
Brussels
About the work
Caroline Van Hoek
Brussels
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This set was made for a couple instead of traditional wedding bands. The bride wore the necklace, …

Read more

This set was made for a couple instead of traditional wedding bands. The bride wore the necklace, the groom the bracelet. When Gijs had his exhibition at the Stedelijk Museum in Amsterdam in 2014 the woman reached out to him and asked if he was interested to take it back since they had by now divorced. Jewelry History …

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Medium
Jewelry
Gijs Bakker
Dutch, b. 1942
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Trained in industrial design, Gijs Bakker co-founded the now-famous Dutch design firms Droog in 1993 and Chi ha paura...? in 1996. Over the years, he has taught at various European art academies and worked on numerous commercial collaborations, creating everything from furniture to jewelry to public spaces. Known for privileging concept over craft and denying the market value of the materials he works in, Bakker has long disparaged the fetishization of the “authenticity” and prefers instead the potential for mass-production. “I have never been interested in hand-made things, and I am, in fact, suspicious of the charm,” Bakker says. “It is the idea that matters, and whether it’s produced by me or by a machine, nothing must detract from the idea.”

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Save
share
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Save
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share
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About the work
Caroline Van Hoek
Brussels
Follow

This set was made for a couple instead of traditional wedding bands. The bride wore the necklace, …

Read more

This set was made for a couple instead of traditional wedding bands. The bride wore the necklace, the groom the bracelet. When Gijs had his exhibition at the Stedelijk Museum in Amsterdam in 2014 the woman reached out to him and asked if he was interested to take it back since they had by now divorced. Jewelry History …

Read more
Medium
Jewelry
Gijs Bakker
Dutch, b. 1942
Follow

Trained in industrial design, Gijs Bakker co-founded the now-famous Dutch design firms Droog in 1993 and Chi ha paura...? in 1996. Over the years, he has taught at various European art academies and worked on numerous commercial collaborations, creating everything from furniture to jewelry to public spaces. Known for privileging concept over craft and denying the market value of the materials he works in, Bakker has long disparaged the fetishization of the “authenticity” and prefers instead the potential for mass-production. “I have never been interested in hand-made things, and I am, in fact, suspicious of the charm,” Bakker says. “It is the idea that matters, and whether it’s produced by me or by a machine, nothing must detract from the idea.”

Gijs Bakker

Ter Horst Set, 1972

Aluminium
location
Brussels
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