Hasta La Ideas

In doing research for posts on inherited clutter, I discovered an artist who takes old costume jewelry that people never wear, modernizes and reworks it, and creates stylish, fashionable, new pieces of jewelry. Since outdated, costume jewelry is the majority of what I inherited when my maternal grandmother passed away, I find this process brilliant.

I wanted to learn more, so I contacted Sara Bradstreet, the artist I discovered who most deeply captivated my attention, for an interview. Thank you, Sara, for talking with me. (The necklace pictured on the right is a broach she transformed.)

Unclutterer: What inspired you to become an artist who brings new life to old jewelry?

Sara: I wanted to create art with little waste and satisfy my desire to sniff out the diamond in the rough. With jewelry, there is little waste. I use most elements of the piece. Sometimes, I will buy a not-so-attractive necklace just for the clasp, or a bag of buttons for the few rhinestone buttons at the bottom — even things as random as old silverware find their way into my collection. I find much beauty and integrity in old things and hate to see beautiful gems in a dumpster.

Unclutterer: What types of pieces are best for this type of transformation?

Sara: There is a lot of room for variety here. Sometimes the most random pieces, when re-oriented with others, make the most interesting. I look for pieces that, with a little manipulation and solder, can turn from a broach into a pendant or cuff link into a clasp. I like to use only quality silver and gold–I’m not into green necks–and use my sense of touch to bend and scratch and, oddly enough, I will even smell it to see if it is metal or simply painted plastic. I am not afraid to alter a collector’s item and am often feared by collectors.

Unclutterer: What should people consider before having their older jewelry reinvented?

Sara: Well, the jewelry won’t be the same anymore. The good news is that it will be out of your jewelry box, or that random box under your bed, and hopefully, around your neck. I hesitate to use pieces that have extreme sentimental value and like clients to be somewhat detached from the broach being simply a broach, but an element of something larger that will be worn again. When creating custom pieces for clients, I like to have a variety of pieces, multiple chains, found objects, etc. I may not use all of the different elements, but the more I have to chose from, the merrier.

Unclutterer: Some of our readers might be distraught with the idea of repurposing their grandmother’s broach. What would you say to people with such hesitations?

Sara: I believe that what I do helps people to remember and, in ways, celebrate those who have passed away.

I agree with Sara that wearing and getting use from your jewelry is much more worthwhile than hoarding it in a box where it doesn’t see daylight. Also, if you decide that you aren’t interested in reinventing your old jewelry, but are still looking for ways for it to cease being clutter in your home, consider donating your pieces to artists like Sara.

This post has been updated since its original publication in 2007.

Post written by Erin Doland

Voyageur dans l’âme, l’artiste basé à Sofia en Bulgarie immortalise ses aventures pour le plus grand plaisir de nos yeux. Repéré notamment pour ses prises de vues aériennes à couper le souffle, son style se situe aussi parfois à la limite du photojournalisme puisque il varie sans compromis les perspectives pour nous transporter dans les couleurs et les textures du monde entier. Architecte de profession, il capte les paysages, les reliefs, les bâtisses et les humains avec une précision et des émotions dignes des grands photographes. Rencontre.

Quel chemin vous a mené à la photographie?

En fait, je ne me considère pas du tout comme un photographe professionnel. Je n’ai jamais étudié la photographie, c’est mon loisir et une manière de m’évader de mon travail. Je ne prends d’ailleurs des photos que lorsque je suis d’humeur et je n’ai pas de sujet ou de thème de prédilection si ce n’est les gens, les paysages, les rues, les vues aériennes, l’architecture, ou encore l’abstrait. Cependant, j’aime beaucoup expérimenter la photographie ainsi que plusieurs caméras: mobile, DSLR, sans miroir, 360, drone, etc.

Vous prenez de nombreuses et spectaculaires photos de différents paysages vus d’en haut. Pourquoi avoir choisi de photographier ainsi?

J’aime les photos aériennes. Du haut vers le bas. Ces projections droites sont très architecturales, presque comme une vue en plan, comme un dessin. Vue d’en haut, il n’y a pas de perspective, pas d’horizontale. C’est une manière de capturer des lieux et des bâtiments familiers et parfois emblématiques d’un angle très inhabituel. Cela est complètement différent du point de vue humain!

Pouvez-vous nous expliquer un peu comment vous y parvenez?

Je prends des photos à partir du ciel avec un drone. En stoppant temporairement celui-ci au-dessus de l’objet ou du lieu, on peut ajuster sa direction et son altitude pour cadrer la composition parfaite.

Avec le temps, j’ai développé mon œil pour les bons spots aériens. Certains lieux et scénarios qui semblent assez ordinaires depuis le sol, sont parfois plus excitants vus d’en haut… Et vice versa! Mais je dirais que j’improvise la plupart du temps, je ne fais pas beaucoup de planification. Je viens tout juste de voyager à nouveau et je cherchais justement des endroits intéressants sur la route.

Vous êtes un grand globe-trotter! Qu’est-ce qui vous inspire quand vous voyagez?

J’aime la photographie de voyage, c’est pour ça que lorsque je pars, j’emporte toujours un petit drone pliable avec moi maintenant. C’est une technologie qui n’est disponible que depuis quelques années et il est incroyable de constater la belle qualité de cette caméra alors qu’il s’agit d’un gadget que vous pouvez littéralement transporter dans votre poche. La distance de vol est énorme, jusqu’à 7 km. Ainsi, je peux explorer et photographier beaucoup plus de choses autour que ce que j’aurais pu shooter avec un appareil photo traditionnel.

Quel est votre prochain voyage?

L’Antarctique!

Suivez ses projets sur Instagram.

Have you ever not been able to find some piece of material or tool in your shop, then given up and re-purchased it? You could fix this problem by following YouTuber and Lego enthusiast BANANENBUURMAN‘s example. He’s combined a Lego train with tracks from TrixBrix and a 360 camera, meaning he can easily survey the upstairs of his grandfather’s shop without having to crawl around up there:

Limited to an edition of 100, this “Abolish ICE” print by Ben Sanders doesn’t just look good, but all profits are being donated to RAICES—an organization that free and low-cost legal assistance to those facing detention at the US border. Measuring……

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The forms and colours of a David Hockney painting are referenced in this Berlin poke restaurant, designed by Ester Bruzkus Architekten to feel “as relaxed as a day at a California pool”.

LA Poke, which serves Hawaiian-style Poke Bowls, is based on Hockney’s 1967 painting A Bigger Splash, which depicts a splash in the swimming pool beside the British artist’s modernist Malibu beach house.

“It embodies the chill mood of the West Coast for me,” explained Bruzkus, who is also based in Berlin.

Fresh pastel shades of pink and blue are infused with vibrant splashes of bright yellow, blue and red. To represent Hockney’s pool, these are accompanied by tubular furniture, reflective stainless-steel surfaces and patio-style flooring.

A “horizon line” at eye level bisects the walls of spaces at the front of the restaurant.

Below the “horizon line, the wall is painted in the Le Corbusier colour Outremer Gris, meaning ultramarine grey. This light bluish-grey colour is intended to create a soft room atmosphere.

Above the horizon line, and extending onto the ceiling, the architects chose the colour Terre Sienne Pâle, or pale earth, described by Le Corbusier as “sandy, subtle and restrained.” The aim was to give the impression of the summer sun shining on a clay wall.

The two sections of colour are connected by round outdoor glass lights.

Ester Bruzkus Architekten also designed the lightweight furniture that fills the space, to further emphasise a relaxed, pool-side atmosphere.

These include banquette seating upholstered in Yves Klein’s famous blue, with soft and round forms that the studio says are reminiscent of an air mattress.

Thin, wire filigree chairs are paired with solid round tables, while bulky Corian counters are topped with thin worktops made of stainless steel.

In the central room, a large black-and-white terrazzo tabletop contrasts with the thin, bright red frame that supports it.

“I enjoy working with unexpected moments of surprise,” said Bruzkus. “This brings excitement to the interior.”

The walkway to the washrooms, including the walls, ceiling and floors, is painted in the same deep blue as the upholstery.

Archways define this route, but there are also numerous other archways dotted through the space, set at different heights, widths and depths. Although some of these arches existed before the renovation, the design team added in more to make the space more playful.

The alignment of some arches creates the illusion that they are large mirrors rather than curved openings.

Additional decorative elements are kept to minimum,  but include a neon sign covering one wall, and large cacti and plants in terracotta pots.

Ester Bruzkus founded her studio in 2002. Other projects the team has completed in Berlin include the Generator Berlin Mitte hostel, completed in 2013.

Photography is by Jens Bösenberg.

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