by Katrine Borup

A jewellery piece made from 11110 pieces of pencil lead.

A bracelet or a long “ribbon” of pencil lead stitched/woven together. The work was inspired by reflections on the way the computer has been taking over our written communication. Hand-writing is an important part of a person’s history and identity – from the tags on childhood birthday presents, mom’s shopping lists or dad’s corrections in one’s homework to postcards and hand-written (love)letters, which have now become a rarity. We are increasingly missing out on encountering other people’s hand-writing. We might perceive computer writing as impersonal and lacking in poetry, but perhaps it is simply a different form of poetry than the expression we associate with hand-writing? The idea behind “iLoveLetters” is to link or weave different forms of languages/codes together and debate the way we perceive and relate to them.

Katrine Borup B. 1965, jewellery designer
Katrine Borup takes an analytical approach to her work and combines form, materials, techniques and the positioning of the jewellery on the body to form a coherent expression. She views jewellery as site-specific art, specifically as art on the human body, where the relationship with the body is crucial. Borup always explores a theme and creates jewellery that is conceptual/idea-driven and narrative rather than purely decorative. Katrine Borup describes her works as meta-jewellery: jewellery that debates its own role as jewellery and plays with conventions and genres. For example, her jewellery is often intended to be worn in unconventional ways, and she often uses novel materials – including her own hair and finger nail clippings.
She often draws inspiration from close personal relationships and experiences but strives to rise above the personal level to explore universal themes that address current phenomena in life or the spirit of the times.
Katrine Borup devotes considerable time to research, and her work unfolds in a mutual exchange between reading, writing, drawing and material experiments. Sometimes, an idea will spring from the process of working with the material in a scale of 1:1, and sometimes the process will spring directly from her imagination.

2003-09: Single subject studies in art history, University of Copenhagen
2001: Graduation from the Institute for Precious Metals, Copenhagen
1995: Graduation from the Aarhus School of Architecture

Selected exhibitions
2013: MINDCRAFT13, Danish Crafts, Milan
2013: “BODYPARTy”, Goldfingers, Copenhagen
2011: “TOUT CE QUI BRILLE”, World Crafts Council, Mons, Belgium
2010: MINDCRAFT10, Danish Crafts, Milan

Selected grants and honours
2012: Working grant, Danmarks Nationalbank’s Anniversary Foundation of 1968
2010: Working bursary from the Danish Arts Foundation
2010: Award from the Danish Arts Foundation for the exhibition THAT IS SO TYPICAL OF YOU
2009: The Biennale Prize, The Biennale for Craft and Design

2011, 2007: Kunstforeningen af 14. August
2009: Museet på Koldinghus
2004: Danish Arts Foundation
2002: Designmuseum Danmark



More from this exhibition

The Dance of the Deaf and Dumb Eye <br>by Nikoline Liv Andersen
Completely Dusty <br>by benandsebastian
The Birth of Marilyn <br>by Iskos-Berlin
iLoveLetters <br>by Katrine Borup
Elements <br>by Line Depping
Horror Vacui <br>by Morten Løbner Espersen
Untitled#3 <br>by Marie Torbensdatter Hermann
Tools <br>by Jakob Jørgensen
Suspension I <br>by Pipaluk Lake
Untitled study between three points in six directions<br>by Kristine Tillge Lund
Street Print <br>by Anne Fabricius Møller
Flower Arrangement<br>by Marianne Nielsen