Gerda Flockinger

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“My first real journey to Italy in 1951 was a revelation and had a profound effect on me. The following year I saw the Biennale in Venice, and it was in Ravenna shortly afterwards that I knew I wanted to make jewellery in a truly modern way.”
Gerda Flöckinger, 2000

“Gerda Flöckinger’s work is a definitive statement of her individuality, but beyond that, it reflects a deep involvement, both emotional and intellectual, and a superb understanding of the true meaning and function of jewellery. In fact it was the advent of her jewellery that brought the debate on the question of whether jewellery could be ‘art’ once more into the foreground.”
Barbara Cartlidge, Electrum Gallery

“Flöckinger’s establishment of an experimental course in jewellery at Hornsey College of Art in 1962 marked a watershed in the regeneration of jewellery design ……. she proved to be an inspirational teacher ….. her importance extends far beyond her influence on others, however, for her output is of the highest calibre both technically and aesthetically ……. a unique contribution has been the development of new techniques using the controlled fusion of gold and silver … one of the finest jewellers of her time, Flöckinger has been both uniquely individual in her creative output and profoundly influential ….”
Dr. Elisabeth Goring, The Royal Scottish Museum

“The first piece of contemporary jewellery commissioned by the Museum, a choice that recognised Gerda Flöckinger’s pre-eminence in the emerging alternative jewellery scene in London.”
Clare Phillips, Victoria & Albert Museum

“By the mid-1960’s Gerda Flöckinger had developed a unique and original style of her own, one that broke away from traditional structure and concepts. Using jewellery as an art-form, she evolved new techniques which included controlled fusion with precious metals, to obtain fine textures, broken surfaces, and fluid lines …… Her overall concepts are a subtle blend of abstract form and Eastern splendour, with a distant echo of the flowing elements in Art Nouveau.”
1992 Goldsmiths’ Hall exhibition catalogue introduction by David Thomas, Liveryman, The Goldsmiths’ Company

“Her work is as relevant today as it was in the 1950s’ and has continued to excite interest from many people, as well as international collectors and students. She was made a CBE in 1991 for her contribution to the design of jewellery ……. Two major solo exhibitions of her work have been held at the Victoria & Albert Museum in 1971 and 1986. She was the first living woman designer to have an exhibition at the V & A and her work is represented in its Collection as well as a number of other museum collections……... her favourite stones include tourmalines, topaz, aquamarines, moonstones, opal and amber which she mainly cuts herself, and which are used in combination with subtly coloured pearls and diamonds.”
Clare Beck at Adrian Sassoon

“Gerda Flöckinger is one of the key pioneers of the revival of jewellery making in this country. without her imagination, innovation and inspiration as an example much of what has followed may never have happened. She blazed a trail for the distinguished women jewellers who followed. With her we light the blue touch paper of a renaissance.”

Sir Roy Strong, writer, historian, and ex-Director Victoria & Albert Museum

“Elle est l’une des premières artistes anglaise a faire admettre le bijou en tant forme d’art. Elle part de dessin précis et raffinés, utilise des cabochons de pierres durs, des camées, des perles quelle sertit avec un asymétrie subtile dans les méandres d’un or où persistent les traces de fusion, mêlant ainsi indices archéologique et liberté d’inspiration.”
Chantal Bizot, Musée du Louvre

“Gerda Flöckinger’s baroque forms and highly developed techniques of precious metal fusion are instantly recognisable to jewellery lovers in Great Britain, where she has enjoyed an outstanding reputation for many years………... She works her chosen material dangerously close to the point of disintegration in pursuit of its enrichment, scattering precious stones as if in metallic larva. The effect is ambiguously modern, at once natural and contrived, betraying a sophisticated eye for form coupled with the instinctive acknowledgment of a cultured opulence.”
Professor David Watkins, Royal College of Art

“Always marked by its expressive freedom, the jewellery has an extraordinary physical presence, now at its most concentrated and direct …………. it’s that instinct and vision, that belief in visual enrichment of the highest order, that makes her such a remarkable artist.”
David Whiting, profile in ‘Crafts’ magazine, May/June 2007

VICTORIA AND ALBERT MUSEUM, LONDON     jewellery, photographs, colour slides, design drawings - from 1959
ON LOAN to the VICTORIA AND ALBERT MUSEUM     the gold, silver, pearl, diamond and amber necklace
THE CRAFTS COUNCIL     jewellery -c 1973
NOTTINGHAM CASTLE MUSEUM     jewellery -c 1976
CENTRE GEORGES POMPIDOU, PARIS, FRANCE     jewellery colour slides - 1977
THE GOLDSMITHS’ COMPANY, LONDON     colour slides, photographs - from 1962
BOSTON MUSEUM OF FINE ART, BOSTON, USA     Jewelry by Artists: the Daphne Farago Collection -c 2006

MOBILIA GALLERY     358 Huron Avenue, Cambridge MA 02138, USA     telephone: 001 617 876 2109
MARSDEN WOO GALLERY     17 - 18 Great Sutton Street, London EC1V 0DN     telephone: 0207 336 6396

Tatjana Marsden at MARSDEN WOO GALLERY

A full CV is available upon request. Please email