Self ID
Russia, 2025
Brass, patina, wax, pearls, silk

In the digital age, the pursuit of authenticity runs parallel to the growing control over everything, including the human body. What does it mean to be human when every gesture is recorded and analyzed? Through my work, I speak about the living body — its vulnerability and its desire to shield itself from outside influence. To create this artifact, I use patina and my own skin oils; in this way, the image is as authentic as possible, carrying not only the imprint of my face but literally a part of me. The exhibition context transforms the object into a talisman, where my face is at once present and concealed.

Biography
Olga Aidina is a contemporary artist based in Reutov. In 2025, she graduated from the Moscow School of Contemporary Art. Her artistic interest in materiality and objects initially found expression in creating conceptual jewelry, later evolving into work across diverse media, including metal, sound, clay, and total installation. In her practice, Olga explores temporality, memory, and cyclicality. She is drawn to archaic forms and symbols shared across cultures.

Who Are You When Nobody’s Looking?
Oman, 2025
Clay, acrylic

A confrontation between self and silence. The dark, distort ed mask becomes both shield and confession, hiding yet exposing what lies beneath. Its black weight holds unspoken thoughts, while the golden eyes question what remains when all performance fades. In emptiness, the artist meets a fragile, raw self where truth is not seen but felt.

Biography
Aina Alzakwani is an Omani visual artist whose journey began with a deep curiosity for memory, symbolism, and the hidden layers of human experience. Through classical and surreal oil painting, she explores the body, emotion, and cultural identity, merging local heritage with contemporary expression. Her work bridges research, practice, and story telling, revealing beauty within tension and meaning within silence.

Face Value
Russia, 2025
Sterling silver, freshwater pearls

I’ve started growing old. This wouldn’t bother me much if it wasn’t for social media. Algorithms prefer artists who sell their faces first and their works second. But my face is less valuable now — it has wrinkles, marionette lines, undereye circles. All sorts of defects that beauty filters offer to erase. Stay young, sell higher. Well, I don’t want to be replaced by this “improved” image and to start pondering about doing something to my actual body to comply. So I decided to create my own beauty filter, a physical one, to draw attention back to what I’m actually selling — my work, not my face.

Biography
Maria Ariskina is a jewelry artist from Moscow, Russia. Raised in a family of applied arts craftswomen, she studied metalsmithing in college. Her work combines silversmithing techniques with organic castings, found objects, and elements of fiber arts. She strives to speak the language of nature — a personal form of floriography. Driven by the fear of death, she seeks solace in viewing mortality as a bond between all living things. She looks for rhymes in nature and her lived experience to capture the essence of this bond — and to praise the elusive beauty and poetic complexity of the world.

Masquerader
United States, 2025
Glass, silver, graphite

Throughout our lives most typically wear a “mask” that hides our “actual face”, and through my work I seek to remove my figurative mask by creating jewelry works/drawings as a series of personal confidences. I do this in order to find relief from the pressure of a universal structure I find myself underneath. Universal structure, which is a societal ailment we all find ourselves in relation to. The goal of my work is to sacrifice my ego in order to create a connection with someone else who may secretly carry the same shame behind their mask.

Biography
Bella Carlos is a glass artist from North Carolina. They earned a BA in illustration at the Rhode Island School of Design and a BA in socio-cultural anthropology at Brown University in 2021, after which they went on to study metalsmithing at the Royal College of Art in London. Bella’s work has been featured in NY FW, Paris FW, British Vogue, Vogue Scandinavia, and The New York Times. As an anthropologist, they have done research on systems of power and how they manifest materially in Japan, Italy, and Washington D.C. Bella was taught how to work with glass by their mother, who is a stained glass artist and comes from a tradition of Southern craft.

Bubbel Eyes (Smiling)
Australia, 2024
Found plastic bits, acrylic paint, champagne caps, sunglass arms, thread, metal findings, sterling silver

Bubbel Eyes (Smiling) is a large brooch that can be worn as a facepiece. There are no eyeholes, so navigation is challenging, and barriers will be confronted.
As a performance artist, Costa uses a bevy of personas to impart a current concern, narrative guise, or diasporic identity. This facepiece is the latest one used by the artist and embodies notions of identity, memory, social anxiety, self-medication, and pent-up sentiments.
Made from found objects, Bubbel Eyes (Smiling) has drunk one too many and is temporarily suspended from the blood and guts of habitual corporeality.

Biography
Laila Marie Costa works across jewellery, performance, and curation. Born and currently living in Naarm/Melbourne, Australia, she obtained a Master of Visual Arts (Jewellery), PXL-MAD, Hasselt, Belgium, in 2023 and was artist in residence at DIVA Diamond Museum in 2024.
Her inspiration comes from the banality and absurdity of her life navigated as a neurodiverse, menopausal, first-generation immigrant, cis white female. Costa collects waste materials and observations from the periphery. These come together with a DIY approach, some traditional techniques, and a bitter sense of humour.

The Foxfire Grin
Italy, 2025
Light brass wire, faceted glass beads, moonstone

I chose the fox as the elegant personification of my impostor syndrome. In many cultures, the fox embodies intelligence, beauty, and independence, but also deception and fraud.
I feel I embody both the positive and negative aspects while selling my creations. Despite years of hard work, I see the worth of my art, at the same time I doubt it.
Promoting my work is daunting; constant comparisons make me feel inadequate. I know sharing is essential to recognition, you have to be a good vendor, yet I often feel like a puppeteer trying to enchant a stoic audience, leading me to take a step back.

Biography
Ophelia Deep is a jewellery artist from Florence, fascinated by natural shapes and materials. She graduated from a linguistic scientific lyceum in 2012, followed by a nine-month course and assistantship at Metallo Nobile jewellery school.
In 2014, she enrolled in Jewellery Design at Liceo Artistico of Porta Romana, earning a scholarship to study at the Minneapolis College of Arts and Design (USA).
Ophelia has worked for various jewellery companies and completed an apprenticeship at the Elena Camilla Bertellotti workshop, with whom she participated in national and international fairs.

Facial Fingers
China, 2023
Brass, silicone, resin, motor

This speculative work explores how digital technologies reshape the human body and mind. As face-to-face communication declines and typing dominates daily interaction, the piece imagines a future where mouths evolve into typing tools. In Facial Fingers, fingers grow from the face to maintain constant digital connection, suggesting a world where speech fades and the body adapts to the pressures of tech-driven communication.

Biography
Zhiyang Ding is a jewellery artist and design researcher, currently a PhD candidate in Design at the University of Edinburgh. A graduate of the Royal College of Art (MA Jewellery & Metal, 2023), his research explores mechanical jewellery as speculative companions. Integrating low-tech mechanics, Artificial Life and unpredictable motion, he creates wearable pieces that blur the boundary between ornament and organism, questioning intimacy, agency and human–machine sympoiesis

Phototaxis
Russia, 2025
Copper wire, glass

"People buy from people" — for trust in a brand’s creator to grow, you need to show your face. My face seems too plain to me, so I wear bold makeup, because it’s my freedom, and I do what I want with my own face. But then people no longer recognize or accept you without the makeup, and you end up trapped by your own device.

Biography
Ksenia Dmitrieva is a glass artist. Born in Chelyabinsk, she lives and works in Saint Petersburg. Graduated from the Stieglitz State Academy of Art and Design, she specializes in glass art. She remains devoted to her medium: classical stained glass, Tiffany technique, and fusing. In addition to glass, she incorporates metal objects, installation, painting, and drawing. Her artistic direction is mystical psychedelism. Her central theme is the reinterpretation of myths and legends, history immersion, time travel, and a connection to places of power. Glass as colored filters over gray reality.

If Only
Georgia, 2025
Brass

If only I were as beautiful as the art I make.
I often think about how much easier it is when an artist’s looks match their art. I find myself studying pictures of artists on social media, where everything matches the artist’s style, and then there’s the jewel of this composition—the artist themselves. Their face, haircut, wardrobe, everything fit the aesthetics of the art displayed around. It’s so much easier to match your art’s aesthetic if you are conventionally beautiful. If you don’t feel like you taint its image each time you show your face.
I don’t find myself beautiful. I dislike the shape of my face rather strongly. What I can, I hide with my hair. But if I could, I would probably hide everything except my eyes. I wish I didn’t have to.

Biography
Evgenia Elanic (b. 1998, Moscow) is a contemporary jewelry artist based in Tbilisi, Georgia. She has been making jewelry since the age of fourteen and holds a BSc in Technology of Artistic Materials Treatment (NUST “MISIS”) and an MA in Design (Bauman Moscow State Technical University), graduating with first-class diplomas. In 2024, following her emigration to Georgia, she founded the DVIZH international collective, winning grants and organizing exhibitions and public projects across Europe. Her work has been exhibited internationally, including at Munich, Brussels, and Roma Jewelry Weeks, Venice Design Week, and European museums.

Sequin Lorgnette
Georgia, 2025
Copper, brass, jade, silver plating

I created an object, using the image of glitter as a metaphor for the attractive veneer expected of an artist. As a jewelry artist, I often encounter the expectation of sparkle and decorative lightness — the kind of thing that catches the eye and performs well in the realm of social media. But behind this shine, my own gaze remains — an interest in the complex and deeper themes that lie at the heart of my work. This mask is about the difference between what glitters on the outside and what is hidden within.

Biography
Vera Factor (b. 1985, Moscow) is a jewelry artist based in Georgia. In early 2022, she completed short-term jewelry courses and relocated to Georgia, where she began developing her independent practice. Her work explores identity through contrast — fragility and strength, shine and matte surfaces, weight and lightness, interior and exterior. Through tension between opposing elements, jewelry becomes not merely decorative, but a reflection on states of transition — between countries, roles, past and present. She has participated in exhibitions in Georgia and across Europe.

The Underside of Beauty
Israel, 2025
Felt, plastic crystal, silver wire

What lies beneath the mask of creativity?
The viewer sees only the final, flawless surface. Yet behind this perfection lies a process marked by doubt, mistakes, and tension.
Crystals are set so their sharp edges touch the face when the mask is worn; the rough felt adds another layer of discomfort.
This piece speaks of the price of perfection — the pain, uncertainty, and deeply human searching behind every shimmer.

Biography
Irena Gabelia is a jewellery designer and engineer based in Israel. She graduated from Shenkar College (Israel, 2018) with a degree in jewelry design, and from the Moscow Aviation Institute (Russia, 2003) as a design engineer.
Her graduation project at Shenkar focused on the creation of conceptual cremation vessels. Since then, she has been participating in various international contemporary jewelry exhibitions.

How I Became a Jeweler
United States, 2025
Bronze, silver, turquoise, tourmaline, calcite, shell, pyrite, quartz, lodestone, chalcedony

Naturally shy, this piece serves as a refuge, hiding from the world while still revealing thorns fragile like jewelry, fragile like a heart. Metal transforms through fire, stubborn and alive. Thought seemed to control it, but control was an illusion. Soldering taught patience, a quiet language, and the art of shaping things that melt under pressure. Each joint carries a memory, a story of heat, choice, and transformation. That’s how I became a jeweler.

Biography
Alina Goryaeva is a jewelry artist born in Moscow, Russia, and based in Michigan, the USA. She studied multimedia design at the Ivan Fedorov State University of Printing Arts and holds a bBchelor’s degree in arts. Since 2023, she has specialized in silver casting and the creation of one-of-a-kind pieces, focusing on innovative textures, organic forms, and the use of unusual stones and minerals. She is the founder of Liutik, a brand dedicated to refined craftsmanship and distinctive design.

Attention Currency
Israel, 2025
Synthetic rope, cotton thread, metal pins

Attention Currency explores the digital economy of emotions, where human reactions are transformed into a medium of exchange. Surprise and fear function as liquid currency of approval, reproduced for mass consumption and actively promoted by algorithms. Anger is a volatile cryptocurrency: it is either withdrawn from circulation or deployed for sudden spikes in reach.
Three masks — Surprise, Fear, and Anger — visualize different forms of emotional payment and pose a question: what remains of genuine feeling in a world where we no longer trade on our faces, but on our emotional assets?

Biography
Anna Iska Gottesman is a jewelry designer based in Tel Aviv. Born in Moscow, she moved to Israel in 1994. She began her education in jewelry arts with an intensive year-long course, then continued at Shenkar College, where she earned a bachelor’s degree in jewelry design and a master’s degree in design.

The Golden Mask
Czech Republic, 2022
Thermoplastic, fabric, gold leaf

The golden mask is an allegory of seriousness and social status — the polished identity we are expected to present. As jewelry artists, we need to navigate elite circles of collectors and gallerists, which often means putting on a social mask, performing a role, and playing the game of charm. But behind this façade, we remain torn artists, many of us from working-class backgrounds. That is why the mask is fractured: beneath the glittering surface lies ordinary plastic.

Biography
Martin Grosman is a jewelry artist from the Czech Republic. He graduated from the Ladislav Sutnar Faculty of Design and Art at the University of West Bohemia in Pilsen, where he received his Master’s degree in Metal and Jewelry Design. His work reflects contemporary social and environmental issues, often using humor, irony, and unconventional materials. Since 2018 he has been teaching jewelry design at the Glass Art School in Železný Brod. His pieces have been exhibited internationally, including in Germany, Japan, Portugal, Lithuania, Poland, Hungary, and Slovakia.

Push, Pull, Prod
United States, 2024
Sterling silver, silicone

Push, Pull, Prod is a series of three metal wearable face pieces intended to be worn as a futile attempt to assist the wearer in achieving Western beauty standards. Mimicking facial cosmetic surgery, each device painfully forces the wearer’s expression into an immovable, artificial position. These pieces highlight how the face, the site of both personal expression and public identity, becomes a point of tension between societal expectations and self-acceptance.

Biography
Alyse-Ambriel Hanna is a interdiciplinary artist who investigates themes such as feminism, animal rights, and human ecology. She earned her MFA in Visual Arts from Boise State University (2024), her BFA in Studio Art: Jewelry/Metals/Enameling (2019), as well as her BA in Art Education (2017) from Kent State University. Hanna exhibited her work in New York City Jewelry Week 2024, and has been published in The Art of Fine Enameling, Second Edition by Karen L. Cohen (2019).

Veil of Expression
Russia, 2025
PETG Plastic

I’ve always been a fan of masks.
But only those masks that people wear to be better versions of themselves, not to meet somebody’s expectations.
While people often wear masks to gain profit, in my life, the opposite is true: I use my profits to wear a mask of a creator.
At some point I’ve decided that if I am trying to be somebody else — somebody better — I am doing it on my own terms.
So this mask represents the stubborness of doing what you actually want — with all its twists and turns.

Biography
Lee Hoi is a self-educated artist and designer from the Moscow region.
Works primarily with 3D-printing. Started with producing headwear modifications, then expanded to 3D-printing furniture, handbags, masks and chess sets.
In 2021 created a project Heads of Wonder about bright heads, humanity’s achievements and headwear.
In 2022 participated in an exhibition in GES-2 with a custom 3D-printed chess set.

Flourish
United States, 2021
Gold plated copper

Flourish is comprised of wearable objects and images. My face is the location for these site-specific interactions, as it is for almost all of my work. The gold jewelry-like objects are intended to reference bodily fluids or sensations expressed during states of repulsion, discomfort, and sadness. Snot bubbles, sweat, tears, vomit. The word flourish has multiple meanings. It describes the ornamental metal components making up the objects. But to flourish also means to thrive, and in this work its use is intended to contrast the bodily fluids hinted at through the objects. The objects are shiny and ornamental like costume jewelry, but the form — vomit, drool, tears — indicates states of distress.

Biography
Lauren Kalman is a visual and jewelry artist based in Detroit, USA. She completed her PhD at the Australian National University, an MFA in Art and Technology at the Ohio State University, and a BFA at Massachusetts College of Art.
Her work is in the collections of the Stedelijk Museum, Museum of Fine Arts Boston, Renwick Gallery at the Smithsonian Museum of American Art, Detroit Institute of Art, Museum of Arts and Design, and Korean Ceramics Foundation.
She received the Amsterdam-based Françoise van den Bosch Award for her career’s impact on the jewelry field, the Raphael Founders Prize from Contemporary for Craft, and was a Kresge Arts in Detroit Fellow.

Eye Mask
Poland, 2024
Crocheted yarn, wire, beads

Eye Mask explores the quiet violence of visibility in the digital age. The gaze once central to the artist is now commodified, turned outward for validation. The work reflects the paradox of being seen: artists must expose their lives as content, obscuring what matters. The mask is both shield and performance, asking what remains unseen when vision is shaped for algorithms, and mourning the loss of privacy, introspection, and the freedom to look without being watched.

Biography
Nina Kania, born in 2007, is a London-based multidisciplinary designer whose work spans jewellery, knitwear, embroidery, and painting.
Her practice explores themes of identity and interculturality, drawing deeply from her Polish heritage and its rich visual traditions. With a strong focus on craft and storytelling, she celebrates the tactile and symbolic through handmade processes and material experimentation.
Currently studying Jewellery Design at Central Saint Martins, Nina continues to develop a distinctive voice that bridges contemporary design with cultural memory.

Only a Part
Uzbekistan, 2025
Steel wire, woven brass mesh, ceramic shards, old keyhole cover, glass beads “against the evil eye”, yarn

One day I became aware of myself playing a role in my own virtual kingdom. In this kingdom, there is room for the best angles, beautiful compositions, achievements, and sometimes reflections. But that’s not all I am. Is it honest to show only the part of myself that has hardened into armor — shielded from gazes, whispers, criticism? The part that observes the world’s grime and hypocrisy yet still sees beauty even in the cracks. The part of myself that learned to speak the truth while hidden behind a keyhole... The part that is recognized on the street and invited to parties — the carefree, happy version of myself?

Biography
Tatevik Karapetyan is an interdisciplinary artist and jeweler of Armenian descent from Tashkent. She received her art education at MSPU from 2005–2009. For over twelve years, she has been creating upcycled jewelry and art objects from shards of porcelain, faience, ceramics, and other materials. Her practice explores themes of memory, heritage, fragility, and human vulnerability in the search for identity.
Equally important to her work are the craft traditions of Central Asia and the transformation of everyday materials into keepsakes — artifacts.
She has participated in the Bukhara Biennial, London Design Biennale, and Munich Jewellery Week.

Bitter Perfection
Georgia, 2026
Silver, mollusc shells, pearls, UV varnish

A face mask in which pearl appears as a materialized wound — the result of intrusion and forced adaptation. A foreign body, lodged in the soft tissue of the mollusk, cannot be removed; it becomes encased, layer by layer, in nacre. This biological logic becomes a metaphor for human experience, in which trauma and loss are processed into form and meaning. Here, beauty arises not despite pain, but from it. The piece becomes a document of inner transformation — an archive of layers where vulnerability turns into structure, and wound into light.

Biography
Daria Khoreva is a jewelry artist and curator based in Tbilisi, Georgia. Self-taught, she began her professional practice in 2009. Her exhibitions include The Turning of the Tree (Borsh Gallery, 2010), Moscow Trend Show (2010), and March 9 (Solyanka Gallery, 2020). In 2024–2025, she has participated in and curated projects including Dowry (Escapist Gallery), Annulled (Queere Kultur im Exil), and Schmuck (Munich Jewellery Week). Her practice explores corporeality and vulnerability in contemporary jewelry art.

Ideal
Russia, 2025
Plaster, textile, sequins

This is not a mask. This is the face you’re supposed to be. Attractive, shiny, optimized for likes. You put it on every day — in stories, in posts, in your bio. Even when you’re falling apart, the sequins have to sparkle. Plaster — because everything is fixed. One expression. One filter. One “you” that you’re selling. The sequins are flipped — the image has glitched. But the broadcast continues.
This is an artifact of our time.

Biography
Tatiana Khrebtova is an interdisciplinary artist from Moscow.
She explores how environment, social norms, and cultural contexts shape one’s personal experience of reality.
She studied at the Moscow School of Contemporary Art and the British Higher School of Art and Design.
Her work has been shown at Cube.Moscow, Winzavod, the M’ARS Center for Contemporary Art, and other venues.

Madama Butterfly
France, 2023
Butterfly wings, brass, pearls

Madama Butterfly is a face-à-mains – a mask – created in homage to the main character in Giacomo Puccini’s opera Madama Butterfly (1904).
With jewellery, I experiment with the transformative potential of adornments. By creating masks and face jewellery shaped to fit my face like second skin, I try to change both the senses of perception (sight, touch, smell, taste...) and the appearance of the wearer. By wearing my mask during performances, I try to transform myself for a moment and to explore new embodied relationship with the world. It’s a fleeting metamorphosis, captured by photography.

Biography
Zoé Kiner-Wolff is a jewellery artist working between Strasbourg/Paris. Graduated from HEAR (Strasbourg), she create jewellery, mask, costume or object with the desire to transform the body and appearance.
Since 2023, Zoé is also conducting PhD researches in art history at the Sorbonne on “Body Jewellery, from 1967 to the present day”. Her research focuses on the work of artists who regard jewellery as artistic medium by questioning its relationship to the body and to wearability.

Smile | Performing Identity
Netherlands, 2024
Silver, plastic

Within the theme of Performing Identity, I have created various body-related objects; each object highlights a different part of our daily performance.
Smile is a stark commentary on the societal pressure always to present our positive side. It’s a call to understand the continuous shallowness of positivity, both in the real world and on social media, and the toll this forced positivity can take on our mental well-being when we’re not supposed to show our real struggles.

Biography
After completing her goldsmith training (1996) and graduating from the Art Academy (2001), Jeannette Knigge (NL, 1973) combined her work as a visual artist with running her goldsmith brand KunstGoud. In 2022 she entered the MASieraad programme (PXLMAD, Hasselt, Belgium) and graduated Summa Cum Laude in 2024 with the Performing Identity collection. This intensive period broadened her artistic vision and gave her practice new momentum, leading to international exhibitions.

Oh, Shame!
Russia, 2025
Wool and cotton yarn, silk thread, felting wool, glass beads, mesh

Showing your body on social media can be a quick way to gain attention. Hence, certain body parts have been deemed beautiful and marketable, while others have not. This guided me to a thought: what if I were to combine some of the “unsellable” or banned from social media body features, such as female nipples, body hair, and acne, into a mask that “wouldn’t sell”? After all, social norms are constantly evolving. Who knows? Perhaps one day, female nipples will be free, and pimpliness could become more marketable than the most conventionally attractive faces.

Biography
Ekaterina Korzh is a contemporary jewelry artist traveling between Colombia, Russia, and the USA. Graduated from the University of Iowa and the University of Kansas, specializing in Metasmithing and Jewelry Art. She has exhibited internationally in the USA, Europe, Russia, and more.
Her practice weaves together contrasts: silver, natural wool, textiles, and found fragments collected from roads and landscapes from her travels. She builds jewelry as intimate narratives that invite curiosity, touch, and deep attention to overlooked fragments of life.

The Shroud
Finland, 2025
Gauze, ink, embroidery thread, silver

How to sell a face or a piece in the fog, when the said fog, the depression, is in your mind, and it is so thick you barely see through?
The Shroud is a comfort piece. I long to be the background image, not on the front. All my pieces should be strong enough to speak for themselves. Algorithms love a face, so a ghost I shall be, in the void of social media.

Biography
H Kostiainen is Finnish creator of many talents: a painter, art jeweler, and photographer. Saimaa University of Applied Sciences alumni as of 2018 in Fine arts, jewelry art department. Their pieces have been exhibited in numerous exhibitions around the world. The core of their artistic practice is observation and dialogue with artwork, whether an ink painting or piece of stone. They mix supermarket aesthetics of everyday life with timeless organic materials.

Social Bridle
Norway, 2025
Sterling silver, acrylic, paint

In the age of constant self-exposure, we’re told to “show up,” “be visible.” So we step into the spotlight, facing our deepest fear: shame.
This facepiece is inspired by the Scold’s Bridle - a brutal iron mask once used to silence women. I reimagined it in thin silver: deceptively light. A chat window overlays the mouth. Inside, a tongue plate marked “censored” blocks speech.
The mask explores the cost of online presence, in exposure and suppression. To be heard, one must conform: to platforms, algorithms, laws, and internalized fears.
What promises connection often enforces silence.

Biography
Vita Kurasheva was born in Omsk, Russia, where she began working with jewelry in 2013 and founded her own brand. She later moved to Saint Petersburg and continued developing her practice.
After the full-scale war started, she had to leave Russia and move to Norway. Now she studies art and design at Oslo Metropolitan University and is beginning her journey as a jewelry artist. Her work explores memory, loss, roots, human connection, and our place in society and nature. She mainly works with silver and raw minerals, but stays open to any material that serves the idea best.

SEO Fail
Netherlands, 2025
PLA, paint, elastic band

I analyzed which hashtags I added to my most popular instagram reels. They are bad from a marketing perspective: I’m depicting my techniques and materials, not a relatable backstory or my target audience’s pain points. SEO stands for search engine optimization, and it’s failed. But I’m so tired of doing this in my time that is supposed to be free that it is what it is. I also have migraines, the mask represents the feeling as well.
I 3D-scanned my face, analyzed the json file of my instagram data and found top hashtags, added those words to the mask, 3D printed the mask and painted it.

Biography
With a background in media and software development, Daria Kuvshinova draws inspiration from randomness of nature, 90s nostalgia, and post-internet culture. Her work questions if intentional design can mirror nature’s creativity, explores the synergy between natural elements and human inventions. As a caster and enameller, she handcrafts each piece in her studio, ensuring full creative control. Her process combines modern programming, 3D modeling and printing with ancient casting techniques.

Ready For Fake Off
Netherlands, 2022
Stainless steel, silver, zirconia

Ready For Fake Off explores how you can listen to your inner compass again in a world full of temptation, noise, and roles. The series of masks makes the struggle against the adjustments we think we have to make visible. Parallel to our physical lives, a second digital life has emerged, determined by a dominant capitalist ideology in which status and consumption are the yardsticks. In the age where malleability is the norm, the masks highlight the tension between who we really are and who we think we should be.

Biography
Annelieke Landré is a Dutch artist who focuses on the friction between the digital self and the vulnerable, physical human being. She graduated from art school with a series of face masks Ready For Fake Off. Her work arose from a growing fascination with how the digital age is distorting our identity. She exposes this tension through jewellery and interactive installations. With subtle humour, she makes the invisible visible: the imperfections and doubts that make us human. She has exhibited in Munich, Poland and Hungary, where she won the Best Narrative Award at Inflow this year.

The Shadow of Sin
Estonia, 2023
Copper, sterling silver, rose quartz

The Shadow of Sin explores the tension between privacy, guilt, and absolution. The copper facemask is inspired by the confessional booth — a structure that conceals and reveals. Copper signifies both sin (tarnishing) and redemption. The mask acts as a barrier and a silent witness. The affixed teardrop symbolizes the instant of repentance, pain, and vulnerability, frozen in time. The small silver rear-view mirror is the key conceptual pivot, forcing the wearer to look back — to confront past actions. Placing the mirror on the mask moves the intimate act of confession into the public realm.

Biography
Krista Lehari (b. 1967, Tallinn) is a professional jewellery artist with two degrees from the Estonian Academy of Arts, specializing in jewellery and Art Education. Lehari’s artistic philosophy centers on creating meaningful, timeless objects: "Jewellery is the physical concentrate of one’s identity. We need less but more meaningful objects. Timeless ideas and precious materials surmount passing trends." Her work is characterized by deep knowledge of metalwork and a symbolic approach to silver, her favourite material.

Bis Repetita Placent
Serbia, 2025
Steel, glass beads, thread

There are rare forms that reveal something new, and there are forms that everyone likes — simpler, familiar, in demand. You try to tie them together as tight as a corset, to show the world the charm of subtle nuances — but then rent comes due, and you make what everyone loves. These are the two sides of every artist: the desire to say more and the desire to make what sells. Each one pulls in its own direction, demanding to be the one you show.

Biography
Agnia Likratowa is a chainmaille artist born in Siberia. Early on her professional journey she started to build the first Russian-speaking online community of chainmaille artists and popularize this kind of craft. She now is the most widely known chainmalle artist in Russia and founder of a unique style of artistic chainmaille, having mastered over 300 weaves. Since 2022 she lives and works in Belgrade, Serbia.

Do You See Me?
Russia, 2025
Cupronickel, plastic parts of glasses

These glasses cover my eyes and nearly strip me of the ability to see, yet they make my “personal brand” maximally visible: anyone who points a camera at me automatically scans the QR code and lands in my digital portrait — a profile where I’m assembled from posts, stories, and reach metrics. Do people see a real person in me? Or only the character I’ve cultivated on social media, carefully curating the information I’m willing to share? And through these glasses, do I see real people — or potential followers and customers?

Biography
Maria Mironova was born and raised in Moscow. She has been working with metal since 2015. She completed a jewelry course at the Carl Fabergé College of Decorative and Applied Arts.

Selfdom Collection
United States, 2019
Polyester sheet, double-sided adhesive

This headpiece from my 2019 Selfdom collection explores the idea of carrying a personal sanctuary on the body. Built from interlocking geometric units, it forms a delicate architectural dome over the face, both a shield and a quiet space for the self. It reflects the tension between protection and exposure, inviting viewers to consider how we construct our own boundaries.

Biography
Shahrzad Motallebi is an Iranian-born Belgian jewelry artist based in Chicago. Trained at the Royal Academy of Fine Arts Antwerp and holding an MFA from Northern Illinois University, she explores algorithmic design, metalsmithing, and contemporary jewelry. Her work merges mathematics, digital fabrication, and personal narrative to create sculptural pieces that bridge tradition and technology.

Collarbones With a Transdermal Implant
Belgium, 2020
Chainmail steel, silver, electroforming in copper, nickelizing, aquamarine

Precious parts project is a chainmail face mask that declines the demand to turn identity into content. Where visibility is expected, it leans into concealment—offering control in place of expression. Electroformed collarbones suggest a body, but there’s no invitation. It’s not about being seen, but about managing what reaches the surface. Some things stay unreachable.

Biography
Into Niilo is a contemporary jewelry artist with a background in fashion. Educated in jewelry, fashion, and accessory design in Belgium, the UK, and Russia, and holds an MA in Contemporary Jewelry from PXL MAD. Founder of the experimental jewelry brand into|into since 2015 and assistant at Atelier Ted Noten since 2023. Jewelry is the main focus of the practice, alongside graphics and video. The work explores physicality, psychology, politics, and personal identity, including the experience of exile, often using dark humor and surreal elements.

Veil
South Korea, 2022
Stainless steel

The Veil series examines how limiting visibility can make perception sharper. This mask restricts the face not to erase identity but to direct the viewer’s attention with greater precision. Rooted in East Asian aesthetics of veiling — where partially covered forms often reveal more than they hide — the work builds tension between what is visible and withheld. Through controlled obstruction, the mask clarifies presence and intensifies the act of looking.

Biography
Jaewon Paek is a South Korean jewelry and object artist working with chain-based metal structures and cement surfaces. She studied metalcraft at Sungshin Women’s University. Her recent works were selected for the 2025 Itami International Jewellery Exhibition and presented at Gdańsk Jewellery Week in Poland, marking her expanding international presence.

Workshop
Israel, 2025
Steel, jewelry wax, epoxy resin, silver, amber, garnet, citrine, demantoid

How do you tell the story of your craft through a single accessory? By showing the different stages of the work and the final result. This mask is made from materials I use every day: the steel mesh I solder on, the jeweler’s wax I use to create models — some of which have already been cast and are about to become finished pieces.
This is a story about artistic language, experimentation, handcraft, and a one-of-a-kind result.
Plus a little esoteric insurance — all the stones I’ve used are known to attract money. Just to be safe.

Biography
Alexandra Polomannaya is a jewelry designer. Born in Minsk, Belarus, she now lives and works in Israel. She has studied and worked across various fields of design, and for the past year and a half has focused on jewelry. Her main focus is statement pieces.

In Sales We Trust
Russia, 2025
Сash register checks

Reach, likes, and subscriptions are not indicators of success for an artist selling their work online. For 14 years of working, I’ve always avoided the anxiety associated with social media by relying on one metric: are there sales?

My work is a helmet woven from receipts. A defense against doubts and fears, crafted from reminders of satisfied customers who have purchased from me.

Biography
Vera Popova is a lampwork artist from Moscow. She graduated from the Faculty of Glass Art of the Stroganov Moscow State Academy of Arts and Industry and later founded her own studio. She has been frequently participating in applied arts exhibitions in Russia and Europe.

The Best Girl
Israel, 2025
Aluminum, brass, silver, powder coating, steel, cord

This piece was inspired by me suddenly noticing the same root in russian words “залатать” (to patch up) and “латы” (armour). The face here — made of roughly cut pieces of aluminum — is patched up with colorful shapes where face features should be. Recognizable icons in cheerful colors are the ultimate patches that will eventually add up to create a whole protective armour. While living in so-called “interesting times” will leave you damaged and worn through, the public image should be protected, especially if you are a creator working in a field of “bringing joy”, as many jewelry artists are.

Biography
Katia Rabey is a jewelry artist, curator, columnist and educator from Moscow, currently residing in Israel. Her jewelry works are mostly narrative (with focus on letters and words) and predominantly colorful, due to extensive usage of enamels and powder-coating.

Darkness Is the Absence of Light
Finland, 2025
Birch bark, silver

Light can be both vital and violent. I know light is essential, yet it often overwhelms me. In spring it feels almost violent — penetrating windows, skin, and thoughts, breaking the safety of darkness and demanding visibility. That’s how being online can be to an artist: show my face, share my story, and stay relatable.
My piece is a blindfold — not to disappear, but to choose how and when I’m seen. It explores the tension between exposure and autonomy. The blindfold becomes a boundary, a way to reclaim space and shield myself from the pressure to be continuously visible and marketable.

Biography
Laura Saarivuori-Eskola is a crafter and a jewelry artist for 25 years. Her artistic practice lives at the intersection of nature’s quiet patterns and the conscious craft of sustainability. Deeply rooted in Finnish and Karelian traditions, yet open to global dialogue, her work weaves together visual storytelling, material exploration, and environmental awareness. Through these forms, she invites reflection on how we relate to beauty, consumption, and the natural world. Every piece is an offering. Not just of adornment, but of connection.

Let Us Cultivate Our Garden
Russia 2025
Thread

“I follow her on Instagram, but all she ever posts is little flowers and her kid”, the faculty producer said about me when I proposed creating a course on contemporary jewelry. And it’s true. Even though I create quite a lot of work for exhibitions, film, and installations, my Instagram is full of photos of my daughter, flowers, and the carrots we grew together. Because that’s what makes me happy. I created masks inspired by flowers from my garden, using techniques traditionally associated with women’s handcraft. They completely hide my face from the viewer, but inside it’s warm, cozy, and fun.

Biography
Masha Starikova is a jewelry and textile artist from Russia. She received a classical jewelry education but in recent years has focused primarily on conceptual jewelry and creating pieces for film. As part of the collective “March 9th,” she works to promote contemporary conceptual jewelry art in Russia. In her work, Starikova reflects on social issues through the lens of her personal experience. After completing a course in experimental textile design at the British Higher School of Art and Design in 2025, she incorporated textiles and various traditional techniques extensively into her practice.

Blinders
Armenia, 2025
Mirror (glass), leather, silk, cotton, steel

Social media forces us to hyperfocus on every tiny detail of our face, behavior, image — ourselves. Not just ourselves, but a curated version. Yet this image is fragile and can shatter easily — you might be lucky if its sharp pieces don’t hurt.
This mask, made from mirrors shaped like horse blinders, forms an endless tunnel of reflection, while also blocking out what’s outside — fleeting moments of life beyond the screen.

Biography
Eira Teufel began as an embroidery artist, working with classic techniques. Over time, she began introducing unusual elements into the traditional embroidery practice and gradually developing her own approaches. Evolving into a multimedia creator, she now works with metal, gypsum, polymers, and more. Drawn to unexpected material and texture combinations, she still loves adding a touch of fabric and thread to her pieces.

Defence Line
United Kingdom, 2025
Recycled wool threads, acrylic beads, fence mask

Defence Line is a mask that sits somewhere between protection and exposure. I created it while thinking about how much of my face — and my inner life — I actually show to the outside world, holding together small pieces of memory, fear and fragile beauty. For me, the face is never just a face: it carries history, roles, expectations and a quiet private self that I wanted to gently bring closer to the surface.

Biography
Cornelia Tuglui is an architect and artist living in the United Kingdom. Around ten years ago she began exploring her artistic side alongside architecture, working with acrylic and watercolour painting, embroidery and stitching. She loves the tactile exploration of materials, layering textures and surfaces in her pieces. Her practice moves between intuitive play and quiet, precise detail.

Mask03
Belgium, 2025
Plexy, aluminum, stainless steel

The mask features a surprised smiley face with crossbones. It’s a statement, like something a terrorist would wear. It’s also worn over a black hood.

Biography
Willy Van de Velde is a multimedia artist/autodidact who has been interweaving the various domains of design and art since 1984. Recycling and the use of various materials determine the form and use of the medium. His work is a reflection of the zeitgeist. He is selected for various exhibitions globally with his work in galleries and museums..

Sarili
Philippines, 2025
Brass, glass beads, thread, satin

My jewelry honors Filipino culture. As my social media following grew, I began to be seen as a cultural authority, yet I often feel like an imposter. Colonialism shaped my upbringing. I spoke English, consumed Western media, and barely knew my mother tongue. I didn’t know our folklore until I started my brand. I love my heritage, but what I share online can feel performative.
This facepiece is inspired by precolonial warriors’ facial tattoos, marks of courage. They say sharing yourself online is brave, but as I post, I wonder: is my cultural identity truly mine, or is it just mask?

Biography
Susanne Verallo is a jewelry artist and designer from Cebu City, Philippines. With degrees in interior and product design, Susanne is a self-taught jeweler who started her jewelry line, Una Artesana, with nothing but a bag of old beads during the pandemic. Her work is inspired by precolonial Filipino history and culture, drawing inspiration from pre-Hispanic sources such as traditional tattoos, textiles, and metalwork. Each jewelry piece she creates is a call to decolonize and reclaim Filipino heritage.

Woven From Scatter
Russia, 2025
Beads, sequins, monofilament

I assemble a face from endless petals: behind the apparent chaos lies a system, a symmetry born from rules and undone by the unpredictability of material. Beads scatter and find each other again — the structure breathes in time with my hands. From the outside, a tumble of shimmer and rustle; from the inside, a rainbow prism where the world blurs and glows. On a sterile white table amid domestic chaos, repetition cultivates form, mistakes become techniques, and the deadline gently fixes incompleteness in place. The material speaks for me and grants me the right to stay hidden.

Biography
Nina Veresova is a textile researcher, multidisciplinary artist, fashion designer, and course leader for BA Fashion and Textile Design at the British Higher School of Art & Design. She explores the interaction between humans, nature, and knowledge through scientific and para-scientific approaches. Her practice combines classical and experimental textile techniques with a focus on process.

Under Control
Georgia, 2025
Brass, steel, silver plating

Barbed wire is the material of borders. On the face, it transforms speech into risk: every word potentially wounds. This is a mask of censorship—both imposed and self-inflicted. The artist softens their voice to meet the market and its expectations. The leash chain signals economic dependence: silence as survival strategy, compliance as currency. The mask becomes a form of social contract, where the boundaries of the permissible are set by whoever holds the chain.

Biography
Andrey was born in Krasnodar and has built a career in teaching jewelry craft, having trained over a hundred students, including another DVIZH member Toni Orien. He also worked as an enameller for Elena Okutova, a well-known Russian jewelry designer. Since the Russian invasion in Ukraine in 2022, he continues to work and teach in Tbilisi.

Walking Down the Street
United States, 2019
Plastic

Framed by a quote from comedian Stephen Wright, “I was walking down the street, wearing eyeglasses, when the prescription ran out”, I created a small collection of face covers. The pictures taken by my old friend Lilliane Lacasse, became the statements. ME (an old man of 75 years) as a part of the ART. For 10 Years dressing up the whole body. Now the last 5 years using Space: New York, Chicago and Cordoba / Argentina. The work has to speak for itself. When the ART-creator has to explain it, he misses the point. (But he should write a book)

Biography
Daniel von Weinberger was born in 1950, 5 years after the end of the Holocaust, which swallowed his whole family, and spit it out through the chimneys of Sobibor, Dachau and Auschwitz. He had his revenge by having a huge family with many grandchildren, and showing his work here in Munich (one bus stop from Dachau — Wir haben es nicht gewusst?). For 50 years, he enjoys playing the game of being an artist, using everything to get rid of his frustrations(ART is therapy). He exhibited almost everywhere: Russia, China, USA, Argentina, Israel, Germany, Spain, etc. He never became rich or famous, never wanted to, even when he is a GRAFF: Good, Reich und Frum.