The work Leftovers is filled with sensory contradictions; the many miniatures are shiny and matt, flat and voluminous, fragile and robust, geometrical and organic, rough and smooth. They appear alone or in clusters. Some trigger associations to function or figuration, but most appear as purely abstract forms. The objects simultaneously suggest something well-known and unfamiliar. They are both sketches and masterpieces. The eyes never tire of looking at them, and the hands long to weigh, explore and fondle them.

The Norwegian jewellery artist Liv Blåvarp has rummaged through the riches of her studio cupboards and pulled out the elements featured in the work Leftovers (ca. 1990–2017). The installation consists of fragments and test pieces that were never incorporated into the finished works of jewellery for which she has become known. Seen together, however, these ‘leftovers’ comprise a rich and convincing symphony; the 243 small objects give the viewer insight into processes and developments in a long artistic career. Blåvarp has specialised in wood as a material. We see wood types such as lemon, birch, amaranth and maple in addition to various types of horn and bone. In many of the objects, the material’s own colour is preserved, but several are also painted, stained or gilded. Here there are demonstrations of meticulous joinings and surprising material combinations. There are many references to handicraft, work processes, testing and experimentation. Above all, the installation is a celebration of materials, most particularly the warmth and tactile diversity of wood.

Liv Blåvarp (b. 1956) is a nestor in Norwegian art jewellery. She has worked professionally with wood ever since creating her diploma project at the National College of Art and Design, Oslo, in 1983. She has held numerous solo exhibitions at museums such as Lillehammer kunstmuseum, Sørlandets kunstmuseum in Kristiansand and Röhsska Museet in Gothenburg, among others. Her works have been purchased by (a selection) the Museum of Fine Arts in Boston, Designmuseum Danmark and Cooper-Hewitt National Design Museum in New York. In 2003 she was awarded the prestigious Prince Eugen Medal.

Blåvarp’s intention is that a piece of her jewellery should function well on the wearer’s body as well as have an independent artistic expression. She has worked for several decades with large neck collars, a category of jewellery that she has defined, challenged and perfected. She started out making more static and compact works but has gradually shifted towards a softer and lighter expression, with the collars tending now to consist of a greater number of smaller parts that give movement to each work as a whole. The pieces of jewellery are seen as wearable sculptures, profoundly impressive in terms of crafting skill, and with an absolutely unique artistic expression. When you see a work by Blåvarp, you’re never in doubt that it was made by her hand.

The miniatures in Leftovers tell a beautiful story about the process leading up to Blåvarp’s completed jewellery. Seen together, they create a picture of the time, effort and work involved in coming to the point of being satisfied with something and sending it out into the world. The rejected elements, if preserved, can become an important archive to consult when developing new ideas. In the small and humble elements, there are qualities worth highlighting. It is obvious that throughout her entire career, Blåvarp has been concerned about high-quality materials and how the resources are used.