Skin and skin and skin and hair, long, blonde hair that flows and falls and that you want to stroke right away, jewellery in itself, this hair, unquestionable, very sure and very beautiful, and on the skin, between the hairs, a glimmer, a trace, almost nothing, more a surmise than a certainty, more a possibility than a confirmation: Is that a chain? And if it is a chain, where does it start and where does it end?
Saskia Diez photography by Robert Fischer
It is a game that Saskia Diez is playing, and each of her pieces is a call to join in the game, and in doing so to pose a few existential questions: What is the body? What does the body want? What does the body lack? Highly sensual questions such as: What touches me? Who touches me? How does it feel? And absolutely direct questions such as: Who am I? Who do I want to be? What kind of woman is this here who is making herself known, and what does she want?
And it is much less about: What kind of man is it whom this might please, and what does he want? With Saskia Diez it is about the woman first of all, and those who like to describe this as feminism are beyond help.
They have confidence, Saskia Diez’ chains, rings and bracelets, confidence in a tender, fragile, doubtful way, and what could be more seductive than this doubt, this fragility, this tenderness: Shall I? Do I want to? May I? Little dramas are being played out there on the skin, stories from the present, tales of egoistic eroticism. The chains, the earrings, the necklaces, the bracelets are not primarily saying: Look at me. They are saying: Understand me.
This is the intelligence, and also the presence, of Saskia Diez. She is interested in the difference between what we see and what we feel. Here she finds her sensual minimalism. This can appear somewhat complicated, as when chains of beads surround the body like a net, but in fact it is very simple; and sometimes it appears to be very simple, a mere star, a necklace of wooden spheres, and is nevertheless complicated. These are signs, and they do not always mean exactly what they show.
For there is something forsaken in these pieces, a wish to be recognised, the wish to write a story together. Jewellery is always time standing still, jewellery is memory congealed, and Saskia Diez’ jewellery too is like a memory that you cannot leave alone – but this jewellery is not necessarily telling us about a memory of what has been: it is something like a future memory. It is the today that connects with the tomorrow. It is the moment that stretches and expands and seeks for eternity.
This ambivalence is the origin of Saskia Diez’ aesthetic. In passing she finds a pattern, in waiting a promise; in hesitation she finds clarity, reduction and an almost forgotten elegance. In a sense she turns the principle of jewellery on its head and reinterprets it. She has no message and no price. She has answers to questions that the person who wears the jewellery is not yet aware of.
This is the spiritual beauty of her designs. It is the source of the physicality of her creations. In these pieces there is an intent that is searching for movement. There is a will in these pieces that seeks confirmation. They know more than they reveal, they speak to us if we listen, they do not distinguish between the quotidian and the evening, and at every moment of the day they are as exciting as a touch, as a breath, as a hand.
On your skin.