Spring and wire tension
Hilde Foks' story starts as a pitcher on the baseball field. In the Dutch national ladies team she unites tautness and suppleness to the perfect pitch. The spiralling movement used to produce a curve that will surprise the batter, requires tight control of body and mind. This control accompanies her when she decides to switch from a career in sports to art. At the Rietveld Academy of Arts she develops her own game; a game based on the theme of spirals. Body language is transferred to pliable fabrics and springy jewellery. The spiral evolved into a constant theme.
In technical terms, her work is based on weaving and lacing techniques. Yet, the variety and richness of shapes that spiral forms allow, proves to be inexhaustible. Hilde Foks exploits the properties of steel, nylon and wool in surprising ways and it takes close observation to reveal how her work is brought about. Repetition of patterns creates a sense of richness, rhythmic shifts result in complexity, a subtle use of colour contributes to individual identity.
The inventive powers used for the construction of her jewellery may demand respect and admiration; clearly the forces of emotion that underpin her work cannot be ignored. Each work of art tells a story. A series may be sober, subdued yet powerful, another series of work loose, and a third series vibrant, overwhelming, even almost frivolous. This range of emotions reflects life's changing phases. Living, shifting emotions, provide the artist with inspiration such as a series of jewellery based on an heirloom, a sewing box. In addition to the materials in the box, Hilde Foks uses the old principles of sewing such as the buttonhole stitch. Structure and colours are seemingly frail, as if to emphasize life's brevity.
Whether pitching a ball or making jewellery, either requires dedication and discipline. Only constant repetition can turn the basic technique into seemingly effortless and self-evident beauty. This principle of repetition is intensified by cyclic expression. Hilde Foks' jewellery seems to circle endlessly with internal spirals winding around mathematically. The natural properties of the materials are never abused, yet explored to full effect. At times stretched to breaking point, at others fully pliant.
In this way the industrial spring, manufactured in thousands of sizes, types and colours, is given a whole new form of life by Hilde Foks. Some springs can easily be shaped into butterfly-like forms; others offer stern resistance. The artist exploits and enhances such characteristics; making full use of the available contrasts and inventing new methods of lacing and weaving.
Ultimately jewellery needs to be worn. A necklace or bracelet can only show part of its merit in a showcase. Around a neck or wrist the character of the jewellery coincides with the spirit of a living being. Sometimes acting as a symbol of faith, at other times as an invitation to shine. It is remarkable that Hilde Foks can extract such a cyclic sense of life from a simple spiral.
