Tanel Veenre, necklace 2018
Tanel Veenre, necklace 2018

Tanel Veenre, necklace 2018
Tanel Veenre, <em>Hypnoze</em>, brooch 2018, reconstructed wood, obsidian, silver
Tanel Veenre, necklace 2018
Tanel Veenre, <em>St Tits</em>, pendant 2017, reconstructed coral, seeds, silver, chain 48 cm

Tanel Veenre
The Garden of Heavenly and Earthly Delights
13.10.18 – 14.11.18

In this jewellery collection, Tanel Veenre (Estonia) focuses on the concept of the ‘primal scream’, through expressing his feeling that human beings cannot exist without that scream. The work does not look rough or primitive, but one should not be misled by the beauty of the forms, inspired by the smooth aesthetics of automotive design. According to Veenre, religion and carnality are linked; depth can’t exist without carnality. Thus, the image of the cross serves as a central motif in the collection.
The ambivalent title of the exhibition denotes the apparent opposites in Veenre’s newest work: the engraved dark blossoms, simple and mournful, contrasting with shiny baroque erotic forms. The artist attempts to make sense of the opposites within himself, and says: ‘In my work I don’t hold back, I let as many things emerge to the surface as possible, I try to be impulsively honest. Come what may, this is my protest against the project-based life.’
The brighter part of the exhibition, the erotic jewellery series, started about five years ago. While synthesizing stereotypical masculinity and femininity in his jewellery, Veenre does not hide the characteristics of both sexes in androgyny, but rather emphasizes their extremities. Through this he addresses superhumanity in an unnaturally stylized way, in order to create alienation from corporeality and make the forms end in themselves. He brings the flagrant aesthetics of the field of design into the context of art through using sensual materials such as silicones, that imitate human skin.
Veenre: ‘I have no idea what masculinity means in the 21st century; yet I can play with the related cliches, with or without irony.’ The blossoms of sadness were created for practical reasons. After all, when we’re walking towards the sunset, something has to decorate our lapels.