PLATINA

Peter Bauhuis
Outis

11th - 15th October

Outis
Nobody, no man
What kind of name is that for a line of brooches? Is this modesty to the point of self-denial? Or is it an answer? It was certainly the perfect rejoinder in the Iliad, when the monstrous Polyphemos, one-eyed and clueless, asked who goes there in his cave. "Outis," said Odysseus, cunningly punning on his name, which happened to sound so much like the ancient Greek word for nobody. Or does it mean the brooch makes its wearer a nobody? Or somebody unlike anybody else? An utterly unique individual? When Polyphemos devoured Odysseus' comrades, Odysseus put out the giant's eye. "Nobody, my friends, is trying to kill me," cried the terrible mouth that had eaten the men. Odysseus had just shown him what a nobody could do.
My parents had a shop. Customers and strangers usually entered it with a greeting. To distinguish family members and employees, they were required to call out "it's nobody" loud and clear when setting foot into the door. Somebody is behind every Outis. All the more so when that somebody pins on Outis.

Peter Bauhuis is born 1965. He is based in Munich, Germany, where he also studied at Akademie der Bildenden Künste under Prof. Otto Kunzli. He is trained as a goldsmith and known for his special casting techniques. Besides jewellery, he makes corpus which is unusal in casting. His work is widely loved and can be seen in a number of galleries and museums worldwide. Peter Bauhuis has been represented at Platina since 2004.

In conjunction with the exhibition "Outis" at Platina, Peter Bauhuis shows corpus work "Simultanea" in Nutida Svenskt Silver, Arsenalsgatan 3, Stockholm, with the opening Saturday, 15th October, 12-16


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			Peter Bauhuis Outis 11th - 15th October Outis Nobody, no man What kind of name is that for a line of brooches? Is this modesty to the point of self-denial? Or is it an answer? It was certainly the perfect rejoinder in the Iliad, when the monstrous Polyphemos, one-eyed and clueless, asked who goes there in his cave. "Outis," said Odysseus, cunningly punning on his name, which happened to sound so much like the ancient Greek word for nobody. Or does it mean the brooch makes its wearer a nobody? Or somebody unlike anybody else? An utterly unique individual? When Polyphemos devoured Odysseus' comrades, Odysseus put out the giant's eye. "Nobody, my friends, is trying to kill me," cried the terrible mouth that had eaten the men. Odysseus had just shown him what a nobody could do. My parents had a shop. Customers and strangers usually entered it with a greeting. To distinguish family members and employees, they were required to call out "it's nobody" loud and clear when setting foot into the door. Somebody is behind every Outis. All the more so when that somebody pins on Outis. Peter Bauhuis is born 1965. He is based in Munich, Germany, where he also studied at Akademie der Bildenden Künste under Prof. Otto Kunzli. He is trained as a goldsmith and known for his special casting techniques. Besides jewellery, he makes corpus which is unusal in casting. His work is widely loved and can be seen in a number of galleries and museums worldwide. Peter Bauhuis has been represented at Platina since 2004. In conjunction with the exhibition "Outis" at Platina, Peter Bauhuis shows corpus work "Simultanea" in Nutida Svenskt Silver, Arsenalsgatan 3, Stockholm, with the opening Saturday, 15th October, 12-16



			Peter Bauhuis Since the mid 1990's Peter Bauhuis' output has been extensive and wide ranging, including jewelry, vessels, artists books and optical installations ranging in size from handheld to architectural. In 2000 he won the Debutantenpreis of the Munich Academy of Fine Art. and om 2001 the Prize of the City of Munich for the applied Arts. Bauhuis presents groups of work which share the casting process as their material origin. Casting is a process through which wax models are immersed in plaster, the wax is burned out and molten metal is poured into the resulting cavity. A standard process used everywhere in conventional jewelry, but for Bauhuis his intensive and inventive preoccupation with this process has produced results which are simply magical. He understands and exploits the essential nature of the casting process - that molten metal flows as far as it can before it cools down to become solid.With very fine cavities, or too low a casting temperature the metal solidifies before it can completely fill the available volume. Used to advantage this can produce results that can't be totally controlled - metal anarchy! In the world of goldsmithing the precision relating to the processes and material usually control the result but here the main work is tied up in the preparation of the wax forms and then a combination of fate, experiential knowledge and intelligent anticipation take over. Exploiting this random aspect is further developed with the 'Foam Gold' series of brooches, pendants and rings. Using a complex filigree network of tiny wax branches Bauhuis constructs a flow path through which gold can take on the form and complexity of sponge. This path becomes an essential part of the finished piece. Again it's hard to believe they are human-made, although it is also true to say they are castings which have grown into being. Bauhuis also uses to advantage the extraordinary subtlety of colour available through making different gold alloys to produce delicate hues from pale green yellow to deep autumn leaf orange.

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