Ruudt Peters introduced a series of seven armbands in paper-thin gold over a brass core. They are displayed to us on little scarlet pillows, or on pedestals. Each bracelet forms a distinctive line around the wrist. It is a three dimensional symbol, with a concrete but personal symbolic value for the artist. The shapes refer to ideas and feelings which are important for him. For instance, the image of the fish has gained a deeply charged meaning from its use in the Christian church. There is one form which shows a great affinity with architecture, the art par excellence within which meaning is constructed by means of symbols. There are also references to human relations. Ruudt Peters has “symbols” – well-known figures in the jewellery world – wear his symbols. Michel Szulc Kryzanowski photographed them with the armbands. For what purpose? They have added meaning. Added? They would object to that formulation. They have made inherent values accessible. They do justice to modern jewellery. “Desire is greater than being,“ Ruudt Peters asserts. Desire always overreaches boundaries. It exists thanks to those boundaries. Desire plays a definitive role in art and in the art world. The artist seeks to give form to what presently has no contour. The art world wants the artist to succeed in that. Everyone involved desires that the desired should exist. We often act as if the desired reality can be forced. Ruudt Peters’ presentation makes one stop and think. All that glitters is not gold. Fortunately, despite the little velvet pillows, his work remains exquisite. Here the desired becomes real.
Ans van Berkum 1987