Renée C. Hoogland writes about her work.
Domestic interiors, which, to a large extent, form the immediate exteriors in which we both find and try to express ourselves, become externalized objects in which such ostensibly elusive phenomena as style and taste attain material form. But eventually, these forms will be worn in/on the body, forging new connections, generating new assemblages of body-objects, exteriors becoming interiorized and internalized. The cheerful colors, the inviting, tactile qualities of the polished materials, the familiarity of some of the shapes and forms of these works are ultimately deceptive, obscuring a fundamental struggle, a struggle with a cultural language, with a specific historical period, with materials, and with a sense of “foreignness.”
This made me understand Iris' work a bit better. I think the reason why I like Iris Eichenberg's work a lot is because I appreciate the way she arrives at constructing her pieces. Based on a certain concept, she develops a series of jewelry pieces that revolve around the idea. This enables her to create bodies of work that are visually different.