Contemporary jewelry has long transcended the traditional boundaries of precious gemstones and sparkling metals, evolving into a dynamic medium for critical thought, personal expression, and cultural critique. At the forefront of this radical movement is Marie-caroline Locquet, an emerging artist whose provocative creations challenge the very definition of what jewelry can be. Eschewing the conventional markers of wealth, power, and status, Locquet approaches the discipline through a conceptual lens, transforming body ornaments into intense explorations of human vulnerability, social discomfort, and psychological tension.
In recognition of her uncompromising vision, Locquet has been named a finalist for the prestigious Young Artist Award. Supported generously by Karen and Michael Rotenberg, this accolade is presented biennially to an emerging jewelry artist aged 35 or younger. The award serves as a vital platform for acknowledging exceptional promise, innovation, and distinct individuality, championing groundbreaking work that paves the way for future developments within the global art jewelry community.
Locquet’s artistic journey began during her early foundational studies in fine arts, a period when she first encountered works that completely dismantled her preconceived notions of adornment. Rather than gravitating toward aesthetics centered on conventional beauty or opulence, she found herself captivated by pieces that felt strange, uneasy, and inherently dangerous. Influenced by radical trailblazers such as Bernhard Schobinger and Dorothea Pruhl—whose unorthodox creations fundamentally shifted how jewelry is understood—Locquet began to view the medium as a potent tool for disruption, reflection, and intellectual provocation.
This early exposure sparked a cascade of compelling questions that continue to drive her practice today. She became consumed by the paradox of creating and wearing objects that appear deeply disturbing at first glance. Delving deeply into the philosophical implications of "un-wearability," she turned this concept into the cornerstone of her artistic research.
Being selected as a finalist for the Young Artist Award represents a significant milestone for the young creator, validating a rigorous trajectory she has pursued with unwavering dedication for several years. For Locquet, this recognition provides a powerful injection of confidence, reinforcing her commitment to pushing boundaries further and continuously challenging herself, the wearer, and the audience.
The works that formed the basis of her application are deeply rooted in her upbringing in the north of France. Growing up in this region, Locquet became acutely aware of the social pressures surrounding self-demonstration and the ways in which personal adornment is frequently deployed as a form of camouflage to signal social affiliations. Consequently, her entry into the world of jewelry was driven by conceptual curiosity rather than aesthetic affinity.
In her hands, each piece fundamentally reframes the status of jewelry. Her works refuse to act as passive showcases for wealth or power; instead, they function as direct confrontations capable of instigating profound disruptions within public spaces. Rather than focusing on seduction or conventional representation, her practice explores themes of disturbance, violence, fragility, domination, vulnerability, and confinement. By pushing materials to their absolute physical limits, she strips them down to reveal their true nature through stark forms that simultaneously evoke desire and mortality. Whether functioning as defensive weapons or intricate restraint devices, each creation offers a singular wearing experience that probes our shared fragility, maintaining a perpetual tension between social discomfort and the lingering temptation of an embrace.
To fully understand her methodology, one need only look closer at her individual pieces. Over the years, the themes of confinement, physical violence, and vulnerability embedded in certain historical adornments led Locquet to research traditional objects such as the collier d’appartenance—a collar historically given by an individual to those submitting to them in master-servant relationships—as well as the "slave collar," rooted in 19th-century Norman and Auvergnat traditions as a matrimonial token of possession. She has similarly drawn inspiration from animal labor tools, such as the heavy-duty horse collar.
Her standout piece, Hands, brilliantly encapsulates the multifaceted layers of her ongoing research. The neckpiece serves as a testament to her obsessive investigation into mechanical systems, intricate movements, specialized clasps, and the fluid border dividing jewelry from standalone sculpture. Before closing securely around the neck in a gesture reminiscent of an act of strangulation, the piece unfolds and occupies the surrounding physical space like a complex, autonomous mechanical apparatus. Crafted from a combination of elm wood, zinc-plated steel, and silver, Hands stands as one of her most complex and intimate creations, laying bare the raw emotions of confinement and physical dominance.
What excites Locquet most about the field of art jewelry is its unique capacity to anchor a complete, holistic approach. The medium allows her to seamlessly bridge the physical object itself with rigorous theoretical research and the curation of immersive spatial environments that resonate with the work. More broadly, she remains fascinated by how body ornaments actively shape the collective image of a society. Everything humans choose to wear draws heavily upon the references, boundaries, and underlying values of their cultural ecosystem.
This fascination prompted her to launch an extensive iconographic research project and collection centered around items categorized as "worn" versus "unwearable." Operating under the working title "Unwearable—adornment is impure, makeup is obscene, disguise is an abomination," this ongoing project investigates how ornament, when pressed directly against the human body, communicates profound insights about social representations and cultural conditioning, constantly oscillating between the private intimacy of the interior sphere and the exposure of public space.
Despite her passion for the medium, Locquet acknowledges certain ongoing frustrations within the contemporary jewelry landscape. Reflecting on an exhibition she co-curated with colleagues and friends during Munich Jewelry Week in 2018 titled Jewelry Is Still a Risky Business—a direct nod to a work by Paul Derrez—she firmly believes that jewelry must retain its capacity for risk.
She observes that contemporary jewelry is still frequently burdened by an unspoken expectation to constantly justify its legitimacy within the broader contemporary art world. During her time studying jewelry at a French fine art school, she frequently encountered dismissive attitudes framing the medium as somehow "lesser," superficial, or overly niche. Yet, she recognizes this outsider status as a distinct strength, one that inherently opens up fresh perspectives and alternative ways of looking at and thinking about material culture. At the same time, this dynamic raises important questions regarding the perceived distance between the specialized art jewelry community and wider audiences.
This critical reflection directly informs why certain pieces in her portfolio, such as Panicroom Vector I, deliberately adopt a more literal approach. Serving as conceptual keys to help viewers unlock her broader body of work, these pieces emphasize the importance of staying the course, continuing rigorous exploration, and crafting meaningful, resonant experiences for audiences. Being named a finalist for the Young Artist Award serves as a powerful confirmation that her radical trajectory is finding its rightful place in the conversation.
Looking ahead, Locquet reflects on how much has changed since her graduation five years ago, expressing deep satisfaction with the evolution of her practice. Recently, she has expanded her creative scope by integrating spatial design into her exhibitions, allowing her objects and their surrounding environments to enter into a direct dialogue—a concept she plans to showcase in upcoming exhibition projects. Beyond studio production, she looks forward to cultivating her artistic language, pursuing international residencies, and collaborating with fellow artists.
Engaging in research and teaching also holds significant appeal for the young artist, who views academic and collaborative spaces as ideal environments to collectively reinvent and push the boundaries of body ornament. By continuing to extend, deform, shape, and question traditional definitions, Locquet remains committed to trusting the artistic process, continuing her dedicated studio work, and expressing profound gratitude to everyone who has supported her journey thus far.
