Jürgen Eickhoff’s recent exhibition Netzwerke/Networks at Galerie V&V has barely faded from memory, yet now only his works and our shared recollections remain. The exhibition’s subtitle, Boundaries: top and bottom, inside and outside, now powerfully resonates as an exploration of the possible, poignant with the realization that Jürgen has since crossed an irreversible boundary.
Throughout a prolific career spanning decades, Eickhoff left an indelible mark on the international contemporary art jewelry community. As an innovative maker, a dedicated educator, and the creative engine behind the renowned Galerie Spektrum, he redefined how wearable art interacts with space, structure, and the everyday world.
The Mechanics of Chaos and Order: Eickhoff’s Artistic Vision
Describing his distinctive design philosophy, Eickhoff often characterized his jewelry through a lens of apparent chaos and fragile order. His pieces typically featured free forms with a defined exterior, evolving naturally from concrete, architecture-inspired shapes. Inside these structural boundaries, delicate silver wires intertwined, connecting and crossing one another much like biological synapses.
Eickhoff frequently incorporated various found objects into his creations—such as wire fragments, nails, and reflector parts—allowing discarded industrial elements to find a new, poetic home within his wearable sculptures. Later in his career, he began supplementing or replacing these found elements with synthetic stones. These materials offered defined, vibrant colors, opening up a wide and dynamic spectrum of creative possibilities.
At times, he chose to lacquer the silver wires, creating a striking contrast and visual interplay between the brilliant stone and the metallic body. This deliberate technique stripped the precious metal of its traditional, mystical significance, redirecting the viewer’s attention more strongly toward the work’s actual conceptual message.
A Legacy of Lifelong Collaboration and Friendship
Jürgen’s collegiality knew no bounds, and his energy always seemed inexhaustible. For the 44 years that he was known to many as an artist, a fellow gallerist, and a deeply trusted friend, the concept of formal boundaries rarely played a role in his interactions. He consistently championed the best interests of his peers and collaborators.
An emblematic memory of this boundless generosity occurred in 2012 at Eunique, the International Fair for Applied Arts and Design in Karlsruhe. Positioned in adjacent booths, Jürgen offered not only steadfast professional support and warm hospitality, but also a large jar of exceptional honey produced by his late father, who had been a hobbyist beekeeper.
Eickhoff’s journey into the field began in 1981. Initially trained in geology, his path shifted when his wife, Marianne Schliwinski, awakened in him a profound passion for art jewelry. He pursued formal studies in jewelry at the prestigious Gerrit Rietveld Academie in Amsterdam, while simultaneously launching his career as a gallerist alongside Marianne.
Studying in Amsterdam forged a deep bond between Eickhoff and fellow practitioners who shared a unified perspective on the medium. In the Netherlands, students quickly learn that creating the work is only half the equation; the art must also be actively presented to the world. Consequently, Eickhoff dedicated a massive portion of his professional life to curating and running a dedicated exhibition space.
Galerie Spektrum and the Creative Heart of Munich and Karlsruhe
Jürgen served as the creative, technical, and administrative heart of Galerie Spektrum. Working hand-in-hand with Marianne, he managed artist representation, sales, and client relationships with meticulous care.
Over the years, the gallery occupied five different locations across Munich and Karlsruhe, and Jürgen was invariably responsible for every detail of the interior design. He handled not just the overarching spatial concepts, but the actual hands-on craftsmanship required to bring them to life. Tirelessly, he produced small, elegant catalogs for nearly every exhibition while simultaneously fabricating new pieces of jewelry. Colleagues often marveled at his speed. While others deliberated over a design choice, Jürgen had already completed the physical work.
Eickhoff also shared a deep, enduring love for Italy with Marianne. Their affinity for the country began at an Italian café on Munich’s Türkenstraße, where—over good coffee and gelato—they dreamed of Italy and planned their eventual travels, particularly to Venice. In time, they were able to establish a home and studio overlooking Lake Garda in northern Italy. It was during this tranquil period that Jürgen produced a seminal series of works that would later be exhibited at Galerie V&V in 2010.
These specific pieces—delicate brooches constructed from thin silver wire—evoked the forms of traditional fish traps and the structural pilings used to anchor them in water. Some pieces challenged traditional notions of wearability, hovering brilliantly on the boundary of free-standing sculpture. The intricate manipulation of the wire gave the works the appearance of sketched, hatched drawings, highly reminiscent of travel sketches drawn along the Venetian Lagoon.
A line from a poem by Raoul Schrott captures this quiet alchemy perfectly: "…it is said, echoing on, that you brought beauty to the world and gave substance to the everyday…"
The Architecture of the Everyday: Photography and Global Outreach
Jürgen’s extensive photographic series must be understood within this same philosophical context. For years, he systematically photographed elements of the urban landscape that ordinary pedestrians simply walked past.
"Beneath these lids, covers, and manhole covers—whatever one chooses to call them—lies the nervous system of our civilization," Eickhoff once explained of the project. "So far, I have gathered nearly 900 images. I have since had about 44 of them printed on 20 x 20-cm canvases. Amidst the apparent monotony, one discovers a surprising variety and richness of color. Moreover, many of these covers serve as elements of the corporate identity of cities and municipalities, and are therefore impressively designed."
This body of photographic work vividly demonstrated Eickhoff’s active international presence. The images of manhole covers were captured around the globe during his extensive travels for lectures, guest professorships, and international exhibitions. Over his long career, he shared his knowledge at esteemed institutions including HAWK in Hildesheim, Germany; the Rhode Island School of Design (RISD) in Providence; the Pforzheim University of Design in Germany; the Academy of Fine Arts in Munich; Grey Area in Mexico City; the Bezalel Academy of Arts and Design in Jerusalem; and Shenkar College in Tel Aviv.
As a curator and organizer, his projects—such as the exhibition Chronos—took him to Padua and destinations across Europe. His recent exhibitions and institutional participations reached audiences in Sweden, Vienna, and, most notably, Cagnes-sur-Mer in France, where his work remains featured at the Espace Solidor.
Eickhoff’s enduring artistic contributions are safely preserved in major public and private institutions worldwide. His works are proudly held in the collections of the Stadtmuseum in Munich; the Kunstgewerbemuseum in Berlin; the Dallas Museum of Art; the Badisches Landesmuseum in Karlsruhe; the Württembergisches Landesmuseum in Stuttgart; the Pinakothek der Moderne / Die Neue Sammlung in Munich; the Schmuckmuseum in Pforzheim; CODA in Apeldoorn, Netherlands; the Bröhan Design Collection in Berlin; the Bollmann Collection in Vienna; and the V&V Collection in Vienna.
The opinions stated here do not necessarily express those of AJF. We welcome thoughtful and polite commentary on our publishing. Letters to the editor may be submitted electronically via the Art Jewelry Forum website.
© 2026 Art Jewelry Forum. All rights reserved. Content may not be reproduced in whole or in part without permission.
