Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Dirk Schrijvers considers his career as a medical oncologist and his collecting as two aspects of the same concept. \u201cI was always interested in becoming a doctor,\u201d he says. \u201cWe were told that you had to help your fellow men. But I was also interested in art from a very young age, and I also bought art to help the artists.\u201dHis interest in contemporary jewellery began after he moved from Limburg province in Belgium to study in Antwerp in the 1980s. Hospital dress codes at that time required him to wear a tie. \u201cWhen I had to examine the patients, the tie flipped over the patient and it was not really hygienic,\u201d says Schrijvers, who specialises in head and neck, and genitourinary cancer. His fix was a tie pin from the Antwerp-based goldsmith Nadine Wijnants.Also a collector of art, design and studio glass, Schrijvers started following the work of jewellery students graduating from the Royal Academy of Fine Arts Antwerp. If he liked a piece, he would buy it, or he would commission a ring set with blue stones (his preferred colour).Since then, his interest has moved from fine jewellery to more sculptural pieces, with a particular focus on brooches. Yet, while he used his tie pins until hygiene rules changed and required him to \u201cskip jewellery\u201d altogether, he does not wear his 300 pieces. Instead he collects \u201cmostly to support the young people\u201d and displays their work at home in presentation boxes. \u201cThe first thing a piece has to do is to touch me, to move me,\u201d he says. \u201cAnd then that can be that it\u2019s very nice to look at\u2009.\u2009.\u2009.\u2009[or] that it has a message.\u201dNadine Wijnants, Color Rings series (2010)Two hundred pieces from Schrijvers\u2019 collection are on display in Pinned! Contemporary Antwerp Jewellery, a show at the city\u2019s DIVA museum until June 1. They include a series of four rings he commissioned from Wijnants.Each ring represents a different season and is inspired by the colour in a phrase written by Schrijvers. After Wijnants produced a \u201cclassical\u201d white gold and blue diamond ring for summer, he told her to \u201cgo wild\u201d on the rest as he would not wear them. \u201cThey don\u2019t look like rings \u2014 they are little sculptures,\u201d he says. His favourite, the autumn piece made from yellow gold and citrine, responds to his words, \u201cThe colour of the sun and the sand, and the one that makes my life shine yellow\u201d. Schrijvers says the form is \u201clike a spiral that refers to eternity\u201d.Dimitar Stankov, brooch (2013)Schrijvers first met Stankov at an exhibition for students of the Royal Academy of Fine Arts Antwerp, where the Bulgarian jewellery designer used vibrations from traditional Bulgarian music to move corn starch into forms. He used this research to inform his wire Bagpipes & Memories pieces, including Schrijvers\u2019 silver and gold brooch. The doctor says the \u201cemotional\u201d piece incorporates gold belonging to Stankov\u2019s family.Schrijvers has continued to follow Stankov\u2019s career, but is not always taken by his designs. \u201cThe series after this one, he put lamb tripe on the pieces,\u201d he says, adding that they were \u201ctoo smelly\u201d.Warre Woutermaertens, brooch (2025)Schrijvers commissioned this brooch from Woutermaertens, a student at the Royal Academy of Fine Arts Antwerp, after admiring his larger artworks made from wood, concrete and steel, which he manipulates to represent decay. The brooch uses the same materials. \u201cHis art is at the moment of big importance because we are all looking at the changing world, where decay is becoming more and more [prevalent],\u201d says Schrijvers.Joani Groenewald, brooch (2023)Contemporary jewellery in Antwerp has become \u201cmore critical and socially engaged\u201d during his time collecting, says Schrijvers. Newer additions to his collection tend to carry a message. Groenewald is a South African jewellery designer whose work he discovered at an exhibition in Antwerp. This brooch is part of her [Un]connected series that explores segregation, the demarcation of land and territorialisation. The resin piece resembles a link in a metal chain, which Schrijvers says is a symbol of segregation and demarcation, but can also mean a \u201ccoming together\u201d, reflecting what he says is Groenewald\u2019s philosophy of \u201cconnection and unconnectedness\u201d.Peter Vermandere, \u201cMirror-headed curly crawler\u201d brooch (2014)The first brooch Schrijvers bought in the 1980s was by Vermandere and he has tried to buy from each of the designer\u2019s subsequent exhibitions. \u201cHe is one of [my] favourites because his jewellery is always very baroque, so it\u2019s very excessive,\u201d says Schrijvers. \u201cIt\u2019s always not too much, but almost too much\u2009.\u2009.\u2009.\u2009so it\u2019s never a simple piece.\u201dHe likes the combination of materials \u2014 matt silver, shiny hematite and gold \u2014 in this piece, part of Vermandere\u2019s Stone I Am Series 2. Schrijvers says he and Vermandere \u201cgrow together\u201d, as the designer develops his \u201ccrazy ideas\u201d and his own collecting evolves. It is the \u201cthrill of looking\u201d for a jewel that drives Schrijvers. \u201cWhen I have the piece, something gets loose,\u201d he says, adding that the stress and excitement of the chase fades away.<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Dirk Schrijvers considers his career as a medical oncologist and his collecting as two aspects of the same concept. \u201cI was always interested in becoming a<\/p>\n","protected":false},"author":1,"featured_media":306860,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-306859","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/306859","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=306859"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/306859\/revisions"}],"predecessor-version":[{"id":306861,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/306859\/revisions\/306861"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/306860"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=306859"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=306859"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=306859"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}