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Rita Marcalgelo, brooch, SEPPIA, 2011, oxidised silver, burnt tulle, acrylic paint
Rita Marcangelo, brooch, Use by 2011,
oxidised silver, burnt plastic bottle, acrylic paint
Rita Marcangelo, ring, UNTITLED, 2009, oxidised silver, burnt silk, acrylic paint
Rita Marcangelo, ring, NUVOLA, 2004, oxidised silver, burnt silk, acrylic paint
Rita is fascinated by the idea of transforming a material in such a way that it becomes unrecognizable. She likes to work with a material to the point that it is transformed and acquires a different aspect from its original appearance.
Rita Marcangelo is constantly searching for more extreme possibilities and new ways of expression through the material she use.
She almost gets to the point where she's looking to achieve the decomposition of the matter that goes beyond simple transformation and reaches a pure state of metamorphosis.
Adrean Bloomard, necklace, AMPHORA, 2011, copper, silver, enamel
Adrean Bloomard, pendant, LUNA, 2009, copper, silver, enamel
Adrean Bloomard, bracelet, copper, enamel, 2009
Adrean Bloomard, brooch, copper, gold, enamel, 2012
Adrean Bloomard, brooch, AMPHORA, 2007, 18ct. gold, copper
This group of work, as most of his pieces from recent years inspired by archaeological findings, aims to analyze and reinterpret essential elements typical of the Mediterranean society in a contemporary form, so as to exemplify the way of life of those populations. Adreans works make reference to the body adornment and objects of antiquity unearthed in present days.
Adrean has been experimenting with enamel as this technique enables him to convey an aura of an object coming from the past, dating back to thousands of years ago. He likes to use conventional materials and techniques in an unconventional way. In fact, he applies enamel to the surface of the metal so that it appears in encrustations and clots, to give a sense of an object that has been corroded by time.
"I have carried out research relative to the study of historical elements that remain constant in time and have explored the potential that objects from the past have of evoking sensations, memories and the consequent impact they have on the viewer."
Giovanni Corvaja, HEADPIECE, 2009, Gold
Giovanni Corvaja, pochette, gold
Giovanni Corvaja, bracelet, 18 kt gold, platinum, enamels
Giovanni Corvaja, ring, BUNTEKUGELN, 18kt gold, enamels
Gold is a marvelous matter. It contains the secrets of perfection and beauty and it reveals them to those who love it and are not afraid of spending a lifetime studying it. In this it is very democratic, I think.
Once an object is imagined, it exists in “potentia” then it is only a matter of making it, if it is worth the effort and if we know how that can be done.
Artists don’t really alter art history anymore than birds alter the sky, they just make ripple in its pattern.
Art and Simplicity
A piece of art should talk to our heart, not just to the brain. To do so it has to talk in the language of the heart which is very simple.
Achieving simplicity can be very difficult as we are born simple and are usually made to grow more and more complicated, to the point that we end up finding simplicity amusing and amazing.
Achieving simplicity requires skill. I admire, for example, those men that can tell us about beauty in just 17 syllables...and when my hands hurt and eyes are tired I even envy them; although I believe that even that skill takes a lifetime of training.
Simplicity requires a good cleansing from all unnecessary complications.
Art and Beauty
Art consists in transforming an ordinary experience into an aesthetic experience. The aesthetic experience acts through all the human senses, including the intellectual and emotional ones. Usually one experiences things only through space, time and causality, but in an aesthetic experience one transcends the particular object and its spatial, temporal and causal relationship: one perceives the universal essence of the object.
Jewellery to me is all about beauty. Often we perceive beauty without decoding its patterns: we just feel attracted towards something; this can be because of the regularity of some minute details, the harmony in the proportions, the degree of finishing even at microscopic dimensions.
Of course pure beauty is an abstract and absolute concept that can never be reached, but I think that one, and especially an artist, should always aim higher than what is realistic.
I always try to make beautiful object. Seeking beauty is a very positive and enriching process: while by seeking perfection one has to focus on correcting imperfections, by seeking beauty one has to look for it and enhance that aspect in the work. Still, often, to achieve a beautiful result, a high degree of precision is required.
I aim at making objects that will last forever and will always talk about harmony and beauty in a universal language. In this the use of gold or platinum has an essential role: they are elements that posses great beauty themselves. An object in Gold or Platinum, due to the incorruptibility of the material, if carefully preserved from mechanical damages, is eternal. I would like to think that a few of my pieces will be experienced, understood, enjoyed and appreciated in the distant future, as much as now.
I believe that beauty is a fundamental necessity for a human being, just like eating or breathing: what we call pleasure, when we come at the bottom of it, the satisfaction of a primary need. Denying ourself the satisfaction of our need of beauty and living a life without art is a form of emotional anorexia: a cruel self-punishment.
Art and Passion
Attraction. Desire. Love. Obsession. The line between these stages of involvement is very fine and fragile. It is easy, driven, for example, by curiosity, to get carried further and further along the inviting path. As a consequence, what appears as a wish becomes a necessity.
What drives me along my way is a desire for improvement, spiritual, emotional and intellectual: both in my work and in myself. My method of working is one of the possible solutions in order to achieve this improvement. That happens through action. Working to me is a way to go towards what I aspire to the most: virtue. Essentially, it means acting in such a way that my personality is realized, without necessarily doing what I think others might be expecting from me.
Therefore, I am constantly discovering what I am constitutionally predisposed to, even if that does not always correspond to my abilities. So, I keep “re-dimensioning” myself in order to achieve my aim.
There is another important reason for me to work. Everyone leaves behind a trace of their existence – consciously or not. That is an inevitable fact. Some of these traces are positive and virtuous: something one creates or builds. Others are negative: something one damages or destroys. Those who search for immortality, build something that is meant to last forever after their death.
The idea of “borrowing” some gold (something already highly ordered and perfect in its structure but still amorphous in its shape) from nature and “trans-forming” it into something as beautiful as I can, is a way for me to compensate for any negative trace that I may leave behind.
Gold is my obsession, it is a symbol of evolution and perfection, it expresses the best virtue of nature and the creation. It is therefore a necessity for me to work with it, to acquire the maximum possible knowledge of it.
Making jewellery is maybe… just an excuse, the best solution I have found to allow me to be constantly in contact with gold, this magic element, this miracle of nature. I do what I do because, considering my necessities, I cannot think of anything better to do.
Maria Rosa Franzin, Drawing, SOFLEX brooch, watercolor 1999
Maria Rosa Franzin, brooch, SOFLEX 1999, Silver,gold, soflex
Maria Rosa Franzin, brooch, Six 2013, Gold999, silver, acrilic, glue, wood
Maria Rosa Franzin, brooch, SEVEN IN TOKYO,2013, gold 999,silver,acrilic, glue, wood
Maria Rosa Franzin, brooch, object, PADUS VANITAS, 2008, Gold999, silver, steel, plastic
Maria Rosa Franzin, brooch, ALBERO, 2005, Gold999, silver, coral
Thinking about the object, sketching her thoughts and then letting time pass to encourage them to become concrete shapes. My pieces are the result of a close confrontation between thought expression in terms of signs and its actual translation into three- dimensional objects by working flat metal plate.
The pictorial instinct is in the way shapes and in the implementation phase, become graphic signs, a brushstroke, mark, scratch, specks on the “skin” of metal.
Steel wire provides a means for translating these graphic marks like in the neckpiece Hartung.
Pictorial traces are outlined on the surface of the metal, abstract compositions where gold veins emerge from oxidized silver plated or surfaces are marked by tiny traces.
Maria Rosa Franzin
Graziano Visintin, brooch, 2009, gold, enamel
Graziano Visintin, brooch, 2007, gold, enamel, gold leaf, niello
Graziano Visintin, brooch, gold, enamel, 2005
Graziano Visintin, rings, 2011, gold, enamel
Graziano Visintin, brooches, 2010, gold, enamel
THE GEOMETRY OF GOLD
Graziano Visintin studied the goldsmith’s art at the “Pietro Selvatico” Institute of Art in Padua, from 1968 to 1973 under Mario Pinton, Francesco Pavan and Giampaolo Babetto, in whose studio he worked for two years.
He has been teaching Laboratory/Workshop Techniques at the same institute since 1976.
At first, his works were configured as a reduction of shape and volume, where solids lose their mass yet preserving their outline. Primary geometrical elements such as squares, triangles, circles and ovals aligned, criss-crossed or superimposed, confronting the compactness of gold, an element that was never abandoned even when ebony and ivory were used.
Gold has always fascinated him. It is a precious material, not so much for its pecuniary value, but for its characteristics of workability (malleability and ductility) and therefore requires the utmost attention.
In the eighties shapes were elongated, emptied, dematerialised to the point of becoming brilliant light.
Double elements, criss-crossing traces of gold thread outline necklaces offering points of incidence and reverberation where light creates extraordinary effects.
Circles, squares, triangles are apparently simple elements, but he has been fascinated by them in trying to understand the expressive potential of primary shapes that are always different when observed with attention. The homogeneous continuity of the circle, confronting itself with its centre, recalls the processes of individuation; in the triangle the polarised disparity recalls the value of force and energy exerted in space.
In the nineties I added a strong pictorial effect to my works. Niello, obtained by the fusion of silver, copper, lead, sulphur and borax, is an alloy that was well known by the Egyptians. Sometimes he use it as a colour or to contrast the splendid yellow of gold, and then they are beaten laminas, lozenges, trapeziums, that form compound elements. The minimal absoluteness of shape almost creates writings on the object, and then enamel, made more unique and precious by thin, superimposed gold leaf, integrates with the laminas joined by small cubes that create geometrical relationships of logical, and rigorous design.
Measure, equilibrium, simplicity but above all, vocation to geometry creates the quality of shape in apparently simple objects.
Heidemarie Herb, necklace, Netzwerk, iron, brass, melted industrial colours, pigment, 2012
About the curator:
Heidemarie Herb is a goldsmith from Germany. Actually she works and lifes in Italy. She tries in her works to convey feelings with colours, her inspirations are from nature.
Heidemarie exhibits in Germany, Austria, Swiss, Italy, Slovenia, France, Lituania, Latvia, Poland, USA, Australia, Russia.
Some of her works are in public collections in Poland & Italy, also in book publications in USA, Spain & Belgium