Italian Contemporary Jewellery Artists - Part 1


Italian Contemporary Jewellery Artists - Part 1

I'm pleased to present the first part of artworks by Italian contemporary jewellery artists.

Enjoy the exhibit!

Curator: Heidemarie Herb

Location: online
Members: 49
Latest Activity: Oct 5

Italian Contemporary Jewelry - Part 1

Rita Marcalgelo, brooch, SEPPIA, 2011, oxidised silver, burnt tulle,                acrylic paint

       Rita Marcangelo, brooch, UNTITLED,2012, oxidised silver, silver powder, burnt textile

Rita Marcangelo, brooch, Use by 2011,

oxidised silver, burnt plastic bottle, acrylic paint



Rita Marcalgelo, ring, MOVIMENTO, 2009, oxidised silver,  burnt silk, 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, necklace, AMPHORA, 2009,copper, enamel, silver

 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, brooch 1999, 18kt gold, niello

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.

Giovanni Corvaja



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  

My object

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


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.

Graziano Visintin



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






Comment Wall


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Comment by Lorena Angulo on December 11, 2013 at 3:36pm

Wonderful ! Thanks for showing the work by these incredible artists !!!

Comment by Marina Sheetikoff on July 22, 2013 at 5:33pm

I love it!

Comment by Heidemarie Herb on July 20, 2013 at 2:01pm

Thanks to all for your beautiful comments :o) !!!

Comment by Miri Admoni on July 19, 2013 at 11:15pm

I love the Italian jewelry artists, each one of them is so unique and interesting.

Comment by The Justified Sinner on July 14, 2013 at 11:28am

Fantastic! Love the gold square.

Comment by Sophia Georgiopoulou on July 8, 2013 at 11:36pm

Beautiful, interesting work!

Comment by Kimberly Nogueira on July 8, 2013 at 11:35pm

what an enjoyable time i spent studying these pieces, thank you for  sharing!

Comment by ATTA Gallery on July 8, 2013 at 10:36am


Nice selection.  I personally love Adrean Bloomard's work and have always  been in awe with Giovanni Corvaja's detailed pieces. Can't wait to see Part 1.  

Comment by Roxy Lentz on July 8, 2013 at 9:45am

I love the work by these artists. It was good to see new work, or work I haven't seen yet, along with the wonderful pieces I am familiar with. I also like to use material in a way that it is not recognizable as to its original form. 

Comment by Satomi Kawai on July 8, 2013 at 9:26am

Nice collection of jewelry pieces.  I especially appreciate Rita's material transformation. How beautiful decaying is.


Members (49)


A modern metalsmith/metal artist can be found working in traditional metals as well as in nontraditional materials. The designs can range from the classic to the extravagant, and the techniques can either be centuries old or decidedly current.

The wide range of expression preferences, design options, materials, and processes has lead within our field to unfavorable misconceptions, misunderstandings and in some cases even outright disdain between artists. Can the metal and jewelry field overcome its division and send out a much-needed signal?

We appreciate and respect our historical past and acknowledge that current materials have a rightful place in jewelry/object making!

Arriving at this message is the goal of this traveling exhibition opening at the SNAG conference in Boston 2015, Velvet da Vinci, San Francisco, CA - Aug 19 - Sept 20, 2015, Equinox Gallery, San Antonio, TX - Oct 16 - Nov 15, 2015, Baltimore Jewelry Center, Baltimore, MD - Dec 11, 2015 - Jan 08, 2016, Brooklyn Metal Works, Brooklyn, NY - Feb 5 - Mar 4, 2016, Thomas Mann's Gallery I/O April 1 - June 25, 2016.

DETAILS on exhibition premise, call for artists, submission guidelines.....


Rachel and Brigitte got started on their own cooperation. Follow along and comment.

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Instill - Material Matters 2014 - The School of Jewellery at Birmingham City University, UK

INSTILL- material matters offers an opportunity to experience the recent works by MA postgraduates from The School of Jewellery at Birmingham City University, one of the most important and internationally renowned contemporary jewelry programs in Europe.

Crafthaus has been privileged to show work from the graduating jewelry classes of the Birmingham City University for the past 5 years in a row. Thank you Professor Astfalck for this wonderful opportunity!


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