I always wanted to be a teacher. And I was, for 35 years, teaching French to young children in a school. I am convinced that teaching is more an act of receiving than giving. This profession shaped me as a person, and I recognize a lot of this in my artistic practice.
When have you started creating jewelry? How did this passion come about?
I started in 2007 after taking a wax modeling seminar. In the last class, we worked on a small scale for jewelry applications, and I fell in love with the outcome. I was already familiar with working with clay, but resizing my sculptures to cast them in metal and be able to wear them became a passionate pursuit for me.
What was your first project or significant piece for you and from what point of view?
The piece that symbolizes a before and after in my artistic practice is the 'Ponchito' necklace. It was one of the first pieces I created using recycled paper. I explored a lot before deciding how to build it, and in doing so, I learned to enjoy the processes, cultivate patience, and seek the most appropriate technique for each project. It was with this piece that I decided that this paper technique, which I had already been developing for about a year, would become my artistic identity.
How do you charge your batteries? What other passions and creative interests do you have?
I have always been a keen observer of nature, especially of small spaces and details that, when looked at closely, transform into landscapes in themselves. That's why I'm constantly taking photos, zooming in, and discovering textures, colors, and patterns that are not only interesting and beautiful but also highly inspiring to me.
What does the connection between manufacturing tradition and contemporary design mean to you?
The way each artist chooses to create their pieces, whether entirely by hand or using the latest technologies, depends, in my view, on the concept they want to express. Contemporary design has broken boundaries and barriers, freeing and expanding creative possibilities. No rules define what is the correct way to use certain materials. Everything, from techniques to materials, is at the artist's disposal, allowing them to express themselves in the way they choose or need to.
Is there a self-portrait piece that speaks most about you?
Any of the vessels or bowls in my collection speak of me and my way of valuing the interior over the exterior. Of my interest in protecting what is held within. It reflects the importance the container has but acknowledging its content. I value each single layer, even the invisible ones that provide structure and stability.
Which material have you not yet used is a temptation and a challenge for you?
Ephemeral, fragile, or non-perennial materials. The acceptance of creating something that will not survive the passing of time, that is destined to disappear within a much shorter timeframe than I would wish for.
How was the pandemic period for you as a jewelry designer?
My workshop was my refuge, and it was a period of high productivity. All my fears, frustrations, and anger were channeled into several pieces I created related to the theme and the time we were living in.
How do you see the future of contemporary jewelry?
Year after year, contemporary jewelry is consolidating itself as another form of artistic expression. Presenting it alongside other disciplines such as performances or audiovisual media associates it with a contemporary culture to which the general public is more accustomed and interested. Gallery owners and curators play an essential role in organizing exhibitions and fairs that give it more visibility and presence, collaborating with museums and cultural environments to include it within art circuits worldwide.
