Proiectul „Seeds” a aparut din dorinta de a arata cat de versatila este tesatura din sarma si cum putem obtine forme extraordinare dintr-o simpla bila de sarma crosetata.
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Mereu incerc sa invat tehnici noi, sa le perfectionez, chiar daca sunt traditionale, iar mai tarziu apar ideile legate de cum sa le integrez intr-un design contemporan, care iese din tiparul pe care l-am invatat.
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Pentru mine istoria reprezinta o importanta sursa de inspiratie, ma pasioneaza si mi-as dori sa ajung sa cunosc cat mai multe tehnici folosite in vechime. Cred ca e foarte important sa ne uitam inapoi catre marii maestri care, desi nici nu visau la tehnologiile la care avem acces noi astazi, modelau obiecte remarcabile cu un minim de ustensile.
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Din punctul meu de vedere designul contemporan este in stransa legatura cu traditia manufacturiera fiind intr-o oarecare masura subordonata acesteia. Contemporaneitatea aduce un aer proaspat a tot ceea ce inseamna manufactura.
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Pasiunea mea a inceput intr-o calatorie la Istanbul unde, in Marele Bazar, am vazut cateva din piesele contemporane ale designerului Selda Okutan. Pe atunci nu stiam ce este bijuteria contemporana, dar mi-a placut atat de mult incat am inceput sa-mi doresc sa creez si eu.
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Cred ca e foarte greu ca artist sa gasesti persoanele care sa iti inteleaga nebunia si sa aiba si un context social deosebit care sa adauge si mai multa frumusete artei tale.
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I started making jewelry at the age of 12 years old. My first views came along with my grandfather's woodworking workshop. From a very early age I was watching him working with woods, giving them different shapes by using tools like hammers, drills, saws... and I was fascinated by the whole procedure.
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Am mare incredere in cei care descopera acum, in plin context digital, ambitia meticuloasa si fragila a propriilor maini. Sunt convinsa ca va fi vorba mereu despre balansul intre inovatie si nelinistea emotiilor care ne obliga sa spunem povesti.
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The manufacturing tradition of my country, Italy, is a treasure that I feel very lucky to be able to easily approach, learn and rework. I believe in contemporary design as progress and invention, but also as a reworking of something that has already been, being inseparable from the work of sensation and of memory.
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Europe does not have the same tradition as the East, especially Japan. Getting to know Japanese tradition is important to me because knowing ancient technologies we can create an even more interesting form.
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My motto is: if a piece is not necessarily made by hand, then do not make it. This means that I love the unusual, handmade, modern pieces.
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Bijuteria contemporana se dezvolta cot la cot cu noile tehnologii, si, desi nu sunt foarte pasionata de unele dintre ele, imi place sa vad ce posibilitati mai ofera si cu ce poate veni nou fiecare dintre acestea.
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Ma uit la traditia manufacturiera cu curiozitate si admiratie si imi place sa invat tehnici traditionale cand am ocazia. In acelasi timp vad traditia manufacturiera ca pe ceva ce trebuie pus sub semnul intrebarii, examinat, reinterpretat, negat si reinventat incontinuu.
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I do not charge my batteries, I am a big battery, always breathing, always feeling my creative pulses, and always embracing my pair of uninhibited hands.
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I think the future of contemporary jewelry will be even more expressionistic where the material is recycled and the technique supports sustainable development.
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I don't feel the need to charge my batteries, I really enjoy working in my studio, it's the best pastime, I always work on several projects in parallel and they are usually very different from one another.
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I think contemporary jewelry is on the rise, and will finally get the attention it is due. With more places showcasing art/contemporary jewelry with dedicated jewelry weeks (Romania, Milan, Athens, Munich come to mind), I hope people will start to really notice that more places will get on board with showcasing such designers.
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Prietenii si familia sunt cea mai buna sursa de energie, povestile lor de cele mai multe ori sunt sursa mea de inspiratie in procesul de creatie.
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Intr-o vara, am gasit o creanga de peste un metru pe o plaja din Bulgaria. O rupsese vantul din iarna si o macinase valurile. M-a fermecat nodul rotund al crengii, un fel de sigiliu-blazon care nara concentrat si expresiv parca intreaga istorie a copacului ce traise solitar la mal de mare. Si am stiut ca va fi primul colier facut de mine.
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Fiecare piesa reflecta o parte a personalitatii careia ii dadeam mai multa importanta in momentul acela de inspiratie si creatie. Acum ma regasesc in colectia ce urmeaza sa fie lansata la ROJW: Armurarium, despre feminitate, vulnerabilitate si curaj.
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