EL speaks of relations between parts, of what is bathed in light and what is hidden in shadow, of unstable equilibria, fragile tensions, uncertain shifts or interrupted courses, wearable metaphors for a competitive interplay of weight, material and colour. The meeting between two women in love with crafts, manual skill and experimentation with materials.
A strong desire to personally make low-tech objects for immediate use is what motivated us to embark on this venture.
Our pieces of jewellery are mobile mechanisms, micro-works of architecture
A strong desire to personally make low-tech objects for immediate use is what motivated us to embark on this venture. It is fundamental for us that none of the steps in the production of the jewellery should entail industrial processes or professional mediation. Even the design stage is carried out directly with the object, without any preliminary drawings, which allows us to see immediately whether it is going to ‘work’ or not.
Rather than stemming from a philosophy ours is a declaration of intent: producing articles to be worn that have a form complete in itself, but that can find new meanings in their relationship with the body. Our pieces of jewellery are mobile mechanisms, micro-works of architecture made with a core of bronze and the micro profiling tools used in model-making and the industrial production of small metal parts, which house and are combined with elements deeply rooted in the tradition of local Italian handicraft. The spun glass of Murano, the tesserae and enamel beads of the historic Venetian furnaces, Sicilian china clay: the whole process of assembly is a hybridization between the handmade and industrial production, in keeping with a modernist aesthetic, but one with a local flavour.
It is hard to give a complete description of the contemporary artisan. Take jewellery for example: it has many different aspects, eluding a single definition: it is not ‘necessary’ or ‘functional’, but it is one of the oldest forms of handicraft; not recognized as a strictly artistic object, the piece of jewellery is admired rather for its technical intricacy or its preciousness, and all this pertains to the manual skill and ingenuity typical of the artisan.
El Lissitzky’s concept of the Proun was the first step towards the production of the series Muv e Proun, Tube, Quadro, Gap, Hole and Obli, mobile and immobile assemblages of primary geometric shapes. The series Snake, Curve, Nodo and Nido allude to open and dynamic lines and forms, in the process of becoming, movements typical of ballet. The Saw series, on the other hand, makes reference to another sphere, that of a relationship with the material which is almost one of opposition, a physical connection established through wearing away by friction: we have made them by subtracting instead of adding.
Historical avant-garde movements like Russian Constructivism, Oscar Schlemmer’s triadic ballet, Mario Pinton’s Padua school of jewellery making, with the craftsmen Giampaolo Babetto, Francesco Pavan and Graziano Visentin, and then Osvaldo Licini, Fausto Melotti and the Sicilian artist Gino Cosentino: these are the models from which we have taken ideas for our creations.
Its interaction with the body: the body sets in motion and activates the object, thereby turning it into jewellery, translating the form into movement and sound, into an object that is lived and has a life of its own, quite apart from the material out of which it is made. And precious material then makes it eternal.