GULA Remade in Portugal "in-utilitas", exhibition, Fundação EDP, Porto, 2015
sterling silver, gold plating, silver filings, resin, freshwater pearls and nylon thread
When hunger is gluttony
If hunger is a primary need, the pleasure caused by sugar is a luxury only explained by the excess of gluttony.
Jewelry lies between the useful object and the apparent uselessness of art and in this context, the jewel is the sugar we put upon the clothes we wear to add more flavor - to provide the useful of the luxury of beauty.
While a silver jewel is produced, garbage accumulates in the form of filings - a silver powder that resembles sand or refined sugar. If collected, it can be transformed back into silver possible to work in a sort of circular recycling. But why not integrate filings in jewelry? As if the garbage that luxury gives rise to could become the protagonist itself.
GULA, celebrating the joy of creating a beautiful object that can be worn, treats this silver filings as if they were sugar, integrating in one piece utilitarian recognizable forms and turning them into symbolic elements, decontextualized and out of scale, in a way to exalt its practical uselessness.
When worn, GULA warns about the dangers of giving in to the pure and simple pleasure, making the instrument to achieve it inaccessible - because if hunger is the symptom of a need, gluttony is perhaps a treat as necessary as the beauty that yearns to be contemplated.
GULA is a necklace composed of two pendants inspired in a cake on a doily and a spoon, in which the sugar is represented by the reuse of silver fillings.
The word gluttony derives from the Latin gula, which means esophagus, throat, gullet.
Interestingly, it is also the word for sugar in Indonesian.
ANOTHER VISION Jewellery Meets Illustration, exhibition, Ó Galeria, Porto, 2015
gold plated sterling silver, plastic miniature painted with enamel, metal chain
There was an obvious intersection between the illustration and the language of my own work. I'm not used to using someone else's work as a starting point to create a piece of mine, but when this happens, it's inevitable to look at other's work in light of our own work - we end up seeing what we want to see.
I considered the user of the piece of jewelry as the main character of its own frame. As such, I decided to pick up the monocle that appears in the illustration Vision and simplify it a little more, deconstructing it into circles of different diameters (relating to my Orbital Collection) - as if the object had fallen to the ground and, dematerialized, were now mounted as a decorative abstract piece.
Another of the elements that caught my attention in the illustration was the silhouette of the smallest character that seems to be in danger - perhaps influenced by my background, I was reminded of the miniatures that are used in architectural models and couldn't resist to add it to the composition - this little one is also half lost and tries to somehow find his place within a structure whose size seems disproportionate and out of his control. Ultimately, it turns out to be the liaison between a piece of jewelry that could exist by itself and the illustration of Maria Herreros.
READ ME IN THE MIRROR Jewelry and Cinema, exhibition, Tincal lab, Porto, 2016
Some movies catch our attention from the beginning, others are waiting for the big finale to surprise us. Time passes by and when we look back it’s sometimes only a moment or a line that stays.
“Read me in the mirror” is a portable collection of phrases that linger in our memory and can now be transported to our body, engraved in what seems like film strips.
A different meaning to each of us, a reflection of them and ourselves.
READ ME IN THE MIRROR poetry edition, 2019 (published in the book "New Bracelets", Nicolas Estrada, Promopress)
sterling silver, paper strip with poem
A limited edition of pieces inspired by poetry - as if it were a paper strip, each bracelet presents an excerpt of a text by a Portuguese author, marked manually by the inside and turned to the user, but also visible from the outside by its relief and read when in front of a mirror. Each bracelet is accompanied by a paper strip with the complete text, as a symbolic reminder.
HORIZON LINE exclusive piece for MAAT, Lisbon, 2019
Inspired by the architecture of the lines, the levels of spaces, the direction of movements, which overlap and intersect in a continuous flow. Ana Pina’s ring reflects the geometry of the museum’s facade, but also, on a more poetic vision, the way it leans over the river’s bank and accompanies its rippling.
ABSENCE Prezentacje 2019 - Prostheseuses, competition, Warsaw, 2019
sterling silver, silk yarn
Absence recalls at the same time a void and the presence that filled it.
An organ, a limb, some body, a memory.
As a prothesis is custom-made to its owner so this piece was made - and in this particular case, it fits the hand that created it, to then be given away, in a symbolic cycle of gain and loss.
But a prothesis made to a healthy hand is in itself a contradiction: an element that is meant to be felt as strange, that instead of facilitate, disables the movement.
An element that is meant to stand out, like a jewelry piece - and as a jewelry piece, this pendant celebrates the rebirth: an inadequate element that only fits oneself becomes an adornment for someone else, as a symbol of our infinite capability of reborn, improve and turn the disadvantages into triumphs.
INVISIBLE Mask, virtual exhibition, Galeria Alice Floriano, Porto Alegre, 2020
Looking for myself beneath this everyday mask. Protecting us from each other? Or protecting me from the outside world? It’s always there, even if we don’t see it, changing with light, with movements, with moods. Maybe I’m invisible if I can’t see you. Maybe I can’t reach you out if you don’t see me, but distance is always the best defense.
Playing with concepts of Mask in a time when its use is necessary for health reasons.
In times of limited access to the workshop there is always the most simple resources we can turn to in order to create: our hands, an almost invisible layer, a never-ending source of inspiration - like geometry.
Remembering a child’s game, when folding a paper sheet in half and cutting shapes with a scissors would reproduce a symmetric composition, that , far from being predictable, would marvel us for its surprising result.
EROS Oceans of Love, exhibition, Place of Display, Bucharest, 2020
sterling silver, oxide, condom packaging (plastic)
Playing with the contradiction and complementarity of concepts like form and function, appearance and meaning, inside and outside, memory and presence, contour and void, human and artificial.
The piece Eros alludes to the improbable relation between the physical body and the abstraction of geometry, celebrating one of the different kinds of love identified by the wise ancient Greeks. Eros relates to sexual love, but also, as defined by Plato, to the passage from the carnal to the ideal: contemplation as an act of appreciation for beauty itself.
May jewelry be wearable beauty with meaning.