More and more I tend to look for the simplest way to fill the gap between my thought
process and the making of the piece. Between my mind and my hands.
For me preciousness and beauty are where you find them.
They don’t necessarily need to have any kind of monetary value. They often don’t.
It is mostly about some form of unconscious recognition of something dear.
And then the game begins.
Preciousness and beauty may await you lying on some dirty fabric on the ground of
some flea market somewhere, or in your grandmother’s closet, or on the street in the trash.
To go out and find these small dead treasures, no longer valued or needed by others
(thou not all) and religiously collect them and keep them safe from annihilation.
I rescue things that, mostly, belong to my own cultural environment.
The urban leftovers. To this process an interest and passion for ethnical, popular and classical
jewellery is added.
These interests are a key element in my work. I to belong to a tribe. The urban tribe.
These objects that I collect are somehow a reflection of my own human and cultural condition.
The rejects that no one wants. Small pieces of used life.
The next part of this game is playing with these objects, experimenting with them (material wise)
and reflecting upon them (content wise).
These objects can be any kind of object or sometimes even material.
I work with these human familiar things putting them in a new context, altering the perception we
may have of the same.
Reinventing and transforming these objects to serve my own purposes and giving them a second life.
A real second life.
Reflecting on the work I’ve been developing for these past 2 years I can see the evolution from previous work.
These objects are no longer solely graphical and playful ones, but rather matured, processed and
thought objects converted into jewellery.
It is no longer only about the toy or the found object but as well and mostly about my own thought process and
work as a jewellery artist and my feelings as a human being.
This contrast between preciousness and non valuable things, is here, mainly expressed by the choice of combined
materials, within my work.
Less valuable metals and other materials (such as plastic) become the most exposed part of the piece while gold,
the precious metal, is used to make the connections between the piece and the body. Holding it together
but non visible. These are the honest pieces.
In other pieces gold is used to cover the copper. A thin layered mask on what’s perhaps real. These are the deceiving pieces.
In others the gold is hidden. A secret waiting to be discovered. These are the treasured pieces.
And in others there is no gold. These are the disillusioned pieces.
So the work you see before you is born from this.
From this hunting and gathering and playing.
