MAPPING THE BODY

My work is not meant to be considered like a collection of fine jewelry, but rather like an ongoing research on the geography of the body.
As a result of many years of research, I have been able to map it.
On a close analysis of every single piece, this personal way of conceiving jewelry making enhances the importance of executive solutions, related not only to the manual manufacturing, coming from the standpoint of traditional techniques in fine jewelry, but also to the mechanics of industrial design.
Morgana 1980
As a result of this way of thinking, my work turns into a stage trunk, which has the capability of containing all that is necessary to an actor for playing a role, or, to clarify the metaphor, to a body for wearing a jewel. In this perspective, I tend to define my creations like ornaments, rather than jewels. In fact, an ornament to me is a physical manifestation of that special interdependence existing between a designer and the recipient of his creation. To be more specific, I would say that, through the dimension of the body and its movement, I ceased to intend the ornament like a representation of status, and began to intend it like a representation of the one who wears it.
Automatico Grande 1990
What I do  is constellated by ready-made, such as automatic buttons, buttons and
buttonholes, shoelaces and more; the fine execution of the work is, on the other hand, an evidence of my debt towards the ancient art of jewelry making, which I keep honoring as my main master.
“Ornamenti per Bradamante” - work in progress.
Shreds of stainless-steel mesh are coming off an imaginary outfit, and make me feel at times ancient, at times contemporary, and, at the same time, projected towards the future. Through an allegorical representation of a secret woman, that incarnates a trinity of female figures, Bradamante is also Angelica and Alcina , three women in one.
Fiches, 1997 – ongoing project
Just like a game, I invented a system of aggregation and disaggregation of materials in variable sizes, from rodoidhe to steel, from gold to semiprecious stone (lapis lazuli, jade, rock-crystal and so on). In this way I combined a constant element (the inner grid) to fields of materials (variable elements); the first one is necessary for planning and implementation, while the second ones are necessary for achieving a “representation of being”. Necklaces, bracelets and earrings can even suggest a classic repertory for what it concerns body ornaments, for their quality of harmony and the absence of bizarre shapes; chainmaille`s rings follow one another in a linear sequence, and when it
comes to bracelets, one could even think she `s wearing a drawing tool.
Main characteristic of my most recent body of work is the pursuit of an extreme light weight and the consequential “vibration-ality” of the elements that compose a piece; their frail existence is due to the expert drilling of thin layers of stainless steel *Inox.

Excerpt from a converstation with Elisabetta Longari – May 2001)
“Superleggeri” 2000 lavori in corso
Epilogue: almost every single piece from my collection, with a particular regard to the work presented in this essay, is treated by me as work in progress. This definition originates from the idea of infusing to my ornaments the potential of transcending their origin to become something completely new.
Entities in progress, so to speak, that are yet able to serve my other main purpose, which is the celebration of our daily routine.
Stringa 1981, ongoing project
Written in Milano on 16-5-2004
Proof read and transcript on 13-11-2010 - Approved on 29-11-2017