I embarked in a journey of investigating plasticity since a little girl, while experimenting in my mother’s ceramic workshop. During my costume design studies, while I was investigating the amazing outfits of the acrobats, I got fascinated by the world of circus. I started to devise ceramic figures in acrobatic poses, but my desire to create smaller and more delicate objects soon revealed the limits of clay and triggered a challenging game between form and matter. When I got in touch with silversmithing, my micro-sculptures reached the minimalistic delicacy I was looking for and started to resemble jewelry. Nevertheless, this challenge remained at the core of my work, even when I focused on experimenting with organic materials in order to create a second collection of abstract wearable sculptures.

Absolutely abstract or extremely figurative my jewelry pieces are concluded when perfection in design is met through lots of trial, empiric sensitivity and a sophisticated industrial procedure. It is a slow process of observation, experiment, devotion and respect, which enables me to generate designs linked to my values and guarantees a sustainable flow: I consciously pick pebbles one by one, responsibly choose my suppliers and care about my collaborators.

I use a variety of materials and try to work them into jewelry of a sensitive quality. Their movement and the way they stand alone or on the physical body are thoroughly studied, while assemblage is designed to accent form as pure as possible and keep the essence of the three dimensional wearable piece, that doesn’t have a front and back side, like in traditional jewelry. Elaborate goldsmith techniques apply, even if I work with silver, so as the pieces evolve into objects of advanced intricacy. I daintily observe my environment to absorb its refined qualities, either manifested in splendid beauty or hidden behind imperfections. Manmade and natural structures that I encounter while visiting distant cultures, tantalize me to decipher the principles of function and the processes of making. Inspiration can also come from anything visual that fuels my natural tendency to observe thoroughly, from fashion and movies to design and architecture.

My aim is to work in a low-stress environment, where I can experiment and create jewelry of a remarkable high-touch and an ethereal high-tech. Because for me, human hand adds all the magic and makes every piece unique.

My ultimate desire is for my pieces to be intriguing and to hold the element of surprise, since, when they revel in the new I satisfy my hunger for inventiveness.