My background is not typical for exhibiting jewelers. For many years I worked in the advertising industry, introducing my clients’ visions for products or services to the general public through my skills in language, imagery and expression. These were skills honed through university courses in semantics and semiotics, communications and film, marketing and presentation. Additionally though, this training and experience affirmed and clarified my desire to control my own appearance and perspective. Never content with the jewelry I found readily available, I had always considered creating my own pieces, for myself and friends.
The opportunity to pursue this desire came when I moved for my work from Uruguay to Central America. There, in a small town on the shore of the volcanic crater Lake Atitlan, Guatemala I found a mentor and teacher in Reinhard Zoels. A German émigré and former engineer, he taught me the fundamental concepts in jewelry making and metal work. I later settled in Oregon where I have continued my learning through focused courses and workshops in an environment that rewards individuality and uncommon paths to creativity.
I am intrigued by the idea of adorning the body with character-objects that are integrated into the intimate identity of the wearer. My process starts from a concept image or a volumetric idea, and develops from there to become a piece that finally appears simple and minimal. This minimalism is both technical and formal, though I deviate during the making, sometimes to the point of abandoning the original concept, to allow something absolutely different to emerge, imbued by a romantic or stubborn obsession.
Geometric balance, objects held in tension, and kinetic potential are recurring themes that recreate the space inhabited by my works and feed on the curiosity of wearers and viewers alike. I enjoy the experience of treating metal like clay in the hands of the sculptor, bringing the idea directly from the metal to the final execution. I work mainly with silver and gold, and I incorporate stones when the idea dictates it; other times I incorporate inspiring objects found in nature.
My pieces become statements of clarity, purpose and formalism for those who wear them.
They become their own, adapting to their owners’ diverse styles through minimal yet universal truths.
The opportunity to pursue this desire came when I moved for my work from Uruguay to Central America. There, in a small town on the shore of the volcanic crater Lake Atitlan, Guatemala I found a mentor and teacher in Reinhard Zoels. A German émigré and former engineer, he taught me the fundamental concepts in jewelry making and metal work. I later settled in Oregon where I have continued my learning through focused courses and workshops in an environment that rewards individuality and uncommon paths to creativity.
I am intrigued by the idea of adorning the body with character-objects that are integrated into the intimate identity of the wearer. My process starts from a concept image or a volumetric idea, and develops from there to become a piece that finally appears simple and minimal. This minimalism is both technical and formal, though I deviate during the making, sometimes to the point of abandoning the original concept, to allow something absolutely different to emerge, imbued by a romantic or stubborn obsession.
Geometric balance, objects held in tension, and kinetic potential are recurring themes that recreate the space inhabited by my works and feed on the curiosity of wearers and viewers alike. I enjoy the experience of treating metal like clay in the hands of the sculptor, bringing the idea directly from the metal to the final execution. I work mainly with silver and gold, and I incorporate stones when the idea dictates it; other times I incorporate inspiring objects found in nature.
My pieces become statements of clarity, purpose and formalism for those who wear them.
They become their own, adapting to their owners’ diverse styles through minimal yet universal truths.
