Atropos

Sophia Vari Atropos, 2019 Golden brass earrings with post/ clips available Edition 2 EA from Edition of 6 Signed and numbered Sophia Vari’s approach to jewelry, came at a time in which the artist’s busy and international schedule wouldn’t allow her time in the studio. To fill the creative gap, Vari began producing mini versions of her monumental sculptures using plasticines. Despite the significantly reduced size, the same attention and preoccupations that permeates her large-scale work were applied to the smaller ones and eventually become at the basis for her jewellery design making her an incredibly versatile and unique artist. Produced in monumental scale or as table pieces, monochrome or coloured, her bold, dynamic and yet elegant sculptures portray the artist’s profound respect for the material, which is only of the higher quality, and her interest in the process, in which she is an active participant. Another quality shared by all her sculptures, and one which the artist pays particular attention to, is the relationship between the object and the space it occupies. Specifically, how they activate one another and, eventually, activate the viewer as well. Just like for her sculptural or pictorial work, only the highest materials are used in […]

Sophia Vari Calypso II, 2012 silver earrings with clips Edition 1 of 6 Signed and numbered Sophia Vari’s  work is an investigation of form and balance, strongly influenced by Mayan, Egyptian, Olmec, and Cycladic traditions as well as Ancient and Baroque aesthetics. Her artist name « Vari » draws on the name of the Greek village where her family house was. Specializing in bronze sculpture, she is also known for collages, oils, watercolours and gained widespread recognition for her stunning jewellery, or « wearable sculptures » that combine geometric lines and sensual curves in silver, gold and ebony.  

Giampaolo Babetto Orecchini , 2010 18kt yellow gold and pigment earrings Unique and signed Giampaolo Babetto’s work reflects contemporary art movements such as concrete art, minimal art, kinetic or pop art in a unique, purist and plastic manner. His pieces are immediately recognisable by its simple design. He is inspired by the architecture of his homeland, by Palladio’s villas, and by the geometries in which he finds poetry. His jewellery is innovative in concept. Made up of different abstract elements, broken down into modular units, or rendered moveable through the use of ingenious links, Babetto’s works are like small architectural pieces or small sculptures. Babetto prefers working in gold due to its stable malleability and its warm sheen which he combines with unconventional materials such as plastic or glass, ebony, dusting the internal surface with a velvet-like pigment in luminous primary colours of reds or blues or using enamel and age-old niello-based techniques. These materials are used as highlights and contrasts in works of increasingly pure and essential geometrical forms that have come to characterise the Padua School.  

Giampaolo Babetto Orecchini , 1987 18kt yellow gold earrings Unique and signed   Giampaolo Babetto’s work reflects contemporary art movements such as concrete art, minimal art, kinetic or pop art in a unique, purist and plastic manner. His pieces are immediately recognisable by its simple design. He is inspired by the architecture of his homeland, by Palladio’s villas, and by the geometries in which he finds poetry. His jewellery is innovative in concept. Made up of different abstract elements, broken down into modular units, or rendered moveable through the use of ingenious links, Babetto’s works are like small architectural pieces or small sculptures. Babetto prefers working in gold due to its stable malleability and its warm sheen which he combines with unconventional materials such as plastic or glass, ebony, dusting the internal surface with a velvet-like pigment in luminous primary colours of reds or blues or using enamel and age-old niello-based techniques. These materials are used as highlights and contrasts in works of increasingly pure and essential geometrical forms that have come to characterise the Padua School.  

Ron Arad Hot Ingo earrings, 2016 silver rods, red laser sintered polyamide with wooden case & edition card 10 x 2.5 x 2.5 cm (each) Edition 22 of 100 Edition Louisa Guinness Gallery Ron Arad began experimenting with jewellery making in 2003 when he first conceived his Hot Ingo earrings in collaboration with Louisa Guinness Gallery. Combining the material innovation of 3D printing with sintered polyamide he fliped the use of a technology traditionally used by engineers, designers and silversmiths to create prototypes and earrings. The resulting ‘Hot Ingo’ earrings represent his first foray into the world of jewellery. Mimicking natural lines, each sintered polyamide ball wraps neatly around its metal pole originally made in ‘03 from 18k gold with a white polyamide ball and platinum with black polyamide ball. Arad has also produced later editions in 18k rose gold with a black polyamide ball, in blackened silver with a white polyamide ball and silver with a red polyamide ball.  

Ron Arad Hot Ingo earrings, 2015 18k rose gold, black laser sintered polyamide with wooden case & edition card 10 x 2.5 x 2.5 cm (each) Edition 21 of 100 Edition Louisa Guinness Gallery Ron Arad began experimenting with jewellery making in 2003 when he first conceived his Hot Ingo earrings in collaboration with Louisa Guinness Gallery. Combining the material innovation of 3D printing with sintered polyamide he fliped the use of a technology traditionally used by engineers, designers and silversmiths to create prototypes and earrings. The resulting ‘Hot Ingo’ earrings represent his first foray into the world of jewellery. Mimicking natural lines, each sintered polyamide ball wraps neatly around its metal pole originally made in ‘03 from 18k gold with a white polyamide ball and platinum with black polyamide ball. Arad has also produced later editions in 18k rose gold with a black polyamide ball, in blackened silver with a white polyamide ball and silver with a red polyamide ball.    

Ron Arad Hot Ingo earrings, 2015 blackened silver, white laser sintered polyamide with wooden case & edition card 10 x 2.5 x 2.5 cm (each) Edition of 100 Ron Arad began experimenting with jewellery making in 2003 when he first conceived his Hot Ingo earrings in collaboration with Louisa Guinness Gallery. Combining the material innovation of 3D printing with sintered polyamide he fliped the use of a technology traditionally used by engineers, designers and silversmiths to create prototypes and earrings. The resulting ‘Hot Ingo’ earrings represent his first foray into the world of jewellery. Mimicking natural lines, each sintered polyamide ball wraps neatly around its metal pole originally made in ‘03 from 18k gold with a white polyamide ball and platinum with black polyamide ball. Arad has also produced later editions in 18k rose gold with a black polyamide ball, in blackened silver with a white polyamide ball and silver with a red polyamide ball.      

Sophia Vari Ulysse, 2011 Silver and white lacquer earrings with clips on reverse 3.6 x 2.8 cm 2 AP plus edition of 6 Signed and numbered Sophia Vari’s “portable sculptures”, as she likes to call them, first became part of the artist’s body of work 30 years ago; at a time in her life when demanding international schedule kept her constantly on the move. While travelling, she carried with her a small box of plasticine, from which she would mould miniature sculptures. “From that day on, I had a new creative challenge that gave me a lot of joy because I could see the pieces being worn,” she recalls. Vari approaches wearable art in precisely the same manner and strength as her abstract sculptures, collages and paintings. Her thorough exploration of bold geometric forms, the examination of volume, painterly curves and lines result in the composition both peaceful and elegant but also captures a harmonious theatrical tension. “It is a real challenge for me, and it is very much like creating a sculpture, made to be worn. No doubt, the fact that I am a woman has its advantages. Firstly, because I can try it on me – and secondly […]

Sophia Vari Théia II, early 2000 Yellow gold earrings with clips 6 x 2.6 cm (loops 3.7 external diameter) Edition of 8 Signed and numbered Sophia Vari’s “portable sculptures”, as she likes to call them, first became part of the artist’s body of work 30 years ago; at a time in her life when demanding international schedule kept her constantly on the move. While travelling, she carried with her a small box of plasticine, from which she would mould miniature sculptures. “From that day on, I had a new creative challenge that gave me a lot of joy because I could see the pieces being worn,” she recalls. Vari approaches wearable art in precisely the same manner and strength as her abstract sculptures, collages and paintings. Her thorough exploration of bold geometric forms, the examination of volume, painterly curves and lines result in the composition both peaceful and elegant but also captures a harmonious theatrical tension. “It is a real challenge for me, and it is very much like creating a sculpture, made to be worn. No doubt, the fact that I am a woman has its advantages. Firstly, because I can try it on me – and secondly the […]

Sophia Vari Thalia, 2012 Ebony and yellow gold earrings with clips 5.4 x 3.8 cm 2 AP plus edition of 6 Signed and numbered Sophia Vari’s “portable sculptures”, as she likes to call them, first became part of the artist’s body of work 30 years ago; at a time in her life when demanding international schedule kept her constantly on the move. While travelling, she carried with her a small box of plasticine, from which she would mould miniature sculptures. “From that day on, I had a new creative challenge that gave me a lot of joy because I could see the pieces being worn,” she recalls. Vari approaches wearable art in precisely the same manner and strength as her abstract sculptures, collages and paintings. Her thorough exploration of bold geometric forms, the examination of volume, painterly curves and lines result in the composition both peaceful and elegant but also captures a harmonious theatrical tension. “It is a real challenge for me, and it is very much like creating a sculpture, made to be worn. No doubt, the fact that I am a woman has its advantages. Firstly, because I can try it on me – and secondly the fact […]