I studied history and archeology and dealt professionally in these fields as well as in the field of archives and consequently the concepts of memory, time, damage run, more or less obviously, through my work.
The perforated leaves of my necklaces, the deconstructed and then trimmed with embroidery fabric express my feeling about the past, the threads of the weft of history that reach us.
I am fascinated by the process of transforming common fabrics into unique pieces, undermining their coherence and "destroying" them by heat in a different approach of hand-made.
Jewelry moving freely along with the body, letting the air through the countless holes and cracks, "laces" that are not what they seem, textiles seeming precious, without being so.
I also use worn objects, whose life cycle has expired (used color catchers pressed coils, springs, plastic bags) and give them a second chance, a new life cycle, in a game of continuous transformation of objects, often alongside other precious materials like silver, that compete them on equal terms.
A key element of my jewelry is also the color whether it is about work on the fabric, or metal oxidation and colorization techniques. At the same time the game of the cord of the camera on oxidized surfaces ("Secret alphabets"), the movement of the bur on the metal and the walk of thread on the fabric, is my way of creating personal alphabets, secret scripts and words, traces and imprints.
Many of my jewelry pieces are mere reminders of moments, thoughts, and emotions. Dolls, clowns, little fairies, Rodrigo Floncinello, Eugenio and Anselmo, Vilma, Rodolpha, Sylvestrina, this is my little world. When the night falls, the small figures move and stir, come to life, and each one tells its own story.