Marta Bosch Valentí, Escola Massana Centre d'Art i Disseny Award Nominee 2025
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NewTalentsByKlimt02
Artists
Published: 31.12.2025
- Edited by:
- Klimt02
- Edited at:
- Barcelona
- Edited on:
- 2025
The 11th edition of the New Talent Award 2025 by Klimt02 aims to recognize the work of graduate students in our field by supporting their careers in the professional world. Nominated by our school members, one of the selected graduates will win the New Talents Award.
My project proposes an intimate experience with jewellery, where memory and material converge in pieces charged with meaning.
>> Check out all the 2025 New Talents Nominees
Name of graduation student: Marta Bosch Valentí
Name of guiding teacher: María Díez.
Nominated by Escola Massana Centre d'Art i Disseny.
Throughout her training process, Marta has proven to be a very hardworking, constant and committed student, with a great capacity for technical rigor and artistic sensitivity. Her project stands out for a particularly careful technical process, based on the application of the Japanese lacquer technique, which she has been able to study and develop with deep respect for tradition. The resulting pieces manage to reinterpret this ancient technique in a contemporary language, bringing a clear artistic and conceptual value to today's jewelry.
/ María Díez
Artist statement:
I come from the world of art conservation and restoration, a background that has deeply shaped the way I relate to materials, processes and time. For more than twenty years, I have worked from a technical, precise and rigorous approach and I now bring this experience into my creative work. I understand my relationship with artistic jewellery as a space of continuity with restoration: a place where care, attention and respect for what I hold in my hands are essential.
The project As one sets a table for absences explores my relationship with my grandmother and my mother, a maternal bond formed even before birth. An invisible thread that connected the three of us, a shared soul. Now that they are no longer here, I have wanted to put this energy into vessels of memory that hold and sustain this bond. I see them as creative matrices and almost as amulets establishing an intimate dialogue with the person who wears them. The materials that compose them speak through a non-verbal language that balances calm with strength. The result is a series of technically demanding pieces—honest in both process and form—that reclaim a genuine beauty rooted in a careful gesture, in accepting the outcome and in the elegance of a millennia-old technique: the urushi.
My creative process begins with a conscious, slow and delicate gesture, almost a ritual. An expression born from patience, always honouring the natural timing of each element. This slow rhythm deliberately stands against the immediacy that dominates our present. Creating slowly is, for me, an act of resistance and also an offering: an invitation to slow down the frantic rhythm of modern society, to recover the value of craftmanship and find pleasure in the labour itself. I am interested in the beauty of imperfection, the organic forms or the uniqueness of asymmetry and I look for what is not repeatable moving away from standardization.
I explore the relationship between contemporary materials and ancestral techniques. I work with biodegradable polylactic acid filament, 3D printed—a plant-based material that allows me to construct lightweight and environmentally respectful forms. I also experiment with ecological resins, machinable polyurethane sheets (free of halogens and solvents) and casting some of these materials in brass and silver.
The volumes created by these materials enter into dialogue with urushi, Japanese lacquer, a millennia-old technique that demands precision, meticulousness and patience. I am especially interested in the duality between the fragility of each element and the strength the piece acquires once completed, as well as the unique character of lacquer, which makes each piece one of a kind.
Light, reflection, texture and colour are fundamental elements of my visual language. Colour often emerges from the iridescence of mother-of-pearl or the textured patterns that create unique designs. The lacquer acts as a skin that covers and finishes my pieces, transforming them, while the surfaces created seek a tactility capable of evoking emotions and activating a sensory relationship between object and individual.
Thus, my project proposes an intimate experience with jewellery, where memory and material converge in pieces charged with meaning.
/ Marta Bosch Valentí
Contact:
Mail: martaboschvalenti@gmail.com
Instagram: @martaboschvalenti
Find out more about Escola Massana Centre d'Art i Disseny.
Name of guiding teacher: María Díez.
Nominated by Escola Massana Centre d'Art i Disseny.
Throughout her training process, Marta has proven to be a very hardworking, constant and committed student, with a great capacity for technical rigor and artistic sensitivity. Her project stands out for a particularly careful technical process, based on the application of the Japanese lacquer technique, which she has been able to study and develop with deep respect for tradition. The resulting pieces manage to reinterpret this ancient technique in a contemporary language, bringing a clear artistic and conceptual value to today's jewelry.
/ María Díez
Artist statement:
I come from the world of art conservation and restoration, a background that has deeply shaped the way I relate to materials, processes and time. For more than twenty years, I have worked from a technical, precise and rigorous approach and I now bring this experience into my creative work. I understand my relationship with artistic jewellery as a space of continuity with restoration: a place where care, attention and respect for what I hold in my hands are essential.
The project As one sets a table for absences explores my relationship with my grandmother and my mother, a maternal bond formed even before birth. An invisible thread that connected the three of us, a shared soul. Now that they are no longer here, I have wanted to put this energy into vessels of memory that hold and sustain this bond. I see them as creative matrices and almost as amulets establishing an intimate dialogue with the person who wears them. The materials that compose them speak through a non-verbal language that balances calm with strength. The result is a series of technically demanding pieces—honest in both process and form—that reclaim a genuine beauty rooted in a careful gesture, in accepting the outcome and in the elegance of a millennia-old technique: the urushi.
My creative process begins with a conscious, slow and delicate gesture, almost a ritual. An expression born from patience, always honouring the natural timing of each element. This slow rhythm deliberately stands against the immediacy that dominates our present. Creating slowly is, for me, an act of resistance and also an offering: an invitation to slow down the frantic rhythm of modern society, to recover the value of craftmanship and find pleasure in the labour itself. I am interested in the beauty of imperfection, the organic forms or the uniqueness of asymmetry and I look for what is not repeatable moving away from standardization.
I explore the relationship between contemporary materials and ancestral techniques. I work with biodegradable polylactic acid filament, 3D printed—a plant-based material that allows me to construct lightweight and environmentally respectful forms. I also experiment with ecological resins, machinable polyurethane sheets (free of halogens and solvents) and casting some of these materials in brass and silver.
The volumes created by these materials enter into dialogue with urushi, Japanese lacquer, a millennia-old technique that demands precision, meticulousness and patience. I am especially interested in the duality between the fragility of each element and the strength the piece acquires once completed, as well as the unique character of lacquer, which makes each piece one of a kind.
Light, reflection, texture and colour are fundamental elements of my visual language. Colour often emerges from the iridescence of mother-of-pearl or the textured patterns that create unique designs. The lacquer acts as a skin that covers and finishes my pieces, transforming them, while the surfaces created seek a tactility capable of evoking emotions and activating a sensory relationship between object and individual.
Thus, my project proposes an intimate experience with jewellery, where memory and material converge in pieces charged with meaning.
/ Marta Bosch Valentí
Contact:
Mail: martaboschvalenti@gmail.com
Instagram: @martaboschvalenti
Find out more about Escola Massana Centre d'Art i Disseny.
Pendant: Fragility, 2024
Polyurethane sheet, eggshell, Japanese lacquer, plant-based pigment, recycled textured silver, gold leaf and silk cord
4.8 x 1.6 x 8 cm
Photo by: Zoe Molina Rosado, Teo Bosch Robreño
From series: As one sets a table for absences
© By the author. Read Klimt02.net Copyright.
Estimated price: 1050 €
Brooch: Glow, 2025
Polyurethane sheet, mother-of-pearl, Japanese lacquer, plant-based pigments, recycled gold and silver, gold leaf, and a steel needle
4.2 x 1.2 x 5.7 cm
Photo by: Zoe Molina Rosado
From series: As one sets a table for absences
© By the author. Read Klimt02.net Copyright.
Pendant: Permanence, 2025
Hand-chiseled brass, Japanese lacquer, mother-of-pearl, reclaimed garnet and sapphire cabochons, gilded mica, recycled silver wire and silk cord
5 x 1.8 x 8.5 cm
Photo by: Zoe Molina Rosado
From series: As one sets a table for absences
© By the author. Read Klimt02.net Copyright.
Pendant: Sediment, 2025
3D-printed polylactic acid filament, synthetic resin, Japanese lacquer, synthetic pigments, gilded mica, recycled silver, and silk cord
2 x 2 x 14 cm
Photo by: Zoe Molina Rosado, Teo Robreño Bosch
From series: As one sets a table for absences
© By the author. Read Klimt02.net Copyright.
Estimated price: 800 €
Brooch: Trace, 2025
Wood, recycled silver, brass, Japanese lacquer, plant-based pigments, gold leaf, and steel needle
5.5 x 1.4 x 7 cm
Photo by: Zoe Molina Rosado
From series: As one sets a table for absences
© By the author. Read Klimt02.net Copyright.
Estimated price: 750 €
Pendant: Imprint, 2025
3D-printed polylactic acid filament, tonoko powder, eggshell, Japanese lacquer, plant-based pigments, gilded mica, and recycled silver
11.4 x 1.8 x 11.9 cm
Photo by: Zoe Molina Rosado
© By the author. Read Klimt02.net Copyright.
Estimated price: 1100 €
Pendant: Memory, 2025
Brass, Japanese lacquer, plant-based pigments, gilded mica, recycled silver, and silk cord
1.9 x 1.9 x 9.7 cm
Photo by: Zoe Molina Rosado, Teo Robreño Bosch
© By the author. Read Klimt02.net Copyright.
Estimated price: 850 €
- Edited by:
- Klimt02
- Edited at:
- Barcelona
- Edited on:
- 2025
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