Marc Monzó at His Workshop in Barcelona
Marc Monzó shares a space with two designers in an ancient factory in downtown Barcelona where one can find the studios and workshops of different artisans, designers and artists, as well as an art gallery.
One of the first things he told me when I came into his workshop was that it was much too full and needed a cleaning to empty it since emptyness is an important concept in his creative work. In my opinion, it was like a mirror view of his pieces, with a determined order and simplicity and one could feel the work in progress.
Marc, who believes in the continuous discipline of going to the studio every day and also knows that this is the way for him to obtain good results, uses drawings when he needs to remember certain ideas or needs to find a solution to some technical problem. It is when he works with his own materials, however, going back and forth from the table to the bench, that he gives form to the idea, trying, as he says, to reach to the synthesis.
His jewels are reflections of jewelry itself or the fruit of analysis of things that happen in the objects or in the nature of materials themselves. He shows me two objects that are important references for him: a tea box from Japan; and glasses that his grandfather made.
He likes to collect and sometimes he re-visits things that will later serve him in the creation of jewels, such as small sticks of plastic that he gathers on the beach for the best way the sea the polishes them. At the same time, we speak about sea and our move to Formentera in the nineties. He tells me that he has very good memories of the time he worked at Enric Majoral’s workshop. But now it has been some time since he travelled to the island and I informed him that, unfortunately, it has changed a lot.
For Marc Monzó, good knowledge of the trade is important, as is the domain of traditional technologies, and one of his fantasies is to work for a few months in a workshop of fine jewelry. In this sense he refers to Puig Doria, the jewelers in Barcelona, as a example of good Catalan design from the sixties that, he says, are always made with good combinations of different materials.
White form. Pendant. Printed nylon. 65 x 50 mm. 2011.
His most recent pieces are reflections on the concept of “hand made.” After designing the collection on the computer, he ordered 3D forms to be manufactured. The first time his hands touched the nylon jewels was when they were already finished.
X Earrings. Earrings. 18K gold. 27 x 15 mm. 2010.
Fire. Brooch. 18k gold. 65 x 65 mm. 2010.
Currently, he is collaborating on a project about objects along with the artist David Bestué and soon he will participate in upcoming group exhibitions in Melbourne, London, Japan and Poland, while he is also preparing a solo exhibition at Gallery Funaki in September.
You can find more information on his website and on his Klimt02 page.
***Visit Mar de Color Rosa by Montserrat Lacomba.
About the authorMontserrat Lacomba holds a Bachelor of Fine Arts Degree The University of Barcelona in 1982. She has been creating jewelry since 2000 has been editing the Mar de Color Rosa blog since January 2008.
About this blogArtists at the Studio is dedicated to introducing artists who are interviewed during visits to their workspace. It is a section of Mar de Color Rosa, a visual language blog focused on contemporary jewelry, including opinion, art, design, photography, curiosities.
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