Networking is crucial in my practice. Interview with Letizia Maggio by Klimt02

Interview  /  Artists
Published: 13.09.2021
Letizia Maggio Letizia Maggio
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Letizia Maggio. Necklace: Mein Kunst, 2021. Silver, ruby.. 60 cm. Photo by: Nico Covre. Letizia Maggio
Necklace: Mein Kunst, 2021
Silver, ruby.
60 cm
Photo by: Nico Covre
© By the author. Read Copyright.

I firmly believe that time has come for contemporary jewellery to claim its presence in the world of contemporary art.
Tell us about your background. What were your first influences to be creative and become an artist and what has drawn you to contemporary jewellery?
I gained my degree in English literature and I started my career as a teacher. After a few years, I had intense training in ceramics and studio pottery with internationally renowned ceramicists. I can’t exactly figure out what my first influences to be creative were, but the collaboration with the ceramic artist and designer Paola Paronetto has played an important role for sure.
Apart from ceramics, I have also had training in textile art, goldsmithing, engraving. So I started to make small sculptures that inevitably turned to be wearable objects and this led me deeper and deeper into the world of contemporary jewellery, which I was already fond of.

How important is networking for you in your professional practice and what are your preferred tools for this?
Networking is crucial in my practice. 

What are your general thoughts on the contemporary jewellery world, (education, market, development...), where do you see chances and where are dead ends?
I firmly believe that time has come for contemporary jewellery to claim its presence in the world of contemporary art. So the criteria to be used when assessing the work of a jewellery piece should be the same as those used to assess any other work of contemporary art: concept, innovation, efficiency in conveying the message, power and strength of the piece as a whole. 
In recent years there’s been such an increase in the number of contemporary jewellery artists and works, so we ought to be prepared to have a market where there is a massive amount of works versus a still poor number of collectors and admirers

How has your work changed over the past few years and what are you excited about these days?
I think my work is keeping the same direction, even if through different paths as a consequence of the enrichment of my education as an artist and also according to events and changes in both private life and society itself.