Ana Margarida Carvalho
Jeweller
Published: 18.04.2024
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Bio
I studied Jewelry at Ar.Co (Centro de Arte e Comunicação Visual) where I did an individual project in 2008 mentored by Leonor Hipólito with a “MC Arquitectos” grant, and at Hiko Mizuno College of Jewellery. I won the 1st prize in “IV Portojóia Design 2006” and the “Assamblage Award” in Artistar Jewelry 2019. As of 2016, I also teach in Ar.Co’s Jewelry Department.Statement
Since I can remember, I travel as much as I can. Also, having an art and science background, I find myself mixing all those experiences when researching materials and ideas. Color is the more persistent factor in my pieces, which tend to be very different from series to series as a result of my endless curiosity about what I come across.Over Land and Sea, 2024:
Sophia de Mello Breyner Andresen has always been part of my life, through the stories she wrote for children or other texts that crossed my life, but also through her interventions in civil society. When trying to learn more about her life and work, I discovered a person aware of the world in which she lived in. Announcing and denouncing truths, she helped to build a better country, but above all he was a light that guided generations. A bright spark, in vigil, that to this day glows.
Memories, 2022:
Perfume as memory. An aroma that transports us to past experiences that we consider precious, to places we would like to go or revisit.
The “Memories” series is the result of accumulating experiences, even when they are only lived personally by others.
The Great Australian Barrier Reef (only visited in documentaries), reefs, small corals that wash up on the coast motivated ”Reef #1”, ”Reef #2” and ”Reef #3”.
Summer holidays in the countryside, in which mountains full of life, with its plants and animals, dominated the horizon, gave rise to “Honey”.
Finally, Summertime at the beach, with the lively surf of the waves that spread tiny bubbles on the sand, served as the inspiration for “Bubbles”.
Play in Case of Emergency, 2022:
This series title seems suited for this time but was not indeed done that way. Coronavirus was barely in the news when I started this project.
When I look around, I find people don’t value enough playtime and many think that one has to be very serious when working. This series gave me the opportunity to explore this subject.
It started with an invitation to an exhibition in Galeria Reverso. The challenge of the theme, Gogoísme, made me research small pre-historic toys, and animal illustrations from several American graphic designers and go back to my childhood drawings, where shapes are opened to interpretation.
I chose Perspex as an easy main material to work with and also to take advantage of its color. Having many colors to choose from, I went back to the early days of plastic jewelry and toys to pick the red and pearl hues.
In Paradisum Series II, 2019:
As I have done before, I revisited the “In Paradisum” theme. My Paradise couldn’t be made of only plants.
This time, a trip to Peru and the many visits to its traditional jewelry exhibits were the inspiration for this series. A filled with color Peru and its many animals live or in its many crafts, sometimes amusing in my eyes, made me want to be more playful in this series while reinterpreting animals in Paradise.
Besides the shapes I saw in Peru, I used leftovers from things that I collect (cardboard that one takes to open a tissue box-like or plastic removed from a newly bought shirt from my partner) to help me with softer shapes.
In Paradisum Series, 2018:
Having Baroque Music as a starting point, each piece is the result of repeating and combining the same type of aluminium, copper or titanium element. These folded units are organized, like in origami, to create organic forms in which the geometry of the compositions is hidden when the metal is forged.
The organic aspect of the pieces is also reinforced by the marks left by the hammer, by the mobility of the non-welded elements that compose them and finally by the Kliar coating or anodized color of each piece.
CV 
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