Fabrizio Tridenti
Jeweller
Published: 23.09.2011
Fabrizio Tridenti
Photograph: the room as bracelet, 2010
© By the author. Read Klimt02.net Copyright.
Fabrizio TridentiBrooch: Untitled, 2010
Brass, plastic, corrugated cardboard, iron, acrylic paint
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Fabrizio TridentiRing: Untitled, 2010
Brass, acrylic paint
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Fabrizio TridentiRing: Restricted Area, 2010
Brass, Acrylic paint
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Fabrizio TridentiRing: Untitled, 2009
Bronze, acrylic enamel
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Fabrizio TridentiRing: inside/outside the box, 2009
Bronze
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Fabrizio TridentiBrooch: Limited area, 2009
Silver, galvanized iron, steel, acrylic enamel
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Fabrizio TridentiBrooch: Restricted area, 2008
Brass, iron wire, steel, recycled leather and rubber, acrylic paint
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Fabrizio TridentiBrooch: Orange round wreckage, 2010
Silver, iron wire, steel, brass, acrylic paint
From the Skrasch! series
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Fabrizio TridentiBrooch: Blue and orange wreckage, 2009
Silver, iron wire, steel, acrylic paint
From the Skrash! series
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Fabrizio TridentiBrooch: Orange rectangular wreckage, 2010
Silver, iron wire, steel, brass, acrylic paint
From the Skrasch! series
© By the author. Read Klimt02.net Copyright.
Fabrizio TridentiRing: Untitled, 2010
Silver, brass, acrylic paint
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2009
Silver, steel, acrylic enamel
© By the author. Read Klimt02.net Copyright.
Fabrizio TridentiRing: Untitled, 2010
Brass, acrylic paint,
© By the author. Read Klimt02.net Copyright.
Fabrizio TridentiBrooch: Untitled, 2010
Brass, steel, acrylic paint
© By the author. Read Klimt02.net Copyright.
Statement
Jewels cannot be confined within the limits of their function. Through liberating jewels from these limits, infinite experimentation fields are opened, which may lead to fruitful artistic experiences. The founding assumption of these attempts is the wish to return the central role to the intangible aspect in relation to the tangible aspect of jewels.By asserting the primacy of the intangible aspects, jewels are seen from a different perspective, an entire scale of values is refounded, with the privilege for the finest perceptions.
Another aspect combining these attempts with conceptual art is the indifference towards the aesthetic value, which is strictly connected with the formal value.
The main purpose of this work is to provoke reactions, start discussions, rouse considerations, and open new debates on jewels. The point is shifting the focus from the aesthetic to the intellectual experience, or rather the aesthetic experience is the intellectual experience.
To obtain this result, the direction followed was to confute the traditional aspects of jewels: the functional, formal, and aesthetic values.
“Virtual” is a way to create the visibility of what cannot be realized in the tangible dimension. The new technology offers these new expressive opportunities.
The idea of the body or body parts as jewels also develops: a sort of zero degree of jewels. It can also be considered as an inversion operation: the body changes from traditional support of jewels to jewel itself; from background, it turns into protagonist (subject).
In the photo “the room as bracelet”, the concept of jewel is reversed: traditionally, hard materials are made to surround the body. On the contrary, in this case the body is an accessory of an architectural structure. This inversion appears not only as a limitation of movements, but universally as the present condition of human beings suffocated by structures produced by the society. A house is not considered as a shelter and protection, but as a limit to our ability to move, expand, an inorganic, static, and unchangeable shell for an organic, dynamic, and continuously growing creature. In this condition, these barriers can only be crossed through thought.
In the photo “ring”, the concept of ring is brought to the extreme consequences of dematerialization. Not only the ring does not exist, but also the part of the body supporting it is removed. The visual result is anyhow that of a ring, a ring of “absence”. However, while the object is self-limited in a shape, here the absence of the object gives space to the observer to imagine something, a personal ring. Therefore, this creatively activates and interacts with the observer.
I want to exploit our bigger attraction for what we cannot see, for what is not there, for what is indefinite.
“It seems to me that ’Nothing’ is the most powerful thing in the world”, said Robert Barry.
For me, art is not an exact science. There is no evidenced truth. Art is a field where creativity experiments infinite directions towards freedom. Art responds to the stimulations of contemporary culture and uses the scientific and technological progress and knowledge in all their branches.
Fabrizio Tridenti
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