Carmen Amador exhibits at Galeria Siesta, Calle Ferlandina, no.18 in Barcelona. This jeweller is from Seville and currently lives in Barcelona, a city where she has been a teacher for several years at Escola Massana, in Calle Hospital. That is where she teaches Project and Chisel.
Her pieces have variable geometries, combining the purity of these geometric shapes with an organic unity. Some of the pieces are compact. But, for the most part, they are frames created with a white or oxidized silver thread or plate. These encircle organic shapes, like fruits and flowers. For these works deeply detailed, she often uses the chisel technique. In other recurring situations, she uses transparent synthetic resins or other coloured or golden materials.
The poetics of this endeavour have a strongly feminine nature. All the details are elaborated with fine delicacy, with a labour that is typical of a woman. Tiny details are entangled with each other. Fruits, flowers or pearls that stand among the frames.
Telling stories, reinterpreting symbols, thinking about nature, depicting memory landscapes, seeking the unexpected, wondering about traditions, prompting a reflection and mingling geometric elements with natural elements are solely some of the arguments that this artist uses to materialize her jewels.
As one can attest in the photographs, the details constitute themselves as fragments. They can be read by themselves but, in each jewel, they play a poetry between fragments and the whole set.
This is an intellectual work, which is also handcrafted. Therefore the work, abiding by its sketches, is also the equivalent of thinking with the hands, as put by, among others, the architect Campo Baeza and the jeweller Ramón Puig, both Catalonians. The pieces contain laborious and delicate manufactures, endowing the set with a delicate trait. For the most part, they are pins that can be used on clothing.
From a fruition point of view, these pieces manually elaborated by the artist offer multiple readings, given that the fragments are articulated with the whole piece. Thus they are like fruitful mazes, in which the reading of the whole array and the fragments delays the analysis, asking for a dialoguing fruition with the pieces. To interpret them is a task for the receiver, who will be given reading possibilities, having, if possible, this text as a support.
This exhibition follows many others, individual and collective. Carmen Amador is already an international household name. She exhibits on a regular basis and is represented in multiple collections in Barcelona and other cities in the world.