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Selection
In was my pleasure to be invited to Rome in November 2006 by the 'Associazione Gioiello Contemporaneo' (AGC) to select from an open submission of their members work for a programme of international exhibitions in 2007/8. AGC was founded in 2004 and is part of the growth of European Contemporary Jewellery Associations that has been an increasingly important force behind our shared subject over the past decade. There are now contemporary jewellery associations established in at least eight European countries, the oldest being the Forum fur Schmuck und Design (Germany) and the largest by far the Association for Contemporary Jewellery (United Kingdom), established in 1997. AGC, like many of its European counterparts, has grown quickly and already achieved a great deal in its early years. Particularly strong and productive links with the proactive Portuguese jewellery association, PIN, have resulted in some excellent exhibitions and exchanges between these two energetic and forward looking organisations. This Italian jewellery exhibition is by far the clearest opportunity to explore the current concerns and ideas being investigated by a strong community of contemporary jewellers. In doing so it will help to firmly re-establish wonderful Italian design and beauty at the forefront of a broader international consciousness. Italian contemporary jewellery has of course already played a leading role over the last half century in helping to combine the skills of the magnificent traditional master goldsmith with new times and new thinking about jewellery. Italian goldsmiths have been instrumental in developing an international philosophy for fusing skill with imagination and creativity. Increasingly over the past decades the boundaries of what contemporary jewellery can be has rightfully continued to be challenged by artists working between the territories of fine art, media, engineering, computing or new material of technological science. Communities naturally form, regardless of continents or borders, which champion these diverse and independent approaches within our shared broader discipline. I take great encouragement that the work on display within this exhibition balances a period when sensitive material understanding, technical mastery and the notion of design, as a whole, that I feel sometimes has recently been under the increasing risk of being undervalued elsewhere in contemporary European jewellery. These qualities are at the core of the skills of our ancient trade and a special world wide community exists that hold the key to a world of timeless beauty. Personal perspectives are afforded as glimpses into this world by the work by all fourteen of the jewellers included in this exhibition. The view for each is a personal line of enquiry, from the sophisticated visual language of Bernabei, through to the material control of Niel and the idiosyncratic wit of Lignel's work. As in the City of Rome itself, the past and its ancient civilisations also play their part with a strong influence throughout the show. Sensitively constructed antique vessels in gold appear within the pendants and necklaces of Bloomard, whilst Bonati fuses delicate deposits of enamel that enhance precious linear collars and brooches that appear as surviving precious fragments weathered by history. Dupré and Kolar utilise a gentle counter play of clean geometry against soft organic forms and the importance of nature is clearly visible with Tornquist's brooches. The work of Zorzi also explores geometric form but is a far more explicit manner creating powerful and direct objects of clear technical mastery. The work is a testament not only to the enduring expressive beauty of Italian jewellery and the skill of their makers, but also to the important roles that associations like the Associazione Gioiello Contemporaneo have in championing their good practice. Bravo! Stephen E Bottomley MPhil RCA Chairman of the Association for Contemporary Jewellery, UK www.acj.org.uk 
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