Extract from “Stefania Lucchetta, I fiori del maglio e altre collezioni”
Stefania Lucchetta designs’ is in jewel research, she openly highlights that she loves the technology and the implicit possibilities to innovate from a formal point of view offered by the technology. She specifically investigates what can come out from the synergy between two kinds of creativity: the artistic and the scientific ones.
The “machines” and the related new technologies applicable to the jewelry are considered in Stefania Lucchetta’s study and work as real friendly tools which cannot be set apart. More than that the “machines” and new technologies are a source of creative inspiration for Stefania Lucchetta. As a consequence they are not only an “extension” of her arm but actually an “extension” of her eyes and mind.
In Ancient Greece, the art was defined as “téchne”, a term including the contemporary meanings both art and technical work. In this sense there was a unifying background between the two: the capability of operating according to specific rules.
Art and technology were coupled by definition in Ancient Greece but in the 19th century as well some sculptors have been able to use their technological background in their artistic work: so did Anton Pevsner and his brother Naum Gabo, Alexander Calder and Jean Tinguely, just to cite the most prominent representatives of this trend.
Some plastic investigations of Stefania Lucchetta are explicitly linked to some of their works; for instance the set, called Gabo, of the collection Continuum, is inspired by the unusual constructions of the Byelorussian sculptor in which the line develops with no interruptions.
Some jewels of the series Crystal are instead a little reminiscent of the plastic and geometric investigation of Anton Pevsner. In those investigations, following some very complicated calculations, there are intricate intersections of planes and lines in which wires made of metal, nylon or celluloid are inserted.
The type of creativity of Stefania Lucchetta seems to be particularly similar to the abstract-geometric spirit of the “Constructivism” and of the “Abstraction-Création” movement which derived from it. As a common basis there is the idea to use materials made available from the modern technology and to set free the sculpture, as well as the jewelry, from using conventional materials.
In the collection Sponges and Crystal Stefania Lucchetta as a matter of fact used bio-compatible resins and, later, titanium and finally a chrome-cobalt alloy.
When the creativity met technology, often it reached amazing results, sometimes funny and playful, definitely not cold and insensitive at all, as well as established and difficult to eradicate cliché would predict.
Famous evidence of this are the “Stabiles” and “Mobiles” of the American Calder, as well as the spectacular and imaginative “hydraulic fountains” of the Swiss Jean Tinguely; in the latter case the fountains are obtained from scrapped materials: rusty gears, scrapped pumps and machines and even bicycle wheels. All of this work demonstrate once again that the fine arts, nowadays since a longtime, extended their scope, their borders and that in the work of every artist one can always find elements related to the time when the artist worked.
The “Nouveau Réalisme” of the ’60 taught us exactly this: we need to pay special attention to the contemporary world to get creative ideas and bring up to poetry which is offered to us. The contemporary world is, as a matter of fact, the one that we own the most and the one that we are all contributing to create, even if unaware of this fact.