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from “Stefania Lucchetta Opus – Seeked form found form”, by Manlio Brusatin, 2013

Posted by 8KLs3xw in critics

[…] Stefania’s creations, or better, creatures, perfectly represent this interlacement of singular and multiple forms, going towards a long survival as they own the stigma of a far origin refined into the aesthetic qualities of forms growing the ones on the others, and keeping in themselves all the experimentations which gave birth to the following image. In the essential image of a jewel what appears (and has to appear), but also what is missing – i.e., what should not be there to express the essential – sometimes attracts us. The essential we like as it contains the step after a shade, a sign. […] Silver and titanium forms, also expanding in expressive colors,  go towards a full and lively vital manifestation, […] in their architecture they are analyzed in their tangled spaces and in their essential full useful to build up the form’s quality, in particular their own, identifiable and incontrovertible form. […]

- Manlio Brusatin, 2013

14 Aug 2013 no comments / READ MORE

from “Ways of jewels making” by Anna Cecilia Russo, 2013

Posted by 8KLs3xw in critics

Stefania Lucchetta’s creative path, therefore, wanders between shape and technology, through a formal research which cannot be reached by hands alone, using the most innovative technological conquers, with a mixture of avant-garde break-up and laboratory curiosity, in the world of the jewel.
“If I try to summarize my history, I can say that it is a continuous attempt to overcome what yesterday was possible, trying to use all the means that are available today.”
The strong impulse towards a possible innovation and the will to interpret in the best possible way the contemporary spirit, for Stefania Lucchetta, become, not only the reason for a direct fight against the hand-made tradition, but provocation and need to travel along a different path, along the industrial design courses and a culturally conscious design, which in 2005 ends up in her ADI membership and in niche experimentations precariously balanced between art and design, therefore near what today is more and more often called Design Art.
Her productions are limited editions, apparently in contrast with the seriousness of the big numbers of design, but which again fully agree with  Munari’s reflections according to whom The archetype in the future is going to be more valuable than the large series of products, and perfectly in line with the assertion by Enzo Mari that Stefania Lucchetta in the last years took to herself: The quality of a project depends on the degree of cultural change it triggers.
To open wide the doors of one of the most traditional domains of the so called applied arts to the “machine made”, to replace the modeler and the manual wax modeling with a three dimensional modeling software, certainly triggered a cultural change to the point of opening a debate both on the side of conservatorism of the goldsmith’s field, and of the interest and recognition by the press and international critics.
[…] Stefania Lucchetta’s jewels express the contemporary spirit also through the mix of “luxury” and low cost materials. Resins and diamonds can live together in the same machine made ring, where, therefore, it’s the project itself that determines its value: the uniqueness of a jewel born thanks to the Computer Aided Design and, nevertheless, far from the schemes of fashion and trend, and so destined to determine its specific space-time circumscription.
Using the contemporary means, though remaining extraneous to the contemporary conditioning. The best interpretation of today, the precise meaning of here and now, even modulating her own creativity on shapes without time, as they are near the lines which can be located in the shapes of Nature: fingerprints, sea sponges, or “concrete” geometries of space. The result can be found in the complex wearable architectures, in the jewels by Stefania Lucchetta, which, further to emerging with a precise identity and recognizability from the chaos of the creativity of the 21st century, perfectly integrate with the lines of the body of the person who wears them in a perfect somatic synesthesia.
[…]

14 Aug 2013 no comments / READ MORE

from “The human way of living”, by Fabrizio Loschi, 2009

Posted by 8KLs3xw in critics

Lucchetta’s jewels are such because they are composed by the project’s preciousness, and that’s why the work of this artist has the tendency to strike with great incisiveness.
It would be advisable, looking for a correct reading of Lucchetta’s work, to use an enlargement lens or to see the image of these jewels in a great photographic enlargement. The large scale is always intimately present in these works of small dimension; their strong monumental taste would emerge at first look.
It deals with contemporary architectures. Spaces denied to domestic fruition but devoted to dress the body.

11 Aug 2013 no comments / READ MORE

from “The reasons for a collection”, by Carmen Rossi, 2007

Posted by 8KLs3xw in critics

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.

10 Aug 2013 no comments / READ MORE