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Eugènia Besora

The jewels of the artist Eugènia Besora at the Context Itineràncies

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You studied jewelry at the Escola Massana in Barcelona, and later you graduated in Fine Arts, specialty sculpture . What led you to combine these two specialties?

Yes, actually, I first studied jewelry at the Massana School and when I was in third year I enrolled in sculpture classes at the Faculty of Fine Arts of the UB. I was attracted to the shapes, and because of the volume, I was later attracted to photography, painting, and space.


As you say yourself, you work with materials that are not value for themselves and that are within the reach of everyone. What makes you decide for one or another material?

I learn about what surrounds me, for example, if I'm cooking I see possibilities in the products I handle. I usually experience first with photography until I find a result and then I have to search for a material that I would like, later on, to create a jewel. Yes, I work with materials that are available to everyone and that they have no value for themselves. When I start a collection I am not as present as the material with which I want to work. The material guides me for its features. If for example we take the paper, we experience that it can be cut, drilled, painted, sewn. And from this evidence a world of possibilities opens up. Concepts and technique help to solve creative processes.


Paper jewelry, Flors jewelry, Cold enamel jewelry, Leandre Cristòfol jewelry are some of your collections. Can you talk a little, and also what aspects do you have when you start a new collection?


As for the Paper Jewels, it was the meeting with the world of exhibitions after 18 years of teaching. It emerged from an idea of ​​my brother photographer and consisted of joining the creations of three jewels of Lleida to make a collective, "Joies", in July 2001, in the gothic hall of the Institute of Ilerdencs Studies. It is from this encounter that the need arises to reconsider my job and abandoned the conventional jewelry to go into a more conceptual, experimental and contemporary jewelery. The fact of processing small pieces looked at me as an advantage to expressing sculpture, painting and other disciplines where jewelery became finalist forms, so that if I had to move on to another scale, they would no longer be the same, would change and take another spatial perspective.

The Flors collection, was born in the project that we made a group of jewelers, four this time. The exhibition, "Urban Continent" at Galeria Espai Cavallers, Lleida, July 2005, played both with the production of the jewelers and with the continent where the pieces were exposed, and for this purpose, a container was chosen that was the opposite of a piece that you want to give a special significance, that you want to convey a desire to stay. A trash bin, the one where you do not want what you no longer want, or is passed, or it does not work for you, it seemed the most appropriate tool to express this duality. For this occasion the idea was flowers and I looked for the materials between those that are in a hardware store, places that I usually visit a few times to go telling me which materials will help me to do the project. To make "Flores" I chose stainless steel thread and silicone tubes of different colors. The result was pieces with a pretty volume but at the same time very lightweight, incorporating shapes and rhythms that attract me especially, the spiral, the cylinder, the cone, all very related to the experiences of my formative stage.

The Cold Esmalt collection arose from the proposal of a friend, very active in the spread of the concept of female emancipation, asked me to think of jewels to mark the day of March 8. "En femení" was the title of the collection presented by Som d'Art, Lleida, March 2009. This time the chosen option consisted of a material that many women often use everyday, nails, with the idea of ​​combining it with copper. Almost without realizing the emerging forms, they remembered the prehistoric Venus, those images of the goddesses of the fertility of Mediterranean prehistory, symbols of the force and the will to remain of our species in very ancient times.                        

The Leandre Cristòfol collection was presented at the gallery Òxid, Lleida, June 2009. At the Museu Morera de la Paeria, the centenary of the sculptor Leandre Cristòfol was going to be held and they entrusted us to a group of four jewelers, a col Collection of unique pieces to commemorate the event. Although the prototypes were finished, we were told that the commission could not be caused by budgetary difficulties. The group of jewelers decided jointly to vindicate the work done and exposed the finished pieces in a sample in the gallery Xoxida. With Leandre Cristòfol I have in common that he, like me, liked the objects found, the rhythm of the spiral, the territory and a link with the city of Lleida. For this reason at home I keep many things that I have been collecting. A pineapple, still to open, fell from a pine tree was the way from which I began to work, looking for the sculptural procedures to achieve this, adding the volatility of the spiral in the handling to finally define the piece "Leandre".

As a discipline I try every year to make a new collection and, to be able, that is quite different from the previous ones. I usually work without using the welding, this forces me to look for materials and different solutions so that the pieces come together. I want to get as close as possible to the everyday, always bearing in mind the sculptural and pictorial techniques, along with other manuals that I will decide based on the material that you have chosen.


What is your source of inspiration?

My source of inspiration is nature, the natural order of the matrix growth of organic elements, the changes that occur in its life cycle, but I am also interested in the way human beings, with intuition and wisdom, manipulates and orders them. The order and the chaos alternate with forcefulness similar to the natural world, they find themselves and live there, which varies the intensity of the presence of one or the other. In fact, human beings have studied and observed nature forever. First of all with a clear desire to dominate it. Now, on the other hand, I perceive a more realistic desire to look for a more harmonious adaptation. Now it is imposed as a thought to place ourselves within the order or the natural sequence of the processes, to study them, to interpret them and to use them in each phase of their evolution in a reflexive way unlike the will brutally Modifier and squeezer of the past not so far away. In this last work, I have based myself on something as simple as the beans of vegetables or dried fruits tied with a string or Easter palmons that are braided when the leaves are tender to achieve the magnificent shapes that artisans present to us when the leaves are already dry. Activities based on popular wisdom and having as tools the hands to follow the path


Can you talk about AD LIB, your last collection?

Ad lib, is a project made between ten creative: five are jewelers so each one invites a creator who works in a different discipline. We did the group in November in the gallery Espai Cavallers in Lleida, the pieces of each jeweler talked with the artist that each one had chosen. The pieces that I present to ad lib, is the most conceptual work I have done in jewelry, braided objects with cord de lis and projected with a device of transparencies. Candy necklace, from the Pifarré de Bellpuig factory (ad lib). Necklaces made with chainnets and fishing rods can wear an antique brooch of the grandmother, and in this way the new thing is mixed with the old man. (ad lib). This collection is inspired by Easter and childhood.


What topics, aspects or projects are now focusing on your work?

I would like to continue with this last line, more ephemeral and fun. For a long time, I have yet to give shape to the world of bees, I still have not found the way that I am satisfied. The reflection continues ...



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