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Victòria Punsoda

The jewels of the artist Victoria Punsoda at Context Itineràncies.

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In 2008 you graduated in Product Design at the Eina School of Barcelona and at the Politecnico di Milano University. What made you interested in the design and creation of jewels?

When finishing the studies in Industrial Design, the truth is that I felt a bit lost. Industrial Design offers you a wide range of possibilities and I did not know how to specialize myself; He only knew clearly that he wanted to be able to pamper the piece from the beginning and work it with his hands until he achieved the final result. I decided to join a collaboration for a proposal of screening with the "Barcelona Activa" organization. The world of ephemeral assemblies I was always interested in: new expositive proposals, messages to try to convey with a good visual impact and a new scale of dimensions were a new challenge that I tried to try, where this time the design would not be a a concrete object but a whole space. Collaboration was a success and I learned a lot, but it also served to realize that such a large scale did not fit with my desire for perfectionism and the degree of detail meticulously with who likes to pamper the designs. Thanks to a board of my teacher and course coordinator, I decided to try the world of jewelry; where that small object would allow me to model and create from scratch, with all the details and perfection that I wanted. I signed up to the College of Jewelers of Barcelona to be able to learn the craft and art of the shaft . From that first day I found out that this was my world.


When speaking of your work in contemporary jewelry, you say that it seeks to turn the traditional concept of jewelery by fusing the artisan world with the industrial one. Can you explain it in more detail?

Studying Industrial Design, one day I discovered an appointment that has since been a reference for me and that I have tried to be the basis of my work: "Think in dynamic terms, do not let yourself take you by the easy way which is to follow the rules and solutions approved. It acts in the perspective of a continuous search, gather strength to offer unexpected proposals and, in addition to your pencil, uses the quality par excellence of designers: curiosity! "The Joiers have an office and a technique to execute it; But we need to offer the public different proposals, which attract interest and awak in surprise. There is always a reference or classic that works, but the industrial world allows us to work with more possibilities of materials and tools; Being able to fuse them with the world of jewelery is a challenge that fascinates me and where I am surrounded.


Experimenting with recycled materials is one of the features of any of your collections. Can you talk about the PÈTALS collection?

Petals are the result of many hours of study and research to master a material such as fish scales that are literally alive and dragged into biological conditions such as smell and moisture that have not made it easy for them to convert to jewelery material Getting rid of the scales and then dyeing them, offering even color gradients, has been a challenge I've learned a lot and where I have enjoyed assembling and creating new formats with completely different organic shapes from each other.
I enjoy and I continue to design and work with this collection because I still have a lot to do. To this day, I am experiencing new finishes and innovative proposals.


In 2013, you will integrate your design knowledge and your jewelry business, graduating from the Elisava School of Barcelona, ​​with the Master's Degree in Alternative Jewelry Design. From this symbiosis the CUB 3 collection arises, inspired by the sculptural works of Eduardo Chillida and Jorge de Oteiza. What new challenges did you pose for this collection?

The CUB3 collection was a challenge for me. Chillida and Oteiza are great references and for a long time they raised a collection where their forms were present. His perfection and accuracy, however, demanded to work with precision that manually would not have been possible. For this reason I decided to use modeling technology with 3D programs and an external manufacturing process like 3D printing. It was a great change in my style of understanding jewelry. It was difficult not to have direct contact with the piece during the manufacturing process and having to project it with the computer and not with models. However, it was a very enriching experience. In fact, I do not rule out in the future to continue working on a collection with this process because it offers you plenty of proposals and amazing materials different from those of traditional technique.


What new perspective has opened up the incorporation of new technologies such as 3D design, in the design of your jewels?

The incorporation of new technologies such as 3D design and printing has given me more perfection in the ways of my jewels and manufacturing speed to compromise me with a greater volume of orders. At the same time, this technology allows me to offer jewelry in different finishes and materials to customize them for my clients.


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

I would like to continue working with these two lines: the experimentation, such as Petals, and the new technologies with 3D design. On the one hand, I want to continue to investigate the line started with Petals to discover what new challenges and possibilities can contribute to me. For the band of 3D, I want to go back to work with straight and pure shapes, very different from the organic compositions I get from Petals. Finally, I also have a notebook full of sketches and ideas that I dream of being able to project sooner or later. This is a third line where I will work with semiprecious stones but mounted in a different and original way, breaking with traditional aesthetics. With this, I want to give young and carefree images to a more rigid classic.


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