Pieces brought to life from furniture into wearable art. A little nook to crawl into that can sit on my wrist or my hand. Heavily influenced by Art Nouveau architecture in Brussels, each with various explorations in wood, textiles and time periods. Personal femininity and sensuality re-examined through pink velvet and silk. As someone who was told repeatedly in my life that I was oversensitive, I realized one day it was a great strength, as it is in so many women. In line with the Art Nouveau craftsmanship movement, the entire collection is created without adhesives of any kind. Instead, opting for connections that must be made more intimately.
corner window
Tucked away, in the back of a room, lies in a window in a door. It has no real purpose but to act as a beautifier of the room. With beveled edges and irregular form, this window inspired the start of this collection.
she was not afraid of pink
she was not afraid of pink
2025
bracelet
sterling silver, silk and viscose velvet, upholstery filling, cotton thread
16.5x 1.25 cm
bracelet
sterling silver, silk and viscose velvet, upholstery filling, cotton thread
16.5x 1.25 cm
720 USD
PURCHASE
Over recent years, I have begun to explore and accept the parts of myself that were called oversensitive, that are soft, that are tender, less valued in a society that prizes toughness, masculinity, and force.
This piece was an acceptance of sensuality and sexuality.
The velvet on the inside of the bracelet creates a softness that is protected and, in a sense, hidden from the external world. It creates a connection with the wearer that is a gentle, warm, kind, and an experience of their own. Outside exists a cold metal exterior that gives way to an achingly soft interior, but only if you are looking, seeing, feeling. A pillow-like invitation. Pink was used intentionally as it is often associated with femininity, and the female body in particular. A color and a subsequent societal association that I have fought to love. The title reflects this internal reflection of the feminine parts of myself and those I choose to love. It is a reminder that I am not afraid of acknowledging and loving who I am, in the ways I choose to, whether it be softly and subtly, or loudly and confidently.
This piece was an acceptance of sensuality and sexuality.
The velvet on the inside of the bracelet creates a softness that is protected and, in a sense, hidden from the external world. It creates a connection with the wearer that is a gentle, warm, kind, and an experience of their own. Outside exists a cold metal exterior that gives way to an achingly soft interior, but only if you are looking, seeing, feeling. A pillow-like invitation. Pink was used intentionally as it is often associated with femininity, and the female body in particular. A color and a subsequent societal association that I have fought to love. The title reflects this internal reflection of the feminine parts of myself and those I choose to love. It is a reminder that I am not afraid of acknowledging and loving who I am, in the ways I choose to, whether it be softly and subtly, or loudly and confidently.
loose ends
loose ends
2025
neckpiece
sterling silver, woven silk thread
146 x 0.4 cm
neckpiece
sterling silver, woven silk thread
146 x 0.4 cm
Objects of a different time with a different use. Pieces of string were used to secure together large stacks of papers enumerating the babies left behind at an orphanage in Florence, Italy. In the 19th century, babies abandoned anonymously were left with half tokens of coins, pendants, and cloth so the parents could one day come back and identify their children. The pieces of string around these documents recording the children and their tokens were fitted with pieces of brass to keep the ends from fraying, though there were still so many loose ends.
Photographs: Anna Cederus, Lucía Rodríguez Maestro
