Context & Details
Warranty
Each wearable sculpture is covered by a one-year warranty. Should you wish to make use of this service, please contact us by email with your proof of purchase, including the article number or a clear image of the piece.
Within one year of purchase, you may exchange your piece for another model. This reflects our philosophy that a wearable sculpture can evolve alongside its wearer.
Please note that refunds are not available.
Materials
Each wearable sculpture is composed through a carefully considered selection of responsible, non-animal-derived materials. This practice consciously departs from the traditional hierarchy of precious metals — gold holds no place here — in favour of a contemporary, ethical material language.
The core of each piece draws from the philosophy of kintsugi: not as a literal method, but as a conceptual framework. The foundation is a self-developed composite — a balanced mixture of high-grade resin, marble powder, charcoal and mineral elements, subtly reinforced with concrete to ensure strength and longevity.
This composition is not entirely plant-based, a deliberate choice made in favour of durability and an extended life cycle. Sustainability is understood here not only in terms of origin, but in the capacity of an object to endure over time.
Metallic tones are derived from pigments used within the cosmetic industry, selected for their skin-friendly qualities and refined finish. The surface engages with the body — both visually and materially.
Care
These wearable sculptures are intended to be worn. Through daily use, signs of wear will inevitably emerge. We do not consider this deterioration, but rather an enrichment — comparable to a well-worn pair of 501 jeans, where time and experience become visible.
This layering resonates with the principle of wabi-sabi: the beauty of imperfection, of change, of a life lived.
Contact with water, such as washing hands, and working with the hands will accelerate this process. For those who wish to preserve the original state, we recommend removing the piece during intensive use. For those who value character and evolution, the process is to be embraced.
Inspiration
A significant source of inspiration is Bogotá, where the origins and history of gold — particularly that of El Dorado, in which gold was offered to higher powers, to the gods, as a means of connecting with the cosmos — can still be felt. What intrigues me is that this depth and spiritual dimension continue to exist, despite colonisation, European influences, and the developments that followed.
This layering, this inner continuity, has profoundly resonated with me.
Within the arts, the compelling fragmentations of Doris Salcedo, alongside the work of other — in Europe lesser-known — Colombian female artists such as Beatriz González, María Fernanda Cardoso, and Carolina Caycedo, have had a strong influence on my practice. Their ability to connect the personal with the political, and to intertwine the feminine, the intuitive, and the vulnerable with strength and meaning, has shaped my perspective.
It is precisely these feminine qualities — intuition, sensitivity, the capacity to accept and to continue — that have led me to engage in a dialogue. A dialogue with artists who are equally capable of rendering complex realities visible.
This encounter has given me the confidence to work intuitively and to embrace the outcome as it emerges — not as something fully controlled, but as a process that unfolds.
Within this, a distinct handwriting takes shape — layered, personal, and inseparably connected to both history and inner experience.
Sustainability
The core collection does not primarily exist within a physical space, but within an immersive environment — globally accessible, 24/7, and without barriers.
Where many artistic practices remain dependent on scale, transport, and exclusive locations, this work deliberately adopts another model. No monumental infrastructures, no logistical weight, no closed systems — but direct, open access.
This creates a new relationship with (immersive) museum-based art history: not bound to place, but open, fluid, and in continuous dialogue.
The wearable sculptures return this movement to physical life. What begins digitally appears in the street — worn, close, embedded in everyday reality. Not as consumption, but as position. As a Zeitgeist that resists the emptiness of fast fashion and sportswear, where speed has displaced meaning.
Each object is a concentrated statement. Small in scale, yet expansive in reach. It requires no packaging, no transport chains, no control — it moves autonomously with the wearer, across borders and systems.
This work proposes that art can free itself from its traditional weight, becoming lighter, more direct, and therefore more powerful.
Sustainability is not limited here to material, but understood as a fundamental rethinking of how art exists, circulates, and generates meaning.
Position / Statement
This collection exists at the intersection of art, object, and body.
The wearable sculptures do not function as accessories, but as carriers of meaning — small, mobile sculptures in which historical and societal layers converge.
Within Post-Colonial Gold, value is re-examined: not as material status, but as a shifting system of meaning, memory, and transformation.
The work moves across disciplines and contexts — from immersive space to the street, from history to the present — seeking a new form of presence: intimate, mobile, and direct.
The object is not an endpoint, but a point of departure — an opening.
An invitation to dialogue, reinterpretation, and a different way of seeing.