[...] then everything comes off from a languange elaboration - a language which is the answer to the search for a system to represent hoards of objects: hoardes of things as well as the accumulation of an human being's possession, and things remembered, personal treasures, and generic crap. Also, the hoard of something bigger. But things - objects - are not represented by virtue of an 1:1 reproduction - in size, in precision drawings: they seems an unordered, chaotic [?] assemblage of geometrical sketches, solids which shows their form in space, hints of their real appearences - all of them in various disgregational states: where these states are translated in a gamma of different, reducing simplification: from ultra-decoration to half-of-a-decoration, to an I-remember-here-was-somekind-of-a-decoration thing, to pure plain-faced solid [maybe to wireframe shadows too]: to a clean perfect silvery polished entity. Used, old, ancient, ruined, forgotten things ARE NOT breached, chipped or fragmented: nor hammered or broken etc. [...]
[...] things are accumulated in heaps, and the nearest inspiration are the collections of architectural relics outside lapidary museum: the capitel, a section of a column, a piece of epigrafy, a frame made of stone, some roman bricks - some with marks, some unmark'd - and the wild weeds around the, and the janitor's cat lazying around. [...] and then obviously you have the whole wunderkammern thing, and the saint's reliquiary and the ostrich's egg and the pewter-setted nautilus shell and the stuffed crocodil; translate it in metalsmithery activity, and you have raw stones, perfectly cut stones, geometrical solids, cubes and pyramids, and small reproductions of real things [...]
~
Here aside, my first prong setting - for the oval citrine there depicted. Raw, shaky, still borax encrusted. But, nonenthless, here it is.
