<<The copy of the copy of the copy of a rose branch—what is it? Still nature, or something else?

This question runs through the entire jewelry series, born from a process of iteration and layering: mold, resin, and charcoal powder, new molds, new copies. Each passage carries the memory of the previous gesture while becoming irreducibly other.

Seriality stratifies memory: what was ephemeral finds paradoxical permanence through repetition. The charcoal simulates a combustion that never occurred, crystallizing the organic into the artificial. The branch-not-branch becomes an archive of gestures, a material trace of process.

Erosion, threshold, transgression: three movements that structure the project.

Erosion surpasses the identity of the original element—no longer a branch, not yet something else. The threshold is repetition itself, stratified memory of what was. Transgression is the loss of function but the opening of potential: the final piece can become a necklace, a ring, anything, according to the observer's free interpretation. Loss of control because in potentiality everything can be, and everything already is.

As in John Cage's indeterminate scores realized with the I Ching, as in the silence of 4'33'' that fills with unintentional ambient sounds, the work completes itself in the encounter with the observer. 

The jewel-not-jewel awaits whoever completes it, accepting that control transgresses into possibility.

Each piece is a permanent trace of a process where nature, gesture, chance, and decision coexist in unstable equilibrium—and where functional emptiness, like silence, is a space of infinite potentiality.>>

SARA BARBANTI

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