lunes, 21 de enero de 2013


Una ventana con vistas. El artista y el paisaje. La obra de un creador esta siempre, de una manera u otra vinculada al lugar y a las circunstancias donde se genera. Las imágenes y las sensaciones en las que el artista ha estado inmerso, siempre acaban aflorando en su manera de generar la obra o apareciendo de una forma mítica en su trabajo,. Sus experiencias vitales le ayudan a crear las metáforas visuales que formaran parte de su lenguaje artístico. El paisaje conforma una manera de ver que se hace visible en la obra. Todo artista pertenece a un tiempo y a un lugar, aunque como dijo el poeta mejicano José Emilio Pacheco, el arte no tiene nacionalidad, tiene raíces. El artista se integra con aquello que contempla, un contemplar sosegadamente, que se convierte poco a poco en una realidad emocional, una realidad sensible transformada en un paisaje interior. El paisaje, y más concretamente el mar, el Mediterráneo transformado en una realidad simbólica, es el contexto constante de mi trabajo. Crear es buscar el reencuentro con este paisaje interiorizado, es buscar las propias raíces en lo universal a través del mar como metáfora. El arquitecto italiano Renzo Piano recuerda el puerto de Génova, los barcos flotando sobre las aguas, que mas tarde relaciona esta experiencia con el “deseo de vencer la fuerza de la gravedad” por medio de la arquitectura. Creo que es muy importante el paisaje y la influencia que ejerce en los procesos creativos. Chillida habla de la luz negra del País Vasco y de la mar en contraposición a la luz blanca del Mediterráneo. Cesare Pavese…Mark Rotko…muchos artistas hablan de esta relación. El horizonte lejano despierta la imaginación de lo que hay mas allá del horizonte, despierta la pasión del explorador. El trabajo de creación, como ya se ha dicho muchas veces, es como una aventura, un viaje al interior de uno mismo, que ha de llevarle ha hacer visible aquello que está mas allá del horizonte de lo conocido, a desvelar y alumbrar lo invisible. Es la atracción por el límite, por la frontera. El artista es como un explorador, conoce el punto de partida pero no sabe donde le va ha llevar el trabajo de sus exploraciones. Hay que emprender este camino a la búsqueda de la experiencia del riesgo, y también de la soledad, no como una lucha contra algo, sino hacia algo, algo que no está detrás para ser imitado sino delante, para ser inventado, descubierto, experimentado, hacia un sentimiento de lo posible, pero que siempre se nos escapa como si fuera nuestra propia sombra. He crecido mirando el mar desde la ventana de mi casa, yo miraba, y sigo mirando, pasar los barcos que cruzaban y que iban más allá del horizonte. Me gustaba imaginar a que distantes puertos y ciudades se dirigían, hacia que distantes y exóticas costas, países e islas iban a cruzarse en su camino. Yo me imaginaba navegando, más allá del horizonte, descubriendo nuevos mundos, nuevas costas y exóticas islas y ciudades, sentirse libre. Imaginar geografías, dibujarlas. También me gustaba mirar el cielo a través de la noche, y todavía lo hago, quería ser astrónomo. Dedicar noches y más noches, en la soledad, mirando a través del telescopio, explorando a través del universo, en el horizonte profundo del cosmos para descubrir nuevos mundos, nuevos soles, el macrocosmos. O ser biólogo, penetrar en el misterioso microcosmos de la vida, mirar a través del microscopio para descubrir, para ver. Pero años después descubrí que eran precisamente todas esas cosas las que estaba haciendo. Con la joyería y a través del arte, me siento como un explorador que descubre, imagina, inventa, desvela otra clase de mundos. Unos mundos que emergen de las profundidades de mis recuerdos, de mis sueños y de mis deseos para conformarse como universos íntimos. Paul Valéry ya hizo notar esta proximidad entre estas dos fuentes de conocimiento cuando decía que "Ciencia y arte son casi indiscernibles en el proceso de la observación y de la mediación para separarse en el de la expresión, para acercarse en la disposición, y para dividirse definitivamente en los resultados". Trabajar en mi taller, es como hacer un largo viaje, sentirse un poco Ulises. Lo importante es hacer, con la esperanza de llegar, pero no es necesario llegar. Crear es una experiencia vital, que intento compartir con los otros a través de mostrar mi trabajo, y sobre todo de la complicidad con la persona que lo va a llevar. La creación siempre se vive como una aventura que nos aleja de lo cotidiano y nos proyecta mas allá de las cosas conocidas y ciertas. Quizás por eso, son varias las metáforas recurrentes que he utilizado y que están relacionadas con el viaje, la orientación, los horizontes abiertos, el cielo, la exploración o los mitos, y que se pueden encontrar en las series como en Constelaciones, Archipiélagos y Marcas Cardinales. Otras veces al contrario, se dirigen hacia espacios cerrados pero que también deben ser descubiertos, como en Hortus conclusus, Imago Mundi o en las series de Arquitecturas livianas. En mi trabajo siempre he intentado encontrar soluciones técnicas que me permitan trabajar de una manera muy espontánea y libre, sin los condicionantes del oficio, buscando la manera de convertir la técnica en un puente lo más corto posible, entre las ideas, los sentimientos, y la materia, procurando no borrar los trazos y las huellas del proceso. Pero esa técnica muchas veces solo se consigue a partir de muchas reiteraciones, hasta que los gestos del trabajo se convierten en habilidades inconscientes, permitiendo concentrarse en lo indefinible, en lugar de deslumbrarse por una buena ejecución técnica. Para mi el acto de proyectar y de construir significa vivir la emoción de unos instantes de plenitud. Afrontar el juego combinatorio de múltiples posibilidades, seleccionar y elegir despierta en mí un sentimiento de íntima libertad. Significa buscar lo inesperado y de lo que aparece evaluarlo y compararlo con un modelo imaginario, un modelo formulado a partir de un presentimiento indefinible. Combinar y recombinar las variantes, las unas con las otras, buscar y dar un orden para que cada detalle o elemento se relacione y se subordine al conjunto. La búsqueda de la armonía, la exactitud, la simetría, la belleza encerrada en la materia, en los objetos, en el universo que nos rodea, se traslada a la actividad creadora, es su fundamento. Busco la belleza, no lo decorativo. Busco la honestidad, no la impostura. Busco la precisión y la claridad de la forma, pero también lo oscuro y profundo de la expresión. Posiblemente por esta razón la mayoría de mis trabajos se estructuran como composiciones de elementos separados, a modo de ensamblaje, procurando que el objeto no sea visto, no sea percibido en su totalidad al primer golpe de vista, sino que la mirada divague y recorra una sutil red de itinerarios visuales, explorando y descubriendo las relaciones de armonía y contraste entre las diferentes partes del objeto, haciendo necesario un tempo para que la mirada pueda depositarse por todos los rincones de la composición. No me interesa tanto la cualidad de original absoluto, como que su contemplación despierte resonancias múltiples, asociaciones y relaciones difusas, que faciliten la imaginación, igual al espectador o portador como a mí como autor. Me impulsa una necesidad, no tanto de crear, sino de instaurar una pequeña fracción de orden en nuestro universo de caos, me mueve el deseo de conseguir la perfección, la claridad de su estructura pero también la profundidad de su misterio, como la música de Bach. En un hacer que siempre se mueve en el horizonte que es límite entre la luz y la oscuridad. Me gusta considerarme como un artesano, como aquel artesano en el que soñaba Walter Gropius, cuando decía que el artista, es un artesano mas elevado, que en escasos momentos de claridad, se sitúa mas allá de su voluntad, y el arte florece inconcientemente bajo sus manos. Trabajo continuamente para reencontrarme con estos escasos momentos de claridad, cuando todo parece fluir sin esfuerzo de un manantial profundo. Creo que la producción, o la creación artesanal contribuyen al bienestar y a la sostenibilidad de nuestro mundo, lo decía William Morris, lo dice Richard Sennett. He intentado hacer objetos extra-ordinarios, es decir fuera de lo ordinario, pero cargados de función simbólica que ayuden a sentirnos mejor y más seguros, hacer de la joya una metáfora que recupere gran parte del gesto mágico que era ponerse una joya. Hacer joyas ha estado siempre unido a un proyecto vital, a una aventura, que con el devenir del tiempo, el transcurrir los meses, los años trabajados en la obra de creación, van transformando el mundo de incertidumbres en el que realizo mis obras, en un universo de certidumbres, por bien que siempre provisionales, y que son portadoras a su vez de nuevas interrogaciones, de nuevas hipótesis que mantienen la tensión y la energía de la evolución artística. En palabras de José Antonio Marina, “La libertad, mas que un destino es una posibilidad”, Crear, es para mi, afrontar este juego combinatorio de múltiples posibilidades, seleccionar y elegir despierta en mí un sentimiento de íntima libertad. La posibilidad dirige el rumbo de un proyecto vital que no separa vida y trabajo. Continúo observando desde mi ventana. Ramon Puig Cuyàs 2012

Ramon Puig Cuyàs. The activity of creating is an adventure for me, which takes me away from the everyday, casting me beyond horizons of known and assured things. It doesn’t matter what medium we employ, whether it be jewellery or painting, music or writing, to create is to invent oneself, to create oneself. Creating is my way of satisfying an indefinable need to transform, construct, illuminate, to turn the invisible into the visible and to be able to do so with my own hands. The act of creation is as though a journey to conquer an innermost sense of freedom, and to satisfy a deep desire to feel myself alive. I am impelled to commence each new work by the need to respond to a challenge, that of turning a pre-feeling into a real feeling. Planning and constructing is to live the experience of some moments of fullness and emotion. Each piece of jewellery emerges after a long process wrought from repetition, rehearsal, elimination, selection and decision, as well as an evolution of feelings, emotions, certainties and doubts. A process which is an attempt to reveal, materialise something indefinable, as though an internal design, born of intuition, in order to turn it into an expression of consciousness. Although I start each new work without any plan or prior schema, my most recent finished piece often stands as a model for me to use and so realise what I must look for next. Whilst drawing and making exploratory sketches, I attempt to go into a state of concentration, of active attention, in order to listen, feel or provoke an internal pre-vision. I search for a mental image which serves as a guide, though nothing is defined or specific. The drawings frequently serve to explore new paths and variations in composition, although it is when working directly with the materials that the dialogue becomes more intense. Both experience and technical mastery facilitate a handling of materials, tools and hands with apparent ease, enabling their expression. I endeavour deliberately to leave in those traces and marks made through the working process, as they are the records of this dialogue. Working with my hands awakens in me a sense of humanity, it makes me more perceptive and sharpens the senses. Thought and clarity are almost always arrived at through action, they come with that dialogue between materials and shapes. Making is for me a way of thinking and I try to ensure that the result of this making be a testament, materialised through a piece of jewellery charged with the will to express. I like to improvise when in contact with the materials, exploring their possibilities and stretching their limits. Working with a material allows me to assess results immediately and in a direct way. I attempt to make the process of creation one of flow rather than fight, such that solutions appear naturally, as though inevitable. However, at times the best results appear only after hard and persistent effort. Formally, I need to structure my pieces on the basis of a strict compositional syntax which either comes close to, or gives the impression of polyphony. I seek a sound, or harmonies amongst the straight and curved lines, in the variations of planes and in the contrasts amid colours and materials. I try to create an order whereby the chaos of ideas and feelings reign. It is possibly for this reason that most of my works are structured compositionally as separate elements, as assemblies, thereby creating virtual spaces rather than filled volume. I ensure that the object as a whole isn’t seen, not completely perceived at first sight, instead, the gaze wanders and runs around a subtle network of visual itineraries, exploring and discovering harmonious and contrasting relationships amongst the various parts of the object, making a necessary tempo for the gaze to linger on, staying in every corner of the overall composition. In this way the viewers gaze isn’t passive, rather it is participative. For me, this sought compositional harmony is like a metaphor for the desire, the need, to reconstruct the harmony and equilibrium between man and nature. Making a piece of jewellery is to illuminate a microcosm that must take part in the balance and harmony of the macrocosm. Colour has been a fundamental element in my work for many years, both part of my nature and my cultural and everyday surroundings. Colour gives me the opportunity to accentuate the expressive qualities of the composition. Yet not all is harmony and balance, as tension and conflict are fundamental too for the act of creation to be fertile. Tensions and a conflict of feelings were the framework around which I worked to make the series Imago mundi and Utopos, between 2007 and 2010. Something that was there already suddenly emerged unexpectedly, giving a fresh thrust to creative strengths. Colour disappeared, black and white, with some grey tinges were then sufficient to stir up a much denser atmosphere in comparison with previous works. Black and white, shapes and materials, microcosms and macrocosms, all these established a suggestive dialectic, laden with meaning. Everything, whether lines, planes, volume, textures, materials, colours, the technique employed, the very composition, all these elements become metaphor. Nothing should be gratuitous, everything has to be filled with meaning and the best method I know of to achieve this is through visual metaphor. The metaphor is a carrier for ideas, while I also like it because it does so in an ambiguous and imprecise way. It suggests symmetries and contrasts, it sets up subtle analogies, it contains implicit potential. The metaphor charges the piece of jewellery with various meanings, although it cannot, nor would want to, explain these meanings conceptually. It is precisely because of this lack of definition that the metaphor helps me to materialise in images all that pertains to the world of the non-definable, which tends to be much more interesting than the rational and definable world. Finally then, my work’s central aim is for the object produced by my hands to be more than just a form of expression, rather that it be a way of sharing with others the experience lived through my working process, of all that I’ve found, discovered and made visible. And also to suggest to the wearer that the simple gesture of putting on a piece of jewellery can in itself also become a metaphor. Ramon Puig Cuyàs. Translation: Anne Michie

Ramon Puig Cuyàs: Notes on a travelling experience By Ana Campos, Head of Jewllery Department ESAD, Porto, Portugal. Ramón Puig Cuyàs jewellery is an aesthetical hybridism. It is art, as well as it is craft. In saying so, I mean that this is a category of art that exists in the tension between both systems. Exploring both art and craft, he uses challenges a strategy, in both directions. This challenge is a way of playing without any interest then just playing. It is creative, reasoning and sensitive action. By doing so, he questions an historical problem. That is to say, the fine art system and its supposed historical power as intellectual means, and the craft side as supposed working and submitted side. In Ramon jewels, the art side is elected as poiesis– as creative site – linked with the process of raising symbolic senses for communication. The craft side, inseparable, contributes to be an inside of the poiesis. Both are used to express symbolic and metaphorical messages. All symbols are relational. They are invisible links between people or between people and things. Jewellery has always been a symbolic means of communication, bringing people together. But primordial adornment, as well as traditional jewels, are codified ways of communication. They make visible common believes, rules, kinds of expected behaviours in each social arena. Ramon contributes to reconfigured jewellery as means of communication, announcing a new humanism emancipated from rules. Like in art, in all its extensions, communication is not codified. It is free and interpretable. Following a democratic and horizontal politic, while creating he takes that supposed working area – the craft side – into the art field. Taking craft as an interpretive field, he introduces expression where only rules about making where expected to exist. Reasoning, feeling, working, interpretation are brought together into the creative field, in order to make visible a new extension of art. In this scenario the obvious does not take place. All is imperceptible at a first site. Because a symbol is and invisible connection between people, Ramon proposes also a reconfiguration of relational experiences, where interpretation takes a relevant place. In his jewels there are surprises to unveil, and new hermeneutical experiences of art are offered to the public for participation. This is why Ramon him self said to me in an earlier interview: "Creation is an act between two people. From my side it ends up at the point at which I don’t transform it any more. But a creative act may start again, through the creative eye of the spectator, who may somehow recreate, continuing that creative act. Following this way, the creation ends up where I finish the piece, but will continue through the viewer look. There the viewer is playing, giving a different meaning to the piece." This view underlines an open mind, but also faces a democratic and participant symbolic communication. To Ramon jewels are like incomplete until the viewer performs an art experience in order to complete his creative act, through interpretation. This is a principle of the hermeneutic tradition, which over time art has appropriated. Kinds of interpretation always depend on the kind of audience, their aesthetic and artistic education and involvement with the art world. Ramón travelling experiences reflexive. It includes questioning and deals with all that involves creation of symbolic means and processes for symbolic communication. His culture works often as motivation, even when it is not so visible. He absorbed his own culture, reusing memories to make projects. Therefore he plays between past and present, in order to propose new futures. He inherited a composite culture, a network of contacts that were established centuries ago along the Mediterranean basin. In it numerous cases of hybrid situations can be quoted, like dialogues between modes of thinking and imagining, beliefs and religions and various other practical reasons, like food itself witness. Even today one can see much of this in the configuration of buildings and objects, showing ways of combining materials or construction and production techniques. All these hybridisms join his poiesis, like justifying his way of reasoning and feeling. Together come the blue sky and the sunny days turning the colours in friendly and warm ones. But not all is such a touristic stereotyped postcard. Ramon is addicted to sailing. He knows well the Mediterranean storms that in a sudden can change this idyllic picture. Friendly and dark colours alternate in his work. This travelling experience is a transhumance through his own life, but also a way to question art and life itself. His lived realities are motivations driven into his work, into his creative process whish he considers to be like a metaphorical journey of discovery. Intuition and doubt, conscience and critic, accompany him on this trip of reflection. This is the process he chooses to create forms, and to design symbolic meanings and metaphorical messages that his jewels will contain. Symbolic meanings take his jewels far from being commodities. They take him closer to convert his jewels in a "necessary expression, unique, dense, concise, memorable", like all artists whish, as said by Italo Calvino. Microcosm and macrocosm are related and relevant issues in Ramon work. Sometimes he singles them into is creative process. Transporting to the present wishes of his childhood, he recalls that once he wanted to be a biologist. Later, he wanted to be an astronomer. He never followed these childhood dreams, but he sometimes associates these ambitions in jewellery. Through fiction, he makes a macro world in a micro space full of meanings. Ramon and Miró have connections in their work. Ramón considers that they developed a close perception because they are both Mediterranean. In my point of view it is not just this. It goes further, underlining a common working process. Together, these items offer a road to analyse Ramon’s work. As his work has cycles, he crosses this road by different reasons. This doesn’t have to do with any kind of quotation and less of mimesis. It is related with an entered and shared cultural view of the world, configuring a kind of perception, but mostly with a similar working process. Although from the point of view of settings they are different, Ramon’s earlier jewels bring back memories of those graphic coloured lines of Miró paintings. Earlier he made it visible in anthropomorphic figures. Later these strong colours or the graphic lines remain in dual images, half a person, half an animal, or reminds of mythological Mediterranean creatures linked to sea animals he probably seesdaily. In Impressions of Atlantis there was a shared joy on working with metal, like with Miró in his sculptures. Therewas a kind of primordial artistic expression, which they both adopted. After Ramon explored other themes: Reliquaries, Constellations and Archipelagos. All these jewels follow that dual dialectic language wish is also relevant in Ramon work. It maybe also related to hybridism, which enables Ramon to observe or criticize different aspects simultaneously, interconnecting opposites. Thus, he linked religious and pagan, sky and sea, day and night, sea stars and stars like stars. Together with this primordial artistic expression, he joins different materials and found fragments, having each one a meaning.In Cardinal Marks, seamarks join strong colours. In Walled Gardens colour joys stronger then the Mediterranean light itself. They are like a return to childhood to play spontaneously with graphic lines, colour and fragments of materials, or may be with life itself andwith freedom and pleasure for being alive. Because personal life always influences the artist work, later in Imago Mundi he goes back to the dualistic dialectic. Then he opposes and relates presence and absence, life and death, or at times void surface and full surface. Perhaps these pieces follow a dark Mediterranean storm. Ramon started to use volume in Corpus Architectae. Because these brooches where made of cork oak, the material asked for three-dimensional shapes. There was again the remembrance of the Mediterranean see in the floating buoys include in these pieces where the colour and graphics gave a turn to whole white volumes. After, in the series Utopos the black and white, some times joined with red, came back in an expression that relies close to Imago Mundi. It is the subject that changes. The meaning one has now for interpretation is related to intriguing fragments of classic images representations of human hands and eyes, framed and transfixed by metal in free compositions. Subtle Architectures is the most recent series. The will to explore volume came back, motivated by Corpus Architectae. Those where light and warm as cork oak suggests. The strong present ones are as light, but mostly they are subtle black wire constructions. When least expected, in these complex three-dimensional and geometrically like shapes, freedom of expression and need to play with the material is there. A close view will show it. Above all, what one can notice in all of Ramon jewels – until the last one he made –is that between him and Miró there are several related ways of reasoning and feeling. This is underlined by a common way of surrender to the creative act, to dialogues with the matter. Their working process suggests spontaneous gestures while working, in creative acts that don’t have any previous studies, like in a process of reasoning with the hands. As global actor and representative artist, Ramon poiesis and his travelling working experience are impregnated by his identity. His work is reflexive, independent and free, showing a discourse that raises intense and emotional relationships and feelings of belonging to the Mediterranean world.

Introduction. Für viele junge iberische Goldschmiede ist Ramon Puig Cuyas bereits ein Klassiker, gar eine Vaterfigur. 1977, bereits mit 24 Jahren, wurde er zum Professor der Schmuckklasse der Escola Massana in Barcelona ernannt; seit Jahrzehnten ist diese weit über Spanien hinaus berühmt und hat ihre Avantgardestellung durch Ausstellungen in vielen Teilen der Welt wirkungsvoll unter Beweis gestellt. Als Lehrer bringt Ramon Puig Cuyas besondere Eigenschaften mit. Er geht behutsam mit seinen Studenten um, lehrt, aber belehrt nicht, ist offen für andere Meinungen, hört zu, prüft Ideen, um sie im entscheidenden Moment zu fördern. Ramon ist ein beliebter Lehrer, der mit großem Einsatz sein Leben lang für seine Schüler - und für die spanische und katalonische Schmuckkunst insgesamt - viele Ausstellungen organisiert hat; zu diesen schrieb er nicht selten Einführungstexte. Wie kann jemand, der sich so sehr in den Dienst einer pädagogischen Sache stellt, auch noch sein eigenes Werk verfolgen? Die Liste der Einzelausstellungen Ramons, und die mit seiner Frau, der Schmuckkünstlerin Silvia Waltz, ist lang. Ebenso imponierend ist die Zahl der Erwerbungen seiner Arbeiten durch Museen und Privatsammler. Ramon Puig Cuyas gehört zu den herausragenden Schmuckkünstlern Europas, dessen Arbeiten in den USA ebenso bekannt sind wie in Japan oder Australien. Ramon hatte Glück, dass er den Beruf eines Goldschmieds von Grund auf erlernte und in jungen Jahren noch mit einigen der alten Meister der Schmuckkunst in Kontakt kam. Sie haben ihm eine Vorstellung von Könnerschaft hinterlassen, von Verantwortungsgefühl für die Schönheit der Form, die Lebendigkeit des Ornaments und die Meisterschaft der Ausführung, die einer modernen Gestaltung keineswegs widersprechen. Ramon hat sich stets mit der Vergangenheit, der Blütezeit der Schmuckkunst Kataloniens im 20. Jahrhundert, auseinandergesetzt. Im Gespräch mit ihm, besonders vor den Objekten einer Ausstellung, fällt bald der Name des verehrten Vorgängers an der Schule, Manuel Capdevila. Doch auch die künstlerischen Arbeiten eines Gargallo, Gonzales, Manolo Huguet sind ihm vertraut, ebenso wie die Dalis, Miros oder Picassos. In allen ihren Werken spürt und liebt Ramon die Lebendigkeit einer katalonischen Identität. Katalonien gehörte nie ganz zu Spanien, in seiner Geschichte und seiner Kultur beanspruchte es immer Autonomie. Es war stets dem Handel verbunden gewesen, hatte seit den phönizischen Seefahrern immer Anteil an der kosmopolitischen Vergangenheit des Mittelmeers; es war eine fruchtbare römische Provinz gewesen, hatte arabische Herrscher gesehen und besaß im Mittelalter ein eigenes Königsreich. Handel fördert Kultur. Geistesgeschichtlich fühlte sich Katalonien immer mehr zu Süd-Frankreich hingezogen, als zur kastilischen Krone. Ramon Puig Cuyas ist eine Verkörperung des katalanischen Lebensgefühls, und sein Schmuck kreist um Symbole und Metaphern. Abstraktes und Gegenständliches ist darin enthalten, vieles zum Bildkürzel abstrahiert. Ramons bevorzugter Schmucktypus ist die Brosche, in ihr entfaltet er intime Stillleben wie kosmische Landschaften, Gärten und die Weite des Himmels und des Meeres. Ramon liebt die leichte Geste, Tragisches und Melancholisches entspricht nicht seinem Naturell. Sein Schmuck vertraut nicht auf subjektive Expressivität, sondern auf die Essenz des Alltäglichen, deren Zeugnisse er wie ein Chronist notiert und reflektiert. Er arbeitet mit Materialien, die er scheinbar "findet", Fundstücke unterschiedlichster Ausprägung, farbige Steine, Glas, Kiesel, Holz, Papier, Kunststoff, die in unserem Leben meistens achtlos existieren. Ramon setzt sie ein, wie Fragmente, oder Scherben. Seine Welt scheint fragmentiert und zerbrochen, aber ist sie das wirklich? Versucht nicht jede Generation aufs Neue, auf den Relikten der Vergangenheit eine neue Sinngebung zu errichten? Ramon dramatisiert nichts, er fügt zusammen und entwirft neue Utopien, die sich an andere Menschen richten. Sein Schmuck ist Reflektion und Kommunikation zugleich. Wollte man nach vergleichbaren Künstlern in der bildenden Kunst suchen, die in ihren Werken der Stille Ausdruck geben, so möchte man an Paul Klee und Giorgio Morandi denken. Aber auch an Antoni Gaudi und Joan Miro; sie allerdings stellten der Kontemplation auch eine heitere, aktive Natur entgegen. Das gilt auch für Ramon. Ist er vielleicht, wie Miro, auch ein Spaßmacher? Zumindest lächelt er gerne, meistens versonnen. Ramon schöpft aus der Vergangenheit seiner Kultur, und aus einem reichen inneren Leben. Den Widrigkeiten des Lebens begegnet er mit größter Liebenswürdigkeit und Gelassenheit. Er ist kein Revolutionär, vielmehr ein Suchender, der mit seinem Schmuck nicht nur die bloße Form, sondern vor allem auch den Inhalt meint. Ramon Puig Cuyas gelingt es immer wieder, Schmuck herauszulösen aus der Dekoration und umzudeuten in eine Sprache des Empfindens und der Seele. Das zeichnet ihn aus vor vielen anderen Schmuckmachern unserer Zeit. Rüdiger Joppien

Making jewelry has always been attached to a vital project, to an adventure, with the passing of time, the passing months, years of working in the work of creation, are transforming the world of uncertainty where I do my work, in a world of certainties, however well it always provisional, and are carriers turn to new questions, new hypotheses that maintain the tension and energy of artistic evolution. I like to consider myself a craftsman, like this craftsman in that Walter Gropius dreamed , who said that the artist is a craftsman more highest, which in rare moments of clarity, lies beyond his control, and the art flourishes under unconsciously their hands. I continually work to reconnect with these rare moments of clarity when everything seems to flow effortlessly from deep source. I think the production, or creating handmade contribute to the welfare and sustainability of our world, said William Morris, says Richard Sennett. I tried doing extra-ordinary objects, out of the ordinary, but loaded with symbolic function that help us feel better and safer, making the jewel a metaphor to recover much of the magic gesture that was to get a jewel." Ramon Puig Cuyàs

The landscape is the context The landscape gives form to a way of seeing that becomes visible in the work. Every artist belongs to a time and a place, Barcelona, Vilanova .... although, as the Mexican poet José Emilio Pacheco said, art has no nationality, it has roots. The artist integrates with those who contemplate, a quiet contemplation, one which, little by little, becomes an emotional reality, a sensitivity transformed into an inner landscape. The landscape, specifically the sea, “the Mediterranean”, becomes a symbolic reality; this is the constant context in my work. To create is to seek a re-encounter with inner landscapes; it is the search for one’s roots in the universal using the sea as a metaphor. Ramon Puig Cuyàs

Ramon Puig Cuyàs

Ramon Puig Cuyàs
Ramon Puig Cuyàs. Brooch 1999. Silver, enamel, graphit

Nº 8 Ramon Puig Cuyàs

Nº 8 Ramon Puig Cuyàs
Nº 8 Ramon Puig Cuyàs. Brooch, 1980. Cast silver.