In the Nineties the artists built on and broadened his research into mathematical progressions, alterations of perspective, colour, anomalous germination of planes, and also experimented with the use of methacrylate surfaces, again only in azure blues and reds. These compositions suggest aggregates of constructivist taste, with light- and transparent-coloured inserts, to make the vision of gold seem even more ethereal and dynamic.


Dorothea Baumer
Giampaolo Babetto
Excerpted from "Jewels of culture", published by "Gli Ori"




In Giampaolo Babetto's jewels, beauty and precision are integrated. His rigorous shapes stand out in space like little sculptures: golden dice, pyramids, ellipses. No ornament mars their clarity and elegance. Light and colour make their surfaces vibrate. Babetto's creative process is radical in his artistic conception while traditional in the realization of his craftsmanship, and is testimony to his declared love for geometry. In effect, his principal source of inspiration has always been architecture. In fact, in a early phase he dedicated himself to architectural studies, afterwards turning to metalworking. He developed his artistic vocabulary from a profound affinity with geometric forms with measure, proportion, and number, above all in the constructivist tradition, very soon acquiring extraordinary renown among European goldsmiths. Babetto's forms are at the same time simple and rich in syntactic surprises. His projects seem to spring from a precise knowledge of forms, without regard to ephemeral ideas and improvisations meant to impress. They have an absolute stylistic elegance and poise, shunning any temptation towards artificiality. Babetto trusts in the lightness of his touch thanks also to his sovereign security. With aesthetic refinement he plays with space and perspective distortion, staging a constructive tension in his perfectly executed creations, in which movement and dynamism are his themes. Babetto's jewels are beauties based on relations that radiate outward with sensuality – as if the creative, artistic act were their own – developing out of a plastic penetration inward. In them, as much importance is given to negative forms as to positive ones. Whoever sees his rings, his necklaces, and his bracelets for the first time is captured by the incomparable quality with which Babetto causes gold, the material he loves most, to bloom. An almost pictorial execution of surfaces corresponds to the clarity of his forms. Not in the sense of decoration, but as accentuation of the geometric figures. Babetto develops the forms of his jewels, always departing from the material and the seduction that it performs on the eye thanks to the warm and soft brilliance of gold, to the hardness of white gold – worked in spite of its resistance –, to the mysterious black of niello, and to the fire of the red and blue pigments. With a naturalness that distinguishes very few artists, Babetto pays homage to the traditions of art history. Aggressive gestures are extraneous to him. Babetto does not destroy forms, at most he transposes them into new and unusual contexts, giving them in this way a convincing novelty. We sense the intensity that reconciles in them what is apparently irreconcilable, that pushes the tension generated from inside to outside to an extreme, keeping pace with a massive exterior image and an interior form of extreme essentiality.
In short, if I'm not mistaken, this is the tension that the artist looks for in every one of his figures. It is just that tension and the excitement it engenders that is communicated to those who wear his jewels.
In Babetto's most recent "Deconstructivist" works made of synthetic materials, the way is cleared for a new transparency and a new chromatism. A stimulating promise for the future. A feast of lightness which is staged even today with rare security and distinction.


Angelo Formichella
These are my jewels
Excerpted from "Jewels of culture", published by "Gli Ori"




"These are my jewels," said Cornelia Gracco, devoted to the education of her children, indicating her little children to a matron who was showing off he precious stones. With the same tone that sums up his devotion and life, Giampaolo Babetto might say, "These are my children."
Babetto's work is indeed devoid of any trace of ostentation or frivolous condescension and has all the signs of a patient and sincere construction, the same that a parent gives to his own flesh.
His work, although by nature small in size, takes its rightful place among artworks that from first glance onwards dispel any thought of interpreting them as ornament or mere work of sophisticated craftsmanship. In support of Babetto's ability to be considered outside a restricted and contaminated circle (minor art?), it is worthwhile to quote the following words of Adolf Loos: "One must take into account the fact that precious materials and accurate execution not only balance the absence of ornaments, but also add an elegance that goes far beyond it. Form and ornament are the result of the unconscious, common work of men who belong to a certain class of civilization. All the rest is art." Giampaolo Babetto's consideration of Pontormo in his recent works has made it pertinent to exhibit them at the Scuderie Medicee in Poggio a Caiano. The artistic and historical memory of these places is in this way proposed as an expression of the present time, thereby preserving the knowledge of them.


Lara - Vinca Masini
Jewels of culture
Excerpted from "Jewels of culture", published by "Gli Ori"




It is well-known how much Giampaolo Babetto's name is noted, in almost all the world, as a creator of jewels that form a dialogue with the concept of space, even if always remaining an expression linked to the jewel, without changes in the jewel itself, as often occurs in many of those made by architects, in architectonic projects of scale (for that matter, the same thing occurs with much of the so-called "artistic jewelry," often small works that go back to painting or sculpture).
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