Ingrid Rietveld and Rudi Simons Cohen
Excerpted from "Giampaolo Babetto", published by "Aurum"

To see an object made by Giampaolo Babetto for the first time engenders a feeling familiar to us all whenever we discover a true work of art: we are struck with a powerful emotion, and the wish to possess the object becomes irresistible. Because it is pure art.
Babetto's jewels are not sold at jeweller shops but in art galleries, though not in all of them: only the most specialized museums have some of his pieces in their collections.

Alberto and Annamaria Carrain
Excerpted from "Giampaolo Babetto", published by "Aurum"

One of the best goldsmiths in the world. Passion and culture are continuously intertwined in Babetto... This range of little objects intended for women's vanity summarizes our contemporary times. Knowing, encouraging, following, and enjoying the friendship of Giampaolo Babetto has been a delight.

Suse Wassibauer
Excerpted from "Giampaolo Babetto", published by "Aurum"

I'm very fond of Giampaolo Babetto's jewels. What enchants me most is the way their basically geometric character becomes transformed when either light or shade is thrown into relief, depending on the perspective of the viewer.
Although the shapes are clean-cut, almost archaic, on the human body they take on volumes that indulge it, creating a particular field of tension. From the moment you start wearing one of Babetto's jewels it becomes difficult to enjoy wearing other jewels.
Johan Valcke
Excerpted from "Giampaolo Babetto", published by "Aurum"

I remember I was literally captivated by the universality of his creations and I have never changed my mind. Giampaolo's pieces bring to mind the Zen gardens of Japan: some little rocks in the middle of a space rutted with circles traced in the sand, rigorously concentric and parallel. Though they are organic substances, these gardens are symbols that inspire meditation, that invite us to transcend the simplicity of objects, to get to the essence itself of being. Babetto's jewels draw little inspiration from organic forms, they are of a clearly geometric conception, but above all, they bear the same peaceful strength found in real art and in poetry.

Ton Berends
Excerpted from "Giampaolo Babetto", published by "Aurum"

Wednesday, 18 October, 1989 was a beautiful autumnal day. That was the day Giampaolo Babetto and I had an appointment to go see the works that had been the inspiration for his new series of jewels: Pontormo's frescoes. In the lower side of one of the frescoes, despite the appearance of Jesus Christ, Pilate, and many other characters, the most important part of the painting is the upper section depicting a boy going down a set of stairs with a tray full of bread and a jug of wine, painted with such a panache and sensuality that the boy dominates the fresco. These works must have had a considerable significance for him, to cause him to make such a break, leaving his creative, spatial, almost architectural world temporarily behind, in order to express his emotions through figurative forms. I hold him in great esteem. I consider him to be one of the best designers and creators of jewels in the world and one of my best friends for more than twenty years.
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