Timeless Manifesto

Jewellery is one of the most intimate of Art Configurations

By stating this, LUCYLMAR implies a covenant with the public, a bridge between her creative journey and the audience who selects her body of work.  By sitting directly in the body, Jewellery its one of the few mediums that still emphasizes the relation between the artist and the public, by connecting an intimate link between the two parts, a common ground is share. For her, it is of great satisfaction creating and maintaining this structure of continuity.  A dialogue between the two verges through a tactile experience, a constant reminder of its presence.
Her proceedings, oscillates between the dimensions of the human body layout.  Jewellery it is her device for conceptual exploration in the juxtaposition of geometric, bold, and sometimes repetitive forms against the human bod malleableness, the relationship between the delicate and the solid and vice-versa. By way of hand-cut metal experimentation, every piece is a challenge, ‘I felt fulfilled by provoking vivacity in these otherwise motionless elements’. Metal, so to speak is not an innocent medium, meticulous hand metal work requires a particular temperament, precision, close inspections for details and an extraordinary patience". 
Setting her own culture of thought,  LUCYLMAR contemplates and decoded the different intangible aspects of life and its under-layered meanings. Inspired by her personal journeys, by philosophy, literature, art -in general sense- the Human Condition, she orchestrate and produces a sign language as a vehicle, reflecting the design statement and  aesthetics.  Inextricably from the living person, her work is also intended to be view isolated from the anthropomorphic form; since every piece tells a story by itself. By morphing self created images mostly organic and abstract geometric landscapes, she intersects the medium frontier, taking the classical jewellery body of work into a bigger, more explicit scale, conforming a different manner to clearly impart her expressive potential and identity.
Contrary to some other form of arts, Jewellery comes from a traditional historical frame, and by social standards, the Jewellery maker tends to be labeled into tradition as well. ‘I, pondered upon this. As I see tradition as a loose flexible structure rather than an ironbound rule to follow blindly' The paradox of Liberty is that Freedom becomes useful only when self-impossed limits are accepted’. As for the artist it is meaningless to keep all her options opens at all times, this wouldn’t allows her to take action and to be inventive within the structure of continuity. LUCYLMAR don’t consider her self a prisioner of custom. The limits inherent in Jewellery is that’s what she founds liberating, restriction is what brings focus and clarity.