Start » Jewels » Jewels » Gargantilla Dal de madera de balsa, lava, cuarzo y plata

Gargantilla Dal de madera de balsa, lava, cuarzo y plata

Gargantilla Dal de acero galvanizado, madera de balsa gris, blanca y negra, lava sepia y verde, cuarzo verde y cubo de plata de ley


Gargantilla artesanal con cadena de acero galvanizado, cubos de madera de balsa en gris, negro y blanco, cuentas de lava volcánica en sepia y verde, cuenta en cuarzo verde y cubo de plata de ley.

The boat wood It comes from the wood of the balso, a tree that grows in the subtropical jungle of Colombia, Ecuador and Central America. It is known for being the lightest wood, being even lighter than cork.

The wash it is magma that emerges from the depths of the volcano and solidifies when it comes into contact with the cold surface. It can be dyed in different colors.

The quartz It is a mineral composed of silica that is present in igneous, metamorphic and sedimentary rocks. is the ore plus abundant in the earth's crust, and its name derives from the German quartz which means "hard".

SKU: c-1804-p
Share this product!

craft culture

Craft time is a time that takes us out of the urgency of everyday life. A time that obeys the materials with which he works, listening to them and accompanying them. It is therefore a gesture away from the routine gesture, the one that machines repeat over and over again. The craft time in Belén Bajo is also the time of durable materials, metals, stones to which timeless, simple forms with a certain geometric flavor are proposed.

Stylistic influences

Belén Bajo jewels seek maximum formal simplicity without giving up a playful touch. In part, its formal universe comes from the central European rationalist and functional culture, its Mediterranean roots and the survival of the plastic forms of the Al-Andalus culture in which a geometrized nature is presented by means of infinite patterns.

About Bethlehem Bajo

Belén Bajo trained at the School of Fine Arts in Madrid. There, from formal experimentation, the accumulation of references and manual work, he developed a way of understanding both plastic creation, a universe of chromatic and material abstractions, as well as the value of the roundness of objects as carriers of symbolic meanings.