Ise silver and druzy necklace
Ise necklace in sterling silver, carnelian agate and natural drusen
Handmade sterling silver necklace in 80 mm spherical piece. Round carnelian agate druse of 40 mm. and natural round druse of 25 mm. Necklace length 80 mm. Sterling silver chain.
The druse It is a set of crystals that cover the surface of the agate. They occur in rocky cavities called geodes (from the Greek geodes, which means “like the earth”). There is a wide range of colors.
The agate It is a microcrystalline quartz of the chalcedony family that comes from Brazil. It is volcanic in nature and owes its variety of colors to the multiple inclusions that were deposited during its formation and subsequent cooling. Its name comes from the Achates river, in Sicily, where it was found for the first time.
The carnelian agate, also called carnelian, it is a variety of agate. It has a reddish color that goes from orange to brown, due to the presence of iron oxide.
It has been used as a gem in jewelry making since Greek and Roman antiquity.
There are deposits in many parts of the world such as Brazil, the United States, Madagascar or Mongolia.
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.
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.