Between existing and non-existing there is the intermediate status of amorphous.

Nora Renaud meditates on the randomness of objects’ actualization, conceiving her jewelry pieces as a sort of immediate sculptures. The designer’ subtle and non-obstructive intervention let the metals solidify in their own way, maintaining a certain embryonic primitivity in their brut textures that evoke a sense of dense liquidity. The slow movement of the melted primal materials crystallizes in the pieces’ curved shapes, creating enveloped spirals similar to umbilical cords or industrial drills. The tactile sensory is approached through an unthought assemblage of plates differently casted that collide generating ripples and bumps. This layering game shows a transition from the flat two-dimensional initial parts to the three-dimensional final jewelry which relates to Renaud’s studies as a pattern cutter and her work as a sculptor. The idea of a material ​​compression and expansion is emphasized by the names that the designer ironically chose for her creations like Constantin (Brancusi) César or Henry(Moore), all artist of a great plasticity. As prehistoric and tribal artifacts Nora’s pieces hide a symbolic meaning, which often refers to the concept of fertility or the genders’ ambiguity exemplified by Janus; a ring that can be also worn as a pendant, eponymous of the double-headed ancient latin god and a famous Louise Bourgeois’ sculpture symbolizing an erotic metamorphosis.

In those uncertain moments where things are in between of having or not having a proper shape the artist’ creative mind challenge itself giving to the raw material its raison d’être.