Jewels are not always pieces of jewellery. Here are the most common definitions:
1. A precious stone; gem.
2. A costly ornament of precious metal or gems.
3. Little pieces of happiness.
4. Small, hard to find, get or keep, beautiful things or people.
5. The result of the process of speaking jewellery.
In this case, a "wearing intent" is integral part of the jewel itself which becomes a piece of jewellery. As the spoken/written word presents us with poems, novels or short stories, so does jewellery present us with many different forms of jewels - rings, bracelets, necklaces and so on. Jewels can be worn on the head in the form of crowns, diadems, tiaras, aigrettes, hairpins, earrings, nose rings, ear plugs, and lip rings; on the neck in the form of collars, necklaces, and pendants and chains; on the limbs in the form of rings, bracelets, armlets, anklets and toe rings; and as "touch objects", carried in the hand, or even implemented in the inside of the body via the digestive or other tracts, or by surgery. Jewels, to be jewellery pieces have to fulfil the necessary technical requirements that make it wearable in whatever desired circumstances. Do note that there is a difference between jewels in general and jewels as jewellery pieces, please read well.

While melting a metal alloy several things happen, both to the materials and to the procedure undertaker. First of all the former and the latter will get to know each other in preparation for this singular event. As the operation develops, body temperatures increase in relation to the burning fuel temperature. The metal mixture takes time to heat before it starts melting. A little flux should be used or other precautions taken to prevent oxidation and allow a perfect mix, and later, flow. The crucible, should be heated simultaneously, in order to keep the metals' temperatures at a steady increasing rate and minimise heat dispersion. At melting point the materials start to fuse and mingle. At melting point, Karma is inexistent. At melting point two or more materials become as one and their molecules bound in an infinite embrace. At melting point, a new entity makes its appearance into life, with qualities completely different from the forming bases. At melting point there is synergy. Later, if need will be for the dreaded moment, only by the use of stressful and time consuming procedures will the composing materials separate and become themselves again. The material loss in these procedures is never less than 10% for each part. Some form of contamination will always be present. The undertaker, as observer and experiment inductor, should consciously and with integrity advise the interested parties beforehand of these facts and, thereafter, of his own free will decline to perform, if agreement is not reached, happily. On a parallel basis, think about the "output power" of any piece of jewellery and how it is obtained by the synergistic combination of its component parts, sacrificed for the whole. The procedure of analysing and decompartmentalisation of the finished piece as a whole, into easily explainable components, is not only detrimental to the work itself but also, in my opinion, anti-evolutionary.

As opposed to Magic. It is never present - I repeat - never present, when maker and object create each other.

Is there some invisible underlying statement hidden behind the misty layers of meaningfulness? Only now can it start to be seen, as the unveiling of its façade begins to show an increasing powerful simplicity. Jewellery without meaning a possibility? It is possible, no doubt about it, but a structure has to be set to permit this event. Spontaneity and instinctiveness will be the tools for creation of a new set of values. The underlying factors are impossible to explain and describe in a modern academic manner so its understanding lies in the inherent or mastered capacity of each one to freely see and feel it. As jewellers it is our pleasure to forward in time the aspects that are intrinsic to this art and not to let it wither or deviate by sheer intellectual virtuosismo. "If jewellery limits in any way your self expression, please feel free to choose something else". It is my theory that an evolutionary jump is taking place also in the domains of jewellery. It focuses not the way or ways of thinking/making but on the place or ground from which jewellery itself is produced. It is not a product of intellectual games. It is a different existential platform supporting Jewellery as a manifestation of human communication. A physical link, one might say, between the third and other dimensions. It will be possible to finally address matters with such light-hearted playfulness as to enter the realm of real communication, free of cultural, intellectual or meaningless deceiving filters.

When presented with any particular object or work of art, the human brain, as natural catalogater, automatically searches for the fastest connections, adjectives and processes for making order inside itself. It shelves this object inside any given category or "place" and dismisses it. The more this object is "charged" with meaning and symbols, the more catalogating clues are present and the easier it is for the brain to explain to itself what it sees (it does not matter about the veracity of these explanations). If, however, $little or no connective information is present, the time span between seeing and understanding is extended and the space thus created is a space where seeing takes a different meaning, a place of not knowing. If an art object is able to create this space, in the viewers or experiencer's mind, its independent inner voice can be heard. By inner voice, let's understand, the capacity to act as a vehicle for direct and unfiltered human communication (again, that is why art is unexplainable, contrary to what critics say or try to do). By creating or learning to create such objects we allow the object to make space for others (people). In the case of Jewellery, take time to see how this affects the end result and the wearer him/herself. Be honest to your customers, for their money give them nothing.

In these days, as we become more aware of the planet's resources and begin to see the world as an extension of self (what, you don't?) it is no wonder that many people turn to a more wholesome way of life and thought. The growing demand for organic food (grown without the use of chemicals or artificial preservatives) is only one aspect of this conscious reevaluation of the role of man in this world. Now, I know that to say this is like biting one's ankles but here goes: The jewellery industry and individual jewellers use many products that damage and corrode the earth and that are toxic to jewellers themselves and environment. Materials which were hazardous to the wearer were banned. Morally unacceptable materials such as elephant ivory or tropical butterflies wings, to name two, no longer find enthusiastic support amongst consumers. While all efforts and modifications are being introduced in the industry to minimise and, I hope, eliminate damage, it is up to you, the wearer, as integral part of this process, to demand for organic jewellery. If the motto for the nineties be "think globally, act locally", let us not forget that we are jewellers.

What then determines the hierarchy of a piece of jewellery (as art or as design or as crafts)? Any piece of jewellery, taken on its own will only be just that. It is the relation to the place where its going to "live" that determines its standard. If on or in the body, then Jewellery happens, if in a museum or art gallery, then that piece will become an art piece, if in a shop, it will become a design or commercial item. The definition lives in the re-la-tion-ship between the object and the place. This relationship is not static. So, an object can twirl and sway through a myriad of definitions, free at last. Hence, jewels can be presented as art, jewellery can be discussed as art and Jewellery can be an artistic manifestation. Depends greatly on what wears who.

The purpose of this book. To raise questions. As you read it, either you'll have many, and that is good, or you'll have none and that is fine. In either case, please remember that this is a personal theory for jewellery making and Jewellery experiencing. It is my vision and beliefs on this matter. It is my direct participation in the contemporary phenomenon called Jewellery. We are part of it as creators and creatures and any questions that may arise in this domain serve to open new possibilities with the intention of forwarding matters of artistic jewellery in time (and space, of course).

Circular band used to decorate almost any part of the human body such as ears, toes, noses, whatever, or, most often, fingers. The finger ring has traditionally been worn for a number of reasons: it may have a symbolic meaning, as a wedding ring; it may identify the wearer on a social or cultural level, as a signet ring; it may be thought to have, or have magic powers, as a talismanic ring; or it may be worn as an ornament. Due to its adaptability requirements (remember - "the finger") and restrictive size (remember - "the finger"), they become jewels "par exelence", little universes of beauty. Rings can be made in either of two ways: by making a hole through something or by wrapping a band around nothing.

It is, nowadays, very common to observe free violence in the art scene. It is interesting to note that having reached the limits of shock and attention drawing, many artists turn to the only thing that even through repetition never ceases to impress and disturb us: The mutilated body. It is against nature and faces man with the idea of a violent death, caused by external factors to his will. Presents us also the important and casually thought-of-and-dismissed idea of the fragility of the human body and life itself. It presents us with the sense of pain, physical, but also mental, death by suffering. It is nonetheless an interesting and proficuous way of making Art. Jewellers, on the other hand, have always treated the human body as inspiring muse and have always emphasised its attributes of sweet fragility and sensual warmness. I think it to be an enormous accomplishment that at this point in time we (jewellers) are still able to shock with beauty!

Since the 60's, artist/jewellers have been inventing the letters with which to write the word "Jewellery". Experimentation in this field led to a breaking of traditional boundaries associated with the definition of Jewellery itself. Its borders were pushed to the extreme limits. At the same time, however, this enlargement of boundaries is self defeating for it created even harder and unbreakable limitations. To go too further away from the centre creates the risk of disintegration. Unclear definitions do not create a firm supporting base for any type of creation, even if the definition is "no definition". Jewellery lives in a arty crafty limbo. Is it one, is it the other? Is it both contemporarily? Interesting question? Pointless in my view, for out of context. It is not important or even relevant for the creation of Jewellery itself. "jewellery" has to be re-redefined as Jewellery and not as an all encompassing field for artistic endeavours, even if its possibilities are almost endless. Fine art such as painting and sculpture have, since the beginning of their existence as such, been building a supporting frame that is able to support the modern, thus, contemporary art is understood, or, at least, accepted by most people. "jewellery", on the other hand, has produced what has always been considered primarily for adorning or talismanic purposes, hence, the supporting ground for contemporary jewellery as Art, is fairly recent (circa 30 years, against 250). It is therefore natural that most people still do not regard it as such. The fact that fine art is highly prized and seen a s a top accomplishment of Man, does not mean that jewellery falls miles behind. It is the manner in which things are created that dictates their place in the hierarchy of Art, and these standards are set by agreement. If art critics, gallery owners and museum curators all around the globe affirm that jewellery is not fine art, then let it be so (categorisation does not exclude quality). In no way does this diminish its value, except, of course, commercially.

When talking about contemporary jewellery, the importance of technique seems to, sometimes, fall behind matters of creative genius. Let us be reminded however that only after thorough experience in a particular field of techniques has been accomplished, can one mismanage them with enough skill to produce aesthetical interesting results, with individual imprints. So, firstly you have to master the rules and then, only then, can you break them. This needs a lot of skill and a tremendous personal commitment, it sets the difference between creative genius and automata. A process of unlearning takes place once the desired summit of experience is achieved. Then, another process kicks in automatically to autonomously redirect and refine personal ways to a higher standard. The latter depends on the former. Hence, technique is not important at all, if we recognise its importance.

As by now, you should have perceived the difference between jewellery and portable art. The latter can use the former as physical bodily support for the conveyance of meaning. Let us be reminded, however, of the difference for it can create doubts and confusion in the minds of many an honest person. The wearing factor determines the existence of Jewellery. To stick a pin or some kind of fastening device in the back of an object does not transform it into a jewellery piece. To make a hole in the ground does not transform the planet into a precious stone ring. These things live in other domains other than Jewellery's. To make art pieces and state, for the sake of artistic I-do-what-I-wantness, that, for some intelligent reason, they are jewellery is a downright mistake. People who work in this way should reevaluate their status as jewellers and, for the sake of clarity, give themselves another name.

To carry or have on the person; to have habitually on the person; to display in one's appearance; to bear or maintain in a particular manner; to damage, erode or consume by long or hard use; to pass gradually or tediously; to diminish gradually in effort; to break down or exhaust by relentless pressure or resistance; to become unusable through long or heavy use; to use up or consume gradually; the act of wearing or the state of being worn; clothing - specially of a particular kind or for a particular use; gradual impairment or diminution resulting from use; the ability to withstand use, durability; to pierce or to be pierced [(by) the body]. It is natural that with a vast array of definitions such as this, some confusion might be present when we talk about "Jewellery", and "wearing intention" and "to wear a jewel" and so on. For the purpose of this book, let us forget all definitions except the last one. It makes life much easier and my point stronger.

The human body is the essential condition for Jewellery to exist. In the core of a "piece of jewellery" lives the intent of being worn. Things that do not posses this quality are not worthy of being called such name, they belong to the realms of object making or sculpture, or whatever, according to the prevailing general agreement. I cannot accept definitions which describe as pieces of jewellery objects which have no contact whatsoever with the human body. It is counterproductive and an error of thought. The power of Jewellery as a manifestation relies on this definition for its existence. The mere idea of connection to the body is not enough. Jewellery accentuates the eroticism of the body, and allows for interaction and invitation for discovery. A necklace will frame the neck or back, an ankle bracelet will enhance the leg, a toe ring will focus attention on the beauty of the feet, its proportions, its skin texture. Its sexuality. Its acknowledgement as the visible and touchable part of that entity called man. You start to see the importance of big jay Jewellery?

Pure gold is the most malleable of all the metals and also one of the softest. It is yellow and has a high lustre. From the Latin "Aurum", its atomic symbol is Au. Atomic number 79, atomic weight 196.9665, electron configuration 2-8-18-32-18-1. Specific gravity 19.3, melts at about 1064 degrees Celsius and boils at about 2808 degrees Celsius. It is unaffected by air, heat, moisture and most solvents. It is soft to the touch and has no particular taste or smell. It is a beautiful material to work with. That's it! - Nothing else is beautiful about it.