he Ptolemy Bracelet is a biomorphic sculpture designed especially for the wrist.
The bracelet plays with the duality of metal and emptiness, added to the outlines and angles that create the constructive counterpoint of the organic abstract shape.
The bracelet is inspired by Arp’s series of Ptolemy sculptures, which incorporate an interior reflection of the artist himself.
Ptolemy I (1953) is characterized by an expansive impulse that is greatly reduced.
In one of the possible interpretations of Ptolemy III of 1961, the centralized interior forms resemble a skull and, therefore, serve as memento mori – an artistic representation of the inevitability of death. Due to the interrupted bilateral symmetry, in which the lower part seen from the left is slightly out of alignment, it evokes the posture of the ancient Greek Kouri. Therefore, oscillation between the figure, the skull and the void, implies an ascent to another realm. In other words, the union of the self with the eternal. The transcendence of the material to the spiritual.
The VI Collection was born in a complex moment. It is difficult to maintain the balance when we are surrounded by bad news and stuck in our thoughts. There is no coincidence that during the creative process the book I Ching appeared and circular shapes with the golden symmetry randomly popped up.
The concept of balancing the feminine and the masculine duality is the main idea of the I Ching.
According to it, the female (Yin) is represented by the mother, eldest daughter, middle daughter, and youngest daughter, whereas the male (Yang) is represented by the father, eldest son, middle son, youngest son. Each one symbolizes a process of mutations in nature. They randomly pair up thus forming the 64 hexagrams and their ancient knowledge.
Through simple sentences of complex teachings the balance in duality becomes a central point of I Ching’s knowledge. It advocates for the acceptance of the change and the transmutation cycle of one force (Yin Yang) into the other.
The theme perfectly fits into the current moment of the world as well as the brand.
We are experiencing a complicated duality especially expressed by the virtual-reality. Nowadays we deny and move away from the collective. But as living beings we are interconnected parts that integrate the process of constant change. In the same way, we feel suffocated by technology and pressured by people. However, we can’t get away from the screens and it is almost impossible to not interconnect with our avatars.
Therefore, finding balance is no longer a desire, it is a necessity for mental integrity.
Based on those ideas, we as a brand and as a living organism re-evaluating our purposes.
The Collection VI is the result of change. We have rethought our processes to align them with our purpose of reducing environmental impact. Also, we have changed our design in alignment with the moment of the brand, being more minimalist in form and lifestyle.
The aesthetics of the collection came forth from the I Ching 64 Hexagrams Sequence illustrations created in 1974 by de Lee Ungno. Ungno emphasizes the primary idea of the I Ching on balance and harmony within the patterns of change. While in form, he references traditional calligraphy and brings out organic abstract paintings.
Abstractionism that goes back to Jean Arp’s work.
Arp himself is pure duality. He transited between complete madness and peaceful sanity. Duality that may have brought him greater affinity for change, given that he went through several artistic movements of the last century – especially Dadaism, Surrealism and Constructivism.As a distinguished sculptor he created fluid natural forms that materialized the mutation.
The pieces in the collection are inspired by Arp’s works and many of them received the name of the reference work.
In the 6th Collection organic abstractionism is the main form presented. This abstraction added to the shine of the metal, bringing out the simplicity in detail and the complexity of the construction.
Therefore, the sculptural organic forms that are beautiful by themselves, become even more revealing when contrasted with our bodies, as if the duality of the virtual-real were imprinted on the contradiction of shiny metal and human skin.
Finally, as a curiosity, the number 6 in the east interestly means fluidity and movement. In the West it is very much associated with the creation of man. Concepts that together seem to perfectly close the circle of the theme of the new collection.
Bracelet made in Sterlling Silver and colored enamel.
Composition and Care
– POES only uses noble materials, such as 925 silver (sterling silver – composed of 92.5% silver and 7.5% copper alloy), 18K gold, and precious and semi-precious stones.
– All pieces are handmade in 925 silver and may or may not have rhodium or gold plating, as indicated in the product description.
– Silver naturally undergoes the chemical oxidation process that causes a change in color and texture. This process varies according to how you use it. It must be kept away from contact with water, alcohol, cleaning products, cosmetics, chlorine, and any other chemicals. Always remember to remove your jewelry before washing your hands!
– The gold plating can be harmed by mere use or friction.
– Natural stones and pearls can damage and even break with impacts.
– Always keep jewelry in a dry place and away from direct sunlight.
– Store and transport the jewelry separately, so that they are not close to each other to avoid any friction.
– Do not use cleaning products, cosmetics, chlorine, and any other chemical products.
– Do not use abrasive products for cleaning. Just polish it carefully with dry flannel.
– Sudden falls cause irreparable damage to the product
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