The art of crumpled gold
- Ines has been a goldsmith since the early 1980s
- She combines her native German precision with Italian style and design
- Her signature technique is crumpled gold
Ines Döllert is an artist and artisan who has been a goldsmith since the early 1980s. When she speaks about her craft and craftsmanship, she does not forget to mention all the difficulties related to it: "It is a time-consuming job, tiring for one’s eyes and hands, and you need strength as well as infinite patience." Yet, she still loves working with precious metals, shaping them at her will to create beautiful jewellery pieces that are both light and strong, valuable and easy to wear. Ines developed her creative expression quite early on. She spent three years in an apprenticeship in a master goldsmith’s workshop in Germany, working on her professional degree at the same time, and soon moved to Italy where she developed her signature style.
INTERVIEW
My German master taught me about technique, precision and hard work. From him, I learned to be an artisan first, then an artist. But to be honest, the German style was too cold and linear for me. So I moved to Perugia to learn a new style, and find my own.
I like embossing and chiselling, an ancient technique already used by Benvenuto Cellini in the 16th century. But I also love to experiment. For instance, I have developed my own method to crumple up gold, and I have been using this to create big but lightweight jewels.
Definitely, the olive leaf collection. Olive leaves are one of the main subjects of my painter friend, Franco Passalacqua. In 1995, he suggested that we organise an exhibition together, so I created my olive-inspired jewels. After so many years, they are still very popular with my customers.
Yes, I have been a self-taught painter since 2013. In contrast to goldsmithing, painting is relaxing and soothing. I find it a little addictive, too. Both crafts start from common grounds. Proportions, for example, are crucial for both, as well as colour combinations.
