Contemporary ornament reclaims meanings that consumer society, the result of mass industrialization and well-being, has erased. It can still be the favorite archetype of human thought and needs .

Contemporary experiments in the field of visual arts often become the cultural languages ​​from which the goldsmith artist draws inspiration for his creations; while new technologies are the "new tools" that he "can use for his creative intentions" , overcoming the prejudice that sees the intervention of the machine and technology as a reason for debasing the artistic act. The Englishman David Watkins (1940), for example, director of the metals section of the Royal College of London, used the computer as a design tool for the first time twenty years ago.

The hitherto inseparable relationship between jewelery and the human body, due to its fundamental nature as an ornament, becomes more labile, so much so that contemporary jewelery is considered the protagonist of performances and installations .

To be able to wear these ornaments you need to have a more disenchanted, less conventional vision of life , you need to be able to intuit hidden messages between things and to continue to marvel at the new and continuous stimuli that things themselves offer us. In this regard, I like to remember the current director of the Massana school in Barcelona, ​​Ramón Puig Cuyás (1953), who knows how to transform relics of everyday life - pieces of metal, buttons, wood and stones - into a significant whole, like artefacts from time, condensations of stories to wear.