Contemporary ornamentation reclaims meanings that consumer society, the product 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 purposes" , overcoming the prejudice that considers the intervention of the machine and technology as a reason for the debasement of the artistic act. The Englishman David Watkins (1940), for example, director of the metals section of the Royal College of London, used, for the first time, twenty years ago, the computer as a design tool.

The relationship until now inseparable between the jewel and the human body, due to its fundamental nature of ornament, becomes more tenuous, so much so that contemporary jewelery is considered the protagonist of performances and installations .

To be able to wear these ornaments, one must have a more disenchanted, less conventional vision of life , one must be able to intuit hidden messages among 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 meaningful whole, like relics of time, condensations of stories to wear.