The story of Andrea LaTorre
Could you tell me a little about yourself?
I am Andrea Latorre, a goldsmith by trade, basically self-taught.
My first steps into the world of art were in theater and dance, even if I come from a family of artists in different areas, such as painting, sculpture, literature, music, and woodcarving, among others.
Sport has also been a passion of mine, and I spent many years being dedicated to teaching fitness. For this reason, goldsmithing was postponed until 2019, when I began to realize that the artistic upbringing and influence received while at home, allowed me to advance very quickly in my skills and creative capacity.
In October of 2022, I was invited to exhibit some of my sculptural pieces at Milano Jewerly Week, where I met the master Lorezo Pepe. Happily, I had the chance to learn one of his techniques in Formentera.
I have had the honor of being invited to the XIV Art Biennale in Florence during which I will be exhibiting in October, this year. It is truly a great recognition for me.
How did you get started in jewelry making, and what inspired you to pursue it as a career?
During my adolescence I had the opportunity to meet several talented goldsmith masters and artisans who were making their pieces on the street, because of the precariousness that existed at that time to set up a workshop or to have more specialized tools. At that time my learning was through observation.
My grandfather made mattress bases with metal springs and in his workshop I learned the use of various tools that goldsmiths also used.
Even if I was determined to study theater, the idea of making jewelry was slowly being installed in my head.
During the Covid-19 pandemic, the gyms were closed and it was the perfect time to set up my own workshop, without great expectations. However, I discovered that it was very easy for me to learn on my own and I could say that I am happy to say I got some beautiful results. Then, I decided it was time to dedicate myself to this profession because of the undeniably great passion I had for it.
I could say that it was my escape route from the madness and anguish of the pandemic.
What materials do you most enjoy working with, and why?
Ufff… That's quite a difficult question, since I mainly like metals. The magic of melting and transforming matter through different processes comes with great fascination.
On top of everything, I love creating pieces with different metals and techniques where colors stand out. The versatility of patinas and oxidations, adhering metals through their fusion and only handling fire is what I like the most. For me it’s all about sculpting metal, combining it with precious and semi-precious stones, getting inspired by lattices and fabrics made of metal anf textile threads.
There is a huge universe that hardly leaves me without ideas. There are always half-made pieces that end up being fantastic when you imagine and add that precise meaninful detail that they lacked.
What do you hope people feel or think when they see your jewelry?
That's very funny, and I like it a lot. Since most of my pieces are abstract or asymmetric, I am often asked "what is it?" or "what does it represent?", and my answer is always the same: “What do you see?”.
What people chose to see is the actual meaning of the piece, the personal interpretation of every person contributes to understanding what the piece represents. It is a game of imagination and sensations where everything is correct, a space in which one is free to think, feel differently from the other, and any interpretation is valid.
People are entertained while finding the meaning of a piece. You know, each one has their own life experiences, and based on them they’re trying to make sense of the object in front of them and find its meaning.
Definitely when my pieces appear indifferent to the public or don’t trigger curiosity, I will have to change my techniques or look for new ways of creating, because the paths are infinite.
How do you approach the design process, and what are some of your favorite techniques or methods?
In my case I do not start from the drawing or exact dimensions. The design comes out on its own, as if the metal and I were connected. Sometimes I try to carry out an idea and the metal reacts in a different way, taking me on its own path or vice versa.
I really enjoy organic, abstract work with movement. I really like the ancestral techniques of Keum Boo and Mokume Gane, although I am not an expert, since I learned them by myself in the confinement days of the pandemic.
The polyurethane casting work that I learned in Formentera is equally fascinating and gives me endless possibilities to merge techniques.
Can you talk about a project or piece of jewelry that you are particularly proud of, and why?
Of course, one of my favorite pieces was presented in Milan.
It is an abstract ring, very organic, which was inspired by the war in Ukraine. At some point I thought, like many, that an atomic bomb would end in the greatest of disasters.
The silver ring has a triangular body with a rather aggressive look and on its square surface there is what represents a nuclear mushroom, worked with a fine sheet of 24-carat gold fused on its surface. There are organic chunks of black metal at the base of the mushroom, representing the destruction caused by the bomb. Amongst these remains is a human figure in a fetal position propped up from the rubble. This one is also covered in gold foil to highlight that it is the only surviving person in the chaos.
"Of course everyone sees what their imagination interprets"
How do you handle creative blocks or periods of low motivation?
Generally I don't have creative blocks, that's why I always have half-finished pieces, because while I work, I come up with many designs that I start immediately before losing the essence of the creation. Those that remain half finished, might need me to have greater clarity, so I will resume working on them them later.
Sometimes physical or mental fatigue does not allow me to finish a piece and I put it aside, to pick it up again another time and finish it like the jewel I wanted.
I channel my personal blockages, bad moments or anxieties through my work in the workshop.
Can you describe a typical day in your studio?
The first thing I like doing while getting ready for work is to ask the universe to make it a good and creative day. I like starting with good energy. I start ordering my ideas while I set my workbench in order to accommodate what I am going to do that day.
Many times I skip lunch so as not to leave the workshop.
It is very difficult for me to work on a single piece, so I keep putting together the ones that need to be welded, cut, etc. At the moment of reaching the stage of focusing on the details and final polishes, I dedicate myself fully to one piece of jewelry.
It all happens until the time comes when my children are going to take me out of the workshop because I lose track of time…. haha :))
What are some of the most memorable reactions or responses you have received to your work?
With respect to my colleagues, that several value and respect my work, having more studies and experience than me.
And, without a doubt, the invitations received for the jewelry week in Milan, the Florence Biennale and this same interview from a country so far to the south of the world are experiences that I never imagined, I think my mother, being a teacher and plastic artist of Fine Arts would be very proud of me.
In Chile, handmade work has always been poorly valued, but just in recent years we have been experiencing a more appreciative and admiring audience of art lovers.
We have great artists in all areas, and in my case, along with other colleagues, we have felt recognized. People who value our works, they are the ones who encourage us to continue on this wonderful path.
What advice would you give to someone who is just starting on the path of jewelry making?
That they read, that they go to the theater, to museums, that they start with what makes life more beautiful and easier for them, so that the practice takes will be taken to other levels of profoundness. They should seek their own style by constantly practicing and learning new techniques.
It’s important to understand that nothing is right or wrong here. People should dare to create what they think of.
The entire universe is a source of infinite inspiration and when thinking about emotions, sensations, memories, history, touching, feeling, listening, flavors, dreams, there will always be something that inspires us, that moves us... You should aim to translate into matter a sensation that manages to be eternal.