Daniela and Marzia Banci treat the materials of their jewellery as gifts fallen from the stars to embellish our planet.
Although their artistic developments diverge, they both create top-quality products and plan each of their jewels meticulously, developing and finishing off every single technical procedure.
The Banci sisters forge elements into their jewels that weld together sky and earth, and in particular the macrocosm of nature and the microcosm of man, bound together by philosophical references that precious materials make apparent. These artists’ keen sense of proportion inspires their creations, which mould the overwhelming mysterious greatness of natural elements and vital processes to fit the human body. Intense yet subdued jewels on our bodies, the Banci’s tiny architectural structures do not only satisfy our longing for beauty, they are also great travel companions on our journey through life.
Cristina Acidini
President of the Drawing Art Academy
Florence
The relationship between one jewel and one body is not limited to embellishing the latter. The jewel transforms the body.
On one hand, the body literally gives life to the jewel, turning its inert material into pulsating vitality. On the other, the jewel interacts with the body so as to modify its static identity and produce a new, different reality.
In my opinion, the most original and convincing characteristic of goldsmithing art as shown by the Banci sisters is precisely this, their creations can enhance the remarkably expressive potential released by the synergy of body and metal.
It would be arbitrary and essentially misleading to combine the wealth of sources that inspires the works of the Banci sisters in a single theme. Despite this warning, and avoiding any deforming simplification, many of their works clearly show a recurrent relationship with the sky, the Vault of Heaven and the stars. And this instance is neither casual nor meaningless. A subtle, hardly decipherable, perhaps even mysterious link strictly binds goldsmithing art and the vault of heaven.
The man’s tendency to scrutinise the sky in search of signs that enable him to comprehend and direct his life on earth. These signs provide him with answers to questions he has always wondered about: where do we come from, where are we going, what is our destiny? Although we should always be aware of the limitations of the human condition in seeking the answers to these queries, our quest may become pleasurable if we set off with one of the jewels created by the Banci sisters.
Umberto Curi
Emeritus professor of History of Philosophy, University of Padua
The Banci sisters admirably achieve the difficult balance between tradition and modernity with the materials, shapes and colours of their jewels.
The technical skills of medieval influence and the analysis of space they carried out while at the school of architecture in Venice, have enabled them to modernise the construction of their creations with suggestions taken from philosophy – starting from the Eleatic school – science, mysticism and literature.
Experimentation and attention to detail are common traits of the Bancis who, however, have different styles.
Daniela’s works are markedly linear, almost minimal, preferably black and white (although her latest creations feature broken lines and the warmth of gold), and exhibit a sense of geometric spatial rigour inspired by architectural planning and construction. These elements combine with the formal approach to music harmony she has taken from playing the piano for many years, and which has been moulded by Christian moral rigour.
Conversely, Marzia’s works distinguish themselves for their sensuous, joyous brightness sparked by roughly polished gemstones and crystals which are never enclosed, so as to allow sunrays to pierce them freely.
Sarah Boglino
Exhibition project manager, Galleria Gracis, Milan
Marzia and Daniela Banci’s jewels never lend themselves to straightforward admiration.
We can gaze appreciatively at their colours, materials, workmanship, and much more, while almost unconsciously perceiving that all these elements are bound together to yield precise overall significance. And this is their most striking characteristic, which endows them with unique charm.
Clearly, meticulous workmanship comes first, and combines specific competences and masterly jewellery-making techniques acquired through extensive training and study. In-depth knowledge of life, man and, more generally, a view of the world that exceeds art and jewellery follow close behind. This view stems from their architecture training which provides a sense of volume and space, and from their engagement in social issues.
This is why contemplation of the Banci jewellery is no straightforward experience.
Gianpaolo Scarante
Ambassador, Professor for Graduate Studies at the Department of Political Science and Diplomacy at the University of padua
Besides the workmanship of Daniela and Marzia, there is emotional strength to constantly support their messages.
Since their very first major work, which is generally tweaked in later experiments, each of their jewels reveals restless inner impulses that retrace atavistic themes or crucial issues of our lives and in the world surrounding us.
Daniela’s and Marzia’s works have a story to tell, and unveil a particularly bold cultural commitment, given their small size. After all, they are diadems, rings and necklaces, not sculptures. They are therefore subjected both to utilitas and ergonomic requisites that sculptures are clearly exempt from, as well as to market rules which, perhaps more than in other sectors, demand to conform to prêt-à-porter stereotypes requested by consumers of this type of goods.
Synthesis, courage, planning and experience are recurrent elements in Daniela’s and Marzia’s art. Works that ooze with the partially shared passions of the two artists’ generous Tuscan-Marches personalities.
Vittorio Spigai
Painter, urban planner and architect
