Fossils from the future: Corrina Goutos's creations are unique pieces

Due momenti del processo creativo di Corrina Goutos, l’artista di origine americana che realizza gioielli mixando oggetti industriali e naturali. (© Jenny Bewer)

It is here that Goutos' thought intercepts the concept of the Anthropocene - contained in his philosophical neologism Antrho to which he adds the idea of a new craft forging with 'smithing'. The Anthropocene is the epoch in which the distinction between natural and artificial is unstable.

His jewellery and installations are conglomerates in which shells, metals, plastics and technological components coexist in a deliberately ambiguous balance. This is not an aesthetic of contrast, but a politics of continuity. The industrial object, the artist alludes, is nothing other than intensely transformed nature; and to recognise this is to abandon the hierarchies that have long placed the human at the apex of creation.

Since his teenage years, Goutos perceived a limitation in traditional arts: the distance between work and spectator.

Jewellery, on the other hand, introduces a radical proximity, a direct contact with the body that transforms the object into a lived experience. Wearing one of her pieces is tantamount to participating in a narrative in the making, one that has recently conquered covers, shows and personalities such as Dua Lipa or FKA Twigs.

Installazione con reti da pesca e tastiere. (©Walther Le Kon)

His upcycling practice is time-consuming: Goutos finds his objects in street markets, on digital platforms or through donations.

And his act of research is an integral part of the work. Time - or rather the slowness required to understand and transform a post-consumer object - becomes a political act, an implicit response to productive acceleration. Luxury no longer lies in immediate access, but in the ability to wait and invest in duration.

Scultura in legno e tasti del computer.

Looking to the future, the American artist speaks of rewilding technology. In an era marked by ecological crisis and productive excess, she calls for a paradigm shift: no longer producing forms, but listening to materials; no longer dominating, but participating.