The jewel we present is inspired by everything that Taimeless wants to be an icon of: of suspended time, of Italy connected to the world and contaminated at the same time, of love and of everything of which these are a symbol.
Francesco Berté creator of the Taimeless One Jewel
“In my imagination I stopped time. This allowed me to wander creatively into the future and the past, experiencing the present as a moment of revelation, of Energy.
For my creation, I found inspiration both in Leonardo da Vinci's ancient studies on perpetual motion and in the concept of Energy itself."
The jewel we present is inspired by everything that Taimeless wants to be an icon of: of suspended time, of Italy connected to the world and contaminated at the same time, of love and of everything of which these are a symbol.
Francesco Berté creator of the Taimeless One Jewel
“In my imagination I stopped time. This allowed me to wander creatively into the future and the past, experiencing the present as a moment of revelation, of Energy.
For my creation, I found inspiration both in Leonardo da Vinci's ancient studies on perpetual motion and in the concept of Energy itself."
Reviewed and presented by Scientist Salvatore Magazú
Contemplating the work of the artist Francesco Bertè dedicated to time, one immediately notices the etymologies deriving from temnein, or cutting the past from the future, or from counting the years by means of pegs, or even , and this is the contextually most specific meaning of the work, from the term tepor which evokes the concept of heat and irreversibility. In contemplating the artist's work we discover the profound meanings placed in the exclusive choice of the materials used, gold, lava and precious stones, and in the forms of inspiration chosen, so exclusionary, elusive and elusive. We move from the emotions of matter to consciousness with the use of those metals which in Greek alchemy are defined as "living animals", endowed with spirit and body, and stones which grow in the belly of the earth and which mark the origin of conscious life. . The inspiration of this work has clear references to the absolute genius of Leonardo da Vinci who attributed to the invisible and incorporeal time, in addition to the properties of linearity and extensivity, the quality of a universal degrading agent connected to a finite memory. With his ingenious designs, Vinci's genius transposed this ephemerality into his machines, arguing the impossibility of perpetual motion and the value of time as a consumer of things. This is a primordial concept since some sentences reported in Leonardo's Codex Atlanticus folio 195 r are transcriptions and variations of fragments of books XIII and XV of the epic-mythological poem by Publius Ovid Naso (43 BC – 17 AD) entitled The Metamorphoses, the first book of Nature read by the young Leonardo. Contemplating Bertè's work, one then thinks that among those that can be considered the best dispositions for any sort of knowledge, the contemplation of a work of science that becomes art constitutes one of the most elective forms. This brings us to the threshold of largely unknown contexts, where the artist's disposition is the key that does not prohibit, block or distance but which allows access to that garden of knowledge which is full awareness of living.
Contemplating the work of the artist Francesco Bertè dedicated to time, one immediately notices the etymologies deriving from temnein, or cutting the past from the future, or from counting the years by means of pegs, or even , and this is the contextually most specific meaning of the work, from the term tepor which evokes the concept of heat and irreversibility. In contemplating the artist's work we discover the profound meanings placed in the exclusive choice of the materials used, gold, lava and precious stones, and in the forms of inspiration chosen, so exclusionary, elusive and elusive. We move from the emotions of matter to consciousness with the use of those metals which in Greek alchemy are defined as "living animals", endowed with spirit and body, and stones which grow in the belly of the earth and which mark the origin of conscious life. . The inspiration of this work has clear references to the absolute genius of Leonardo da Vinci who attributed to the invisible and incorporeal time, in addition to the properties of linearity and extensivity, the quality of a universal degrading agent connected to a finite memory. With his ingenious designs, Vinci's genius transposed this ephemerality into his machines, arguing the impossibility of perpetual motion and the value of time as a consumer of things. This is a primordial concept since some sentences reported in Leonardo's Codex Atlanticus folio 195 r are transcriptions and variations of fragments of books XIII and XV of the epic-mythological poem by Publius Ovid Naso (43 BC – 17 AD) entitled The Metamorphoses, the first book of Nature read by the young Leonardo. Contemplating Bertè's work, one then thinks that among those that can be considered the best dispositions for any sort of knowledge, the contemplation of a work of science that becomes art constitutes one of the most elective forms. This brings us to the threshold of largely unknown contexts, where the artist's disposition is the key that does not prohibit, block or distance but which allows access to that garden of knowledge which is full awareness of living.
