Artist's jewel, collar structure in glossy white altuglass and matte on edge, unique piece, 2021, unsigned, certificate from the artist.


 Exhibition: “White Jewels”, IBU Gallery, Palais Royal, Paris, June 2021.


 This necklace was created in reference to the small white collars worn by the artist's mother and aunt in the 1950s. It is also a nod to the outfit worn by actress Catherine Deneuve in the film "Belle de Jour" by Yves Saint-Laurent where she wears a black shirt with a small collar and white cuffs.


 The tension between fascination and repulsion is central to the dynamics of Alina Alamorean's creative process. Her approach is Baudelairean and transgressive, not only in the artist herself but also in the collector who wears it. The oversized rings, necklaces, and bracelets astonish with their choice of found objects and materials—nails, rust, wooden planks—which this unconventional designer boldly assembles. The radical brutalism of Alina Alamorean's jewelry is a product of her own history, having grown up in Ceausescu's Romania.


 Alina Alamorean knows better than anyone how to define her art, so let's listen to her:


 "My radicalism comes from elsewhere. It comes from my architectural vision, from my ability to simplify things and eliminate details that only serve to mask what is lacking. When volume and lines speak for themselves, nothing else is needed. My parents were architects... But it is above all from my father that I learned strength and simplicity. The power of a controlled, impulsive gesture. Going from point A to point B, without detours or hesitation. That is what gives rise to radicalism and precision. A bit like a marathon runner or a Formula 1 driver."