An actress by profession, artist by hobby, Patrizia nurtured in her heart a great passion for years: sculpture. Better her love of adaptable materials. .
from ceramics to wax to wood, self taught she began creating her little artistic world.
Eclectic, anti-conformist and slightly rebellious , she began to make a name for herself in Rome, wich in turn, quickly reached other european cities. Her designs have also been highly appreciated in America.
PATSA cultivates a healthy disinterest towards the classical jewellery world unless it reflects a contemporary character to the female gender.
PATSA doesn't follow trends. A collection doesn't exist. What does exist are ideas, creativity, and a desire to give form to formless materials.
Her jewellery is characterized by soft fluid shapes, preferably asymmetric. .
Every single piece has it raison d'etre, its moment..
It's the fruit of a precise state of mind. The same zeal in her character..
One of a kind, artistic objects, each created for its own reason: to exist, to vibrate. .
PATSA's work derives from primitive decorative experiences, liberated since the early Twentieth Century from a purely ethnographic approach, when artists like Picasso or Matisse recalled anexpressive power
As with the visionary architect and ebonist Gino Coppedé, designer of that capricious urban experiment which seems to proudly rebel against the umbertine and neo-renaissance Rome which was recently built at that time giving the new italian capital a corner of european "nouvelle vague".
A corner of the city, where perhaps Patrizia immersed herself as a child.
Insects, reptiles, bothersome mammals, are often the playful protagonists of her jewellery-sculptures.
Spiders, snakes and mice climb up on her rings, await for curious glances on her bracelets, or slide down her earrings proud to be admired.
But the robust finesse of these works is all in the contrasts between metals combined with decisiveness as it is with the chromatic balance that composes each single piece.