In mythology and alchemy, copper is associated with Venus for its bright colour, its use in the production of mirrors and for the place where it is chiefly mined, the island of Cyprus, where the story goes that the Goddess “rose from the froth of the sea”.

Geometric decoration with crossing waves finely chased. Slightly choppy waves converging and diverging, sheared through on the back of lamina.

The Sumerian word AN-BAR, the oldest term designating iron, is made up of pictograms ‘sky’ and ‘fire’.

Stainless steel, forged through two different techniques, creates a dichotomy which marks the transformation of the metal from its polished state to chaos, in a continuous interplay of references and dualities.

A legendary alloy of copper and zinc. The story goes that this reddish metal was mined in Atlantis whose walls were shining with “orichalcum with igneous sparkles”.

Orichalcum is an artwork made from brass, an alloy of copper and zinc similar to the legendary ancient metal known as orichalcum. The polished finish is rippled by a flame treatment defined by Alessandro Rametta himself as the philosopher’s beard, which reveals and rouses its smooth composure.

Talos, mythological giant made of bronze, invulnerable guardian of Crete patrolling the island, ready to throw himself into the burning fire to defend it.

A work forged in bronze, embellished by concentric melted decorations which form the neck of the vase. The body, embossed and engraved, follows the natural fluidity of the krater. On the inside, the reflective concavity immerses its reflected image in the igneous depths.

The alchemists were attracted by the extraordinary colour of copper and its reflections that are delight to the eyes.

The incredible reflections of copper are amplified by the refined working on the flat surface of the hemisphere: a very fine engraving applied to the metal which, kept to a high thickness, reveals a remarkable technical mastery.