“I imagined the Olivia vase as an homage to a friend by the same name that shares the same strength and simplicity with the object”.
The Olivia is produced in handblown glass, has a basic shape and is without tinsels: the volume develops without a base in a roundish shape and finishes in a round mouth, tight at the top. The opalescent glass recalls the Murano tradition that made of iridescence one of reasons of boast and competition. The glass is able to imitate the plethora of the lagoon’s reflections.
Olivia marries perfectly with any sort of interior, simplistic or baroque. The essentiality and the color’s elusiveness make the vase timeless and without place. It evokes Bruno Croatto’s (1948) Still life with Murano vases in which one of the vases pairs perfectly with traditional chinoiserie and the jewels of a forties toilette.
The life of Giberto Arrivabene Valenti Gonzaga is viscerally linked to Venice. His childhood memories, the most beautiful, are those that have taken place in the rooms of Palazzo Papadopoli, between frescoes of Tiepolo and family affection. “In my earliest memories Venice had other colours. It was more obscure, dramatic, decayed and deeply romantic – simply beautiful. There wasn’t the same light like there is today – more dazzling perhaps, but less poetic.”
Each piece derives from a watercolour sketch made by Giberto on tracing paper: “When I see something that inspires me, or an object that I like, I sketch and rework it – then move on to the realization of it.”
The glass, the main material in the collections, is worked exclusively in Murano. Each glass, each specific object, is blown by master glassmakers in the Venetian furnaces.
Giberto takes his watercolours to discuss with them and refine the project, check its feasibility, and to make eventual changes.