hope exhibition banner featuring brooch by Ruudt Peters





02.12.2020 – 09.04.2021

Opening: Wednesday, 2 December 2020, 15h – 20h


sawa aso, ela bauer, sofia bjorkman, ana margarida carvalho, carla castiajo, attai chen, paula crespo, nidaodao, patricia domingues, veronika fabian, jantje fleischhut, hilde foks, sophie hanagarth, castello hansen, esther heite, herman hermsen, mirjam hiller, leonor hipólito, melanie isverding, karin johansson, junwon jung, beppe kessler, manon van kouswijk, daniel kruger, sara leme, tymothy information limited, teresa milheiro, ruudt peters, katja prins, carolina quintela, marta costa reis, danni schwaag, pedro sequeira, tore svenSson, asako takahashi, edu tarin, manuel vilhena, luzia vogt, kira yurina.


With special participation of Pedro Proença






“Those who do not expect the unexpected will not find it, for they close themselves off to its pursuit, and that will lead them to no path.”




Necklace, 2020  / based on a painting by Pedro Proença

Produced and edited by REVERSO



Read More : Pedro Proença



Wearing a piece of jewelry requires courage, without identity and strength you cannot imagine or show significance. Hope lies partly in the gravity of our existence. When magnetic fields disappear we are sucked in by black holes in the universe. BARA “hope” shows the balance between the magnetic field, graphite as the container, and steel plus magnetite as two poles. If one of the components is lost, the work loses its existence.

Ruudt Peters

Sept 2020


Bara “Hope”, 2020  / brooch 

by Ruudt Peters





The story of Argos waiting for Ulysses is strong and beautiful. And, then there is Penelope, weaving… and weaving…waiting.

The brooch (very new) is made of acrylic that I have treated to make the different shapes/pattern and directions in the surface. There is four golden points, and two black diamonds. I thought of them as the four feets, the head and the tail. Also I wanted them to remind of a dark sky with stars, stars to guide, to find the way.

The neckpiece, I made last year but have kept it since I wanted it to find its place and right context. I was really happy, now to find the theme, and like the company with the “Argos” brooch.

Karin Johansson



“Argos” / brooch (left) & “Penelope and The Golden Thread of Hope” / necklace (right)

by Karin Johansson





With this necklace I wanted to visualize the unexpected, similarly as how the chains fall out of their role and form a pearl necklace. I used the pearl as a symbol of purity and as a metaphor of the process through that the undesirable can be transformed into something beautiful.

Veronika Fabian



Hope / Necklace

Veronika Fabian








On going Exhibition

Through The Looking Glass by Leme and Quintela



10 – 30 October 2020

Opening: Saturday, 10 October 2020, 15h – 20h.


Sara Leme

What would it be like to live with a face or inhabit a body that, without the help of the mirror, was known mainly through the eyes of others?

Since prehistory the man has been interested in his image, having used all kinds of resources like dark glossy stones or still water – and after all, in the eyes of his lover the man could already see his double. Even if it has become the most common object of our time, the mirror retains its magical and mystifying power: What secret are you looking for in your broken reflection?


Carolina Quintela

The mirror, which gave speculation its name, is the object that reflects an image and, depending on its clarity, reveals the truth around which we symbolically prove the correspondence of sincerity. On the other hand, the mirror can invert reality while exposing the psyche to self-knowledge, but above all, it symbolizes the reciprocity of consciences and affective symmetry. In love, on the other side of the mirror lays the eyes of the loved one and the reflection that encloses the simplicity and the greatness of being seen within a universe that was built common, total and unrepeatable. In love the mirror is the other one.






The Nature of Things

It is about how I look at different elements of Nature and everyday life. Sometimes these elements are not so obvious to be used in jewelry as such. These elements are a reminder of the fragility of nature and life. The surreal compositions that result when these pieces encounter perishable materials can be humour and absurd. The main issue of making “things” has to do with the fascination of the absurdity one might observe by experiencing this in life. The dialog between things and nature takes place in time and says something about historical epochs as well as our perception of so-called constant sizes. This is the arrival point and the landing ground of my voyage of discovery.




edition 2018

Series of form and material investigations starting from buttons (badges). In 2008, the project started with the idea of how people develop themselves to be conformed to the ideal images of the society or to be different from the others. A button/badge, the mass-produced media pinned on clothing carrying messages or images, is imagined as an individual, whose appearance has been transformed in different ways. ‘EXTRA BUTTON’ is an ongoing project. Each series/edition is a new result by the way of constructing forms, the choice of materials, and any possible transformation derives from the basics of a button. The 2018 edition references its previous version from 2011 by changing the base material, dimensions and adding new shapes to the series.




Icons of the Flesh. Embodiers visualizes the body in ways that promote positive identification with anatomy and sexuality. The icons are signs or abstractions that point toward the body. The title Icons of the Flesh references notions of religious ideas of morality in relation to the body. These notions are contrasted by the representation of sexualized body parts and genitalia. In the Embodiers series comprised of Collars, Badges, and Buttons these sexualized body parts are simplified. With their form abstracted they can be worn in public without immediate recognition (often mistaken for other functional objects, like teapot lids, or security tags), thus serving as a public display of positive support for the body and sexuality. Rather than necklaces or brooches, they are described as badges, collars, and buttons, allusions to wearable communication devices as seen in identity-building devices like military uniforms or political movements. There is also levity in their form, as they are almost naive in their simplified rendering of anatomy. These works are rendered digitally in a 3D modeling program, 3D printed, and then cast in clay. Digital fabrication adds another layer of abstraction and removes it from the body. The ceramic is then set in gold-plated brass.




Veronika Fabian’s work poses as a two-way mirror between contemporary society and jewellery. Her work circulates around questioning the established and conventional, stirring up the status quo. In her chain work, Fabian explores the question of identity under the current sociocultural conditions. The series Rebellious Chains visualize the process of changing identity, inspired by her own artistic journey towards jewellery.

The original assumption regarding chains is that they often are subservient to the main jewel. Therefore, she transforms ordinary chains, still respecting their original values but enabling them to form their own patterns and achieve jewellery status on their own. The collection Chains for an Average Woman draws connections between women’s self-identity, popular culture and mass media, exploring how identity develops against a background of economic and cultural conditions. In her latest work, she investigates the complex relationship of consumerism and craftsmanship, colliding the mass-produced and the unique.




Jordi Aparicio, Ignasi Cavaller, Carla Garcia Durlan, William Rudolf Faulkner, Sandra Llusà, Elena Moreno, Clara Niubò.

Curatorship: Paula Crespo.

28 May – 24 June 2020

Opening hours:
Friday: 11am — 5pm (or by appointment)






7 Cats, 1 Life is a collective exhibition from seven jewelers: Jordi Aparicio, Ignasi Cavaller, Carla Garcia Durlan, Sandra Llusà, Elena Moreno, Clara Niubò and William Rudolph Faulkner. They meet again after their first collaboration “7 Dialects, 1 Word,” where they used the word freedom as a basis of expression for themselves in their own language. This year, they propose a small gag to that meeting one year ago, where jokes, commitment, and criticism will become their meeting point. As seven cats roam the rooftops of the same city, they inspire, observe, and share their experience.

Amorphic Memories, Ignasi Cavaller, Brooch.


Deep Inside Yellow, Ignasi CavallerBrooch.


Fora d’Orbita, Clara NubiòBrooch.

Fora d’Orbita, Clara NubiòBrooch.


Habitos 2, Carla Garcia Durlan, Brooch.


Habitos 9, Carla Garcia Durlan, Earings.


Black and White, William Rudolph Faulkner, Chain.


Black and White, William Rudolph Faulkner, Ring.



Anima 165, Jordi Aparicio, Necklace.

Curtido, Jordi Aparicio, Brooch.

Sin Digerir Gold 01, Elena Moreno, Object.

Sin Digerir Gold 03, Elena Moreno, Object.


Sparkling Moves 3, Sandra Llusà, Brooch.


Sparkling Moves, Sandra Llusà, Brooch.



Sara Leme

SARA LEME (1996, Lisbon, Portugal)

Sara Leme initiated her silversmithing studies in 2011 at the António Arroio Arts School in Lisbon, and later in 2013 at the Silvera Jewelry School in Berkeley, California. In 2018 she graduated from the Gerrit Rietveld Academy of Arts and Design in Amsterdam, with a BA degree in the field of contemporary jewelry – linking bodies. Her studies at the Gerrit Rietveld Academy together with her background in vocational training for classical and contemporary dance career empowered her perspective regarding the intimate relationship between body and object. In her work she has always used aspects of social and cultural anthropology for intellectual and creative research, within the medium of contemporary jewelry. Since 2015 she has participated in collective and solo exhibitions throughout Europe and abroad.   Bio



Director: Paula Crespo
Assistant: Eugénia Quartin

t: (+351) 91 980 91 31
t: (+351) 91 242 49 08
Main: info@galeriareverso.com
Director: mail@galeriareverso.com

Opening hours
Reverso Gallery is now open with the following schedule:
Tuesdays and Thursdays from 11:00h till 18:00h.
Wednesdays and Fridays from 14:00h till 18:00h.

Rua da Esperança, nº 59 / 61, 1200 – 655 Lisboa, Portugal