It is not often that someone can say that their work makes the world a more beautiful and, therefore, a better place. Call it a talent, call it a blessing, or call it a favorite of the muses. Chus Burés is one of those rare graceful men and we, who are lucky enough to soak up his work, are privileged to be able to enjoy that gift. Because forty years of profession make anyone an expert, but to rise as an artist other elements must come together: a unique vision of the world, the ability to transcend the tyranny of current trends and a pinch of transgression, that own rebellion. of the artist who leads him to defy conventions, to challenge himself, to challenge those of us who contemplate his works. Chus Burés designs jewels that are not jewels. Chus Burés creates moods, creates stories, creates worlds.
It was at the beginning of the 80s when Chus Burés made his entry into the world of fashion at the hands of Manuel Piña, one of the founders of the Pasarela Cibeles and architect of the so-called Marca España. “I met Manuel Piña in Ibiza”, he recalls, “and we hit it off. He saw my work and decided to commission it for the MEAC (Spanish Museum of Contemporary Art), where there was a parade with four designers, an initiative launched and financed by the socialist government of that time ”.
It was a matter of time, almost the chronicle of an announced collaboration, that his path would cross that of another of our most illustrious native artists: Pedro Almodóvar. The filmmaker from La Mancha requested his services for the film Matador (which also meant the first Goya Award nomination for a then very young Antonio Banderas). “He gave me the script to read and I understood that what had to be designed was a hairpin that was going to become a murder weapon. I made a proposal to Pedro and he liked it. That experience opened many doors for me internationally ”recalls Chus Burés, whose collaboration with Almodóvar resumed three years later in the film Átame (which has the dubious honor of being the film with the fewest Goyas for nominations received: fifteen nominations and zero awards). Burés explains that work: “For Átame I made a collection where the predominant idea is possession, a broken heart. It consisted of rings, earrings, one more merchandising job ”. Other greats of our cinema, such as Bigas Luna, Vicente Molina Foix and Adolfo Arrieta also required his services.
Surrounding yourself with artists from other fields is always a source of inspiration, especially when talents intermingle and converge in works that, as in the case of Burés jewelry, are more than mere ornaments; they are symbols. But I’m especially interested in two of his friends, two women without whom it is impossible to understand contemporary art. One of them is Louise Bourgeois, the French artist and sculptor, famous for her arachnid sculptures that earned her the nickname Spider Woman. “I met her in 2000, coinciding with the retrospective that was organized at the Museo Reina Sofía. He came to see me at the studio and asked for a collaboration. She brought me a necklace that she had designed years ago and had kept in a drawer, and asked me to make something with it. Since then, more collaborations and a good friendship emerged. He visited her several times a year until she passed away in May 2010 ”. The other is a wonderful Cuban: Carmen Herrera, unanimously considered one of the pioneers in geometric abstraction and Latin American Modernism. “I started my collaboration with Carmen Herrera in 2012, with a series of jewels created from her work. Herrera is a great artist who lives in New York, a great lady, a very cultured and sensitive lady, one of her pioneers as a woman artist, and I was lucky to meet her. We collaborate on series of six pieces by her and I have an excellent relationship with her ”. Carmen Herrera is currently 105 years old and lives near Union Square in New York.
Despite the fact that Chus Burés has been, for decades, one of the best ambassadors of Spain, the truth is that his talent has crossed borders: his works have triumphed in London, Thailand, Hamburg, Monaco or Paris, where he held a commemorative exhibition of one hundred years of kinetic cinema, color and movement and worked with great artists of geometric abstraction. But his right eye, the city that has conquered his heart, is New York. “It is a city that I have visited countless times, where I have held exhibitions, where I have a good number of collectors… New York is the center of the universe for creativity, the most dynamic city that exists, a place where things never stop happening , which stimulates and never bores ”.
Among its most outstanding collections we find the Dragon Collection (1986), initially designed for the Barcelona film festival and which represents the spine of a dragon (after the legend of Saint Jordi); Mae Nam (2000) inspired by the ancient kingdom of Siam and perfectly captures the essence of the Thai tradition; Oppenheim (1984), composed of bone shapes and inspired by the artist Meret Oppenheim; o Vol de Nuit (1998), a dreamy evocation of Moroccan nights.
Now, with the health situation we are experiencing, many artists have had to put the brakes on. “It is not popular to say it”, says Chus Burés, “but this year of break has been very good for me to be able to spend time in the studio and reorganize my professional life”. And he concludes: “Time is our most precious asset, the greatest of luxuries.”
One only has to contemplate the jewels that Chus Burés designs to realize that one is faced with an infinite sensitivity, and one only has to spend some time with him to understand why he has fallen in love with half the world. His words, like his work, hypnotize us and transport us to another universe, to lost paradises, to the history of celluloid. Years go by, but Chur Burés transcends time itself as only legends do.
Here you can see the full interview