Since times immemorial jewellery has carried a load of meanings. It is an ornament of the body and dress, investment, an expression of emotions–from beautiful to aggressively destructive ones–it is information for the viewer and the historian, topic of study for the archaeologist and psychologist, object created by the master and the amateur, prop of the artist and kabbalist, symbol of power and mourning, political and religious manifesto, an object of  beauty or kitsch. It has always accompanied people.

          Nowadays, the notion of jewellery is particularly often defined. Jewellery is described with a lot of adjectives. It is artistic, conceptual, serial, historical, noble, minimalist, prehistoric, recyclable, virtual, post-something, trendy and passé, classic and modern, individual and commercial…

         So what is it like today, here and now? What is it like in Poland? What is like in Europe? It is various. But it rarely conveys the quality which could be termed as a narrative understood as a clear commentary, protest, negation, acclaim or question. Today jewellery “looks”, is “designer” or “branded” but it no longer sends signals (well, maybe except for devotional articles). It merges with the owner and her/his staffage; it is of little importance.