The beginning of October comes with lots of beauty at the National Library of Romania, which hosts the 6th edition of Romanian Jewelry Week, the most important contemporary jewelry event in Romania, Between 1-5 October, dozens of creators from Romania and other corners of the world will exhibit their creations, and among them is Antal Zilahi, a designer from Hungary.
Through his work, Antal Zilahi explores the fine line between jewelry and art, using materials such as glass and mirror to challenge perceptions of perfection and imperfection. His creations are wearable objects and also thought-provoking reflections that invite dialogue between object, body, and viewer. By embracing experimentation and imperfection, he opens up new ways of understanding both material and self, positioning his practice within the broader context of contemporary jewelry on an international stage.
„Understanding the philosophical aspect of imperfection and bringing it into my art has helped me move through difficult and darker times in my life. It has given me a way to better understand the world and my place within it. For me, imperfection is a space of both calmness and excitement”, says Antal.
Antal speaks about creation and his work routine.
About your relationship with jewelry
I have a very unique relationship with jewelry, which I trace back to my fascination with materials. I have been working with metal since childhood in my father’s workshop. However, I actually spent most of my time working with glass. It was only during my university years that I began to focus on jewelry, and at the same time, I started experimenting with different materials. The colorful world of contemporary jewelry drew me in instantly.
What is important now in your work
What matters most in my work is to present my ideas in such a way that they spark thoughts in others. If I had to describe my work in words, I would say it is clean and honest. Through my objects and my use of materials, I try to communicate in a way that speaks directly to the viewer.
How you navigate the subtle border between jewelry and art in your creation
For me, the main boundary lies in the wearability of jewelry and its connection to the body. Jewelry is, to me, a body-related object. Some of my pieces, because of their scale and weight, are closer to body sculptures than traditional jewelry. I feel that the line between art and jewelry can be extremely thin, defined only by the interplay of size, weight, and material.
Your personal mark in jewelry creation
I would describe my personal style as thought-provoking, intriguing, and attention-catching. I love when my objects start a dialogue within the viewer based on what they see. If, even after an exhibition, my jewelry continues to stir thoughts in someone, then I feel I have succeeded. Recently I have been creating wearable brooches, and at the moment I am preparing prototypes for necklaces and rings, expanding the collection. The material I have chosen to work with is mirror. Since I have worked extensively with glass, I had the opportunity to learn the traditional technique of handmade mirror-making. It is a complex and delicate process that requires patience and practice, and its sensitivity still fascinates me to this day.
I also love collecting materials and used objects, so in my studio there are boxes filled with treasures, waiting to be incorporated into future works.
The creative process: how an idea becomes a jewel
When a theme catches my attention, I immerse myself in reading and research. For me, the creative process always begins with thorough investigation. Then I immediately move on to working with materials, testing how I can translate my ideas into tangible form. The shape and size of the object usually only emerge later. The hardest part of making a piece of jewelry is declaring it finished. The most beautiful part is when I know it is complete — when it gives me goosebumps.
Your work routine
I like working in my studio in a deeply focused, solitary way, spending days or even weeks experimenting. Then I balance this with periods of rest, stepping away from making so that when I return, I can make clear decisions about the next steps.
Throughout my process, I constantly ask myself questions: Why? What? How?
These questions guide me whenever I get stuck and need to find a way forward.
Imperfection as part of your artistic process
Understanding the philosophical aspect of imperfection and bringing it into my art has helped me move through difficult and darker times in my life. It has given me a way to better understand the world and my place within it. For me, imperfection is a space of both calmness and excitement.
Presenting your work at Romanian Jewelry Week in Romania
I am both excited and grateful that my jewelry is being exhibited at Romanian Jewellery Week, as it is one of the most important international events for contemporary jewelry. It connects people and offers the chance to encounter new perspectives. On a global scale, Romanian Jewellery Week plays a vital role in fostering strong dialogue around contemporary jewelry. It also made this article possible, for which I am very thankful to the organizers and the magazine for choosing me. Words cannot express my gratitude.
The collection you will present in Romania
The collection which is presented in Romania is about imperfection.
My first question is about this topic: Is there perfection without imperfection?
My brooches challenge perfectionism by integrating the 180-year-old tradition of mirror-making into contemporary jewelry design.
Do we allow space for our mistakes and give time for self-reflection? Recognizing and understanding imperfection can open up countless new paths.
I intentionally made errors in the mirror-making process, causing them to reflect only a part of the world or even completely absorb it. With these unique silver mirror surfaces, I aim to trigger an inner dialogue about the quality and depth of our observations.
My objects let viewers glimpse a corner of the body and surroundings, fostering a more relaxed, intimate relationship between the trinity of object, person, and view.
My first question is about this topic: Is there perfection without imperfection?
My brooches challenge perfectionism by integrating the 180-year-old tradition of mirror-making into contemporary jewelry design. Do we allow space for mistakes and give ourselves time for self-reflection? Recognizing and embracing imperfection can open up countless new paths. In the mirror-making process, I intentionally introduced errors, causing them to reflect only fragments of the world, or sometimes to absorb it completely. With these unique silver mirror surfaces, I aim to trigger an inner dialogue about the quality and depth of our perception. My objects allow viewers to glimpse fragments of the body and its surroundings, creating a more relaxed and intimate relationship between the trinity of object, person, and viewer.
I spent several years learning mirror-making. At first, I always wanted to make the perfect mirror, but there was always some flaw in the process that prevented perfection. When I finally managed to produce a flawless mirror, I realized I found it boring — the imperfect pieces were far more expressive and interesting. In them, I found myself.
Your hopes for the audience's insights after seeing your collection
I hope that beyond the visual experience, viewers take away questions — questions sparked by my jewelry, whose answers may only come much later. Romanian Jewellery Week has had a very positive effect on me and marks an important milestone in my career.
