The Other Side explores what is hidden from immediate view — from the literal reverse of a jewel to the symbolic, coded and internal. The exhibition examines the concealed side as one of the most important dimensions of jewellery: the part that may remain invisible to others, yet often reveals the true class of a piece. At the same time, the project extends beyond jewellery to include works in other media that engage with the same idea.

In jewellery, The Other Side is first of all the reverse — the inner side seen only by the owner when a piece is turned over in the hand. In high jewellery, this side cannot be left unresolved; its decoration often does not fall short of the front. In the works of Ilgiz F., the reverse is covered with enamel, including highly complex enamel miniatures that require enormous time and mastery, while remaining almost invisible — or, in the case of earrings and pendants, only occasionally noticeable. In rings, this hidden side lies against the finger itself: a private luxury known only to the owner, and one of the clearest signs of a true masterpiece.

In the works of Alessio Boschi, the reverse is likewise conceived as a fully articulated surface for an additional narrative. In the pieces from his marine line Thalassa, he does not simply construct an openwork interior of rings, but elaborates it with seahorses, fish and seaweed, all created in precious materials. In large titanium chain necklaces in the form of a gourmet link, he conceals gold elements on the side facing the body, visible only to the wearer.

A hidden dimension is also central to the works of Alexander Laut. In his signature Eternal Kiss construction, beneath the central stone there is another diamond of substantial size, set culet-up. It is visible only from a certain angle at the side, and only if the owner chooses to reveal it. This hidden construction creates the sensation of two stones in a kiss and forms an essential part of Laut’s philosophy.

The reverse side is equally important in the jewellery of Hong Kong jeweller VA, of Quiet Rings. Exceptional mirror polishing, together with his expertise in diamonds, determines the entire internal logic of the piece: he understands how a stone must be placed, lit and supported from within. The result is aesthetically refined, technically exact and deeply practical.

In Richard Wu’s new ring The Cloud, concealment becomes part of transformation. The ring can also be worn as an ear cuff, while the diamonds — the elements one would normally expect to be fully exposed — are hidden beneath a manually constructed titanium mesh shell of considerable complexity.

In the works of Dickson Yewn, entire stories are hidden inside rings and bracelets. Internal lattices refer both to architectural structures and to powerful symbols in Chinese culture, including broken ice and the arrival of spring. For Dickson, jewellery is not merely worn: it is placed, viewed, contemplated and enjoyed from different sides.

At Epic Jewellery, the hidden takes the form of a message revealed through the natural properties of diamonds. It is not a second side in the literal sense, but rather the same surface perceived under different light: the piece itself does not change, only the conditions in which it is seen. Under ultraviolet light, a concealed inscription appears — formed by diamonds with strong fluorescence set among diamonds with none. In this way, the work echoes the lenticular prints of Olga Tobreluts, in which the image changes depending on the angle from which the viewer looks at it; here, however, the transformation occurs through light rather than angle, as perception is altered not by movement, but by illumination. The work itself carries a broader philosophy: the return of preciousness to an object that was originally utilitarian, almost refuse, but was elevated by the person wearing it into the status of serious adornment, entirely without irony. The reference is to African tribes in which broken watches, Coca-Cola can tops or, as in this case, airline cargo tags are worn as jewellery. African women wear such tags as double earrings; in gold and diamonds this construction was repeated in a closely related form, but adapted to another wearing tradition through the combination of an earring and an ear cuff. 

The hidden also extends beyond jewellery. In the sketches of Konstantin Chaykin, details of watch movements become a central subject. This is the side normally concealed from view, yet for the art of watchmaking it is primary and fundamental.

Also presented in the exhibition are works by Olga Tobreluts, in which Uma Thurman and Elvis Presley are encrypted within the classical plot of Eden. This is the same body of work represented in the Tate collection. Works by Irina Petrakova, created through her technique of the stain, invite a different kind of looking: the viewer must enter into them, work through their visual layers, form personal associations and see something of their own, as in a Rorschach test.

The Other Side invites the viewer to look at what is usually hidden — a rare chance to encounter the reverse, the inner structure and the concealed meaning of works that reveal themselves only through close attention.