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HUNTER COLLECTION
ACT 3 — ALIGNMENT

Applied anthropology expressed through wearable form.

After contact, something settles.
Act 3 is alignment — not harmony, but coherence. The human idea no longer presses against resistance blindly. It learns how to position itself within natural forces, allowing form to stabilize without becoming rigid.
In this Act, structures become clearer, gestures more economical. Gilded antler cross-sections persist, but no longer announce disruption. They function as anchors — points where intention and material now agree on direction.
Alignment does not eliminate tension.
It allows tension to carry meaning.
All pieces are unique applied arts objects, handmade by the artist in Florence, Italy.
Wearable art jewelry from the Hunter Collection shown on a humanoid botanical totem, expressing alignment between instinct and control.

Controlled Wild

Pectoral (necklace-object), applied arts – anthropology jewellery design
Florence, 2011–2012

Instinct does not disappear.
It learns posture.


Applied anthropology jewelry from the Hunter Collection worn on a humanoid botanical figure, expressing dual orientation.

Split Signal

Pectoral (necklace-object), applied arts – anthropology jewellery design
Florence, 2011–2012

Opposing impulses remain visible.
Alignment allows coexistence.

Wearable art jewelry from the Hunter Collection integrated into a humanoid totem, expressing pressure transformed into structure.

Pressure Hymn

Pin (sculptural-object), applied arts – anthropology jewellery design
Florence, 2011–2012

Tension produces structure.
Form emerges under weight.

Wearable art jewelry from the Hunter Collection shown on a humanoid totem at a threshold moment.

The Crossing

Pin (sculptural-object), applied arts – anthropology jewellery design
Florence, 2011–2012

Alignment requires passage.
There is no return to origin.


Applied anthropology jewelry from the Hunter Collection shown on a humanoid totem, expressing memory through alignment.

Witness Mark

Pin (sculptural-object), applied arts – anthropology jewellery design
Florence, 2011–2012

Experience leaves a trace.
The body records transformation.

Wearable art jewelry from the Hunter Collection worn on a humanoid botanical totem, expressing controlled instability.

Shiver Protocol

Pin (sculptural-object), applied arts – anthropology jewellery design
Florence, 2011–2012

Stability remains alert.
Alignment resists sedation.


Wearable art jewelry from the Hunter Collection shown on a humanoid totem, expressing marked alignment.

The Scar That Shines

Transformable ornament (bracelet-necklace), applied arts – anthropology jewellery design
Florence, 2011–2012

History is not concealed.
Transformation stays legible.


Applied anthropology jewelry from the Hunter Collection shown on a humanoid totem, expressing geometric alignment.

Fever Geometry

Transformable ornament (bracelet-necklace), applied arts – anthropology jewellery design
Florence, 2011–2012

Order forms under intensity.
Structure survives strain.

Wearable art jewelry from the Hunter Collection shown on a humanoid totem, expressing ritualized alignment.

Ritual Under Strain

Transformable ornament (bracelet-necklace), applied arts – anthropology jewellery design
Florence, 2011–2012

Alignment must be practiced.
Repetition stabilizes form.

Final alignment-phase wearable art piece from the Hunter Collection shown on a humanoid botanical totem.

New Skin Doctrine

Transformable ornament (bracelet-necklace), applied arts – anthropology jewellery design
Florence, 2011–2012

Alignment becomes condition.
The body is ready to signify.

Alignment stabilizes form, but does not finalize meaning.
Structure prepares the body for symbol.
What follows is signification.