The pleasure of geometry is evident in the jewellery forms of Georg Dobler, whose earlier three-dimensional wire ‘diagrams’ floated like scaffolding on the topography of the body. The Euclidean nature of these works has given way to an exploration of the qualities of crystals and stones, and the imposition of cutting and lapidary on our perception of them. Brooch – composed of three amethyst slices in a dynamic, almost mechanical arrangement of shapes on a dull, silver matrix – hints at an unknown or forgotten purpose. The spirit of the Bauhaus resonates through the blunt elegance of its arrangement and construction, while the audacity of its amethyst panels echo the cut stone screens of another German architectural achievement of the 1920s: Mies van der Rohe’s Barcelona Pavilion. In this work the history of modernism’s vocabulary of transparency is distilled through Dobler’s geometric vision of nature.