Interdisciplinary. Community. Advocacy. Humor.
Cast From Different Moulds is the 2012 graduating class from the MA in Jewellery, Silversmithing and Related Products course from the prestigious School of Jewellery, in Birmingham, UK
Jewellery – Vessels – Furniture – Sculpture – Landscape
Each of these topics do not have definitive boundaries, for me it is the transition through these differing design disciplines and their connections that stimulate me. I do not see designing and making as being isolated or having limitations, I see design as an opportunity to explore space, scale, function, form, colour and material.
Sights and objects within my gaze become instantly transformed in my mind. I mentally pull them apart abstracting elemental structures and materials before reconstructing them into different objects and forms with variable functions at changing scales. It is the dialogue between these scales that allow me to create three-dimensional models allowing for the manifestation of jewellery, vessels, furniture, sculpture and landscapes. This process has become one of an evolutionary and cyclical nature, with small scale objects inspiring landscape designs and then vistas and architecture feeding back down to objects and wearables. The spontaneity of this process is captured in my construction techniques. Materials are habitually left true to their nature, allowing their inherent qualities to prevail creating an often minimalistic and sometimes brutalist aesthetic.
“Everybody has their own jewellery, but not everyone realises that they have already worn it".
My work pushes the boundaries of jewellery by re-thinking, re-defining and re-interpreting the definition of jewellery design. I started questioning myself what is the meaning of jewellery?
I traveled around the world to open up my horizon. From place to place, one footstep after another, it has a lot of meanings, stories and memories. During my travels, I always recorded and collected my memories from the places I visited by using films, sounds, diary, photographs and found objects. All these things have a strong emotional and physical relationship.
The memory that is precious, is very personal and individual. It seems I wear it, not on my body but in my mind. A memory can be defined in my view as a piece of jewellery that is still a part of me and with me all the time.
My work is divided into two parts, which are “Jewellery Is At My Feet” and “Jewellery Is At my Feet, The Show Is Yours”. In the first part, my works challenge a viewer’s perception in terms of jewellery by using films and found objects as the raw material to create a piece of memory. In “Jewellery Is At My Feet, The Show Is Yours”, I attempted to share my concept with other people by launching a campaign and let them discover their own jewellery, which is hidden in their lives.
My work stems from a necessity to bring together the use of abstract drawing and jewellery and is stimulated by how different people use drawing and sketchbooks to develop work. I have defined my own process as ‘abstraction and response’, celebrating a design methodology that is often hidden away.
This methodology acts as a conversion; the raw expression of my drawings provides a basis from which a refinement in objects can be cultivated. The drawings permit a chaotic appearance to overtake and in turn control can be achieved in the construction of the jewellery pieces. The drawings allow me to develop a composition both on and off the paper that then inform such questions as scale, shape and display in the jewellery pieces.
My initial inspiration for this body of work has been observing traces on streets, marks of life and compositions that are overlooked and often become somewhat redundant. The use of yellow and black emanates from this. These two colours are often used as a warning, a call for awareness, but often because of it wide use, it has become overlooked, it is everywhere and only when you look carefully do you see this - something intended as a warning became so commonplace and thus disregarded .
The marks of drawing and in the pieces determine the aesthetics of my work. They are made for this purpose only, with no want or need for embellishment.
My work demonstrates a long journey of self-exploration. By peeling the skin layer by layer I get to the core of myself; I try to express what I explored and interpreted through my experiments in materials.
The feelings I want to achieve in my pieces are quirky, fantastical, and surreal. I focus on human skin, which is my main inspiration because it has many different and unique textures, several layers, and tells even some stories behind the scars and marks on its surface. “Skin Secret”, the title of my project, is about the “id” and “ego”. People usually use products or accessories to beautify themselves, or want to create an identity so that other people perceive them in a different way. Therefore, these possessions they hold or wear are like the “second skin”. Based on the main concept, I developed two bodies of work. The first one is constructed by using representations of body organs, which are reconstructed elements of organs and skin. While in the serial work, there are dialogues between people and daily objects; in this way, the creative work offers a thinking method to discuss human behaviors.
In my view, skin is soft but not as fragile as we think. Therefore, in “Skin Secret” one of the characteristics is juxtaposing the skin texture with metal structure, in order to create a conflicting image – hard and soft.
My jewellery is a body related tool used to comment on problems arising from the collision of man-made and the conditions of nature. This situation is influenced by the fusion of cultures.
It affects my work as my own life is a cultural combination; I live under the conditions of modern life and consumer materialism while I try to balance these different influences by using the language of contemporary jewellery art. I find jewellery is the perfect medium for communicating these ideas to a wider audience - it can literally carry the message out among people.
Combining Japanese aesthetics with the influence of my Scandinavian origin balances the contradictions between the rational and the intuitive, while I use theoretical tools like semiotics and the science of perception to reflect on these topics.
My way of working is drawing on diverse methods, which help me to be aware of every decision including those which deliberately allow for chance. I strive to reach a subtle, sometimes minimalist aesthetic in my work, leaving it to the beholder to decode its message. I create work that irritates as much as stimulate reflection.
My investigation of the interrelationships between objects and the imagination is an ongoing process; art has means to allocate the non-articulate called ‘Mu’ in Japanese aesthetics and I strive to communicate this.
Repetition in form and pattern underpin my work. I am drawn to those details in the urban environment, which are overlooked as we hurriedly pass by. I find myself focusing on the order, repetition and sequences that are found everywhere, from the details on train station seats to the carefully calculated sequence of bricks in a wall. Many of these patterns originate from the industrial revolution and thereby embody negative connotations of restriction, exploitation and control. In contrast, I find the order and repetition in these details provide a calming effect from the daily hustle and bustle of life in an inner city, in that it is predictable and ordered providing continuity and a sense of ease and stillness.
I design through making, followed by de-construction and re-assembly; I am fascinated with compositions and address the relationships and connections between different forms and objects. My working methodology involves pursuing an idea whilst initially withholding any critical analysis. Only when I have sufficient material to work with do I consciously reflect on what I have explored. By relating elements of existing objects with a range of media and then de-constructing and re-constructing forms, the essentially unrelated elements I have brought together begin to form connections.
Frame a corner of my body
My understanding of seeing comes from my training as a photographer. It is a magnifier to investigate the details that surround me. Buddhist philosophy is the telescope, a way to meditate, to look further. My interest is in digging into the meaning under the ordinary visual form. My art represents my life. My life changes through my art.
Influenced by Chinese art and calligraphy, I bend wire like drawing lines, creating space and meaning like pictographic letters. The hand bending the wire directly connects my imagination to three dimensional form and space. An invisible line divides personal space in public; I am interested in this space between people and objects.
Through framing the body with material drawings, I am looking for the negative space around the body. The pieces are comfortable in proportion to the body, but the volume creates spatial installations on the body. Jewellery thus has an intimate character with body; Jewellery is more than decoration.
What attracts me? The vivid candy colours, plump shapes and spot patterns bring me into a colourful, happy, and lovely world of my childhood. These elements represent myself and I hope the viewers will be relaxed and happy when they enter my interesting world. You may laugh, you may be nervous, you may feel strange and uncomfortable, but this is my funny world, hiding many funny stories. My work is closely related to personal behavior and social activity, using gorgeous appearance to express an inner world of imperfection.
I concentrate on colour and form composition to get amazing visual effects. I abandoned the original felt making methods, changed the natural colour, added the sparkled details and transformed the composition of different size fleshy balls to achieve quirkiness and originality.
I want my audience to touch and play with my work, take photos and to share their special moments.
I am motivated to create jewellery which engages the mind as well as creating a visual statement. Narrative pieces and everyday objects which incorporate subtle details are how I would best describe my work. Childhood fairytales and the experience of growing up are the inspiration for my jewellery. My aim is to evoke and treasure people’s childhood memories.
My collection comes from commonly used everyday objects. Growing up is full of surprises, emotions and also ordeals. I combine familiar objects that have the same emotional memory, and I give the work an irrational aesthetic by using a combination of unfamiliar colors with familiar elements. I try to create jewellery with a strong visual language to describe life changing processes and record fragments and memories of growing up. I use different colour compositions to reflect on the different stages of life. I choose the colours from fairy tale books to invite the viewers to experience this fantasy world. Pink is a symbolic colour of innocence, in my work it represents the innocence retained in people's hearts somewhere during the process of growing up.
Tzu-Jung (Molly) Wu
The main focus of my work is exploring the relationship between two and three dimensions, developing a series of sculptural jewellery. Inspired by textile design, I found that combining traditional textile technique like knitting and modern laser cutting technology can transform two-dimension sheet into sculptural form. Experimenting with knitting technique creates unique sculptural form with connected structures that hold tension. I contrast this with extending space, while finding balance both, in the piece itself and in its relationship to the body.
By not using knitting in its traditional application, my works are intended to show the beauty of knitting in structural three dimensional forms. My challenge is to use non-textile materials to transform a traditional craft technique into a contemporary art work which pushes the boundary of material and making technique.
For me gemstones are full of character and mysticism. The colorful lustre, perfect cut and simple composition make for an interesting study and aesthetic investigation. But what are gemstones? They are minerals whose structures are constituted by facets, triangles and angular cubes. Why not wear minerals instead of wearing gemstones. I spend my time focusing on the form, the color and the quality of minerals, then on the various ways of making the structures wearable. In my work I use flexible polyurethane foam as material to create different structures of mineral-like fashion jewellery.
Xia (Eva) Zhai
My work derived from the issue of the extinction of wild animals. My aim is to communicate an awareness of endangered species.
Every living being is significant in its existence; they have the right to survive. When I see the bloodcurdling images of killing wild animals from the media and newspapers, I feel upset and sorrowful. Human beings have responsibility for the welling-being of wild animals and I started to question what I can do to raise awareness of these crimes to nature.
Through my creative process, I aim to represent the horrific scenes of animal slaughter. I use dark comedy as a platform to convey these issues. My pieces tend to surprise people at first and then, hopefully, make them think.
My work is “to make bones”, not real bones, but artificial bones, external additions and extensions to the real ones.
When looking at bones of different creatures individually, they are a kind of natural sculptures. However, they have a very specific structural purpose. What happens if we take that purpose away and we consider them as only art objects with the potential for further development?
The actual shapes of human or animal bones are my inspiration. I re-form them; I make them fluid, futuristic and even strange. I create three-dimensional shapes that are pure white, as a synthetic bone could be. Resulting in light-weight final objects; though they are big in size, they can easily be carried on the body and become a part of it.
Even if I describe myself more as a sculptor than as a jewellery maker, my pieces are jewellery in their own way. My sculptures are to do with the body. They are inspired by it, placed on it and are combined with it. They stand on the body by their shape in a clear relation with the bones underneath the skin. They are +BONES!
Jianing (Shawn) Huang
I have always envisioned my jewellery as a building. Architectural elements are designed to form spaces that manipulate activities and movement. Jewellery, on the other side, has a close relationship with the human body where the most intimate structural lines are situated in between the body and the object. I approach jewellery design as constructing architectural space for the body.
My first exploration starts from a building’s structure,
as it has spatial relationships, lines can be cut and pulled apart to create an animated form that expresses the expanded space. My second exploration is about the structure of interchangeability and interaction between pieces and wearers. I begin with creating objects, which comprise an architectural structure and indicate movement from the wearer’s action. The colour of my pieces changes as the wearer moves. The stretch of lines and structure draws a concentrated focus into the object that invokes an invisible architecture space.
I experiment with different metals, woods, plastic, steels and combine technology with traditional handcraft skills. I am always searching of new structures and I manage my production like an architectural project which consists of many evolving individual units.
This range of work is inspired by Japanese gardens and Hanami. Hanami is a traditional event in Japan to celebrate the blossoming of the cherry tree. It is the expression of appreciation of nature and beauty. I extracted the colour, the movement and the shadow of cherry blossom – I try to recreate the sensation.
All the pieces from this collection are able to make a delightful tinkle; each piece of jewellery brings different sound experiences. The idea for this was from the Shinto bell and the noise when branches of the tree hit each other in the wind. The sound of it is used for calling the Kami, who is a Japanese god.
I use colour and shapes conjured by Kami. The fragility and the delicacy of cherry blossom are represented in my pieces. The metal frameworks are an abstract representation of the structures of trees and shadows; with this range of jewellery I am recreating the beauty and harmony that I am attracted to in the Japanese understanding of human relationships to nature.
I am fascinated by sea creatures. The movement of sea life always attracts me, because it is very vivid and visually impressive. The colours and textures of sea life are individual and special. These are the features in my work from which I make my unique pieces.
Creating my own making technique and choosing silicone as the material are the main characteristics in my project. Through this method I can create the special effect and surface that I want to represent sea life.
Moreover, an important point is that my pieces have the potential for movement when people wear them - my piece will move with wearer. This kind of ‘interactive’ effect is the aim of my work. I want to create my works to be vivid like living creatures.
I wish for my pieces to catch people’s eye and that they wish to touch them.
Shih-Dea (Deborah) Tseng
My concept is inspired by a sentence: "Do not judge a book by its cover”.
An indistinct and subtle atmosphere can illustrate our society which means there is no absoluteness to anything. I aim to create a neutral area - peaceful but slight odd, fragile but strong and smooth but rough. Jewellery is the medium I use to communicate my aesthetic ideas. I enjoy watching people being surprised by visual impact and perception.
I explore juxtaposing textures, which are desirable to touch, and so evoke emotions. I realise these emotions are stronger when I use contrast rather than the same or even similar textures. Visually therefore, the conflict generates irregular three dimensional patterns on my jewellery pieces, while they all have the same visual impact as they are all white.
For me white is a symbol of hiding, when white is covered over the contrasting textures and compositions people are not at first able to distinguish between different tactile qualities – it creates a vague and abstract impression in the perceptions of touch and vision.
The work examines the relationship between the analogue and digital production of craft objects and products. Using a Victorian drawing machine – The Harmonograph – complex images are ‘manually’ generated. Each illustration requires human interaction through the movement of weights to set in motion the drawing. This interaction provides a more tangible human connection to the analogue/digital environments.
The ‘made’ physical forms reveal a symbiotic relationship between the analogue and digital but individual and idiosyncratic enough to remove generic, clinical and predictable outcomes that can arise from designing solely through 3D software.
The work celebrates the connections between ‘tangible unpredictability’ of a man-made illustration generating technique, the ’transition unpredictability’ into the virtual world and the technological possibilities to generate a complete process of physical and virtual creative interaction.
Space is three-dimensional and the most important thing in my work. Human beings are visual, live in three-dimensional space and create objects from what they see in daily life. Being a part of space I am interested in exploring my space. I collected images of architectural designs to support my idea based on my personal interest and observation. The London Eye and Millennium Dome were my first choices as they are iconic London structures. The London Eye is a joyful wheel and is set in the city-center’s hustle and bustle; the dome is a recognized landmark with the white dome roof and twelve sharp supporting towers beside the river Thames. These two famous buildings occupy some people’s mind including mine. These places contain our precious memories from the unforgettable times like New Year’s celebrated fireworks with our special person or the amazing concert with our friends. The relationship between human beings’ emotion and living space is of most importance in my work. Space is not only space but is also sentimentally attached to ourselves.
Cells, tiny elements that you can only see using a microscope are what I am interested in. For this I use a convex shape to mimic a microscopic lens and through the lens I magnify my thinking. I transform my thinking into solid visual forms using my own patterns, which are geometric repeat patterns developed from my drawings. These patterns convey the feeling and the atmosphere of my visual interests. I use convex resin, vivid aluminum and a variety of patterns to create colourful and playful pieces, and I aim to develop designs that show a sense of joy and playfulness.
Just like the organisms in the natural world, this series of brooches are colorful and textural. They are inspired by the microscopic photographs of pollen cells and sea corals which possess vibrant colours and peculiar shapes. They always make me want to touch them. Therefore, the idea of making playful and tactile jewellery came to mind. For me, the best way to research is through material. The process of testing materials is interesting and full of surprises; the result is always beyond expectations. I attempt to explore materials through various forms and adopt different colour combinations to present various and gradual changes of colour. I emphasize a sense of dynamic texture in my jewellery to encourage interaction between work and audience. My work seeks to ignite people's curiosity and enjoyment.
Have you ever marveled at the rays of sunlight piercing the fleecy clouds, or seen puddles of water on the road with the ripples of waves on a rainy day? Guided by wonder, dynamic movement is the theme of my work. I love to observe the world around me and to find irregular movements that have a mysterious character, which can give an object a deeper meditative quality. My visual language is inspired by the aesthetic spirit of wabi-sabi, finding beauty in imperfection and profundity in the natural cycle of growth, decay, and death. The concept of dynamic movement is used to describe a physical evolution of an unstable and impermanent condition, and to capture vitality and energy in a static piece of work. I depict both scientific and artistic aspects. From the scientific aspect, I explore mathematic origami and magnetic properties, while capturing a state of flux from an aesthetic perspective. I am fascinated by the delicate, while investigating the fragile and sensitive qualities of the ephemeral moment, in order to create work, which offer a sense of soothing and poetic grace.
My jewellery practice focuses on the kinetic and the body. My work is body related sculpture which functions as ornament. Following the movement of the body, the work will be transformed.
The inspiration for my work comes from the movement of special make-up effects; a kind of transformative magic of imagination. By using different types of mechanical systems the work changes and creates a way of interaction, a communication with the body.
I use shiny mirror planes to reflect images. Because each mirror curved plane reflects the light and each other, it produces changeable images. The primary forms are circular in order to achieve a kaleidoscopic effect.
Combining the kinetic and the kaleidoscopic gives jewellery a fresh and powerful idea to enhance the definition of jewellery. When people move, the work worn on their body change at the same time.
Ming (Miona) Gu
The inspiration for my work comes from tree tumours and parasites. The undulating forms indicate unlimited possibilities. The extra-terrestrial shapes, sewn holes and fluorescent colour are the main visual identified characteristics of my work.
By trying out different textures and decorations inside and outside of the holes, the contrasting fluorescent colours became the design focus. The series of work resembles creatures from the same biomorphic class, but each one has its own characteristics.
Similar to how parasites grow from the tree’s surface, I pursued to create pieces that show the illusion of growing through and out of the human skin, like a humorous form.
I try to challenge people’s perception of parasites and tumours. They are generally considered ugly and unsightly, but through the use of bright colours, unusual patterns and dramatic shapes, I make them look beautiful and desirable. My “body parasites” aim to represent a philosophy that jewellery can be perceived as foreign creatures that become a part of our body, and turn to be vibrant and friendly.
I have always been attracted to colourful paints. Through them I can express my emotions on the paper or the wall, whether this is happy or sad. People often imagine lines or geometric shapes when imagining a painting, but it is totally different for me. The abstract images and brilliant colours are always the first thing I see, and therefore I bring these elements into my jewellery design.
The inspiration for my work comes from splashing paints. Initially, I worked from a collection of photographs which show my own experience of having paints splashed on my body - it was an amazing moment. I then select the abstracted three-dimensional forms and contrasting colours within the images to create wearable pieces that share a visual relationship to the paint splashes captured in my images. I use plastics and polymorph, and incorporate contrasting colours and dynamic forms to create jewellery that reflects a colourful paint splash on the wearer’s body.
The paints are no longer decoration for people; they become an abstracted tangible representation of painting.
In nature everything has its own shape and structure, but water does not; its intangible shape makes me think about freedom. I like the idea of freedom and want to make work that has the fluidity of water.
My inspiration comes from the interaction between human and water. The burst and ripples of water splashes and in contrast the quiet and slow flowing convey the feeling of playing with water. I chose materials and structures to recreate the streaming, cascading and swirling feeling of water.
The inspiration of my project comes from material experimentation. Plastic drinking straws are ready-made objects that are overlooked but have a lot of potential properties. What makes an object valuable? Through my research and experiments, plastic drinking straws are transformed into material for jewellery.
Translucency and optical effects are the outstanding characteristics which are utilized as the visual theme in my project. The surprising biomorphic features of melted plastic straws inspire the minimalist organic shapes of the work. I aim to capture a timeless and delightful sense that is similar to the one we receive from natural objects. Furthermore, the sense of the natural is enhanced by the tactile qualities illustrated through delicate and dynamic patterns and forms.
My work explores the beauty of translucency through transforming the plastic drinking straws and challenging perceptions of material value in jewellery. The plastic drinking straw is transformed by an experimental process to bring out its aesthetic value. My work is a combination of optical effect, translucency and natural shape which result in an eye-catching delicate craft work. The optical effect in my work will change depending on the light and background behind the pieces when worn on the body.
Chia-Chun (Jean) Hsu
I am inspired by the things that look simple but are actually quite complex. I chose a simple skill such as crocheting and combined it with formed and dyed plastic sheet to develop my creations. For me, crocheting is very lively because there is a strong connection and vitality between the threads when interweaving all of them together.
The forms of the plastic sheet are based on plant shapes, because their structural intricacies reflect the power and vivacity of life.
The petals are crocheted together using clear elastic, which controls the pattern of the three dimensional form. I use transparent colours in my work as I want my work to look pure. The wire is the most important part in my work, for it not only expresses the pattern on the plastic sheet but is also the conjunction between the two materials.
The elastic wire in my pieces is like life growing up from the petal, representing freedom as much as forms found in nature. I hope my audience is able to admire the interweaving of the wire and also accept its vitality.
Xinrui (Sherry) Yu
Using life's little incidents to realise beauty
How do you feel when tea stains your clothes? If you are an elegant person enjoying afternoon tea，accident like this happen，does this create a bad situation? This inspires me to turn a bad situation into a good one. The tea stains become a perfect pattern and are turned into wearable jewellery. The process of dying with tea creates patterns of surprise and accidental colour and shape. These are beautiful marks，which I try to highlight in my work.
My attention is focused on the natural abstract pattern, attractive colour and three-dimensional form. These are really interesting to me and I highlight them by using embroidery techniques on the surface, which creates both abstract pattern and texture.
The world we live is constantly changing and developing. When we observe everything around us, not any one thing is a simple existence, especially not in the microcosmic world. The nerves are a delicate system, but they exchange and communicate important life information.
“To see a World in a Grain of Sand and a Heaven in a Wild Flower”, says William Blake in his poem Auguries of Innocence and explores the microscopic world with macro perspective thinking.
I am inspired by organisms’ nerve systems by using multi-layers and lines to represent the intensive complex nervous system. I create objects that transmit sensitive feelings. I use a macroscopic way to let people see the microcosmic world. I use a way to express the strange microscopic world and the movements and growth processes of nerve system though intricate lines. My collection of jewellery uses silicone as the main material to create soft pieces with combinations of forms.
The relationships between internal and external structures in architectures are what inspired me. During construction, the contrasting relationship between these complicated reinforcing bars and incomplete outer walls are a significant inspiration.
I combine these strong contrasting relationships with skylines, the relationship between external edges of buildings with endless sky. Skylines change through the ages. So, I use different layers and colours to express some of these changes.
The internal structures of my jewellery pieces are complex and variable, while the features of the external structures are relatively simple and concise. All these internal and external contrasting relationships, complex and simple, fragile and hard, bright and dark, are my focus.
I use laser cutting on stainless steel and spray-painting on the steel surface. The stainless steel and the colourful paints are used in architecture as well. I however, use them in a different way to interpret the theme of space and containment.
Wearing my pieces is like wearing abstract patterns. Every learning step in my life is invisibly connected together, and those points are rooted in the processes of my designs. My work demonstrates the transformation from still-life painting to abstract pattern drawing. The inspiration for my patterns comes from what I observe around me, and I interpret them into my own language of hand drawing. Most of the drawings are from nature and the environment, like for example flowers, cracked roads or the patterns of tree bark.
In order to conserve and make the patterns into wearable objects, I have utilized silicone because of its durability and fabric delicacy; I have aimed to achieve a subtle textile quality. For the collection I have concentrated on wishing-well flowers, which are Chinese symbols of happiness and good fortune. When the piece is worn, it can flow on body’s curves and creates its own shapes and forms.
I am interested in bringing fun to our life with my jewellery. For me, my pieces are like mischievous children who always do some silly and naughty things to attract people's attention; the children are playful and imaginative, sometimes popping up with quirky ideas which always surprise us.
My pieces make a fashion statement, and represent funny and quirky style that conveys a positive, confident and child-like attitude to this world. The inspirations are taken from every part of our life, fashion, toys, illustrations, and films, anything that can bring joy to us. I then recreate and exaggerate them. I hope people can put worries away for a moment and get engaged in this playful wonderland I create with my pieces.
In this collection, I used rubber to create the balloons combined with crochet to explore the unexpected; these are reflected in the eccentric shape, the interaction when people play with them, and the contrast of texture between these two kinds of materials with their strong colours. Details are important, the unexpected elements like the branches, horns and embroideries highlight the fun, and make people curious about what it is.
Yu-Fang (Lillian) Wu
Lingering on the conflicting thought of real and fake
When preserving the truth, sometimes it is necessary to add false impression
A small amount of wildness is hiding in the ambivalent mind
I aim to express the conflicting relationships between natural and artificial decoration in jewellery. I am experimenting with contrasting compositions to create high visual and tactile qualities. Colours are combined with using natural wood and artificial materials such as beads, string, acrylic paints and metal. It helps me to give a new lease of life to these disregarded objects. After that, the juxtaposition of the natural with the artificial might show the beauty of conflict.
Tree branches are my main material to represent the real. I want to keep the original form of the wood and combine it with metalwork that gives each piece its unique appearance, wearability and changeability.
I collect diverse materials, which I use to create different combinations in my own aesthetic; this relates to the idea that people need to be more eco-friendly. I want to, like many other designers, make people more aware about noticing their surroundings and the environment.
Before coming to study on this MA I studied theatre costume design; I focus my design enquiry on the bright lights and colorful saturation used on stage in Chinese Theatre. In addition I have used my understanding of stage make-up to help me in the creation of my work, where the visual contrast, especially colour contrasts and colour combinations, add to the perception of inside/outside structures.
Light radiates on stage, it can manifest in different patterns, so I design forms and structures which represent the rhythm of light and combined lightening patterns in three-dimensions and material. These structures are hyperbolic and colorful.
My basic material on which I build is paper-mache, I then build these form up using different materials to create details and layered visual impact. All these colors and materials relate to each other, patterns and forms build contrasting relationships and inform the development of my design process.
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