Birmingham City University’s School of Jewellery is pleased to present Informed Chaos, an exhibition of jewellery and objects from the graduating students of the MA Jewellery, Silversmithing, and Related Products.

The show, held at BCU’s School of Art on Margaret St, was running from  2nd-10th of September 2017.

The exhibition showcases the work of 39 international students, each creating a new series for their final major work.


Course Director Professor Jivan Astfalck explains that 

“Through their creative practice, the students address aspects of the most vital issues in the contemporary applied arts field today, and by questioning what constitutes adornment and how decoration should be defined and executed, they develop their knowledge and understanding of the jewellery and silversmithing discipline.”

Each collection represents a year-long exploration into material, form, colour, and technique, resulting in a diverse assortment of unique and unconventional works, as each student pursues their own line of investigation.

These outcomes range from kinetic, mechanical rings that move with the body, or soft felt pieces made to look like stone, to chubby, silversmithed objects drooping over ledges. Others have taken mundane materials such as feathers and paint and transformed them into intriguing wearables, one even cultivating and harvesting materials from their own personal herd of silk worms. 

For further information please contact us via email or follow Informed Chaos on social media through Twitter, Instagram, Weibo or Wechat. 

Location: Birmingham U.K.
Members: 6
Latest Activity: Nov 7, 2017

Informed Chaos

Xiaoye Zhang


My recent work explores different visual effects and angles. I exhibit visual effects by overlapping changes in colour and reflections of specular material.
As a designer, I hope to create jewellery to encourage people to be critical in life and try to look at problems from different angles or perspectives. These ideas inspired my designs for my Masters Study project. This is focused on creating jewellery pieces that vary and can be seen differently from different angles. The designs are based on visual effects and the psychology of perception. The collection consisted of a series of brooches in acrylic and PVC. I explored the creation of visual effects through geometrical shapes and patterns, colour transparencies and reflections. The transformation of the viewing position reflects different visual effects.



Acrylic, PVC, Brass

10*10*10(cm), 2017



Yahui Ke


My work focused on the type of bright colours which could be associated with ‘cute’ and ‘funny’ things and feelings. This exploration is based on my belief that peoples’ senses and emotions are connected. Bright and vivid colours would suggest lively and cheerful, or they might remind us of happiness feeling. On the other hand, old photography have the power of bringing our memories back alive, connecting us with things we have experienced before. Colours and pictures directly connect us with memories. Therefore, I create pieces that incorporate pictures or old photographs that I collect from others. My work aims at reminding people that ‘whether it is in the predicament or bad situation, please cheer up and to find some fun after a short brief, a positive attitude is the best way to face all the difficulties.’ 




6*4*3(cm), 2017



Ruoxue Zhou


My work draws from my personal experiences. One day I began to feel I was in great pressure and this seemed to transform my whole body and mind. While I had generally seen life as light, delicate and colourful, pressure or anxiety turned things dark, stiff or tense. As a Jewellery artist I visualised that feeling in the form of a heavy, necklace pulling its weight down. I explored this idea by creating a series of pieces that aim at recreating that same psychological and physical experience. Working with materials such as wood, copper or resin has allowed me to express my ideas and create large size, strong and rough looking jewellery. However, while all my pieces are meant to be worn by the human body they, at the same time, challenge peoples’ expectations in terms of their weight. They aim at producing that feeling of heaviness or exhaustion that generally happens at difficult, critical times. All of my pieces are based on linear, irregular shapes that I create layer by layer.




40*20*8(cm), 2017



Shixi Liu


The project focuses on applying acrylic material and explores how to manipulate a light through multiform of acrylic pieces. My fascination is with the movement of light.
I want to study light, a kind of energy that can intuitively stimulate our eyeballs, to express the movement of light. Normally people identify light source in a form of a spot. Once the spot starts to move in a regular or irregular way throughout the space, it will create another pattern of lines. These linear patterns look quite geometrically framed or other streamlined patterns. I was inspiration by these attractive patterns.
My concept combined the light of motion with dancers. I could see the dancer’s movement had similar characteristics to that of the moving light, such as their swifts, swirls and different dynamics. On one hand, the amplitude of a basic motion, such as walking, produces not quite strong magnitude. Hence making some static pieces to express a visual light movement in a static status. On the other hand,  I found that objects will be accompanied by movement when we wear or play it. Thus, I will make some dynamic jewellry to show trial light in dynamic condition in the next step.
I was challenging to explore how to use LEDs, batteries and circuit to follow the acrylic shape to create my work. Throughout experimenting with different materials, I came cross acrylics. I am intrigued about the properties of acrylics and how it has the ability to transmit, channel and change the color of light. I made a range of the jewellery and I want people to feel the manipulation of light and hope they will understand through the material how the form of light is so fascinating.
I moved to England in 2015 to study Faculty of Arts, Design and Media at Birmingham City University, Specialising in Jewellery, Sliversmithing and Related Products.



LED, acrylic

10*4*3(cm), 2017



Hanbi Xu


I have always been interested in human emotions. For this being an abstract concept, I draw on my personal experiences as a source of inspiration. However, finding ways to deal with negative feelings rather than escaping from them can be challenging. As a jewellery designer, I am interested in creating pieces that address this issue. My designs aim at representing our everyday conflict, or battle against negative emotions, while at the same time, inspiring people to face them as an inevitable aspect of life. I therefore make jewellery that looks intricate and complex in shape, colour and material.  The textures, colours and diversity of materials I use such as clay, glass seed beads and calico fabric are important source of inspiration and my ideas are best expressed through them. I enjoy applying traditional Japanese dyeing techniques such as Shibori which I combine with cold enamel aiming at giving my pieces a mysterious, monstrous appearance. Aesthetically, my jewellery pieces explore organic shapes and forms taken from sea-life or the organs in the human body. I am interested in the response I get from people when they try to find the meaning behind my pieces. Because I work with unconventional materials, shapes and wearable positions my designs aim at provoking and challenging the viewer to spend some time and reflect about the work.



Clay, glass, seed beads, calico fabric

20*20*4(cm), 2017



Xiao He


My jewellery design project explores the shape of the human body, and my research is focused on muscular shapes. Through human movement, muscles and bones also change status and have a variety of shapes. The mystery of human-beingshas inspired me to create my work, including its constitute elements ,function and body construction. My work does not look real muscle, they are abstract and flexible because of the shape. I have always drawn the shape of the human body, body and I have also done skeleton models and copied human being and anatomy sketches from various artists. I then painted a lot of 2D shapes of muscle using charcoal as this study process allows me to understand the structure of the human body. I moved on to making a lot of 3D objects to express my ideas and my knowledge regarding the human form. The materials I used were stone clay, flocking powder and resin. The stone clay as a main material in my work is light and can be restructured. The flocking texture and smooth resin formats different visual effects. Currently, I use my carving skills to create different shapes of muscle lines and also used cold connection to make my pieces move which is interesting. As a main colour in my work, I chose pink and combined other skin colours together. I will keep create new shapes and develop my work.
When I could not sleep in the night, I’m always watching my hands, arms, vessels through moonlight, or through observation my red and rose colour of flesh to feel the flow of blood, the beat of the heart. In my university, I keep liking drawing the shape of human, has also done skeleton models and copied Master's human beings sketches, so I chose jewellery major. I saw some artistes who made body jewellery, such as Catherine Truman who spends a lot of time to study anatomy for making body jewellery, those tiny vivid forms attract me a lot. This is the reason why I want to explore human beings.




8*7*6(cm), 2017



Yiqi Chen


My inspiration work of the Japanese photographer Kenji Shibata. He put flowers in ice to create on attractive image to represent the preservation of moment. I love the beauty and grace of flowers. When people want to celebrate events such as festivals, birthdays, wedding days we often think of using flowers. Therefore I think flowers are a symbol of a happy time in our life. People often use flower for funerals or other sad occasions, so flowers also can be a symbol for an unfortunate event. I want use my work to keep these two contrasting moods together to represent that life is filled with moments of joy and sorrow. When we accept both, there is a possibility for happiness.



Resin, Brass

8*3*4(cm), 2017



Yun Zhang


Rengliang Qiao, a melancholic Chinese artist, once said ‘we are all sick’. For me, this means that Riangliang, as an actor, aimed at telling us that what we show to others can be just the tip of the iceberg. Our true emotions are not usually visible and there is always an element of sadness inside of us. These ideas have become the starting point for the creation of my jewellery designs. I began exploring the concept of illness through the creation of ‘transparent boxes’, pieces that combine glass with real medical pills. With these, I want to symbolise our fragile human nature while reminding the viewer that while we are not transparent, our feelings still exist. My work started to develop as a narrative around the problem of emotional hiding and its relationship with psychological illnesses. I use materials such as resin and plastic to create pieces that resemble ordinary medicines or pill packaging. They can move and rotate suggesting different meanings. At the same time, every material and aesthetic choice is symbolic. For example, I use red to suggest blood, or self-harm. Black represents the dark, hidden emotions and I can use white to suggest hospital, but also calm or pureness. My jewellery pieces aim at telling a story. I wish to inspire the viewer to create their own narratives, to imagine the life of the person behind those medicines. What is their reason for taking them? What are their lives like? These questions however, would always remain a secret and my work wishes to express this mysterious feeling.



Resin, Plastic, Brass

9*7*6(cm), 2017



Yishan Zhang


My contemporary jewellery collection draws inspiration from fragmentized and creasing textures. I began by looking at broken glasses or ceramics and was interested in the way that by focusing on the particular fragments, the details and textures started to become more important and attracted my eye.

With this inspiration, I experiment with different materials such as aluminum foil paper, Acrylic paints and metals in order to create my own textures. The aluminum foil is a cheap material and easy to manipulate, and I tried to explore the deeper properties of it. These creations at the same time, suggested similarities with other natural things such as volcanic rocks, or burnt wood, which attracted me. I tried to use different colors to create significant contrast, such as I spray paint the outside of foil into black and I use bright colors like red and orange to paint inside of it, make it looks like magma coming out of the rocks.

 My original idea was about to challenge around broken things as wasteful or useless. Rather, I aim at giving them a new meaning focused on their abstract beauty, not their function. My work is therefore a reinvention of the aesthetics, calling for attention to the visual properties. I would like people to find the inner and hidden beauty in the objects around them rather than valuing them for their functionality or purpose. 


Aluminium, Painting

8*3*4(cm), 2017



Lanqi Fu


My creations are influenced by my interest in nature, such as insects and marine animals. I love animals and have a particular interest in their form and colour. My work explores vivid surface and light colour styles, because I aim at attracting the audience through my visual and tactile effects. There are some special forms of marine life and plants that make people feel uncomfortable with their innate appearance. I believe that their fascinating movement and form would be an interesting concept to translate into jewellery. I am passionate about working with 3D pen(PLA), because I feel that this technique allows me to communicate my ideas and it is a new and innovative approach in jewellery design.


Ring, Necklace







Ya-Jung(Keira)’s work works draw inspiration from sound. She is fascinated by the poetic of the invisible sound that fills spaces and this motivates her to translate this hearing experience into a visual art form. She considers her work as an exploration between vision and sound and the relationship to create attractive visual representation.
People generally think about sound in its literal meaning. By contrast, Keira does not aim to create pieces that make sound. Instead, she wants to break the boundaries of senses, encouraging viewers to use their eyes to enjoy it and imagine what it may look like. She hopes her work will trigger emotional responses.



Resin, Metal

10*8*5(cm), 2017



Ruixuan Chang


As a contemporary jewellery designer, it is my responsibility to explore the new materials. I chose architecture as the theme of my project. this idea originated in my particular interest in architecture and visiting buildings. I found that the viewing position will bring us different visual experiences.
I realized that when I look at buildings through a small window, I will pay more attention to their details and the textures of the walls. when people look at a building, the first impression will be its overall shape, structure and appearance. Because of their scale, it is difficult to appreciate the texture on the walls and other details. However, if we focus on a small range, it is easier to find smaller details. It is these details which are very appealing to me.
By focusing on the details in architecture, this project aimed at creating jewellery pieces that reflect on and highlight the beauty of textural architectonic smallest elements as the ones found on the walls of architecture. In my latest series I have experimented with Jesmonite. I add the different materials into Jesmonite to create the new texture. During my making process, I do not have a final appearance. I enjoy the surprise from the tests. Finally, I cut a small circle to make audiences attend the texture in the small hole. My projects will show the detail be ignored to audiences.



Jesmonite, Brass

8*6*4(cm), 2017



Hui Fang


My project was influenced by the natural tracing of aging and using. I tried to explore the the relationships between something old and new, aging and growing, broken and fixed, dead and reborn. Every element and detail of my work explains my concept about ‘patches’, including patterns, materials and forms.
Besides, I do not think contemporary jewellery is noble. On the contrary, it comes from our daily life and should be an intimate part of us.



Fabric, Brass




YU-lien chen


On the basis of images creating skills by her own, she keeps observing variety of illustrations from different artists from different fields. Indeed, strongly black style can be seen obviously from her images and also from her collections. Furthermore, multi-materials are also a crucial part for her.
Her work draws inspiration from contemporary calligraphy and related artists. Her jewellery collections aim at translating her two dimensional calligraphic designs and images into three dimensional wearable objects. The material choices are therefore guided by these designs which then trigger a series of investigations and experimentations in order to find the right elements to construct my pieces. With the development of designing and evaluating, she has changed my recent research to “Chaotic, Unfinished, Destroyed”.



Black Painting, Brass

10*4*4(cm), 2017



Zhaodan Zhang


My inspiration comes from the silkworms. I am interested in the stages in the life cycle of the silkworms from eggs, to larva, cocoon and adult moth.  This process makes me think about the problem of life and death. Similarly to our own lives, the silkworm lives for a limited period of time. My jewellery designs explore these issues. I use 3D-printing to create resin pieces that I then cover with layers of silk wire in the form of cocoons or cases. My own process of work mirrors and represents the process of life of the silkworm. For me, while we cannot see our beginning or end we can still find the cycle of life in other living creatures.  I aim at creating simple forms in light, soft neutral colours that resemble the natural elements. I wish to express that feeling of vagueness and mystery that will incite viewers to inspect the work more closely and feel its delicate texture while holding it in their hands.



Silkworm cocoon

6*6*6(cm), 2017



Yaoyu Fu


The origin of my design ideas started with my fascination about oil paintings. In particular, I like the thickness and colour of the brush strokes which cover canvas. My aim is to use conventional materials in unconventional ways, so I decided to explore the possibility of using paint as the main material for the creation of three dimensional, jewellery pieces. I discovered that the flexible and fast-drying acrylic paint can be used as a building or modelling material. Therefore, I generally start by experimenting with acrylic, forming layers and creating three-dimensional forms. I then gradually incorporate other materials and elements to my pieces. I like using metal and rubber to create contrast. I am curious about what would happen when combining the qualities of all those materials together, finding the inner-relationship and balance in an accomplished jewellery work.

I want the audience to see my pieces as living, organic objects while focusing on the beauty and texture of the materials. My jewellery designs are meant to be touched not only seen, challenging the viewer to experience their material qualities.



acrylic paint, Brass

40*20*10(cm), 2017



Qiwei Liu


My project is an exploration of movement influenced by the planetarium. I enjoy passionately working with movement structure because it inspires me to produce various creative work. The colour from the image I searched on google link to planetarium strongly influenced my design choices, such as the pattern and the form of their colour. I am also interested in the explorative process of using bearing to achieve creating a movable structure.

Within the field of contemporary jewellery, I admire the work of “the dancing ring” by Michael Berger”, with his work expressing many possibilities of movement in jewellery. When people wear Berger’s work, they cannot stop to interacting with it. My work challenges the kinetic structure because I want to explore movement other than just rotation in the middle. My jewellery pieces are meant to represent the universe with the stars and galaxy having inspired me to create my work.

The process of design involved researching a variety of designs and attempting to adapt them into my own work. Firstly, I did some research on reflections such as water and light reflection and used a mirror material to represent these reflections. The moveable diamond shape to enables the reflection to be visible from every angle. The structure was initially created to visualise the colour system, but later designs have it represent the planetarium instead. The element in planetarium have a very attractive reflection, and as a result I used dye acrylic and anodized aluminium to replicate it.


Brass, Acrylic, Peridot, Resin

10*4*4(cm), 2017



Zekun Li


My work is inspired by social issues. As a contemporary jewellery artist. I believe that my pieces have the potential to communicate my political ideas not just to a specific wearer but to the general audience.  I created brooches that act as ‘billboards’ to communicate powerful message about the environment and our responsibility.
Born in 1993, Eugene trained at China University of Geosciences of BA Gem And material Technology ( Jewellery Design)2012-16 and Birmingham City University of MA in Jewellery, Silversmithing and Related Product 2016-2017.




8*6*2(cm), 2017



Shuming Chen


My work can be described as a contemporary jewellery exploration of architecture. I am interested in contemporary and unconventional architectonic designs where lines can be easily identified and their creation of empty spaces is clear. My work re-interprets architectonic spaces delineated by linear structures into wearable jewellery pieces and sculptural objects.
I am passionate about working with a combination of soft and hard materials. I use bamboo filaments combined with industrial metal tubes as they allow me to communicate my ideas and concept. The elasticity of the bamboo makes it a very malleable element with endless design possibilities and makes my jewellery pieces practically weightless. At the same time, the original natural colour of the bamboo itself has a close connection with the gold-plated tube elements. The colour of both materials practically blend creating an illusion of a perfect and harmonic combination, suited to each other.
My collection of brooches, rings, earrings and headpieces aim at being playful and interactive. They can be re-arranged and restructured by changing the position of its elements while creating miniature architectonic spaces.



Bamboo, Brass

10*4*3(cm), 2017



Yixin Liang


To capture the softness and mobility and the vitality and the movement of life through those vibrant plants and fascinating fungi, I engage in exploring the shape which are able to let different audiences create their own ways of playing my pieces and gain the happiness from daily life.




35*10*8(cm), 2017



Song Wang


"My work is inspired by the visual effect created by the movements of natural light. I am fascinated by the shadows casted by the sun and the way this changes the shapes of objects throughout the day. I am interested in the idea of casting those shapes while exploring the relationships between dark and light, solid and void in the creation of my jewellery pieces. I primarily use gilding metal as a material, while incorporating elements in resin that are then transformed by the effect of UV light. I enjoy placing these UV sensitive objects near a window during a period of time so that their shape and colour will be transformed by the projected sunlight. I understand my jewellery pieces, not as stable, static objects, but rather in constant transformation as light will continue affecting them when they are worn. For example, the colour in areas exposed to direct sunlight will change from white to red. Conceptually, my design is focused on the inter-related connection between time, space and environment and how this can be transformed through human action. These are issues that are important to me and I explore in my collections. "



Brass, Resin

8*5*3(cm), 2017



Yang Liu


My project is a series of work exploring untraditional materials and natural elements. My creations are influenced by landscapes, such as the colours created by light reflection, and the textures on the surface. I am inspired by the work of Japanese artist Mari Ishikawa, and how she worked with the beauty of nature.
The main material I used is Jesmonite, to create the structure with colours and textures. I selected Jesmonite because it can create a natural image, and it is hard enough to use as a strong base for my works. Using this material was a challenging process because it is hard to produce the shape I desired. However, this challenge was an enjoyable one, as it helped to explore techniques to achieve a better visual impact.
I hope that my project will show my own style and individual aesthetic through landscape exploration.
Born in 1992, Yang Liu, studied at Beijing University of Industry Geng Dan Institude, BA in Art and Design 2011-2015 and at Birmingham City University for an MA in Jewellery, Silversmithing and Related Products 2016-2017




8*8*2(cm), 2017



Weifang Liu


Inspired by structure, pattern and texture in nature world I create this collection. I interested on the contrast between organic and inorganic, order and disorder, planar and spatial. The discovering of from and structure encourages me to experiment with materials. Basic on traditional silversmithing crafts, I create contemporary aesthetic jewellery pieces.



Silver, Copper

8*5*2(cm), 2017



Xi Tong


I was born a dreamer. Peculiar thoughts and uncanny stories always form in my brain. I feel these thoughts represent  complicated and entangled inspirations that need to be explored. I wanted to use this opportunity to express some of these ideas. Aiming at bringing some kind of unique sense of humour and drawing people in, capturing the beauty and absurdity that is in my mind.
I bring a collection of weird style to my audience through form and colour My chosen pallette helped me to express the beauty of contrasting colours. Most of my work features eyes that are prominent in each design, with some featuring thorns and swaying tentacles. All of this helps to create a striking aesthetic for the viewer, encouraging them to observe in closer detail these unusual features.
I hope my collection will help unlock the potential the human mind has to create imaginative



Plastic, Resin

8*5*4(cm), 2017



Lingwei Shang


My works, on the one hand, emphasize the combination of geometric shapes and random lines. On the other hand, attempt the techniques called “metal inlay” (inlay silver into wood) and “stone inlay”(inlay stones into wood).
The existing plants and flowers in the world now are almost all formed by random, smooth and beautiful lines. My idea was to combine the geometric shapes and random lines to create my own peculiar plant forms. To create a strong and attractive garden of my own.
Hand-painted the flowers and plants graphics, cutting off into many small geometric shapes, made with solid geometric wood pieces and add details and textures with other metals or stones to achieve the perfect combination of geometric shapes and random lines.



Silver, Wood

8*9*7(cm), 2017



Weiqi Liu


My work can be describe as an exploration of repetition in elements and an expression of subjective imagination. Each piece integrates colour with circles to represent a free-flowing dialogue between subjective consciousness and objective body. I am fascinated with the skin colour of the human body and want to explore which colour palette can make the skin colour become highlighted. In particular, Tone Vigeland has influenced my design style, and I wished to further explore her structure in my own work.
I used a combination of the glass beads, glue and metal to enhance my idea. The sense of accumulation and the density give the surface of the piece an aesthetic vision and unique touch experience. The colour palette which I created it from fashion photo shoots has been integrated into my subjective colour taste.



glass beads

18*18*6(cm), 2017



Jiaming Bao


My jewellery creations focus on the essential qualities of paper such as its softness, lightness and endless possibilities of being recycled, becoming a new piece over and over again. Working with a recycled material is important to me as it represents a trace of the cycle of life. My designs therefore challenge traditional ideas of preciousness.
While white paper is a consistent element in my work, I use soft colours to highlight my material and forms. Stressing the life cycle of paper by creating tree branches and flowers I explore the idea that life always continues. 




10*4*3(cm), 2017



Olivia marsha


My work explores the tangible balance between repulsive and attractive, exposing various growths beyond the bounds of the body. Each piece acts as an extension of our inner self, bared to the foreign outside. 
Skin, being the barrier between our inner and outer self, is often portrayed as a vessel, an embodiment of our identity. Our skin is distinctively our own; personal, it reveals yet conceals oneself.
Through my pieces I aim to evoke questions of what if: What if you had my identity? What would you do with it?



Resin, Copper

13*12*7(cm), 2017



Jiahui Sun


The concept of Jiahui Sun's design inspired by the starry sky and the galaxy. 
I focus on exploring the relationship between the untouchable sky and wearable jewellery pieces, and use enamel as the main material, the rich colour of enamel combines with the highly polished metal texture create a strong contrast, giving audience a better visual experience. Meanwhile, some of my design are kinetic, I want the jewellery for more than just watching, wearing it, but playing with it.



Enamel, Brass

3*3*1(cm), 2017



Chen Cheng


Chen Cheng believes that contemporary jewellery is interactive because it demands a response, which can either be physical or emotional. Through kinetic movement and visual interaction, her work is designed to be explored.
“My pieces invoke play. A relationship between movement and Illusion pattern when the moveable element is moved by a wearer”.
Combining her own aesthetic and working style, Chen has taken inspiration from shapes and moving modes found in the human eyes. Applying this motion to express the mystique and magical forms of the Moire effect was the key determining process in her jewellery design. In addition, the work Physichromie No. 113 and aided by the artist Carlos Cruz-Diez provided inspiration for Chen due to the illusion concept in the design process.
Using sublimation and simple PVC shapes to create the minimal forms allows the audience to pay close attention to the movement of the pattern. Akin to movement, each piece’s “performance” holds its own surprise in style and character.
Chen hopes that through a deeper appreciation of such interaction, jewellery can be better understood and more people would be able to appreciate the different expressions and styles of contemporary jewellery. 



Acrylic, PVC

10*13*8(cm), 2017



Yajie Hu


As an artist, I am naturally attracted to colour and texture, as well as art as a tangible, wearable object. I investigate the colours, textures and shapes of some interesting animals, such as snakes and chameleons. I also study the striking colours of carnivorous plants as their approach is to attract insects into their deadly clutches. These interests have inspired me to create my jewellery collections.
I primarily work with acrylic paint as my ideas are best expressed through it. Working with acrylic paint allows me to be in direct contact with colour. I therefore not only investigate its visual qualities but also explore it as a useable material. At the same time, my designs are based on organic forms, which are then transformed and designed into my own aesthetic pieces. I aim for my designs to be worn on the body, but also to be valued as art objects.



acrylic paint

15*8*6(cm), 2017



Maral Mamaghanizadeh


Drawing on my own roots as an Iranian woman, and my interest in feminism, I explored the issue of the hijab [veil]. As a woman in Iran you are not allowed to uncover your hair, talk about feminism or sexuality as these are forbidden matters. Looking at this problem from outside, and understanding the equality of men and women suggested that hair as a material, could represent the long term political struggle that existed in my country. I explored this conceptually by creating a series of brooches with my own and other friends’ hair. The brooch symbolizes our own individual characters and personality coming together, and the stories that we, as women, reflect upon.
Moreover, the shape of the coconut shell resembles women’s breasts. This part of a woman’s body, therefore challenges most of us from Iran in wearing it, because of the uncomfortable connotations relating to our culture.




10*10*5(cm), 2017



Jiangfei Yan


I have always been interested in films as long as I can remember. This stems back to my experience as an undergraduate student in China. However, the ideas I explore in my collection started with a particular film, Black Swan. I was fascinated by the way the film compares birds with humans, both contained and protected by feathers or skin. At the same time, I am interested in the lines suggested by movement. I began by creating series of photographs in low shutter speed to capture the movement of birds flying and people dancing. My designs are the result of an exploration of texture, as the one of human skin or feathers, and line as a representation of motion. The choice of materials is both conceptual and aesthetic. I combine real feathers, which I re-shape, and structure, with acrylic pieces covered by photographs. I draw from the visual qualities of these elements, creating pieces in light pink or neutral colours to resemble both birds and skin tones. Simplicity, softness and subtleness are aspects of my work that are also important to me.



Feathers, acrylic

8*8*2(cm), 2017



Ying Jia


Plastic ‘city line’
Material: acrylic, fabric thread
Ying Jia’s work is influenced by architecture and structure, which she thinks can be seen through the geomtric elements of her work. The reason why she chose this subject is because she used to study landscape design. Combining her past degree in landscape design with my interest in jewellery, she is able to focus on geometry and lines. It is an amazing combination, because people can feel large architecture in small scale jewellery. She said she really enjoy it.
She is influence by geometry as it uses straight line which are simple and clear. She used a combination of lines alongside the geometry shape. It makes the design more complex and interesting. It is no longer a simple shape; it has other elements within the design, therefore adding contrast between the lines and shapes. She did lots of different size pieces, because she want to create ‘city line’ by these geometry pieces.



acrylic, fabric thread

10*4*3(cm), 2017





Yi-Jhu Huang’s collection explores the ancient, original relationship between rocks and human beings. Looking back in time, at the beginning of human kind, there was a bond between stones and people. Rocks were used as weapons for protection, as mark making instruments, and as tools for creating objects. Stones connect us with our past and our fundamental role as makers. Her pieces explore this triangular relationship between the artist, the tool and the material.

Wool felt is considered to be the oldest known textile, which was widely used in clothing, rugs and tents. Just like rocks, felting is close to the life of humans from ancient times. Although wool and rocks produce an opposite sense of touch and vision, they both, in different ways, suggest protection. At the same time, Yi-Jhu believes that the neutral colours of rocks create a restful, calm and cooling effect that she wishes her audience will perceive.

Yi-Jhu chooses wool to be her main material as its softness allows her to create hard and geometric rock shapes. The aim of her collection is to attract the viewer to an amusing contrast between sense of touch and vision, materials and shapes, line structures, and solid forms.




50*30*10(cm), 2017



Apinya Jitnipit


Nevertheless, there are some invisible mysteries of flowers that we cannot visualize with naked eyes, some things are extremely minute such as petite details. How do we realise that the beauty of them remain or more wonderful than we just use naked eyes to see it?
This collection was inspired by invisible details of flowers that we hardly see with the naked eyes. The designer used a microscope which can be enlarged up to 1000 times to expose the shape, pattern and texture of the flowers to be used as a main element of designing. Moreover, the growth and bloom of flowers were brought to design in this jewelry collection. 
Actually, this set is all white in consequence that  designers desire audiences to aware the beauty of the appearance and the shape of the texture and pattern without attractive colours. Material of the jewelry, the part of flowers with petite texture is light clay, petal which cover texture is acrylic and the body is made from metal.



Clay, Copper

18*18*4(cm), 2017



Gretal Ferguson


Gretal Ferguson’s current work explores the juxtaposition between material and form. Through the use of traditional silversmithing techniques she turns metal into fat, creating precariously drooping objects imbued with personality.
Observing the natural movement of fat rolls and flesh creases, Gretal takes these observations and creates her own quirky interpretation of flesh. While far from a straight recreation of fat, the small creases and rolls incorporated into the forms lend character to the objects. These recognisable human traits help to personify the work, as you subconsciously acknowledge  something familiar.   
Heavily influenced by street art and popular culture, the aesthetic of these chubby objects is informed by the plump lines of fat graffiti murals, with the quirky nature of these influences creating something cheeky in the work.
This cheeky nature can further be seen through stop motion videos which accompany the objects. The idea of showing these chubby forms gradually drooping and flumping over edges further informs the shape of the objects, with each piece representing a stage in the fats progression. This paired with the precarious nature of the objects installation creates a distinct sense of movement throughout the series.



silver plated gilding metal

14*12*10(cm), 2017



Yi Guo


Yi Guo’s recent work explores the puzzling infinity of time. She understands jewellery as a game, a metaphor of the unpredictable and unlimited changes of life. She sees her work as a document that records time and traces of life by audience encounter.
A series of works arrange with layers of elements, her making process reflects on this idea of trace and time. She creates her pieces by adding layers of different materials found in different times and environments. She took photo while traveling and collected found images from newspaper combine with a range of materials such as Tin Plated Steel, Gold Foil, Ink, Vinyl and Fabric, etc. Through a series of experiments and research, she transforms and reinterprets her findings, creating work that blurs the distinction and crosses the line between jewellery, object, sculpture and installation.
The artist draws inspiration from a multiplicity of sources. Myths, poetry, astronomical calendars, architecture exterior and also the urban palimpsests she finds on city walls. Fascinated by theories on time, Eva creates interactive jewellery pieces that aim at representing her idea of an eternal circle. She invites the audience to stand in the present while imagining the future and looking at the past.



Tin Plated Steel, Gold Foil, Ink, Vinyl, Fabric

4*4*2(cm), 2017



Biyi Wang


As a Chinese artist, Bi-yi Wang (Brigitte) her cultural background and environment has been an important source of inspiration for her work. At the same time, she believes that ‘these connections can be represented in the form of the human body. It could be said that we do not just exist on the surface of our skin but also in the inside of our internal organs. We are shaped not only by our individual identity but also through our relationship with our environment and others.’
Exploring these ideas, she create objects that combine inside and outside, natural elements and man-made materials. Using plastic and metal elements to contain the inner wood part. This project cutlery and jewellery is her second family that you can wear with, share them memories and wear them to everywhere.




12*4*4(cm), 2017

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