Blackdot Gallery Artist Interviews & Reviews LCW24

BANGTE XU, CHELSEA XIAOYU LI, DIXIN ZHENG, HAOTIAN, HUAIYI DU, LI-FEI LIAO, LYNN ZHANG, MO ZHOU, MUDAI, NING CHANG, PINDIGA RANJITH KUMAR, XIANJUN LIU, XIAOQING RONG, YADI WANG, YAOHUA LI, YIBEIJIA LI, YILING WU, YUAN-CHI LEE, YUWEI QIAN, ZHIXUAN YE, ZIWU

BLACKDOT GALLERY ARTIST INTERVIEWS

ABOUT BLACKDOT GALLERY

Blackdot Gallery stands as a thriving hub committed to supporting emerging talents and independent designers. Our dedicated mission is to provide an empowering platform that propels these creatives towards wider recognition, allowing their brilliance to shine in the artistic sphere.

We go beyond traditional gallery norms, cultivating an environment where innovation merges with tradition, and diverse artistic expressions come together seamlessly. With an unwavering commitment to nurturing budding talents, Blackdot Gallery fosters a thriving community of artists, designers, and enthusiasts, promoting collaborative growth.

Guided by the belief in the limitless potential of artistic exploration, we aim to ignite conversations that fuel the spark of imagination and creativity. Our overarching goal is to reshape the art and design landscape, making it accessible to all and acting as a catalyst for the evolution of fresh perspectives and inspiration.

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LONDON CRAFT WEEK 2024 SPECIAL EDITION

Blackdot Gallery www.blackdotgallery.com info blackdotgallery.com Copyright Blackdot Gallery 2024 ISSN 2977-4004 (Print) ISSN 2977-4012 (Online)

All rights reserved. Except for the purposes of review or criticism, no part of this publication may be reproduced or used in any form by electronic or mechanical means, including photocopying, recording and information storage or retrieval, without permission in writing from the publisher.

First published in London 2024 Printed and bound in London

CONTENTS

BANGTE XU

14 - 31

CHELSEA XIAOYU LI

32 - 51

DIXIN ZHENG

52 - 69

HAOTIAN

70 - 85

CONTENTS

HUAIYI DU

86 - 107

LI-FEI LIAO

108- 127

LYNN ZHANG

128 - 149

MO ZHOU

150 - 167

CONTENTS

MUDAI

168 - 197

NING CHANG

198 - 215

PINDIGA RANJITH KUMAR

216 - 245

XIANJUN LIU

246 - 265

CONTENTS

XIAOQING RONG

266 - 287

YADI WANG

288- 315

YAOHUA LI

316 - 341

YIBEIJIA LI

342 - 363

CONTENTS

YILING WU

364 -395

YUAN-CHI LEE

396 - 411

YUWEI QIAN

412 - 437

ZHIXUAN YE

438 - 457

CONTENTS

ZIWU

458 - 477

BANGTE XU BANGTE XU'S PHOTOGRAPHY CHALLENGES TRADITIONAL NOTIONS OF masculinity, INVITING VIEWERS INTO A REALM WHERE gender identity is fluid AND societal norms are questioned. THROUGH HIS THOUGHT-PROVOKING IMAGERY, XU SPARKS CONVERSATIONS ABOUT inclusivity and acceptance IN CONTEMPORARY SOCIETY.

ARTIST STATEMENT

Xu Bangte, an artist and photographer, is deeply intrigued by the interplay between photography and societal shifts, particularly within the realms of masculinity and urban dynamics. Central to his artistic exploration is the notion of masculinity, which he actively challenges and redefines as a positive force against the constraints of traditional stereotypes. In an era marked by the dissolution of rigid labels and limitations, Xu advocates for a more fluid and inclusive understanding of gender identity.

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ARTWORK STATEMENT

17 Society is always setting rules for people in regards to sexuality. People are required to be the gender that they are physically having, just like everyone is taught to have a correct political stand since they were born. For example, when a man shows his vulnerability to others, like crying in public, revealing fear in front of people, or showing signs of grievance, people will preach that his behaviour is shameful because it is against the traditional notions of masculinity in people's minds. Other than that, if a man starts to put makeup on and wear girlish clothing and splendour accessories, people will deliver a strange gaze or even eyeball him directly. With my further understanding of masculinity, traditional masculinity and femininity no longer have a distinct notion in my mind, and people can’t define gender by naked eyes.

In Ways of Seeing, Berger states that how people see their cognition and belief control stuff. What we see is what we are actually looking at, as well as things that are connected to it. However, over time until the emerging visual images, people’s visions are overloaded with tons of visual information. Gradually, people’s perceptions towards gender started to change by images.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (BX) - BANGTE XU

(BDG) Could you share your journey as an artist and photographer, particularly focusing on your exploration of masculinity and urban dynamics in your work?

(BX)

My career in art began with a digital camera. In my early works, photography was the primary medium of creation, with each image captured within the frame becoming my artistic language.

Photography magnifies the details of life, allowing time to pause and enabling us to step outside the limitations of our own perspectives, acting as a third eye to observe the world.

Afterwards, I continued experimenting by integrating photography with installation and performance art, moving beyond the singular use of photography as a medium. The combination of multiple mediums has broadened the scope of my creative forms. Based on self-critique and philosophical reasoning, I started to further explore the experimental nature of my work and how it could be better aligned with contemporary contexts.

My themes of creation also changed as the media I used evolved.

In many of my earlier photographic works, I explored the fluidity of gender through the lens, primarily addressing how traditional gender stereotypes should be challenged and how traditional masculinity should be treated. An individual's body should freely express its innate characteristics and be liberated from societal constraints. I hope my work encourages viewers to break the boundaries of their own thinking, continually exploring and connecting their inner worlds with the external environment.

Later, as my creative media became more diverse, I also began to focus more on the problems of "urban residual syndrome" that continually plague contemporary urbanites. Artificial lighting, highways, public installations, and urban planning are constantly changing the way humans live, covering both the physical and sensory experiences of contemporary urbanites. My work aims to explore the symbiotic relationship between people, cities, and nature. It serves as a vessel that carries the urbanites' sense of alienation from nature.

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(BDG) Your work delves into the complexities of masculinity and societal norms. What drives your artistic exploration of these themes, and how do you translate them into visual narratives in your photography?

(BX)

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For me, the exploration of masculinity and societal norms began with my own upbringing and the mutual influence between my personal growth and changes in the external environment. In society, each person's basic characteristics are transformed into symbols used to define and represent others. People tend to use fixed perceptions to define others, ignoring what lies beyond their cognitive scope, which I find to be a very narrow view. Plato's Allegory of the Cave inspired me, the cave symbolises the world accessible to the human senses, while stepping out of the cave to see the sun represents the soul ascending from the visible world to the realm of ideas, which only the spirit can comprehend.

When I realised the standardisation of masculinity imposed by society, I began to "step out of my own cave," and only then did I recognise that the masculinity I was supposed to embody was not the real "me." Inspired by these philosophical concepts, I transform them into tangible visual effects in my work.

(BDG) Could you elaborate on the techniques and processes you employ to convey the fluidity and inclusivity of gender identity, as well as any specific photographic techniques or stylistic choices you utilise to address the complexities of gender identity and societal norms in your artwork?

(BX)

Firstly, in terms of costumes, I consciously choose subversive elements. I dress male models in exaggerated pink floral dresses and delicate makeup, with blossoming flowers adorning their heads. These elements are often labelled as feminine in contemporary society, and my aim is to create a visual provocation.

In fact, historically, skirts were initially worn by men, from ancient Egypt and Greece to ancient China, where it was common for men to wear robes. Furthermore, stockings and makeup were once popular attire for men in European history, and pink was once considered a masculine colour. However, these symbols have been forgotten over time. The social definition of gender is constantly changing, and therefore, gender labels should be regarded as meaningless constructs. Who defines beauty? Is it the societal frameworks that bind us, or is it our inner, fearless true selves?

As for lighting, I employ classical lighting effects, reminiscent of the light and shadows in mediaeval oil paintings, yet reinterpreted under the capture of a modern digital camera. This approach is also for the reasons mentioned, societal definitions and aesthetic perceptions are fluid and cyclical. We should not define a person's worth and identity through external symbols.

(BDG) Your artwork "Escaping Freedom" presents a thought-provoking commentary on societal expectations and gender norms. How do you select materials and mediums to express your conceptual ideas effectively?

(BX)

The reason I chose photography as the medium for this piece is because, as a form of visual art, it not only offers immediacy and a strong visual impact but also has the power to touch the viewer's emotions deeply. Photography, as a medium that captures reality, reveals the inner truth of its subjects in a unique way.

Furthermore, the camera itself plays the role of a perfect observer, it is objective and carries no prejudices - it merely records. However, people often fail to view others without bias, and the act of staring frequently occurs.

In discussions of gender norms and societal conditioning, the phenomenon of "being gazed upon" due to gender labels is particularly pronounced. When an individual's gender characteristics do not conform to mainstream expectations, they may face discrimination and criticism. The characteristic of photography makes it an ideal medium to explore these issues because it exposes the societal tendency to label individuals - a perspective often filled with prejudice. These biases do not originate from the camera, but from those who view the photographs.

(BDG) Your photographs invite viewers to reconsider their perceptions of gender and identity. How do you envision viewers interacting with and interpreting your artwork in the context of contemporary societal discussions?

(BX)

My photographic works are not only discussions about gender labels and norms, they serve as an invitation, an open forum for dialogue designed to prompt viewers to reevaluate and reflect on the complex relationships between self and societal conditioning.

Against the broad backdrop of contemporary society, each viewer approaches my work with their unique gender, nationality, and cultural background, facing different challenges and issues.

Through my art, I aim to inspire viewers to apply a mindset of challenging societal norms and resisting the gaze in their own lives.

My work attempts to break the chains of traditional notions and encourage a more open and reflective societal conversation. In this process, viewers are not merely passive recipients but active participants, whose interpretations and interactions help to shape a diverse and inclusive framework of understanding.

I envision my artwork as a catalyst, sparking an exploration of the tension between personal identity and societal norms. This exploration extends beyond gender discussions to encompass finding one's place and voice in a constantly changing world.

Thus, my work is an invitation for each viewer to cross cultural

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and personal boundaries and engage in an ongoing dialogue about freedom, identity, and transformation.

(BDG) Your work has gained recognition through exhibitions and publications internationally. How do you perceive the reception of your art, and what impact do you hope it has on challenging societal constructs?

(BX)

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M y a r t wo r k h a s g a i n e d a c e r t a i n l eve l of re c o g n i t i o n internationally, which I believe is not only an affirmation of my creative output but also reflects the audience's attention and response to the social issues I explore, such as gender stereotypes and identity. This attention is a positive development, indicating that people are beginning to resist the irrational aspects of traditional societal conditioning, especially those stereotypical norms related to gender and societal expectations.

In my view, art is not merely for aesthetic display, it is a challenge, a call to action, aimed at stimulating viewers to deeply reflect on and question entrenched societal structures. I hope my work serves as a spark that touches the soul, encouraging people not only to reconsider the diversity of gender and identity but also to promote discussion and reflection on broader societal issues.

Even if the changes are minor, I hope that one day the world will become more open and inclusive.

(BDG) What future themes or concepts are you eager to explore in your artistic practice, and how do you see your work evolving in response to ongoing societal changes?

(BX)

In my future artistic endeavours, I will continue to address the topics I have often discussed, such as resisting gender labels and societal conditioning. However, moving forward, I plan to expand my focus beyond just gender issues to include a broader range of minority groups, exploring the injustices and scrutiny they face in society.

I aim to challenge those societal structures considered authoritative, especially those old ideas and prejudices rooted in the patriarchal society of our era. My goal is to deconstruct societal norms that allow only a mainstream narrative to prevail, opening a window for more diverse voices to be heard and for different life experiences and modes of existence to be understood and respected.

HAILING FROM CHINA, XU RE photography FROM THE Lond University of the Arts London, IN 202 SHANGHAI AND LONDON, HE W Biennale Prize AND HIS WORK H THROUGH VARIOUS EXHIBITION A60 Contemporary Art Space in Mi (2021), AND THE UAL Graduate MOREOVER, HIS ARTISTIC CONTR IN ESTEEMED PRINT AND ONL Iconic Artist Magazine in Europe (2 (2020), AND Phot

ECEIVED HIS bachelor of arts in don College of Communication, 21. SPLITTING HIS TIME BETWEEN WON THE 2024 Venice Premio Arte HAS GARNERED RECOGNITION NS, INCLUDING SHOWCASES AT ilan (2021), The Holy Art in London e Showcase 2021 IN LONDON. RIBUTIONS HAVE BEEN FEATURED LINE PUBLICATIONS SUCH AS 2019), Schön Magazine in London toVogue IN ITALY.

REVIEW

28 Bangte Xu's photography is a captivating exploration of masculinity and societal norms, offering viewers a thought-provoking glimpse into the complexities of gender identity in contemporary society. His ability to seamlessly blend traditional photography techniques with avant-garde concepts sets him apart as a visionary artist pushing the boundaries of visual storytelling.

One aspect of Xu's work that stands out is his masterful use of symbolism and composition to convey his thematic message. In "Escaping Freedom," for example, the juxtaposition of masculine and feminine elements creates a visually striking tableau that challenges viewers to reconsider their perceptions of gender. Through meticulous attention to detail and a keen eye for visual storytelling, Xu invites viewers on a journey of introspection and self-discovery.

Furthermore, Xu's exploration of masculinity goes beyond surface-level aesthetics, delving into the deeper psychological and societal implications of gender identity. By capturing moments of vulnerability and introspection, he prompts viewers to confront their own biases and preconceived notions, fostering a more inclusive dialogue about gender and identity.

While Xu's work is undoubtedly thought-provoking and visually arresting, there are moments where the thematic message may feel somewhat obscured by the complexity of the imagery. In some instances, viewers may find themselves grappling with the meaning behind the visuals, requiring a deeper engagement with the work to fully appreciate its significance.

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Overall, Bangte Xu's photography represents a bold and innovative approach to exploring masculinity and societal norms. Through his evocative imagery and meticulous attention to detail, he challenges viewers to confront their own assumptions and biases, sparking a dialogue about gender identity and the human experience in contemporary society. As an artist, Xu continues to push the boundaries of visual storytelling, leaving an indelible mark on the cultural landscape.

CHELSEA XIAOYU LI CHELSEA XIAOYU LI'S JEWELLERY BLENDS contemporary design WITH traditional craftsmanship, EXPLORING cultural hybridity AND personal identity.

THROUGH INNOVATIVE USE OF MATERIALS, HER WORK INVITES reflection, APPRECIATING cultural interconnectedness.

ARTIST STATEMENT

Chelsea Xiaoyu Li’s work spans contemporary jewellery, traditional crafts, and painting. Her work is rooted by her personal experiences and traditional craftsmanship. The primary mediums of her work include jade, metals, and mix materials. She emphasises the relationship between contemporary art and traditional craft, further, to explore the interaction between self-identity and cultural hybridity.

The temporality of traditional craftsmanship fascinates her, and also inspires her to create historical and stunning artwork. Her jewellery aims not only to make jewellery but also to create stunning pieces that transcend time and space.

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ARTWORK STATEMENT

“Hybrid is not a third term that resolves the tension between two cultures’ but rather one that holds the tension of the opposition and explores the spaces inbetween fixed identities through their continuous reiterations.” —— Homi K. Bhabha, Third Space 1994: 113.

Stones Set Stones emphasises the mutual influence and exchange between different cultures, suggesting that culture is not a closed, singular entity, but rather a fusion of multiple elements. It breaks traditional inlay methods by using jades to set gemstones. Through this combination, the visual contrast between the two stones highlights their inherent coherence, inspiring the audience to contemplate the relationship between personal identity and hybrid society.

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ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (CXL) - CHELSEA XIAOYU LI

(BDG) Could you share with us your artistic journey as a jewellery artist, from your early experiences in painting to your exploration of traditional crafts and contemporary jewellery making?

(CXL)

I've had a strong interest in the art field since childhood. I began systematically learning painting skills in middle school in order to have a better understanding of art and enhance my artistic creation. I ended up majoring in jewellery in college by chance, then inspired by artist Otto Künzli and The Book, I started to continue my art creation in the contemporary jewellery making field. My creative process focuses on research methods and emphasises the communicative function of the work.

As an artist with a multicultural education background, has enabled me to examine the relationship between collective and personal identities from various cultural contexts.

The temporality of traditional craftsmanship, as well as its representation of geographical cultures and history fascinates me. Rooted by traditional craftsmanship to explore personal identity is an effective way to narrative the interaction between individual and cultural hybridity.

(BDG) Your work bridges contemporary jewellery with traditional craftsmanship. What inspires this fusion of mediums, and how do you explore the interaction between self-identity and cultural hybridity in your jewellery pieces?

(CXL)

Please follow the preceding paragraph.

(BDG) Can you share any specific artists, movements, or cultural influences that have inspired or influenced your artistic practice, particularly in the realm of contemporary jewellery making?

(CXL)

Otto Künzli's "The Book" is one of the seminal books that enlightened me in the field of contemporary jewellery. It features interdisciplinary conceptual works by hundreds of artists. This book has guided me to attempt breaking the boundaries of jewellery, and paying more attention to individuality, innovation, and dialogue with contemporary culture.

Personal identity is always the theme explored in my works.

The theories and philosophy expounded by Walter Benjamin suggest that various forms of artistic creation and design are

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rooted in and revolve around human experience. Identity stems from experience, and experience shapes identity. This theory inspires me to engage in narrative creation based on personal experiences through the process.

(BDG) In your artistic practice, what techniques and processes do you employ to seamlessly integrate materials such as jade, metals, and gemstones into your jewellery designs?

(CXL)

Carving techniques are the most commonly used techniques in Stone Set Stone. In the gemstone crafts of various cultures, carving techniques are a crucial aspect. Stones are not traditionally recognized as a perfect choice for setting gemstones, so precise carving dimensions to allow the stones fit as seamlessly as possible is the key focus through the process.

(BDG) Your artwork "STONE SET STONE" showcases an innovative approach to traditional inlay methods. Could you delve into your creative process and the significance of using jades to set gemstones in this collection?

(CXL)

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It breaks traditional inlay methods by using jades to set gemstones. Through this combination, the visual contrast between the two stones highlights their inherent coherence, which are all stones. STONE SET STONE emphasises the mutual influence and exchange between different cultures, suggesting that culture is not a closed, singular entity, but rather a fusion of multiple elements, inspiring viewers to contemplate the relationship between personal identity and hybrid society.

(BDG) "STONES SET STONES" invites viewers to contemplate the relationship between different cultures and personal identity. How do you envision viewers interacting with and interpreting the visual contrasts and coherence within your jewellery pieces?

(CXL)

I envision that these pieces could enable viewers to directly perceive the amalgamation of two materials, prompting them to reflect on how their own cultural background would create such an assemblage, thus seeking their personal identity.

(BDG) Your work has gained recognition in prestigious publications and events such as Marie Claire China and London Fashion Week. How do you perceive the reception of your jewellery pieces, and what impact do you hope they have on promoting dialogue about cultural hybridity?

(CXL)

Traditional craftsmanship, as a material medium, narrates the interaction between cultural hybridity and personal identity. At the same time, I hope to draw attention to the development of the traditional craftsmanship field, and I look forward to seeing more traditional craftsmanship integrated into various aspects of contemporary art.

(BDG) What future themes or concepts are you eager to explore in your artistic practice, and how do you see your work evolving to continue challenging perceptions of traditional crafts and contemporary jewellery?

(CXL)

For my current work, Identity, history, and culture are the main themes. People’s social and cultural identities keep flowing, I am looking forward to documenting the process through jewellery.

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CHELSEA XIAOYU LI IS A LONDON. SHE BEGAN ST childhood AND DELVING INT THE FIELD OF JEWELLERY I JEWELLERY MAKING, SHE G INSTITUTE OF FASHION TE COMPLETED HER MASTE THE Royal College of Art IN FEATURED IN Mari London fas

A jewellery artist BASED IN TUDYING painting in her TO ARTISTIC CREATION IN IN COLLEGE. FOCUSED ON GRADUATED FROM BEIJING ECHNOLOGY IN 2021 AND ERS IN Jewellery & Metal AT N 2023. HER WORKS WERE ie Claire China AND shion week.

REVIEW

48 Chelsea Xiaoyu Li's jewellery pieces stand as a testament to the transformative power of artistry, seamlessly blending contemporary design with traditional craftsmanship. Through her innovative use of materials and meticulous attention to detail, Li creates works that transcend mere adornment, inviting viewers into a world where cultural hybridity and personal identity converge.

One of the most striking aspects of Li's work is her deft exploration of the relationship between different cultures. In pieces like "STONES SET STONES," she challenges traditional notions of inlay methods by incorporating jades to set gemstones. This bold fusion of materials not only creates visually stunning contrasts but also prompts viewers to contemplate the interconnectedness of cultural traditions.

Li's jewellery becomes a canvas upon which the

narratives of diverse cultural experiences are woven together, offering a profound meditation on the fluidity of identity in our globalised world.

Furthermore, Li's craftsmanship is nothing short of exemplary. Each piece is meticulously crafted with a keen eye for detail, showcasing her mastery of carving techniques and metalwork. The precision with which she manipulates materials speaks to a deep understanding of her craft, elevating her jewellery to the realm of wearable art.

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In addition to her technical prowess, Li demonstrates a remarkable ability to infuse her work with conceptual depth. Drawing inspiration from her multicultural background, she explores themes of self-identity and cultural hybridity with thought-provoking nuance. Her jewellery becomes a vehicle for storytelling, inviting viewers to engage in a dialogue about the complexities of cultural exchange and personal heritage.

Overall, Chelsea Xiaoyu Li's jewellery artistry represents a harmonious union of tradition and innovation. With each piece, she challenges preconceived notions and expands the boundaries of contemporary jewellery making. Her work serves as a testament to the power of art to transcend cultural barriers and foster deeper connections between individuals and communities.

As she continues to push the boundaries of her practice, Li undoubtedly remains a force to be reckoned with in the world of contemporary jewellery.

DIXIN ZHENG DIXIN ZHENG'S JEWELLERY REDEFINES ADORNMENT, BLENDING craftsmanship WITH conceptual depth. THROUGH HER UNCONVENTIONAL APPROACH, ZHENG'S WORK INVITES VIEWERS TO CONTEMPLATE THE body, time, AND environment, LEAVING A LASTING IMPRESSION.

ARTIST STATEMENT

As a jewellery designer and maker, I have developed proficiency in various silversmithing techniques and modern approaches, including forging, Chasing and Repoussé, laser welding, and 3D modelling. I am interested in learning traditional techniques and using my own explorations to achieve them. In the project ‘A Crack in Everything’, I decided to inlay eggshells on metal rather than traditionally on wood, to explore the possibilities offered by combining cracked eggshells with undulating metal surfaces. My inspirations come from observing and perceiving subtle details and materials in daily life. I see my works as small sculptures or objects that can attach on people’s bodies. My ultimate goal is to continue evolving as a craftsperson, and contributing meaningfully to the craft community.

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ARTWORK STATEMENT

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Dixin’s collection “A Crack in Everything” is inspired by the broken floor tiles in Finsbury park station and developed from the traditional eggshell inlay technique to explore the interaction between people’s body and ground.

Dixin's works interrogate the relationship between time and matter, body and environment, past and present. In her defiance of the lines separating jewellery and conceptual art, Dixin's interactive pieces reimagine the notion of jewellery and have the potential to adorn the body in a multitude of ways. Inspired by naturally occurring textures, these works are meant to emulate the effects of time on matter. The interactive synthesis of metal and eggshells reflects the sturdiness which delicate things often possess.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (DZ) - DIXIN ZHENG

(BDG) Can you share with us your journey as a metalsmith and jewellery designer, from your early influences to your current artistic practice?

(DZ)

My undergraduate studies at CSM were primarily focused on crafting jewellery pieces that can attach on people’s bodies in unique ways. But I am not satisfied with only making jewellery, so I ventured to Heqing, a silversmith village in Yunnan Province, China, to broaden my skills. That experience ignited my passion for handcrafting and laid the foundation for my creations at RCA, I am currently making containers and utensils, like unconventional spoons.

(BDG) How has your education at Central Saint Martins and Royal College of Art influenced your artistic approach and development?

(DZ)

I think my study at CSM has built a solid foundation for my later study and development. I not only learnt the design theories and principles, but also discovered the crafts that I love to specialise in. My study at RCA is also very fulfilling as I built my own methodology and learnt new silversmithing techniques.

I discovered some interesting disparities between Chinese and UK silversmiths in approaches, which also brings positive influences to my design and making.

(BDG) In your collection "A Crack in Everything," you explore the interaction between people’s bodies and the ground. What inspired this exploration, and how do you express it through your jewellery designs?

(DZ)

I was attracted by the broken floor tiles in Finsbury Park station, as they reminded me of cracked eggshells.I was thinking when and why these tiles broke? People walk, run and jump on the ground every day. People’s bodies exert pressure on the ground due to gravity, and the ground supports people's bodies. This back-and-forth interaction is interesting. Day after day, the flat ground gradually becomes uneven and some tiles become fragile and broken. Inspired by Gerd Rothmann who combined people’s bodies with metal work together, I forged and chased different metal pieces that can perfectly attach on my body and combined them with eggshells.

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(BDG) You mentioned proficiency in various silversmithing techniques and modern approaches. Could you walk us through your creative process, from initial concept to the finished piece?

(DZ)

My creative process begins with exploring inspiration sources in my daily life and sketching initial concepts. Then, I translate these concepts into prototypes, usually just simple paper models at first, then experimenting with different techniques and approaches, either traditional or modern. And refining my ideas.

After selecting the most satisfying design, I meticulously make the piece, paying close attention to detail and quality. Finally, I focus on the surface and finish of my piece before presenting to the public.

(BDG) Your use of materials, particularly the combination of metal and eggshells, is quite innovative. What draws you to experiment with unconventional materials, and what challenges or opportunities do they present?

(DZ)

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I like observing objects and recycling materials in my mundane life. I even recycled garlic skins after cooking and used them to make a fluffy polishing mop before. I find that I am always attracted by materials that are fragile and delicate. Maybe it's because I often work with metal, which is hard. I like to transform those fragile materials in my own ways, and combine them with other things to strengthen their hardness. The problems I met during experiments are always due to the fragility of those materials, but I am happy to deal with these problems because I learnt and discovered diverse methods to transform the materials with different levels of fragility. And these materials gradually start to have characteristics and qualities they do not have initially.

(BDG) Your pieces often blur the lines between jewellery and conceptual art. How do you envision your jewellery pieces interacting with the wearer and the viewer?

(DZ)

People might not think my works are jewellery pieces when they see them at first, and I am always curious about how audiences define my works or their thoughts about how to contact these pieces after they realise my works can be worn on body. Also, I wish to bring audiences an awareness that they are connected with their surroundings while interacting with my works. When they touch my work, they might touch other things at the same time, like the table that supports my work. The shape, structure and cracked patterns of my works include elements, like force and gravity. People may realise they are influenced by these elements as well when interacting with my jewellery pieces.

(BDG) How important is the interactive aspect of your jewellery designs, and what role does wearability play in your artistic vision?

(DZ)

Interaction between people and different things are always my inspiration, it’s my starting point, and I always include it in my designs and final pieces. I think the interactive aspects of my jewellery not only include how audiences touch or wear my jewellery, but also what do audiences think while visually seeing my works. Some of my works are not really “wearable”, because when I designed and made them, I defined these works as objects that can attach on different parts of people’s bodies, not in the conventional sense of wearable jewellery.

(BDG) Your work has been exhibited at prestigious events and has garnered recognition. What impact do you hope they have on the audience?

(DZ)

My works are always designed to be worn in special methods, because I want to try to break the traditional border of jewellery and I want audiences to think how they define jewellery and their relationship with jewellery. For example, in the collection ‘ A crack in everything’, I made a brooch without any pin on it. People need to use their finger to press this piece on their body if they want to wear it. At this time, people’s body is part of jewellery or jewellery is part of their body, they interact with each other. Also, I am questioning: Can a brooch without a pin not be considered as a brooch?

(BDG) In what ways do you believe your jewellery contributes to the broader conversation within the craft community and contemporary art scene?

(DZ)

My jewellery pieces push the boundaries of traditional techniques, combine different techniques in a creative way, incorporate innovative materials, and create interesting dialogue between crafts and contemporary design.

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(BDG) What future projects or themes are you excited to explore in your artistic practice?

(DZ)

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I am interested in exploring something across-space and the perception of people’s bodies.

DIXIN ZHENG IS A metalsmith & jew GRADUATED FROM THE Centra STUDYING MA Jewellery and Met WORKS NOT ONLY HAVE FORMA ALSO EXPRESS THE poetry of mun THE SURROUNDINGS SHE OBSE ALLOWING AUDIENCES TO P TOUCHING OR WEARING HER JEW WON THE BRONZE AWARD FOR THE 2023 Goldsmiths’ Craft & Desig AT Munich Jewellery Week 2023 HER RECENT PROJECT EXPLORE INTERACTION, TIME, SPACE, MO ATTACH TO PE

wellery designer BASED IN LONDON. al Saint Martins AND RECENTLY tal AT Royal College of Art, DIXIN’S AL CLOSENESS TO sculptures BUT ndane life. DIXIN ELABORATES ON ERVED THROUGH HER WORKS, PERCEIVE AND RESONATE BY WELLERY. HER WORKS HAVE ALSO 3D Design Conceptual Jewellery IN gn Council Competition, EXHIBITED AND London Design Week 2023.

S THE THEMES OF PERCEPTION, OVEMENT, AND OBJECTS THAT EOPLE'S BODY.

REVIEW

Dixin Zheng's jewellery pieces are a testament to the fusion of craftsmanship and conceptual innovation, challenging conventional notions of adornment.

Rooted in her experiences and observations of daily life, Zheng's creations serve as small sculptures that evoke the poetry of mundane existence. Her collection "A Crack in Everything" is a captivating exploration of the interaction between people's bodies and the ground, inspired by the broken floor tiles of Finsbury Park station. Through meticulous craftsmanship and a keen eye for detail, Zheng seamlessly combines metal with delicate eggshells, creating pieces that blur the lines between jewellery and conceptual art.

What sets Zheng's work apart is her willingness to experiment with unconventional materials and techniques. By forging a path that defies traditional boundaries, she breathes new life into the art of jewellery making. The use of eggshells, a fragile and delicate material, adds an intriguing dimension to her pieces, reflecting the passage of time and the resilience of the human spirit. Through her innovative approach, Zheng challenges viewers to reconsider

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their preconceptions of what constitutes wearable art.

Central to Zheng's artistic vision is the interactive aspect of her jewellery designs. Each piece invites the wearer to engage with it in a unique way, blurring the distinction between object and body. By encouraging this tactile interaction, Zheng prompts viewers to explore the connection between themselves and their surroundings. Whether worn as intended or displayed as art objects, her creations spark contemplation and dialogue, enriching the broader conversation within the craft community and contemporary art scene.

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As Zheng continues to push the boundaries of her practice, exploring themes of perception and spatiality, her work promises to remain at the forefront of innovation in the field of jewellery design. With each new project, she invites us to see the world through fresh eyes, reminding us that beauty can be found in the most unexpected places. Through her art, Zheng leaves an indelible mark on the landscape of contemporary jewellery, inspiring us to embrace the extraordinary in the everyday.

HAOTIAN HAOTIAN DONG MERGES STORYTELLING WITH METALWORK, CRAFTING EVOCATIVE NARRATIVES THROUGH copper, gold leaf, AND brass. EACH CREATION INVITES INTROSPECTION AND WONDER, EXPLORING unrequited love AND cosmic symbolism.

ARTIST STATEMENT

Behind each of my metal art pieces lies a story waiting to be told. Whether real or imagined, each creation is born from a narrative, woven with threads of inspiration and imagination. As I work, I envision these pieces as integral parts of a larger tale, each one playing a unique role in the unfolding drama. Some may become the treasured jewellery adorning the protagonist, imbued with symbolism and significance, while others morph into essential props, pivotal in shaping the plot's trajectory. It's this belief— that art is inherently narrative— that drives my creative process and infuses my work with a sense of storytelling.

For me, crafting metal is akin to writing a story, with every strike of the hammer and twist of the metal wire contributing to the narrative's progression.

Each piece becomes a character in its own right, with its own backstory and personality, waiting to be discovered and interpreted by those who encounter it. By visualising my creations within the context of a larger story, I aim to imbue them with depth and resonance, inviting viewers to become part of the narrative journey and find their own meaning within the tale.

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ARTWORK STATEMENT

73 It's on a blazing planet where the sun never seems to set, where one day seems like an eternity, and you're stuck in this perpetual daytime waiting for the sun to set.

Because you made a deal with him that you would get a call from him when the sun finally goes down. You don't know what you'll say on the phone or if he will actually make the phone call. You just wait so foolishly. You don't know how much time has passed, but the sun is still high in the sky, not moving a muscle. Beside you by the sun shining golden flowers also began to slowly mottled, above the gold foil slowly fall off to reveal the flowers themselves by the sun-baked black colour. You looked up at the sky again, and it seemed like the sun would never set, just like he would never make that phone call.

This project is a visual presentation of the feeling of unrequited love that will never get a result. Just like the never-set sun, never-coming phone call. I made this tiara two years ago and intentionally did not put any seal over it, so as time goes by, the metal and the gold leaf on top will gradually get darker and “withered”. Just like the space junk forgotten in the vastness of the universe, also like that you who thinks of him but being forgotten in his mind.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (HT) - HAOTIAN

(BDG) As a multidisciplinary artist, you've delved into various creative realms, including brand identities, editorial content, metalsmithing, typography, art direction, and motion graphics. How do these diverse areas of expertise inform and influence your approach to metal art?

(HT)

The biggest difference between metal art and graphic art is the tangible nature of metal works. I've always believed touch is a vital sense, it brings a sense of reality from fingers to the viewer's brain. This tactile experience is vastly different from interacting with a computer screen. When designing graphic works, I constantly consider how to bring them into tangible existence.

Simultaneously, graphic design offers versatility, it's not bound by physical materials and leverages the capabilities of computer processors. Combining both mediums enhances creativity synergistically. Using real materials enhances the connection between graphic creations and people, while computer technology pushes the boundaries of metal creations.

(BDG) Your design philosophy emphasises extensive research, experimentation, and the development of captivating stories. How do you translate these principles into your metal art practice, particularly in crafting visual narratives through your pieces?

(HT)

In my metal art practice, I approach each piece as though I am narrating a story. Throughout the creative process, I maintain focus on the story I aim to convey, stiving to craft pieces that captivate the eye and ignite the imagination. Whether it's a necklace, bracelet, or sculpture, each work serves as a chapter within the broader narrative of my artistic journey, encouraging viewers to delve into their own interpretations of its meaning.

(BDG) You mentioned that each of your metal art pieces is born from a narrative, whether real or imagined. Could you elaborate on how storytelling influences your creative process and the significance of narrative within your work?

(HT)

I've always enjoyed thinking nonsensical stories in my mind, though I'm unsure if it's just me or a shared experience. When a story forms, I visualise the characters' faces, outfits, and accessories as if a projector in my mind continuously unfolds endless tales. Often, I draw inspiration from these characters, considering their dialogue, attire, and jewellery. This process mirrors the revival of story props

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through metal art. As I finalise each piece, I meticulously refine the storyline to align seamlessly with the narrative. Thus, every work represents a crucial prop in the worldview of the story I envision, essential for the story's completeness.

(BDG) Your collection "Before the Sunset, Please Call Call Call" conveys the feeling of unrequited love through visual presentation. How do you use metal as a medium to evoke emotions and convey complicated themes such as longing and anticipation?

(HT)

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Crush gives me the feeling like a hot sun shining on cold metal, the seemingly scorching light reaches the ground cold, the only effect is to lay a layer of golden light on the metal. Underneath the seemingly golden exterior, the kernel is actually always the dark cold heart of the other person. Because all your mental activities, in your heart no matter how passionate, the outside world is not felt. And your warm heart is for the other person's cold heart in your mind laying a layer of golden light. It's like a filter. Underneath this filter is still as uninterested in your heart as it was in the beginning. Because a crush is not a pursuit, you are not making any substantial moves. It's like the sun will always be in the sky not far away, not a bit closer.

(BDG) The description of your project evokes vivid imagery of a blazing planet and perpetual daytime. How do you translate these conceptual elements into tangible forms through your use of materials and techniques, such as copper, gold leaf, and brass?

(HT)

Copper stands out as the primary material for newcomers to metal art due to its affordability and oxidising properties, yet its enduring trait is its tendency to darken over time, evoking a sense of chill and decay. In contrast, gold leaf is like the sunlight dancing on water's surface. However, gold leaf is deceptive, it merely conceals the truth beneath a thin layer of paper, destined to gradually peel away. Yet, the genuine gold hue persists, shining through. In parallel, one's affection for another can be likened to gold leaf— beneath its guise lies the same cold copper and iron that personified the relationship from the outset.

(BDG) The intentional ageing process of your tiara, allowing the metal and gold leaf to gradually darken and "wither," adds another layer of meaning to your work. How does the concept of impermanence and transformation manifest in your artistic practice?

(HT)

Another difference between metal work and graphic work is that the moment a graphic work is exported, it will remain in the exported form forever unless you reopen the software to make changes. Metal artwork, on the other hand, changes slowly over time due to various physical properties. That's why I usually take the oxidation effect into account when I do metal work.

(BDG) Could you discuss the role of time in your creative process, both in the physical ageing of your pieces and in the narrative development of your artworks? How do you balance the deliberate decay of materials with the enduring essence of storytelling?

(HT)

I've always held the belief that time has a withering effect on nearly everything, especially relationships. No matter how resolute one may be in their conviction to remember someone, such thoughts tend to fade with time. Initially, upon completing this piece, my affection for someone was fervent. The fresh copper hue and pristine gold leaf embodied the vibrant emotions of that period, symbolizing a heart akin to springtime. Initially, I envisioned this artwork as a testament to my clandestine love. However, as time passed, my feelings for him dwindled, and this piece, once a symbol of my affection, gradually lost its significance, mirroring the decline of my emotions towards him.

(BDG) Your tiara serves as a metaphor for forgotten memories and unfulfilled promises. How do you envision viewers interacting with your piece, and what emotions or reflections do you hope to evoke in them?

(HT)

I've kept this piece stored in a special room at home. Most days, it slips from my thoughts, but occasionally, I venture into that room and encounter it. It acts as a catalyst, reigniting memories I had thought long forgotten. Memories I once believed would fade with time flood back, accompanied by the spectrum of emotions I experienced then— excitement, disappointment, euphoria all rushing back in a single moment. As I've delved into work and relationships, emotions have become more pragmatic, focused on resource allocation. My wish is that viewers of this piece can also reconnect with their former selves, recalling moments of silent happiness, sorrow, and disappointment experienced alone in their rooms. I hope they can once again embrace the complexity and perhaps long-lost emotions of that time.

(BDG) In your opinion, what distinguishes metal art as a medium for artistic expression, particularly in conveying complex narratives and eliciting emotional responses from viewers?

(HT)

Metal may be inherently cold, yet the process of working with it is ablaze with fervour. However, regardless of the intensity of this process, its warmth inevitably fades. This characteristic alone serves as a compelling narrative. The durability of metal, coupled with its propensity to rust, enables it to endure the test of time. Take this crown, for instance, without metal, I would never have witnessed its gradual darkening over the years. The tactile nature of metal invites viewers to physically interact with the piece, intensifying the emotional bond. The process of moulding the metal reflects the evolution of the narrative, enriching its complexity. Ultimately, metal art's capacity to evoke both visual

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and tactile sensations allows it to convey narratives imbued with depth and resonance, evoking profound emotional responses from viewers.

(BDG) What themes or concepts are you eager to explore in your future metal art projects, and how do you envision your practice evolving over time?

(HT)

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It's hard to pinpoint a fixed source of inspiration, my work often reflects the chapters of my life as they unfold. Currently, I'm focusing on a project that bridges my lettering work with metal jewelry. As I mentioned earlier, I've long believed that merging these two mediums would yield more than the sum of their parts.

Incorporating tangible materials into graphic designs fosters a human connection, while leveraging computer technology enhances innovation in metal creations.

HAOTIAN DONG IS AN AWAR artist BASED IN NYC. HIS EX visual systems AND APPLICATI AREAS, INCLUDING Brand Metalsmith, Typography, Art D WHETHER IN THE DIGITAL R HIS design philosophy CENT RESEARCH, EXPERIMENTATIO OF CAPTIVATING STORIES T structure, AND innovative ob

RD WINNING multidisciplinary XPERTISE LIES IN CRAFTING IONS THAT COVER VARIOUS Identities, Editorial Content, Direction, and Motion Graphics.

REALM OR PHYSICAL MEDIA, TRES AROUND EXTENSIVE ON, AND THE DEVELOPMENT THAT EMPHASISE consistency, bjectives AND functionalities.

REVIEW

Haotian, a versatile artist hailing from NYC, has s eamlessly woven together various creative disciplines to craft a distinct artistic identity. With a portfolio spanning brand identities, editorial content, metalsmithing, typography, art direction, and motion graphics, Haotian's work embodies a captivating blend of innovation and narrative depth.

In Haotian's metal art pieces, narratives come to life through intricate designs and tactile experiences.

Each creation is imbued with a story, whether real or imagined, evoking a sense of drama and intrigue.

Haotian's approach to metal art is akin to storytelling, with every strike of the hammer and twist of the metal wire contributing to the narrative's progression.

Through his work, Haotian invites viewers to become part of the narrative journey, encouraging them to discover their own meaning within each piece.

One of Haotian's notable projects, "Before the Sunset, Please Call Call Call," captures the essence of unrequited love through visual storytelling. Through the use of copper, gold leaf, and brass, Haotian creates a vivid representation of longing and anticipation, evoking

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emotions that resonate deeply with the viewer. The intentional ageing process of the tiara adds another layer of meaning, symbolising the impermanence of relationships and the passage of time.

Haotian's work not only pushes the boundaries of traditional techniques but also challenges perceptions of metal art as a medium for conveying complex narratives. By bridging the gap between graphic design and metalwork, Haotian creates pieces that are both visually stunning and emotionally resonant. As he continues to explore new themes and concepts in his artistic practice, Haotian's work promises to captivate and inspire audiences around the world.

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In conclusion, Haotian's metal art pieces are a testament to his creative vision and storytelling prowess. Through his innovative use of materials and techniques, Haotian invites viewers on a journey of introspection and wonder, exploring themes of love, loss, and transformation with depth and resonance. As Haotian's practice evolves over time, his work is sure to leave a lasting impression on the contemporary art landscape.

Through his innovative approach to storytelling, Haotian creates works that resonate deeply with viewers, inviting them to explore themes of love, longing, and transformation through the tactile experience of metal. As Haotian continues to push the boundaries of traditional techniques and explore new concepts in his artistic practice, his work promises to captivate and inspire audiences around the world.

HUAIYI DU HUAIYI DU WEAVES dreams and memories INTO CAPTIVATING VISUAL NARRATIVES THROUGH EVOCATIVE photography.

WITH A KEEN EYE FOR THE surreal, DU'S WORK INVITES VIEWERS ON A THOUGHTPROVOKING JOURNEY THROUGH memory and perception.

ARTIST STATEMENT

Ever since arriving in the UK, my sleep patterns have become erratic, owing to the shifts in climate and latitude. Consequently, I find myself struggling to attain deep slumber, instead traversing through a night filled with incessant dreams. Though I diligently catalogue these dreams, their sheer abundance often leaves me feeling drained. If one were to consider the concept of multiple universes as a means to grasp the spectrum of possibilities, then dreams undoubtedly serve as the vessels through which such experiences are lived.

In contrast to my prior endeavours exploring dreams and memory, my recent endeavours h a v e h o n e d i n o n t h e i n t r i c a t e re l a t i o n s h i p between dreams and alternate realities. From the confines of singular waking life to the boundless expanses of dreamscapes that defy conventional categorization, my fascination lies in uncovering the interconnectedness between these realms.

I harbour a deep affinity for the act of dreaming, finding myself endlessly captivated by its enigmatic nature.

Dreams offer me a kaleidoscope of perceptions, presenting facets of reality I may have overlooked, forgotten, or never encountered before. These visual impressions often seep into the reservoir of my memory, serving as wellsprings of inspiration for my creative pursuits. The genesis of what I term "illusory memories" lies in the nebulous boundary between tangible, objective recollections and the ethereal remnants of dream experiences. Within this realm, the lines between truth and fiction blur, ushering forth an oasis of boundless imagination.

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ARTWORK STATEMENT

89 This series of photographs is curated from different collections I've created in the past. Some explore the themes of dreams and memories, others delve into the perception of déjà vu, while a portion depicts cognitive errors. Throughout my creative process, I've consistently aimed to situate the contextual meaning of the images between reality and surrealism, to express abstract concepts like memory and emotions. These photographs represent my exploration of personal dreams and memories at different stages of my life. I believe that individual visual memories often distort original memories. For example, during sleep, real memories are continually reshaped and overlaid through dreams, and over time, these inaccurately conditioned memories tend to replace the original ones. I often believe that things I've seen in the past were a certain way, but often they are not. This conviction and reality often diverge. Once the boundaries of this reality become less tangible, perhaps ambiguity represents another aspect of the world.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (HD) - HUAIYI DU

(BDG) Your exploration of dreams and alternate realities is fascinating.

Can you delve deeper into how you translate these intangible experiences into tangible visual art forms?

(HD)

I believe that humans rely much more on visual information than on other forms of perception. It's often easy for us to recall something specific or evoke an abstract emotion from a particular object or scene, whether familiar or unfamiliar. Any emotional resonance generated through inspiration from a scene or object is a result of a concrete object, which then extends into a certain emotion in our minds. This process is an innate ability in humans.

In my creative process, I simply reverse this process. I've always been sensitive to emotions, and I tend to dwell on dreams or sudden flashes of memory that linger in my mind for a long time.

These mental images often bring me a continuous emotional comfort, whether warm or cold. In my artistic expression, I use tangible objects or objective scenes around me to recreate these mental images. I don't aim for a completely objective recreation but rather a contextual similarity. Essentially, my personal experiences or memories themselves undergo dynamic changes, so depicting the atmosphere of the context is my main focus in expression. Whether it's a camera or digital media, tools and mediums are merely means to an end for me. I don't rely on them.

(BDG) Your series "Honey Pond" and "Incomplete Investigation Archives" offer viewers a glimpse into the intersection of reality and surrealism.

Could you elaborate on how you navigate this delicate balance in your photographic compositions?

(HD)

I believe the middle ground between reality and surrealism is my creative realm. Therefore, sometimes my works may appear quite common in life, while others lean closer to surreal experiences.

The key factor in my creations is imagination. Imagination bridges a vacuum between reality and surrealism, where all reasonable and unreasonable existences coexist. We all know that imagination is ubiquitous in real life. For example, the sources of information we encounter daily, such as newspapers, media, and the internet, are mostly "fabricated by imagination." The extent to which they are fabricated depends on our subjective

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willingness to accept them. The ultimate pursuit of truth is unrealistic because truth itself is inherently difficult to define.

Many phenomena in life are analogous to the superposition concept in quantum theory. Probability provides a rational entry point to explore the world, where anything can exist, disappear, or transform into something else under specific circumstances.

On the other hand, I am very fond of Deleuze's concept of "intensity." The continuation of any form or emotion can lead to vastly different outcomes due to differing intensities. When creating these works, I first abandon the notion of precise objective expression and instead provide myself with a certain creative context (between the real and the unreal). Guided by emotional experiences, I explore the different "intensities" of emotions. These varied emotional experiences give rise to the diverse nature of each piece of work.

(BDG) Memory and emotion seem to be recurring themes in your artistic practice. How do you approach capturing these abstract concepts through the medium of photography?

(HD)

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Rather than capturing, I believe shaping is a more fitting term.

Because most of my works are primarily directorial in nature, I only present what I deem to be the correct visual content.

The elements and scenes depicted in my works are largely subjective representations or creations. I do not want to rely on the documentary attributes inherent in photography. This is why I currently use methods such as scanners, printers, and AI technology to present my works. Personal memories and emotions are intimate and abstract. When expressed on a twodimensional plane, much of the original conceptual "thickness" is inevitably lost. On one hand, flat photography is directive, as the expression of a photo is more focused, and any element in the image will guide the viewer's thoughts to a certain extent.

However, on the other hand, due to the limited expression space, photos can provide viewers with more room for imagination.

Therefore, this seemingly contradictory medium has a reasonable expressive capability for me.

(BDG) In your statement, you mention the concept of "illusory memories." How do you create visual narratives that blur the lines between truth and fiction, inviting viewers to contemplate the nature of perception?

(HD)

In fact, " illusory memories " occur in the lives of most people.

For example, when you and an old friend discuss a past event you both experienced, your perspective and your friend's perspective may not necessarily align. Perhaps in your own memory, the sequence of events and many details of that event are completely different from what your friend describes. It's also possible that they add many things beyond your recollection,

supplementing your memory. However, we all know that memory is subjective and biased to some extent. Others' descriptions can also influence our recognition of past memories. Memories here can be supplemented, altered, and edited, leading to " illusory memories." As mentioned in George Orwell's novel "1984," "Who controls the past controls the future." In today's society, living under certain levels of indoctrination also implies indoctrinated memories. We may think we are thinking, but are we really thinking? Or are we unconsciously extending a trained, erroneous result under false memories and experiences? In my works, I hope to evoke in the audience a perception of the essence of life. However, on the other hand, I hope the works themselves convey a sense of falsity, telling the audience that these stories and narratives are all fictitious.

(BDG) Could you share your process of curating photographs from different collections to convey a cohesive narrative in your series?

(HD)

Most of the time, I'll read through a novel in one go, and then, relying on my own understanding and memory, I'll optimize and change a story. Sometimes, I'll adapt a story based on my preferences (drawing from personal experiences), and of course, at times, I'll invent stories on my own, similar to writing a script. Then, it's about executing the script, which is similar to referencing for commercial shoots. However, in this process, I first match the fragments of trivial memories and what I perceive as "subjective images" in my mind one by one, clarifying an expressive context. When creating my own creative script, even searching for accurate image information from a large collection becomes efficient (whether from past photos or collected magazines), much like piecing together a large picture story relying on visual memory. Overall, you're a storyteller, but it's not about visually adapting the storyline. What I do is more like collage art, where narrative logic is not important, narrative context is my focus. At the same time, I need to create from my own executive aesthetics, including but not limited to reprocessing visual information received, to innovate.

(BDG) Your work often evokes a sense of déjà vu and cognitive errors.

How do you use photography to explore the ambiguity and distortions inherent in human memory?

(HD)

As I mentioned earlier, humans mostly rely on visual perception.

Why do people always say "seeing is believing"? From memory to instant reactions, we tend to prioritize visual cues. However, the limitations of vision are manifold. When observing the color and form of objects, factors such as viewing angle and lighting can lead to very one-sided visual memories. Once these memories are transformed into ingrained experiences, both the ambiguity and distortions will influence human behavior. Photography, as

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a medium rooted in visual perception, precisely exemplifies the limitations of vision. From historical photos, epic photos, and accident photos to advertisements, magazines, and personal selfies, it's too easy to fabricate because we rely on visual perception. This physiological cognitive structure makes us prone to cognitive biases, so I believe it's appropriate to use photography to raise this issue.

(BDG) As an artist, what do you hope viewers take away from experiencing your photographic creations?

(HD)

For the audience, it's difficult for me to ask others to fully understand what I create because everyone's experiences are different, so it's hard to say. But for the original intention of my creation, whether it's my works about dreams or fictional stories, I hope to remember in the virtual realm I shape those forgotten, rejected, avoided, unspoken, suppressed, and all disappeared emotions and things.

(BDG) In your opinion, how does ambiguity enrich the viewer's understanding and interpretation of visual art?

(HD)

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Ambiguity provides more room for imagination. My works signify a paradise of imagination. When visual symbols lose their precise direction, our imagination comes into play. For the missing or blurry elements in the picture, viewers naturally engage in their own "filling in the blanks" based on their experiences. I believe that stimulating imagination is itself a form of interaction between the artwork and the audience, rather than presenting all the information in the picture clearly. Allowing viewers to appreciate visual works from a distance creates a sense of equality, rather than a form of unequal "admiration."

(BDG) What new themes or concepts are you excited to explore in your future artistic endeavours?

(HD)

Currently, I am working on a series of works about "everyday objects." There are still many technical issues that need to be addressed, but they should be completed gradually in the second half of the year.

HUAIYI DU WAS BORN IN WORKS AND LIVES BETWE GRADUATED FROM THE Beijin A BACHELOR'S DEGREE IN a STUDYING IN UAL FOR fashi HE IS GOOD AT USING PHO TO EXTRACT THE continuatio RETAIN THIS EMOTION IN O WORKED AS A cinematograph INDEPENDENT FILMS , TE UNIQUE VISUA

N 1993 AND CURRENTLY EEN London and Beijing. HE ng Film Academy IN 2016 WITH arts AND NOWADAYS HE IS ion photography MA DEGREE. OTOGRAPHY AS A MEDIUM on of emotions in real life, AND OTHER FORMS. HE HAS ALSO her AND director OF SEVERAL ELLING FILM STORIES IN A AL LANGUAGE.

REVIEW

102 Huaiyi Du's artistic journey traverses the ethereal landscapes of dreams and memories, capturing the intangible essence of these experiences through the lens of his camera. In his series "Honey Pond" and "Incomplete Investigation Archives," Du invites viewers into a realm where reality intertwines with surrealism, blurring the boundaries between the tangible and the abstract.

One of the most striking aspects of Du's work is his ability to translate complex emotions and elusive concepts into tangible visual forms. Through photography, he extracts the continuation of emotions from real life and encapsulates them in images that resonate with viewers on a profound level. Each photograph in his series serves as a window into the depths of the human

psyche, where dreams and memories converge to create a rich tapestry of experiences.

Du's exploration of dreams and alternate realities is particularly compelling. He navigates the delicate balance between the real and the surreal with finesse, creating compositions that are at once familiar and otherworldly. His meticulous attention to detail and nuanced approach to storytelling allow him to convey abstract concepts such as memory and emotion with remarkable clarity.

The concept of "illusory memories" lies at the heart of Du's artistic practice, as he seeks to uncover the intricate interplay between truth and fiction. Through his photographs, he challenges viewers to question the nature of perception and the reliability of memory, inviting them to contemplate the subjective nature of reality.

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In terms of technique, Du demonstrates a mastery of his craft, employing a variety of visual elements to evoke specific moods and atmospheres. His use of lighting, composition, and colour creates a sense of ambiguity and intrigue, drawing viewers into his surreal world and encouraging them to explore its hidden depths.

Overall, Huaiyi Du's work is a testament to the power of photography as a medium for artistic expression.

Through his evocative images, he invites viewers on a journey of introspection and wonder, where the boundaries between dreams and reality blur and the mysteries of the human mind are laid bare.

LI-FEI LIAO LI-FEI LIAO, A versatile visual artist, CAPTURES THE INTERPLAY OF light AND shadow, SHOWCASING THE BEAUTY OF EVERYDAY SCENES. THROUGH HER LENS, SHE TRANSFORMS familiar surroundings INTO captivating compositions, INVITING VIEWERS TO SEE THE WORLD IN A NEW LIGHT.

ARTIST STATEMENT

I am a visual artist. My creative inspiration comes from people and things in my living environment. I like to deeply observe the details of everyone and things and observe the changes in light and shadow over time as they reflect on the scenery. Each light and texture is different. I love capturing the world around me as I see it. For example, light forms, colors changing weather patterns, simplifying shapes, and creating tonal contrasts. Each image is like a perfect composition, these are important sources of my creation, which deeply attracts me.

I like to explore the process of structural texture changing with light and shadow and use the lens to record the changes in light and shadow at every moment. The dots, lines, and surfaces composed of each picture are like a work of art, a breathtaking picture. Each work seems to evoke a kind of power and bring people a feeling of positive power.

My works capture various abstract expressions of water flowing with time and light, using abstract images and different perspectives to lead everyone into special scenery in an abstract world. The shapes are familiar, but nothing is static, and each image is a different experience as time passes.

T h ro u g h t h e m o v e m e n t o f t h e l e n s a n d t h e understanding of perspective, the structure and colour of each landscape are carefully observed, from the cold tone brought by the blue tone, to the process of extending to white or black, allowing people to feel it through the lens. To abstract expression, quietly feel the beauty of each work.

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ARTWORK STATEMENT

Shining Light Captured with the lens, the light shines on the ice cubes, showing the internal texture and strong structural lines.

111 Moment of eternity The light and shadow effects produced in an instant are full of mysterious meanings. They seem mysterious but also very fascinating, which makes people deeply fascinated.

Meet Observing the explorer's trajectory on the glacier, every moment when the paddle is used to slide the ice, the passage of time, and the traces of the river's sliding, people can't help but be fascinated.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (LL) - LI-FEI LIAO

(BDG) As a visual artist, what draws you to the streets of London for your photography work?

(LL)

As a visual artist, I have always focused on the issue of sustainable development. I hope that through my work, I can bring people different ideas about sustainability value sustainable future development, and strive to achieve environmental protection and sustainability. London is a very attractive city. It has a diverse and profound artistic and cultural atmosphere. Every detail of the street architecture is full of historical traces. In London, I can come into contact with artists from different fields. Simple art exchanges are just like daily life. Every detail of interaction is my artistic inspiration.

(BDG) Your artist statement mentions a fascination with observing the details of everyday life. How do you translate these observations into your visual art?

(LL)

There is a story behind every work. I hope that through every work, I can express the story behind the work to my audience. For me, daily life, people, and things are a kind of creative inspiration.

Most of my visual art photography works are inspired by the details of daily life. I abstractly express concrete people and things. Most of them are composed of dots, lines, and surfaces. I pay attention to the expression of every detail and texture. I hope to express every delicate texture to my audience.

(BDG) Could you elaborate on your process of capturing light and shadow in your photography? How do you navigate these elements to create compelling compositions?

(LL)

This work is inspired by nature. I hope to express concrete things abstractly. I shot this work in Iceland. I captured the light and shadow picture when I explored the Blue Ice Cave.

The light and shadow will have different refraction occurs as time goes by. I hope to bring people a sense of mystery about light and shadow, just like seeing every mysterious story behind the refraction of light and shadow.

(BDG) How do you approach the concept of "moment" in your photography, especially in pieces like "Moment of eternity"?

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(LL)

A moment is like pressing the shutter of a camera. To me, that moment represents eternity. I hope to save this eternity by pressing the shutter and share the eternity of this moment with my audience.

(BDG) Your artworks often depict abstract expressions of water flowing with time and light. What inspires you about this subject matter, and what do you aim to convey through these abstract images?

(LL)

This is the second time I have visited an ice cave in Iceland. This time I found a completely different ice cave than the last one.

Residents said that because of the increasingly serious situation of global warming, the length and size of the ice caves are decreasing day by day. I hope that through this work, people can pay more attention to sustainability and let us start to protect the earth we live on.

(BDG) Can you discuss the significance of Iceland as the setting for your recent artworks? How does the landscape of Iceland influence your artistic vision?

(LL)

Iceland is rich in special landscapes. Every piece of nature is like a perfect composition.

My creative inspiration comes from the moments of change in nature. I like to explore the process of structural texture changing with light and shadow, and use the lens to record every moment.

Light and shadow changes.

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I hope that each work evokes a positive force and brings people a feeling of positive force. This meaningful journey has made my creative compositions more bold and breakthrough.

(BDG) In your work "Meet," you capture the trajectory of an explorer on the glacier. What narrative or message do you hope viewers take away from this piece?

(LL)

I like the composition of this work very much. On the coldtoned glacier, I captured the adventure track of the explorer, the moment the adventurer moved, and the color of the boat the adventurer took.

I used the moment I pressed the shutter button to capture This meaningful picture, the composition of the work, and the changes in color and light and shadow make people can't help but take a second look. The message I hope to bring to the audience is to move forward in the direction of hope, to bravely pursue dreams, and to have a fearless spirit.

(BDG) Your photography often explores the interplay between natural elements and human interaction. What do you find compelling about this intersection, and how does it inform your artistic practice?

(LL)

The most fascinating thing is the process of photographing and exploring nature. Because you can see the changes in every

detail during the process. These are the interactions between man and nature. I think this interaction with nature is the most precious creative inspiration.

(BDG) Could you describe the emotions or experiences you aim to evoke in viewers through your photography?

(LL)

I hope that through my works, I can express the positive power and emphasis on the sustainable development of the future environment, and combine these spirits with my creations to convey them to my audience.

(BDG) Finally, how do you see your photography evolving in the future, and what themes or concepts do you hope to explore next in your artistic journey?

(LL)

For me, photography covers artistic vision. In the future, I hope to focus on artistic visual photography on sustainability issues, which is very meaningful to me.

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LI-FEI LIAO WAS BORN A Taiwan AND MOVED TO S TO ENGAGE IN art and phot A MASTER'S DEGREE IN fas IN LONDON. AFTER GRADU DEGREE, SHE MOVED TO A CAREER IN street photog STARTED HER NEW CAREE FAVORITE A

AS AN ART DESIGNER IN Shanghai FOR FOUR YEARS tography. SHE STUDIED FOR shion management AT UCA UATING WITH A MASTER'S O LONDON AND BEGAN graphy AND art visual. SHE ER IN LONDON DOING HER ART FIELD.

REVIEW

Li-Fei Liao's photographic portfolio encapsulates a captivating journey through the nuances of light, shadow, and human interaction. As a visual artist, Liao demonstrates a keen eye for detail, effortlessly transforming mundane scenes into evocative compositions that resonate with depth and meaning.

One of the most striking aspects of Liao's work is her adeptness at capturing the ephemeral beauty of natural elements, particularly evident in her recent series shot in Iceland. Through her lens, she skillfully documents the intricate dance between light and ice, presenting viewers with mesmerising images that convey a sense of awe and wonder. In pieces like "Shining Light" and "Moment of Eternity," Liao harnesses the power of photography to freeze fleeting moments in time, inviting viewers to contemplate the profound mysteries of the natural world.

Beyond her exploration of nature, Liao also delves into the realm of human interaction, as seen in works like

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"Meet." Here, she masterfully juxtaposes the solitary trajectory of an explorer on a glacier against the vast expanse of the landscape, creating a narrative of courage, determination, and resilience. Through her lens, Liao invites viewers to ponder the complexities of t h e h u m a n ex p e r i e n c e a n d t h e sy m b i ot i c relationship between mankind and the environment.

What sets Liao apart as a visual artist is her ability to infuse her photographs with a sense of narrative depth and emotional resonance. Each image tells a story, capturing moments of beauty, contemplation, and introspection. Whether she is documenting the play of light on ice or the quiet determination of an explorer, Liao's photographs possess a timeless quality that transcends mere visual representation.

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In terms of technique, Liao demonstrates a mastery of composition, light, and shadow, employing a minimalist aesthetic that accentuates the inherent beauty of her subjects. Her use of abstraction adds a layer of complexity to her work, inviting viewers to engage with her photographs on a deeper, more introspective level.

Overall, Li-Fei Liao's photography represents a testament to the power of visual storytelling. Through her evocative imagery, she invites viewers to embark on a journey of exploration and discovery, prompting contemplation of the natural world and the human condition. With her keen eye for detail and unwavering commitment to her craft, Liao has established herself as a visionary artist whose work resonates with audiences on a profound and visceral level.

LYNN ZHANG LYNN ZHANG'S JEWELLERY PIECES MARRY precision craftsmanship WITH ARTISTIC VISION, redefining wearable art.

HER CREATIONS CAPTIVATE WITH intricate lines, textures, AND TIMELESS elegance, INVITING VIEWERS TO EXPLORE THE INTERSECTION OF form, function, AND emotion, LEAVING A LASTING IMPACT.

ARTIST STATEMENT

My journey as an artist is deeply rooted in the mesmerising architecture I encountered during my study and travel across Europe. The fusion of these diverse inspirations is evident in my work, where each piece of jewellery serves as a canvas that reflects the architectural marvels and the detailed craftsmanship of ancient traditions. My artistic style bridges the gap between traditional and contemporary, drawing from the rich tapestry of European history and the cultural heritage of India while embracing modern techniques and materials.

I am inspired by intricate details and unique designs discovered during my adventures, which compels me to capture these moments through extensive sketching. These sketches lay the groundwork for my creations, transforming observations into wearable art.

My work mirrors the architectural elegance and motifs that have captivated me, alongside the complexity and ornamental beauty of ancient Indian jewellery.

Attention to detail and a steadfast commitment to symmetry infuse my pieces with balance and harmony, while the use of bold, vivid colours inject them with energy and life. In my design process, I constantly experiment with various materials, striving to capture the interplay of light, colour, and structure.

This exploration invites the viewer to appreciate the beauty inherent in both the natural and the constructed world.

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ARTWORK STATEMENT

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My collection is called “Architexture”. My designs express my deep understanding and emotional connection with the architectural lines and recreate the texture.

I strive to create unique forms of expression that balance the delicate interplay between simaplicity and complexity, ultimately capturing the essence of my creative vision. The use of silver wire and colourful acrylic in my pieces adds a distinct dimension to my work, which is primarily focused on capturing the beauty and complexity of architecture and stained-glass windows. Through a careful dyeing process utilising acrylics, I sought to emulate the awe-inspiring visual impact of stained-glass windows commonly found in churches. Through my design, I aim to explore the interplay between light, colour, and structure, inviting the viewer to contemplate the beauty of both the natural and man-made world.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (LZ) - LYNN ZHANG

(BDG) Could you share with us your artistic journey as a contemporary jewellery artist, from your early influences to your current practice?

(LZ)

My artistic journey began during high school with the study of fine art. At that time, I was not only passionate about drawing but also began experimenting with making installations. This experience greatly inspired my interest and love for handcrafting.

Drawing allowed me to explore the relationships between colour, shape, and space, while creating installation art gave me a deeper understanding of the textures and physical properties of materials and how they interact in three-dimensional space.

I realised the complex dialogue between material and form by making installations myself. I was deeply attracted to works that could tell stories through materials, techniques, and concepts.

The process of expressing ideas through creative physical interventions gradually led me to develop a strong interest in metalworking. In my subsequent studies, I experimented with metals in different forms, sizes and textures, thereby creating my own style and craftsmanship.

(BDG) How has your education at Edinburgh College of Art and Royal College of Art shaped your approach to jewellery design and metalwork?

(LZ)

I believe that my educational experiences at the Edinburgh College of Art and the Royal College of Art played a vital role in my career path as a contemporary jewellery artist. My studies at the Edinburgh College of Art provided me with a solid foundation, focusing on the properties of materials and traditional silversmithing techniques. What I learned there was not just how to create exquisite jewellery but, more importantly, how to integrate personal emotions and stories into my work.

After pursuing postgraduate studies at the Royal College of Art, I realised that the education there was not limited to traditional jewellery-making techniques but also encouraged students to explore new materials, technologies, and even new forms of expression. This experience greatly broadened my design perspective, making me brave in experimenting with my work and continually exploring the possibilities of jewellery art. I began to experiment boldly, incorporating non-traditional materials and

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modern technologies into my creations, seeking new types of interactions between jewellery, the body, space, and the viewer.

(BDG) Your work often reflects a fusion of architectural elements and cultural motifs. What inspires your creative process, and how do you incorporate these inspirations into your jewellery designs?

(LZ)

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I find my inspiration in the mesmerising architecture that I encountered during my travels throughout Europe, as well as in the ornate and intricate style of ancient Indian jewellery. The intricate details and unique designs that I encountered captured my imagination, and I found myself sketching extensively to document my journey. Using these sketches as a foundation, I began making and designing my jewellery pieces. Each piece reflects the architectural style and motifs that caught my eye, as well as the intricate and detailed style of ancient Indian jewellery transformed into wearable art. My artistic style is a fusion of traditional and modern design elements. I draw inspiration from the rich history and cultural heritage of European architecture and ancient Indian jewellery while incorporating modern techniques and materials into my work.

(BDG) In your collection "Architexture," you explore the interplay between architectural lines and textures. Could you delve into the themes and concepts behind this collection and how they manifest in your pieces?

(LZ)

I have always been drawn to architectural forms and textures that can evoke emotional resonance, especially those buildings in Europe that display a depth of history and cultural richness. For me, these architectural styles, which I have never seen in my own country, evoke not just curiosity and novelty in my heart but also a sense of grandeur and awe. My work integrates both traditional and modern design elements, drawing inspiration not only from the rich history and cultural heritage of European architecture but also from the complexity of ancient Indian jewellery while incorporating modern technology and materials. In the design process, I particularly focus on translating the lines and textures of these buildings and the fine craftsmanship of ancient Indian jewellery into practical elements in jewellery design. I use silver wire to capture the beauty of architectural structures' lines while employing coloured acrylic to mimic the light and shadow effects of church stained glass windows. This choice of materials and their application allows each piece to uniquely reflect the interplay of light and shadow, as well as the variations of colour under different lighting conditions.

(BDG) You mentioned experimenting with various silversmithing techniques and materials. Can you walk us through your creative process, from concept development to the final creation of a piece?

(LZ)

While seeking inspiration, I have a particular fondness for sketching outside. This is not merely to capture the scenes that intrigue me but serves as a process of transforming observation into creation. I utilise basic materials such as paper, wire, masking tape, and cotton thread to convert 2D images into 3D models.

This method allows the fundamental elements of drawing — dots, lines, and planes —to be transformed into techniques for abstractly creating three-dimensional works. Before finalising my creations, I also explored techniques such as metal folding, forging, and enamelling to determine which craft best suited the expression of my ideas. I found that the symmetrical lines in European architecture profoundly attracted me, explaining why silver wire became my primary medium for expressing creativity.

I introduced modern technologies such as laser cutting and welding to refine my works further. These techniques not only expedited the production process but also opened up new possibilities and precision for my work.

(BDG) Your use of materials, such as silver wire and colourful acrylic, adds a unique dimension to your jewellery. What draws you to experiment with these materials, and how do they contribute to the visual and tactile aspects of your designs?

(LZ)

In the process of jewellery making, many techniques can add colour to design, such as enamelling, colour coding, patination etc., all of which are applied directly to the surface of the metal.

I chose to use acrylic because I want people to experience the colourful acrylic discs not only refract colour but also slide along the silver wire with the body's movement. Through experiment, I found that silver wire, with its soft and delicate lustre, brings elegance and traditional beauty to my designs. At the same time, using colourful acrylic allows me to introduce modern, lively, and bold contrasts of colour into my work. This modernity of the material, paired with the traditional aesthetics of silver wire, creates an interesting dialogue.

(BDG) Could you discuss your approach to material exploration and how it influences the form and function of your jewellery pieces?

(LZ)

Every material has its own unique language and potential, and exploring these possibilities is key to shaping the form and function of my work. My process of material exploration begins with studying the materials themselves, including their physical properties, historical background, and cultural significance.

At this stage, I engage in extensive experimentation, testing the limits of materials and how they perform under different treatments. For example, I could dye acrylic into different tones. During this process, I need to know the exact time and temperature for dyeing different tones. From a design perspective, choosing materials like silver wire encourages me

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to create more fluid and organic forms, while harder materials like acrylic prompt me to explore geometric and structured shapes.

Another important reason for using silver wire is its weight, which offers comfort. I want my jewellery to be wearable in our daily lives, so comfort is an aspect I pay close attention to.

(BDG) Your pieces often serve as wearable art, blurring the boundaries between jewellery and sculpture. How do you envision your jewellery pieces interacting with the wearer and the viewer?

(LZ)

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Through meticulous design, I aim to ensure that each piece of jewellery harmoniously complements the form and movement of the body, offering wearers a unique experience as if they are not merely adorned with a piece of jewellery. Still, they are dancing with a piece of sculptural art. The use of materials like silver wire and colourful acrylic not only adds fluidity and an organic feel to my designs but also introduces interactivity and a sense of exploration. This allows wearers to discover different facets of the piece through their everyday movements, enhancing their connection with the art and making the act of wearing jewellery a dynamic and engaging experience.

(BDG) Your work has been showcased at various prestigious events and competitions. How do you perceive the reception of your pieces, and what impact do you hope they have on the audience?

(LZ)

I have had the privilege of showcasing my work at various prestigious events and competitions. I enjoy communicating with every audience/customer, and sometimes their feedback plays an important role in my development as an artist. It provides me with valuable insights, allowing me to understand the diverse interpretations and emotional connections my work can evoke. Seeing my pieces resonate with people from different backgrounds and spark curiosity and appreciation for crafts and conceptual depth is incredibly satisfying.

(BDG) In what ways do you believe your jewellery contributes to the broader dialogue within the contemporary jewellery community and the field of art and design?

(LZ)

My work aims to challenge the boundaries of traditional jewellery-making by integrating non-traditional materials and innovative techniques. This approach not only questions the conventional definitions and practices within the jewellery world but also introduces new perspectives and inspirations to the broader dialogue in art and design. Moreover, I consistently avoid using materials that harm the environment, advocating for a more responsible approach to art creation that respects our planet.

(BDG) What future projects or themes are you eager to explore in your artistic practice?

(LZ)

In my future practice, I am committed to delving deeper into the fusion of metals with non-traditional materials and contemporary technologies within my creative process. I aim to explore further innovative interactions between jewellery, the body, space, and the viewers. As a contemporary jewellery artist, I aspire to experiment with a diverse array of materials and presentation forms, continually pushing the boundaries of what jewellery can signify and how it interacts with its environment. This exploration is not just about aesthetic innovation but also about forging new connections and meanings, thereby enriching the discourse within the realm of contemporary jewellery and beyond.

(BDG) How do you see your work evolving in the future, and what aspirations do you have for your career as a contemporary jewellery artist?

(LZ)

After graduation, I aspire to remain in the UK as a contemporary jewellery artist, where I can continue to focus on the innovation of craftsmanship and exhibit my works in various galleries.

Additionally, given the chance, I hope to engage with the contemporary jewellery community through collaboration, education, and mentorship by sharing knowledge and experiences with diverse groups, learning different techniques, or collaborating on projects with individuals from various fields.

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LYNN ZHANG (ALSO KNOWN AS jewellery artist. SHE STUDIED fin SUPPORTED HER WITH A VERY C silversmithing. SHE PURSUED HER Edinburgh College of Art, WHERE S EXPLORING various crafts AN diverse m

CURRENTLY, SHE IS FURT Royal College of Art, CONTINUING ARTISTIC PRACTICE. Drawing HA TO VISUALISATION, WHICH IS HER SKILLS IN USING JEWELLER SHE HAS A NATURAL AFFINITY IS AVIDLY interested in all aspects TECHNIQUES AND MATERIAL AP HER UNDERGRADUATE OR POST STORIES BEHIN

S NING ZHANG) IS A contemporary ne art IN HIGH SCHOOL, WHICH CLEAR DIRECTION IN jewellery and R UNDERGRADUATE STUDIES AT SHE DEVELOPED A PASSION FOR ND EXPERIMENTING WITH materials.

THERING HER STUDIES AT TO EXPAND HER EXPERTISE AND AS BROUGHT HER THE ABILITY BENEFICIAL FOR DEVELOPING RY TO EXPRESS DESIGN IDEAS. Y FOR JEWELLERY DESIGN AND s of jewellery, BE IT THE VARIOUS PPLICATIONS LEARNED DURING TGRADUATE EDUCATION OR THE ND THE WORKS.

REVIEW

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Lynn Zhang’s jewellery collection, "Architexture," offers a captivating fusion of architectural influences and contemporary design elements, creating a visually striking and conceptually rich body of work. Lynn's exploration of form, texture, and colour reflects her deep appreciation for the intricate details found in both historical architecture and modern design aesthetics.

One of the most notable aspects of Lynn's work is her adept use of materials, particularly silver wire and acrylic, which adds a distinct dimension to her pieces. The incorporation of silver wire allows her to capture the fluidity and elegance of architectural lines, while the colourful acrylic introduces vibrancy and playfulness to her designs. This juxtaposition of materials creates a compelling dialogue between tradition and modernity, inviting viewers to explore the intersection of art and functionality.

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In her "Wire Structure Series," Lynn skillfully translates the complexity of architectural forms into wearable sculptures, each serving as a miniature homage to the grandeur of historical buildings. The meticulous attention to detail and craftsmanship are evident in every brooch, necklace, and earring, showcasing Lynn's mastery of traditional jewellery-making techniques alongside her innovative approach to design.

Lynn’s emphasis on wearability and practicality ensures that her pieces not only captivate the eye but also provide comfort and functionality to the wearer.

By carefully balancing the size, thickness, and weight of her jewellery, Lynn creates pieces that seamlessly integrate with the body, inviting wearers to engage with their surroundings in new and meaningful ways.

Overall, Lynn's "Architexture" collection stands as a testament to her artistic vision and technical skill.

Through her exploration of architectural motifs, innovative use of materials, and commitment to craftsmanship, Lynn pushes the boundaries of contemporary jewellery design, offering viewers a glimpse into a world where art and architecture converge in perfect harmony.

MO ZHOU MO ZHOU EXPLORES culture, identity, AND femininity. WITH STORYTELLING AND SELFEXPRESSION, SHE CRAFTS EVOCATIVE NARRATIVES THAT CHALLENGE NORMS. THROUGH painting, fashion, AND digital art, ZHOU URGES INTROSPECTION AND cultural exploration.

ARTIST STATEMENT

I strongly believe that art serves as a powerful tool for self-expression and inner exploration. Each creation represents a dialogue between myself and my inner world, allowing me to convey my emotions and ideas.

Through diverse mediums like painting, fashion design, styling and digital art, I bridge the gap between my personal experiences and the broader world.

Feminist themes of self-discovery are a recurring motif in my work, reflecting the journey of individuals navigating their identities amidst diverse cultural influences. Drawing from historical narratives, personal anecdotes, and contemporary social issues, my art encourages viewers to contemplate their own identities and connections to the world.

My creative process involves a blend of research, experimentation, and intuition. Starting with a concept or idea, I explore its depths, embracing spontaneity as the work evolves. Each piece becomes a manifestation of my deepest emotions, thoughts, and life experiences, offering insights into human nature and culture.

Throughout the creative journey, I revel in the boundless freedom and creative power, inspiring me to continually push the boundaries of art. For me, art is not only about creation but also a reflection of life's essence and a medium to express oneself to the world.

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ARTWORK STATEMENT

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"L’oiseau en cage" is a poignant exploration of the intricate struggles women face within the confines of marriage. Through an amalgamation of fashion design, art direction, and styling, each photograph encapsulates a profound narrative, illuminating the burdens imposed by societal expectations.

The title, "L’oiseau en cage," or "The Bird in the Cage," serves as a potent metaphor for the entrapment experienced by women in marital bonds. This series endeavours to untangle the complexities of women's experiences, delicately balancing traditional roles with personal aspirations.

The ensemble in the series is meticulously crafted, blending traditional wedding gown aesthetics with intricate pleated tulle, symbolising the conflicting emotions of freedom and constraint within marriage.

Guided by artful direction, viewers are led on a visual odyssey, capturing the essence of feminine resilience amidst societal norms. Each photograph beckons introspection, offering glimpses into the inner turmoil and quiet strength of the women portrayed.

Through masterful photography, "L’oiseau en cage" captures moments of vulnerability and defiance, serving as a poignant reminder of the nuanced realities of women's lives within the institution of marriage.

In essence, "L’oiseau en cage" challenges conventional notions of femininity and marriage, urging viewers to ponder the essence of freedom and self-expression within the confines of societal expectations. By seamlessly blending fashion, art, and storytelling, this series invites audiences to confront the complexities of women's experiences and partake in meaningful discourse on gender roles and societal pressures.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (MZ) - MO ZHOU

(BDG) Your artistic practice encompasses various mediums such as painting, fashion design, styling, and digital art. How do you find these diverse mediums complement each other in your creative process?

(MZ)

I believe that these various mediums complement each other mutually, as sometimes one medium may have its limitations in expression, and incorporating other mediums can make the overall artwork more fulfilling. Fashion design and styling, for instance, can convey emotions and themes through the texture, color , and cut of garments, while digital art provides endless possibilities for expanding my creative imagination through images and effects. By combining fashion design, styling, and digital art, I am able to comprehensively express my ideas, allowing audiences to understand my work through different visual and sensory experiences.

(BDG) Feminist themes of self-discovery are prevalent in your work.

Could you elaborate on how these themes influence your artistic vision and the narratives you aim to convey through your art?

(MZ)

I believe that one of the significant goals in life is the pursuit of self-discovery. As Hermann Hesse wrote in "Demian," "To find oneself, to be oneself, firm in one's own heart and groping forward wherever that may lead." True tranquility is found when we turn inward and examine our own hearts. I think everyone has experienced moments of being conscious of others' perceptions, including myself. My work serves as a means of expressing my own emotions, helping me find my comfort zone and understand my thoughts.

As a woman, my perspective is naturally shaped by my experiences and understanding of the world through the lens of femininity. My artwork reflects the female gaze, shedding light on the hidden unfriendliness and oppression that exist beneath the surface of certain aspects of life.Through feminist themes of selfdiscovery, my artistic vision aims to provoke thought and spark conversations about gender dynamics, societal expectations, and the importance of embracing one's true self. By exploring these narratives in my art, I hope to inspire others to embark on their own journeys of self-discovery and to challenge the norms and constraints imposed by society.

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(BDG) Your artwork "L’oiseau en cage" explores the struggles women face within the confines of marriage. What inspired you to delve into this subject, and how did you approach blending fashion design, art direction, and styling to convey your message effectively?

(MZ)

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The inspiration for delving into the subject of women's struggles within the confines of marriage came to me at a young age, growing up in a Chinese environment where societal norms dictated that women were destined to marry and bear children.

Despite these expectations, I observed that many of the women in my life, particularly older female relatives, did not experience the idealised marriages society promoted. Instead, they often faced career setbacks and health issues due to marriage and childbirth. This contradiction puzzled me deeply. Was a woman's sole purpose to marry and raise children at a certain age? I had my own aspirations and dreams, and I didn't view romantic relationships as a necessity.

However, my unconventional views were often dismissed as immature by older generations who adhered to traditional beliefs.

It seemed that society prescribed only one path for women to follow, limiting their autonomy and individuality. Marriage, to me, appeared to be a disguised form of exploitation, depriving women of their reproductive rights and control over their own lives. Even though packaged as sweet romance and adorned with beautiful bridal gowns, marriage, in its underlying logic, had little to do with love and happiness.

In my artwork "L’oiseau en cage," I sought to express these sentiments through fashion design, art direction, and styling.

The garments I designed underwent a transformation from traditional wedding dresses, incorporating intricate pleating, layered tulle, and floor-length skirts, symbolising the beauty of confinement. The lighting, reminiscent of stage spotlights, highlighted the model as if she were on display, while her hands were bound by the veil, representing the constraints imposed by marriage. This imagery aimed to represent the experiences of all women trapped within the confines of marriage. Through this artwork, I aimed to challenge societal norms and shed light on the realities faced by women, ultimately sparking conversations about gender roles and autonomy. The title of the work The Bird in the Cage reflects my pessimistic attitude towards the current situation of women. Although the bird in the cage has lost its freedom, where can the bird fly in a roadless sky?

(BDG) Collaboration seems to play a vital role in extending your artistic impact. Could you discuss some of your collaborative projects and how they have influenced your artistic practice and creative exploration?

(MZ)

Most of my collaborations have been with various photographers, many of my works which have been featured in publications like Photo Vogue. Given the singular nature of fashion as a medium, it requires the appropriate setting and presentation in 2D formats such as photographs or short films. Collaborating with different photographers has been an intriguing aspect of my artistic journey. Even though I provide comprehensive art direction and shooting plans, each photographer brings their own emotions and aesthetics to the lens, enriching the final outcome. The fusion of different perspectives adds depth and vibrancy to my work.

However, maintaining control over the overall vision is crucial for fully expressing my artistic ideas. I have encountered some friction with makeup artists in past collaborations, prompting me to take charge of makeup and hairstyling design and execution for most projects. This ensures that my vision remains intact while still benefiting from the collaborative process.

(BDG) As an artist dedicated to pushing artistic boundaries, what are the challenges you face in your pursuit of innovation, and how do you overcome them?

(MZ)

I find it challenging to achieve truly groundbreaking innovation.

There have been times when I've worked through the night, creating what I thought was a completely new design, only to discover later that someone had already done it before. Unlike the previous century, where there were significant changes in fashion every decade, the forms of clothing design today are more constrained. Nevertheless, I continue to explore within the framework of my aesthetic style, striving to create works that satisfy me.

In the face of this challenge, I try to approach it from different angles and perspectives, seeking inspiration from new sources.

I read widely, study art history, and analyse fashion trends in the hope of uncovering overlooked or unexplored areas. Additionally, I engage in discussions and collaborations with creatives from other fields to gain fresh insights and ideas. Moreover, I've learned to accept failure and setbacks as opportunities for growth and learning. Overall, despite the challenges of innovation, I persistently pursue my artistic goals and believe that through continuous effort and exploration, I will be able to create unique and commendable works.

(BDG) Your journey in the art world began in 2018. How have you evolved as an artist since then, and what aspirations do you have for your future artistic endeavours?

(MZ)

I embarked on my journey in the art world in 2018 when I made the decision to pursue studies in art and immerse myself in the creative realm. At the age of 17, I ventured to Milan to study

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fashion design, and later on, I decided to further my education in the United Kingdom, focusing on art styling and art direction.

Since then, I have evolved significantly as an artist. Through my experiences in both Milan and the UK, I have honed my skills, expanded my artistic horizons, and developed a deeper understanding of various artistic disciplines. I have learned to experiment with different mediums, techniques, and styles, allowing me to express my creativity in diverse and innovative ways.

Looking ahead, my aspirations for my future artistic endeavours are simple yet profound. My sole hope is to create works that resonate with me personally, to produce art that I am proud of and genuinely enjoy. Whether it's through fashion design, art direction, or any other form of artistic expression, my ultimate goal remains the same— to create meaningful and fulfilling artwork that reflects my passion and vision.

(BDG) Art is often described as a reflection of life's essence. How do you see your art contributing to meaningful discourse on contemporary social issues and cultural intersections?

(MZ)

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I see art as a powerful tool for sparking meaningful discourse on contemporary social issues and cultural intersections. Art has a unique ability to engage viewers on a visceral level. I think art is a very intuitive thing that is displayed directly in front of people’s eyes, presenting complex societal issues in a tangible and accessible manner. Through my art, I aim to encapsulate and visualise these issues, prompting viewers to engage in critical thinking and reflection.

(BDG) Could you share some insights into your creative process, from conceptualisation to execution? How do you maintain a balance between research, experimentation, and intuition in your artistic practice?

(MZ)

In my creative process, intuition plays a significant role, guiding me from conceptualization to execution. I often rely on my instincts and initial ideas to shape the direction of my work.

However, I also incorporate elements of experimentation and research, although their extent varies depending on the theme of my piece. For most of my projects, intuition takes precedence.

I trust my gut feeling and allow it to drive the initial stages of my creative process. This intuitive approach enables me to tap into my emotions, experiences, and personal perspective, resulting in authentic and heartfelt artwork. As I progress with a project, I may incorporate experimentation and research to further develop and refine my ideas. This could involve exploring new techniques, materials, or concepts that complement the overarching theme of my work. Experimentation allows me to push the boundaries of my creativity and discover unexpected possibilities.

BASED IN LONDON, MO SPANNING painting, fashion art. HER MULTICULTURAL ENRICHES HER CREATIVE V exploring human emotions SHE AIMS TO SPARK MEAN THROUGH HER ART. ACHI GALLERIES AND ART FAIRS, WIDELY TO EXTEND HER AR HER ART CAREER IN 201 PUSHING ARTIST

ZHOU IS A versatile artist n design, styling, AND digital UPBRINGING FROM China VISION. PASSIONATE ABOUT AND culture's intersection, NINGFUL CONVERSATIONS IEVING RECOGNITION AT MO ZHOU COLLABORATES RTISTIC IMPACT. STARTING 18, SHE'S DEDICATED TO TIC BOUNDARIES.

REVIEW

164 Mo Zhou's artistic repertoire is a testament to her multidisciplinary talent, spanning painting, fashion design, styling, and digital art. Hailing from London and drawing from her Chinese heritage, Zhou's creative vision is deeply enriched by her multicultural upbringing, infusing her work with a diverse array of influences.

The series "L’oiseau en cage" stands as a poignant commentary on the complexities of femininity and societal expectations surrounding marriage. Zhou skillfully navigates this thematic terrain, employing a fusion of fashion design, art direction, and styling to construct a visual narrative that resonates deeply with viewers. The title itself, "The Bird in the Cage," serves as a potent metaphor for the entrapment experienced

by women within marital bonds, encapsulating the dualities of freedom and constraint.

Through meticulous attention to detail and artful direction, Zhou captures moments of vulnerability and defiance, inviting viewers to contemplate the nuances of gender dynamics and autonomy. The series offers a thought-provoking exploration of the intricacies of women's experiences, challenging traditional norms and prompting discourse on societal expectations.

In her interview, Zhou articulates her creative process with clarity and insight, discussing the evolution of her artistic practice and her aspirations for the future. Her commitment to pushing artistic boundaries is evident throughout, as she navigates the delicate balance between intuition, experimentation, and research in her work.

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Overall, Mo Zhou's artistic endeavours serve as a compelling testament to the transformative power of art in sparking meaningful dialogue and cultural exploration. Through her multidisciplinary approach and thought-provoking themes, she invites viewers to engage with complex societal issues and embark on a journey of introspection and understanding.

MUDAI MUDAI, a ceramic artist, BLENDS NATURE AND TRADITION, CRAFTING porcelain installations. WITH A PASSION FOR sustainability AND traditional techniques, MUDAI'S WORK INVITES VIEWERS TO PONDER THE BALANCE BETWEEN fragility and resilience IN ART AND NATURE.

ARTIST STATEMENT

She imbues each artwork with her interdisciplinary study experience, firmly believing that natural materials can convey the emotions of artists.

Mudai creates ceramic pieces and traditional rock paintings, pursuing a simple and pure style rooted in her unwavering love for nature. Sourcing materials directly from nature, she incorporates homemade glazes and rock pigment powders into her work.

Utilising entirely manual techniques, Mudai crafts ceramics and repurposed recycled ceramics, dedicated to producing sustainable artistic creations.

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ARTWORK STATEMENT

171 This series of installations, crafted from porcelain, seeks to evoke a sense of delicacy and fragility inherent in the material while exploring the diverse possibilities of hard substances. Building upon the previous concept of ‘Repairing Fruits,’ these installations, depicting still lifes, incorporate patterns sourced from antique lace dating back to the European Victorian era and Japanese Showa era. Silk and cotton threads, known for their fragility and perishable nature, are delicately woven into the compositions. The aim of this work is to preserve the exquisite patterns from centuries past in a tangible, non-digital manner, akin to precious exhibits within a museum. Furthermore, this series intertwines porcelain with antique furniture, showcasing the material’s surprising resemblance to fabric in its breathability and the allure imbued by the passage of time.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (M) - MUDAI

(BDG) As a ceramic artist, your work often explores the connection between natural materials and artistic expression. How does your interdisciplinary (M)

While, the experience in architecture study influenced me to care about the space and materials. For instance, the tutors always talk about “less is more” in the contemporary architecture design process. We focus on the “trip”, the “space” and the “light”, these are the alphabet for Architectural languages.

Which shares the similar sequence with the “storytelling” process in visual communication, we use colours, shapes to show our emotions. The only part which is different, is that, now I changed from digital designing into handcraft. Also, it cannot be denied that “sustainable” is the most popular keyword in this era. My architectural background has deepened my emphasis on the effective application of materials. Regarding to visual communication, the most important part is how to explain the concept using artistic language and make the audience understand. Ceramic clay and rock painting pigments are both sourced from the elements of nature. These elements are the fundamental things for us and for all the creatures in this world. I also engage in the hands-on creation of rock pigments. Despite the time-consuming process, it allows me to capture the colours sourced directly from the earth.

(BDG) Your exhibitions have featured ceramics and rock pigment artworks, highlighting a blend of traditional techniques and contemporary sensibilities. Could you elaborate on how you incorporate homemade glazes and rock pigment powders into your creations, and what significance these materials hold for you?

(M)

In traditional Chinese ceramic and rock painting classes, crafting glaze and rock pigment powders is crucial. During my studies with ceramic craftsmen, they allowed me to intimately engage with rocks, understanding how soil transforms into porcelain.

Field trips were common, gathering plants and burning wood ash. Each material, whether plant or rock, yields unique colors and textures in the glaze. These processes embody nature's essence, and the emotional involvement in making and mixing reflects in the artworks. Thus, every aspect of my creations carries my personal touch and sentiment.

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(BDG) The series "Textile and Fabric" showcases installations crafted from porcelain, incorporating patterns sourced from antique lace and delicate silk and cotton threads. What inspired this exploration of porcelain's resemblance to fabric, and what message or emotion do you hope viewers take away from experiencing these installations?

(M)

Tactile and visual sensations of ceramic normally are warm and thick. Pottery as daily tablewares will comfort users, however, porcelains in museums will only be admired because of their delicate but not touchable. In this series, I would like to show the various possibilities of porcelain, not by the appreciated temperament of being put on the shelf. In my hometown, the porcelain from China Dehua could be made as thin as paper only by handcraft. The rhythm of the porcelain can even show the rhythm of fluttering gauze clothing. That is what I hope the viewers will feel, the breath of the porcelain, and the warmth and softness of daily life.

(BDG) Your dedication to sustainable artistic creations, including repurposing recycled ceramics, is commendable. How does your commitment to sustainability influence your choice of materials and the overall direction of your artistic practice?

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(M)

Before diving into my artwork, I always ponder how I can repurpose materials. Take, for instance, the edges of every ceramic piece – instead of tossing them aside, I gather them up and blend them with water. This concoction becomes the foundation for creating a variety of captivating patterns and textures in my work. Also, sometimes I add rock pigments into my glaze. I believe that the random change of recycling will enrich my practice and knowledge of ceramic. Recycling creates special memories and stories for me.

(BDG) In your artist statement, you mention a pursuit of a simple and pure style rooted in your love for nature. How does this love for nature manifest in your ceramic pieces and traditional rock paintings, and what do you hope viewers glean from engaging with your artworks?

(M)

My lifestyle and artistic style embody simplicity and purity. I opt for humble materials, employing delicate craftsmanship to delve into the realm of ceramic and rock painting. While my 'Textile and Fabric' series diverges from the direct connection to nature found in my previous 'Repairing Fruits' collection, the process remains akin to a gentle, meditative journey. I like to think that viewers can unwind when encountering these pieces, akin to strolling through a vintage bedroom, embracing the warmth of sunlight and the subtle embrace of dust in this nostalgic sanctuary.

(BDG) As an artist who has exhibited at prestigious events such as the London Design Festival and the "Regenerate" exhibition at the gallery@oxo, what

insights have you gained from these experiences, and how do they inform your approach to future artistic endeavours?

(M)

"Regenerate" is my first exhibition, that is also the start of my artistic language. During both exhibitions and my training process, I've come to realise that it's not just about artistic vision but also technical proficiency. The value of the exhibits themselves, coupled with the stories they tell and the ambiance of the exhibition space, form a cohesive whole. Through interactions with fellow artists and viewers, I've discovered that my artistic language is better suited to exploring emotional themes before delving into broader social issues, allowing me to connect more deeply with audiences. It's through these softer, more emotive elements that effective visual communication is achieved. As an emerging artist, I understand that I have a long journey ahead, and I'm committed to continuous learning to deliver higherquality work to my audience.

(BDG) What themes or concepts do you aspire to explore in your future artistic projects, and are there any new mediums or techniques you're eager to incorporate into your practice?

(M)

After the two exhibitions which exhibited still lifes, I hope my next step could make the viewers explore more emotional themes from my artworks. I am thinking of using glass to simulate water flow and explain about the time passing or tears falling. During this time, I also re-learned traditional enamel techniques with my elders in the family. I am not sure whether the process of combining them with ceramics will go smoothly, but I am willing to make new attempts.

(BDG) Finally, how do you envision the role of ceramic art in the contemporary art landscape, and what do you hope your contributions will add to the ongoing dialogue within the art world?

(M)

The current situation is that the ceramic production process is gradually becoming transparent. The increase in ceramic studios also means that ceramic art has become closer to life. As artists, this phenomenon also means an increase in competition. All we can do is to continue to innovate. techniques and constantly experimenting with new products. But at the same time, I hope that classic techniques can be passed down from generation to generation, instead of being occupied by impetuousness and temporary prosperity. Rather than being a hit artist, I look forward to becoming a craftsman. I hope that I can bring exquisite and inspired protection and sustainable material production methods to contemporary ceramic art. I hope that my works can convey the experience of time and temperature.

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MUDAI, A ceramic artist FRO A MASTER'S DEGREE IN vi Kingston University School of A IN architecture FROM THE 2021. MUDAI HAS EXHIBI 2023 London Design Festiv EXHIBITION AT THE Oxo T EXHIBITIONS PRIMARILY rock pigment

OM mainland China, HOLDS isual communication FROM Art. SHE ALSO GRADUATED E University of Liverpool IN ITED HER WORK AT THE val AND THE "Regenerate" Tower Gallery IN 2023. HER Y FEATURE ceramics AND ARTWORKS.

REVIEW

Mudai, brings a fresh perspective to the world of ceramic s, s eamlessly blending traditional craftsmanship with contemporary design. Her journey from architecture to ceramic art is evident in her meticulously crafted porcelain installations. Mudai holds a Master's degree in Visual Communication from Kingston University School of Art and graduated in Architecture from the University of Liverpool in 2021. Her work has been exhibited at prestigious events such as the London Design Festival and the "Regenerate" exhibition at the gallery@oxo in 2023.

At the heart of Mudai's work lies a dedication to sustainability and a deep appreciation for the beauty of nature. She imbues each artwork with her interdisciplinary study experience, firmly believing that natural materials can convey the emotions of artists. Mudai creates ceramic pieces and traditional rock paintings, pursuing a simple and pure style rooted in her unwavering love for nature. Sourcing materials directly from nature, she incorporates homemade glazes and rock pigment powders into her work. Utilising entirely manual techniques, Mudai crafts ceramics and repurposed recycled ceramics, dedicated to producing sustainable artistic creations.

Mudai's installations, such as the "Textile and Fabric" series, demonstrate a delicate balance between

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fragility and resilience. This series of installations, crafted from porcelain, seeks to evoke a sense of delicacy and fragility inherent in the material while exploring the diverse possibilities of hard substances. Building upon the previous concept of ‘Repairing Fruits,’ these installations, depicting still lifes, incorporate patterns sourced from antique lace dating back to the European Victorian era and Japanese Showa era. Silk and cotton threads, known for their fragility and perishable nature, are delicately woven into the compositions. The aim of this work is to preserve the exquisite patterns from centuries past in a tangible, non-digital manner, akin to precious exhibits within a museum. Furthermore, this series intertwines porcelain with antique furniture, showcasing the material’s surprising resemblance to fabric in its breathability and the allure imbued by the passage of time.

Mudai reflects on her interdisciplinary background and how it influences her creative process. Her commitment to sustainability is commendable, as she repurposes recycled ceramics, adding depth and uniqueness to her creations. Mudai's artistic language explores emotional themes, allowing her to connect more deeply with her audience. She envisions incorporating glass and traditional enamel techniques into her future projects, aiming to convey the passing of time and tears falling.

Mudai's contributions to the ceramic art world are poised to be significant, as she strives to bring exquisite and sustainable production methods to contemporary ceramic art. She aspires not to be just a hit artist, but a craftsman, passing down classic techniques from generation to generation. Through her work, Mudai invites viewers on a journey of introspection and reflection, bridging the gap between past and present.

NING CHANG NING CHANG, A JEWELLERY ARTIST, INTRICATELY WEAVES personal experiences AND social commentary INTO HER PIECES. SPECIALISING IN enamelling AND cloisonné, HER WORK CHALLENGES NORMS, SPARKING REFLECTIONS ON femininity AND gender stereotypes.

ARTIST STATEMENT

In my work , I am deeply driven by the us e of symbolism and derive inspiration from my personal experiences and social issues to create a meaningful connection with my audience. I specialise in designing exquisite pieces of jewellery that feature intricate illustrations crafted using enamelling and cloisonné, which add a unique charm and character to each piece. Moreover, I incorporate various materials with metal to create pieces that reflect my perspective on pressing issues, which often results in thoughtprovoking and captivating works of art that resonate with my audience.

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ARTWORK STATEMENT

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The core idea of my project is to challenge the view that women have to be feminine. I am frequently criticised for not being feminine enough. This has motivated me to create jewellery using materials that are traditionally regarded as feminine. I also integrate Ikebana, the ancient Asian art of flower arrangement, into my creations to signify my conviction that women should strive to eradicate gender stereotypes.

I am not suggesting that women should abandon their femininity. Instead, I encourage them to challenge the societal expectations that govern their dressing and behaviour, which are often restrictive and conform to traditional feminine stereotypes. This includes not only the clothing women wear but also the qualities and characteristics that are typically associated with being a woman.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (NC) - NING CHANG

(BDG) How does your background in graphic design and illustration inform your artistic approach to jewellery making?

(NC)

Having a background in graphic design and illustration, I possess a deeper understanding and appreciation for colour, structure, and form. This has greatly influenced my artistic approach to making jewellery, enabling me to design and craft visually appealing pieces with a unique perspective and innovative techniques.

(BDG) Can you discuss the techniques you employ, such as enamelling and cloisonné, and how they contribute to the conceptual aspects of your jewellery pieces?

(NC)

Enamel and cloisonné techniques have a distinct beauty and artistic appeal, and can greatly enhance the visual effects of my jewellery works. By carefully matching colours and positioning cloisonné threads, I can create intricate patterns that, when combined with my illustrations, add to the overall charm and allure of the piece. Even though enamel and cloisonné techniques are traditional, the way I incorporate them into my designs infuses them with a fresh, modern style.

(BDG) Symbolism appears to be a significant element in your work. How do you incorporate personal experiences and societal issues into your jewellery designs to create meaningful connections with your audience?

(NC)

I often draw inspiration for my jewellery designs from my personal experiences. These experiences could stem from my life stories, emotional experiences, or reflections on specific events. I transform these experiences into different stories. By converting character elements from these stories into symbols or images, I can express personal emotions and meanings in my jewellery pieces. My concern for social issues is often reflected in my designs, including environmental protection, social equity, and cultural diversity. I weave these issues into stories and incorporate keywords into my jewellery designs in hopes of arousing the audience's attention, encouraging reflection, and advocating for positive social change.

I design jewellery to create meaningful connections with my audience by integrating personal experiences and social issues

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into my designs. This gives my work more depth and creates a significant emotional bond with the audience.

(BDG) Your project "Screw Femininity" challenges traditional notions of femininity and gender stereotypes. Could you elaborate on the inspiration behind this project and the artistic message it aims to convey?

(NC)

My project challenges gender stereotypes and traditional notions of femininity. Inspired by my own experience of being criticised for not being feminine enough, I aim to break down the limited societal definition of women that ignores their diversity and independence. I use my designs as a form of protest against these stereotypes.

The pieces I create are intended to communicate a significant artistic statement - that women should not be confined to particular roles or images, as they possess a range of temperaments and potentials. My work emphasises that every woman deserves acceptance and respect regardless of her appearance or personality traits. It challenges conventional gender norms and encourages viewers to redefine their perceptions of women. Through my work, I showcase the diversity and resilience of women, prompting the audience to reflect on their biases and preconceptions about gender roles.

(BDG) How do you balance aesthetic appeal with conceptual depth in your jewellery designs, and what considerations guide your artistic decisionmaking process?

(NC)

Designing jewellery that is both visually appealing and conceptually rich is a challenging process. I balance these two factors by focusing on precise design elements and proportions, as well as incorporating unique stories and sources of inspiration that convey cultural, historical, emotional or social issues.

When making artistic decisions, the first thing I consider is the intended audience for my work. I aim to deeply integrate the concept into my design to create an emotionally connected storytelling experience that will resonate with and captivate the audience. Finally, I carefully select the appropriate techniques and materials to bring my design concept to life, ensuring a perfect balance of aesthetics and conceptual depth. My jewellery designs balance aesthetic appeal and conceptual depth by incorporating careful design and artistic decisions. This ensures that my pieces are both visually captivating and thought-provoking.

(BDG) The materials you choose for your jewellery, such as brass, lace, and plaster, seem to carry symbolic weight. Can you discuss your material selection process and how it contributes to the overall meaning of your artwork?

(NC)

When selecting materials for my jewellery, I prioritise their symbolic significance and how well they complement my design concept. There are several factors I consider when choosing materials, including how they contribute to the overall meaning of my artwork.

1.

Brass is a sturdy metal that has been used in jewellery-making for a long time. Its colour and texture can give a warm and ancient feel to any piece of jewellery. In this case, I shaped it into a Kenzan, also known as a Flower frog, which is a traditional ikebana element that represents the traditional stereotype of women.

2.

Lace is often considered a symbol of the elegance and femininity associated with women, which is a feminine trait in traditional stereotypes.

3.

Plaster is a material that is soft and fluid when not solidified, and it becomes hard when it solidifies.

This property of plaster is symbolic of the opposition between men and women in society.

I carefully selected these materials not only for their visual appeal but also for their symbolic significance and compatibility with my design concept. By blending these materials, I can craft one-of-a-kind jewellery items that possess a special meaning and complexity, and effectively communicate emotions and (BDG) Could you share more about your integration of Ikebana, the ancient Asian art of flower arrangement, into your jewellery creations? How does this addition enhance the narrative and visual impact of your pieces?

(NC)

Kenzan is an essential tool used to secure branches in floral arrangements. In my project, I incorporated the visual language of Kenzan into creating brooches and rings by replacing the original straight metal wires with wavy ones to give the pieces a floral arrangement-like appearance. Historically, flower arranging was considered a skill reserved for women and kenzan, being a crucial component of this art, had to be hidden from view in the pot. For this reason, I chose to use the kenzan as a symbol of the societal stereotype of women in a patriarchal society. By using the sharp edge of the sword to destroy the lace, I aimed to express my resistance and determination towards challenging the status of women in a patriarchal society.

(BDG) As an artist based in Birmingham, how does the local art scene and cultural landscape influence your artistic practice and the themes you explore in your work?

(NC)

The Jewellery Quarter in Birmingham has been a great source of inspiration and learning for me. I frequently attend art exhibitions

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in the area to draw inspiration and improve my artistic skills.

In addition, being an artist-in-residence at the BCU School of Jewellery allows me to communicate and learn with others, providing even more growth opportunities.

(BDG) What future artistic projects or endeavours are you eager to pursue, and how do you envision your artistic practice evolving in the years to come?

(NC)

I have high hopes for my future artistic endeavours. I hope to participate in more exhibitions, connect with other artists, and explore new materials and techniques for making jewellery. I'm particularly interested in exploring themes of gender and identity to convey deep reflections through my artistic works.

I am confident and optimistic about the development of my art practice in the coming years. I will continue to strive to improve my artistic skills and creative abilities, constantly look for new inspiration and expression methods, and establish deeper connections with society and audiences. I believe that with continuous learning and practice, my artistic creations will continue to achieve new achievements and breakthroughs, bringing more surprises and inspiration to the art world.

THERE IS A jewellery ar BIRMINGHAM AND HA graphic design and illustrati GRADUATE DIPLOMA AND Birmingham City University CURRENTLY A RESIDENCY MAINLY CREATED WITH me BY personal experiences. SHE EXHIBITION OF THE RESID AT BCU School of Jewellery AN CLOISONNE PIECE IN the H

rtist WHO IS BASED IN AS A BACKGROUND IN ion. SHE COMPLETED HER D MASTER'S DEGREE FROM y School of Jewellery AND IS ARTIST THERE. HER ART IS etal AND IS OFTEN INSPIRED E HAD BEEN A PART OF THE DENCY ARTIST "NINETEEN" ND IS ABOUT TO EXHIBIT A Holly Art Gallery IN AUGUST.

REVIEW

210 Ning Chang's journey as a jewellery artist unfolds against the backdrop of Birmingham's vibrant art scene. With a background in graphic design and illustration, Chang's transition into jewellery making brings a unique perspective to her creations, blending traditional craftsmanship with contemporary tastes.

Chang's work is characterised by its intricate illustrations crafted using enamelling and cloisonné techniques, imbuing each piece with a distinct charm and narrative depth. In her project "Screw Femininity," Chang confronts societal norms surrounding gender roles, challenging the notion that women must conform to traditional ideals of femininity. Through the use of materials traditionally associated with femininity, such as lace and plaster, Chang subverts

expectations, creating jewellery that serves as a form of protest against restrictive gender stereotypes.

The integration of Ikebana, the ancient Asian art of flower arrangement, adds a layer of symbolism to Chang's work, further enhancing its narrative and visual impact. By incorporating the visual language of Kenzan, a tool used in Ikebana, Chang infuses her jewellery with subtle references to societal expectations placed upon women, while simultaneously expressing her resistance and determination to challenge these norms.

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Chang's artistic practice is deeply rooted in personal experiences and social commentary, inviting viewers to engage in meaningful dialogue about femininity and gender dynamics. Through her meticulous craftsmanship and thought-provoking themes, Chang's jewellery pieces transcend their materiality, becoming powerful symbols of empowerment and self-expression.

As Chang continues to explore themes of gender and identity in her work, her future artistic endeavours hold promise for further innovation and introspection.

With a commitment to pushing artistic boundaries and fostering connections with her audience, Chang's artistic practice is poised to make a lasting impact on the contemporary jewellery landscape.

PINDIGA RANJITH KUMAR RANJITH KUMAR BLENDS tradition WITH innovation, EXPLORING cultural identity.

ROOTED IN Indian heritage, HIS WORK BRIDGES PAST AND PRESENT, ENCOURAGING REFLECTION. COMMITTED TO sustainability, KUMAR CRAFTS TIMELESS PIECES WITH AUTHENTICITY.

ARTIST STATEMENT

Pindiga Ranjith Kumar ’s Purpose is to create innovative systems that celebrate slow, responsibly produced fashion and craft skills. Drawing inspiration from the rich tapestry of his cultural heritage, his design process reflects his personal connection to ritual offerings during festivals and celebrations in his hometown of India. By experimenting with organic cotton and traditional embroidery techniques indigenous to Telangana state in India, his designs are not just articles of textile but vessels of cultural expression and spiritual resonance.

The essence of Ranjith's 'Evergreen' items lies in their timeless appeal and enduring quality, reminiscent of cherished heirlooms passed down through generations. They are more than just fashion statements, they are tangible manifestations of heritage and legacy, designed to be treasured and adorned for years to come.

In a world where fast fashion dominates, Ranjith Kumar's creations stand as a beacon of authenticity and sustainability, inviting individuals to embrace a slower, more thoughtful approach to dressing. With each stitch and motif, he invites wearers to partake in a journey of self-discovery and connection to their roots, fostering a sense of belonging and reverence for the craft.

Moving forward, Ranjith Kumar aims to establish a new production system focusing on "Design in London, Made in India" high-end handcrafted items.

This initiative seeks to celebrate the essence of New India by blending artisanal textiles, emphasising craft skills, heritage, and innovation. The resulting pieces, crafted with specialist finishes, are intended to be cherished like heirlooms by a discerning clientele that

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values both investment and emotional connection.

The timeless luxury designs cater to art connoisseurs and high-fashion enthusiasts, offering pieces that are ageless, seasonless, and imbued with emotive value.

Furthermore, Ranjith Kumar is committed to a circular fashion model, fostering collaborations with creative communities in London and India. Ranjith Kumar's dedication to taking responsibility for his actions is reflected in his work ethics and his commitment to giving back to the community.

ARTWORK STATEMENT

219 Ranjith Kumar's artistic journey is a captivating exploration of cultural identity and the human experience. Grounded in his Indian heritage, his creations serve as a bridge between tradition and modernity, weaving together narratives of diaspora and multiculturalism. Through The Flower Whisperer collection, Ranjith Kumar not only showcases his masterful craft skills but also embodies the ethos of sustainability with innovative ways of zero waste pattern cutting techniques and circular design process, underscoring his commitment to ethical production and meaningful consumption.

For this collection Ranjith Kumar drew inspiration from the grandeur of sporting events like Tennis, Ranjith Kumar's designs resonate with the notion of unity and belonging, transcending geographical boundaries to celebrate the universal language of culture. His ability to seamlessly integrate elements of both sports attire and cultural symbolism highlights the interconnectedness of human experiences, inviting viewers to contemplate the intricacies of identity and self-expression.

In a world marked by rapid globalisation and cultural exchange, Ranjith Kumar's work serves as a testament to the enduring power of art to foster connection and understanding. By intertwining threads of heritage, community, and sustainability, he invites us to embark on a journey of introspection and appreciation for the rich tapestry of human diversity.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (PRK) - PINDIGA RANJITH KUMAR

(BDG) As a London-based designer with a diverse background spanning art, pattern cutting, theatre, and sports, how do you navigate the intersection between these disciplines in your creative practice?

(PRK)

In my creative practice, I leverage my diverse background to explore the interconnectedness between art, pattern cutting, theatre, and sports. Each discipline informs and enriches the others, allowing me to approach design from multiple perspectives. For example, my experience in theatre informs my understanding of storytelling and performance, which I incorporate into my fashion designs to create garments that evoke emotion and narrative. Similarly, my background in sports instils a sense of movement and functionality in my designs, while my artistic sensibility infuses my work with creativity and expression. By embracing the intersectionality of these disciplines, I'm able to push boundaries and create truly unique and multidimensional pieces.

(BDG) Your work reflects a blend of British and Asian cultural influences.

How do you approach incorporating these nuances into your designs to evoke both nostalgia and futurism simultaneously?

(PRK)

Incorporating British and Asian cultural influences into my designs is a delicate balance that involves honouring tradition while embracing innovation. I draw inspiration from the rich heritage of both cultures, integrating traditional motifs, textiles, and craftsmanship techniques into contemporary silhouettes and designs. By juxtaposing elements from the past with futuristic aesthetics, I create a sense of nostalgia for the familiar while also pushing boundaries and challenging conventions.

For example, I might reinterpret traditional Asian embroidery techniques in a modern context, or fuse British tailoring with Asianinspired prints. By blending these cultural influences seamlessly, I evoke a sense of nostalgia for the familiar while also infusing my designs with a sense of forward-thinking futurism. This approach allows me to create garments that resonate with a diverse audience, celebrating the beauty and diversity of both British and Asian cultures while also pushing the boundaries of fashion.

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(BDG) Your artistic journey seems deeply rooted in your Indian heritage.

Could you elaborate on how rituals and celebrations from your hometown of India inspire and inform your design process?

(PRK)

Certainly, my Indian heritage is a significant source of inspiration in my artistic journey. Rituals and celebrations play a central role in Indian culture, and they deeply influence my design process.

For instance, the vibrant colours, intricate patterns, and rich textures associated with traditional Indian attire often find their way into my designs.

Moreover, the sense of community and togetherness inherent in Indian celebrations inspires me to create garments that foster connection and celebration. Whether it's the joyous atmosphere of a wedding or the solemnity of a religious ceremony, each occasion offers a wealth of inspiration for exploring themes of tradition, spirituality, and identity in my designs.

Additionally, the craftsmanship and attention to detail evident in Indian textiles and embroidery techniques inform my approach to design, inspiring me to create pieces that are not only visually striking but also steeped in cultural significance. Overall, my Indian heritage serves as a constant source of inspiration, infusing my designs with depth, meaning, and a sense of cultural pride.

(BDG) Sustainability is a key focus in your work, particularly with responsible sourcing and manufacturing practices. How do you ensure that sustainability remains central to your design ethos?

(PRK)

To me, sustainability embodies a spiritual aspect, and I believe in becoming a better person by integrating this ethos into my actions. In manufacturing, sustainability demands genuine intent across the entire process, prioritising environmental and social considerations. Utilising textile waste from Indian producers reflects our commitment to innovative approaches to repurposing materials.

Nowadays, there's heightened interest in the environmental impact of manufacturing materials, extending beyond aesthetics and function. However, despite using sustainable materials, there are still debates about what truly benefits the planet. This ongoing dialogue is crucial as we redefine manufacturing norms.

As a designer, I view it as my responsibility to reimagine the use of existing resources, crafting elegant and modern designs that prioritise longevity and waste reduction, ensuring a sustainable future, and I am transparent with my customers about my sourcing and manufacturing processes. By adhering to these principles and continually seeking out new ways to reduce my environmental footprint, I strive to ensure that sustainability remains at the forefront of my design ethos, not just as a trend, but as a fundamental commitment to the planet and its inhabitants.

(BDG) Your 'Evergreen' items are described as timeless pieces that transcend fashion trends. What inspired you to create designs with enduring quality and cultural resonance?

(PRK)

The inspiration behind my 'Evergreen' items stems from a deep appreciation for craftsmanship, cultural heritage, and sustainability. I believe that fashion should not be transient, but rather timeless and enduring. Drawing inspiration from my Indian heritage and global experiences, I aim to create designs that resonate across cultures and generations.

By infusing my designs with elements of cultural significance and timeless elegance, I seek to capture the essence of beauty and craftsmanship that transcends fleeting trends. Whether it's the intricate detailing of traditional Indian textiles or the simplicity of classic silhouettes, each piece is crafted with meticulous attention to detail and a commitment to quality.

Moreover, my dedication to sustainability informs my approach to design, ensuring that each 'Evergreen' item is not only beautiful but also environmentally conscious. By creating pieces that stand the test of time, I hope to inspire a shift towards a more mindful and sustainable approach to fashion, one that values quality, longevity, and cultural resonance above fleeting trends just like items of jewellery which can be passed onto future generations.

For example My mother wears saris with pride given to her by my grandmother. The craftsmanship of these silk saris are one of a kind woven in real gold and silk.

(BDG) Could you share more about your initiative, "Design in London, Made in India," and its significance in celebrating artisanal textiles and craft skills?

(PRK)

"Design in London, Made in India" is an initiative close to my heart, born out of a desire to celebrate the rich tradition of artisanal textiles and craft skills in India while leveraging the creative energy and innovation of London's fashion scene.

This initiative embodies a symbiotic relationship between the two regions, where design concepts are conceived in London and brought to life through the expertise of skilled artisans in India.

By marrying contemporary design sensibilities with traditional craftsmanship, we not only create unique and culturally resonant garments but also support local communities and preserve ageold craft traditions.

Through "Design in London, Made in India," we aim to shine a spotlight on the incredible talent and artistry of Indian artisans, many of whom are custodians of techniques passed down through generations. By providing them with a platform to showcase their skills on a global stage, we hope to foster appreciation for the beauty and intricacy of handmade textiles

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and encourage sustainable practices within the fashion industry.

Ultimately, this initiative is about more than just creating beautiful garments— it's about celebrating cultural heritage, fostering collaboration, and empowering artisans to thrive in a rapidly changing world.

(BDG) The Flower Whisperer collection seems to encapsulate a profound exploration of cultural identity. How do you infuse elements of tradition and modernity into your designs to create a cohesive narrative?

(PRK)

In the Flower Whisperer collection, I aim to explore the intricacies of cultural identity by seamlessly blending elements of tradition and modernity. This fusion allows for the creation of a cohesive narrative that resonates with a contemporary audience while honouring heritage and tradition.

To achieve this, I draw inspiration from traditional motifs, textiles, and craftsmanship techniques, infusing them with a modern twist. For example, I might reinterpret traditional floral patterns in bold colours or incorporate innovative textile treatments inspired by ancient weaving techniques.

Additionally, I explore themes of cultural symbolism and storytelling, weaving them into the fabric of my designs to create a sense of depth and meaning. Whether it's through the use of symbolic colours, motifs, or narratives, each element contributes to the overall narrative of the collection, evoking a sense of nostalgia for the familiar while also pushing boundaries and challenging conventions.

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By seamlessly integrating elements of tradition and modernity, I strive to create designs that speak to the complexities of cultural identity in a rapidly evolving world, fostering a sense of connection and belonging while celebrating the beauty and diversity of our shared heritage.

(BDG) What role do zero waste pattern cutting techniques and circular design processes play in your commitment to ethical production and consumption?

(PRK)

Zero waste pattern cutting techniques and circular design processes are integral to my commitment to ethical production and meaningful consumption. By implementing these practices, I aim to minimise waste, reduce environmental impact, and promote a more sustainable approach to fashion.

I always tell my weavers in India to follow a way that utilises fabric efficiently, with little to no fabric waste generated during the production and cutting process. This not only reduces the environmental footprint of production but also maximises the use of resources, making each piece more sustainable.

Our long term goal is to focus on creating products that can be reused, recycled, or repurposed at the end of their lifecycle, rather than ending up in landfills. This may involve using materials that are biodegradable or recyclable, designing garments with modular components that can be easily repaired or replaced, or implementing take-back programs to collect and recycle old garments.

By incorporating zero waste pattern cutting techniques and circular design processes into my production methods, I strive to create garments that are not only beautiful and well-made but also environmentally responsible. This aligns with my ethos of promoting ethical production practices and encouraging meaningful consumption habits, ultimately contributing to a more sustainable and equitable fashion industry.

(BDG) Your designs often draw inspiration from sporting events like Tennis. How do you weave elements of sports attire and cultural symbolism together to convey a sense of unity and belonging?

(PRK)

It allows me to blend elements of sports attire with cultural symbolism to convey a sense of unity and belonging. Tennis, in particular, embodies a spirit of athleticism, competition, and camaraderie, making it a rich source of inspiration for my designs.

I weave elements of sports attire, such as sleek silhouettes, and functional details, into my designs to imbue them with a sense of dynamism and movement. At the same time, I incorporate cultural symbolism, whether through colour choices, patterns, or motifs, to infuse each garment with deeper meaning and significance.

For example, I might incorporate traditional textiles or embroidery techniques from my Indian heritage into a tennis-inspired ensemble, creating a fusion of sportswear and cultural identity.

This not only adds visual interest to the design but also serves as a nod to the diversity and richness of cultural traditions.

By blending elements of sports attire and cultural symbolism, I aim to create garments that resonate with a diverse audience, fostering a sense of unity and belonging across different backgrounds and experiences. Whether on the court or off, my designs celebrate the universal values of athleticism, inclusivity, and cultural pride.

(BDG) In a world marked by cultural exchange and globalisation, how do you believe art, particularly fashion, can foster connection and understanding across diverse communities?

(PRK)

I believe fashion serves as a universal language, transcending borders and language barriers to communicate ideas, values, and identities.

Through fashion, individuals can express their cultural heritage, personal beliefs, and unique perspectives, creating opportunities

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for dialogue and exchange. Whether through traditional textiles, contemporary designs, or innovative collaborations, fashion allows for the celebration of diversity and the exploration of shared experiences.

Moreover, fashion has the power to challenge stereotypes, break down barriers, and promote inclusivity. By showcasing diverse representations of beauty, identity, and style, fashion can challenge preconceived notions and foster empathy and understanding across cultural divides.

Through collaborative projects, cultural exchanges, and community-driven initiatives, fashion can create spaces for people from different backgrounds to come together, learn from one another, and celebrate the rich tapestry of human experience.

In this way, fashion becomes not just a form of self-expression, but also a tool for building bridges, fostering connection, and promoting a more inclusive and interconnected world.

PINDIGA RANJITH KUMAR IS HIS DIVERSE BACKGROUND EN theatre, AND sports, SHOWCAS APPROACH. HIS JOURNEY CULM AT THE PRESTIGIOUS Roya

EMBRACING EVERY FACET OF T PRIORITISES responsible sourcin INFORMED BY THE CULTURAL AND Asian diasporas, HE NAVIGATE THE FAMILIAR AND THE DISTA THE PAST AND PRESENT TO EVO SIMULTANEOUSLY. HIS WORK S TRADITIONS AND INNOVATION UNDERSTANDING OF THE DYNA HERITAGE AND CONT

S LONDON BASED DESIGNER, NCOMPASSES art, pattern cutting, SING HIS INTERDISCIPLINARY MINATED IN AN MA IN Fashion al College of Art IN LONDON.

THE DESIGN PROCESS, RANJITH ng AND manufacturing practices.

NUANCES OF BOTH THE British ES THE INTERSECTION BETWEEN ANT, BLENDING ELEMENTS OF OKE BOTH nostalgia and futurism SERVES AS A BRIDGE BETWEEN NS, REFLECTING A PROFOUND NAMIC RELATIONSHIP BETWEEN TEMPORARY FASHION.

REVIEW

240 Ranjith Kumar's artistic journey is a mesmerising exploration of cultural identity and human experience, effortlessly merging tradition with innovation. Rooted in his Indian heritage, Kumar's designs serve as a poignant bridge between the past and present, inviting viewers to embark on a profound journey of introspection and connection.

With a diverse background spanning art, pattern cutting, theatre, and sports, Kumar brings a unique interdisciplinary approach to his creative practice. His

designs reflect a deep understanding of storytelling, performance, and movement, resulting in garments that transcend mere fashion to become vessels of cultural expression and spiritual resonance.

One of Kumar's most remarkable achievements is his unwavering commitment to sustainability and ethical production practices. Through responsible sourcing and manufacturing, he ensures that each piece not only embodies timeless elegance but also respects the planet and its inhabitants. This dedication t o m e a n i n g f u l c o n s u m pt i o n a n d c o m m u n i t y engagement sets Kumar apart as a visionary in the fashion industry.

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In his latest collection, "The Flower Whisperer," Kumar continues to push boundaries and challenge conventions. Drawing inspiration from sporting events like Tennis, he seamlessly integrates elements of sports attire with cultural symbolism, creating designs that celebrate unity and belonging across diverse communities. By blending tradition with modernity, Kumar creates a cohesive narrative that resonates with authenticity and cultural resonance.

Overall, Ranjith Kumar's work is a testament to the enduring power of art to foster connection and understanding. Through his innovative designs and unwavering commitment to sustainability, he invites us to reimagine fashion as not just a form of selfexpression, but also a tool for building bridges and promoting inclusivity in an increasingly globalised world.

XIANJUN LIU XIANJUN LIU, A PHOTOGRAPHER, DELVES INTO time, identity, and culture. HIS EVOCATIVE WORKS RESONATE, OFFERING A GLIMPSE INTO LIFE'S COMPLEXITIES, TRANSCENDING BORDERS, EXPLORING belonging, memory, and solitude.

ARTIST STATEMENT

I left China to UK for a more comfortable living life for my identity, but also struggled with my own cultural identity in a new context and a different culture while facing all the pressure of being an expat and immigrant, the instability and insecurity in life inspire me a lot to express my feelings and ideas. Especially during the period of pandemic. When I was living and studying in The Glasgow School of Art, I started my exploration of time through photography, my inaugural project, "The Form of Memories," employed a deliberate blur effect through long exposure technique. This technique mirrored the gradual fading of our own memories over time. As moments pass, our recollections become fragmented, resembling the indistinct images captured in my photographs.

R e c o n s t r u c t i n g c o h e s i v e m e m o r i e s g ro w s increasingly challenging as time marches on. Later on my second project, "Time" was inspired by an experience of me going back to my hometown for the first time after 15 years, and I shot my first home where everything was left how it was like 15 years ago, I felt the power of time and just recorded it as a project.

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ARTWORK STATEMENT

249 While I was living and studying in Glasgow, I began exploring the theme of time through various projects since the pandemic period when everything felt up in the air— no idea where we were headed or how things would turn out, and how everything stays and changes in the river of time. Additionally, as an expatriate living alone in a foreign country, loneliness and uncertainty are constant companions.

I seek solace in nature and space. I immersed myself in capturing the beauty of the present moment— be it the vibrant hues of a tree, the dance of falling leaves, or the tranquillity of a snowy landscape. These snapshots, akin to our memories, mirror the passage of time. As days blur into weeks, our recollections fade like photographs, a tapestry of colours and sensations that become increasingly elusive to rewind. These moments and feelings inspired me to create this project.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (XL) - XIANJUN LIU

(BDG) How do you see your experiences as an expatriate and immigrant influencing your artistic perspective and the themes you explore in your photography?

(XL)

I moved a lot since I was a kid with my family, to different cities, starting different lives. The root to a place never felt deep enough for me to consider it an actual home. My friend group and life were all affected by this, I never felt stable and secure. Until I experienced conversion therapy and a suppressed gay life in China. That's when I started chasing the feeling of "home." So, I moved to the UK for a less suppressing LGBT+ community life.

It's much easier to be who I am here. I enjoyed it a lot and met many important friends in life. But for someone from a totally different culture and background, I somehow have never felt "home" here either. The "home" and life I am chasing here feel like they never existed. Then I started to feel a vast amount of loneliness, confusion, and doubts. The insecure, unstable, and peculiar feelings I experienced and felt in life all influenced the themes I explored in photography.

(BDG) Your project "The Form of Memories" explores the theme of time.

Could you elaborate on how you approach this concept through your photography?

(XL)

Photography itself is an approach to capture time, and I have always had a huge interest in it. Around 3 years ago, I spontaneously took a long exposure photo with my hand accidentally shaking, but somehow it turned out surprisingly great. Then I began to explore this concept further, leading to the project "The Form of Memories," when I was in a stage of insecurity in life. The long exposure and blurry effect of the photos also represent the passing of time and the peculiar feeling associated with it. It all started and was inspired by that accidental moment.

(BDG) Nature seems to play a significant role in your work, particularly in capturing the beauty of the present moment. How does nature inspire and inform your artistic vision?

(XL)

I personally love wandering around when I am free, especially in parks and nature. It always makes me feel relaxed, like a retreat experience. In nature throughout the year, you can see and feel

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very clearly how time passes by, from every single leaf on the tree, from every little flower on the grass, from spring green to winter ash, nature itself presents time, and every different present moment changes. So, I decided and started shooting this project in long exposure from different seasons of the year, and it turned out it took me three years to finish this project. When I didn't feel satisfied with a season's photos, then I had to wait until the next year. Basically, I aimed to find perfection from the imperfect blurry photos.

(BDG) Your project "Time" was inspired by your return to your hometown after 15 years. How did this experience shape your understanding of time, and how did you translate that into your photographic work?

(XL)

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"Time" was the first project that I started to create after "The Form of Memories", in a totally different form, not blurry at all.

I still feel a very peculiar feeling even now when I recall the memories of how I felt at that moment, after 15 years of returning to my hometown for the first time. It was like a shock to witness how much the town had changed, yet also remained the same.

The little forest behind the balcony had been removed for development, my uncle’s home and the peach tree garden where we used to play were also gone. As I walked around and saw some places, remembering who used to live there, I realised that some friends and family who lived there had already passed away. Everything in town had changed a lot, but when I returned to my own home and my own rooms, they were the same as in my memories, just aged a lot. That was the moment I felt the impact of time. Then I started to create the photos for the project, in a completely different form, not blurry at all, but more focused on the composition itself. I intended to create imperfect compositions, with not many straight lines, and some abrupt objects on the edge of the photos. For me, it was like rewinding memories, imperfection with a strong atmosphere, just like how it is in my memories.

(BDG) The theme of loneliness and uncertainty appears to be recurring in your projects. How do you navigate these emotions through your photography, and what message do you hope to convey to your audience?

(XL)

When I start thinking and feeling, I always try to figure out what I feel and what touches me at that moment, and then I try to capture that in my works. Light is very important in my work, every single change in it could lead to different feelings and emotions.

I try my best to capture and express that through my work, but I know that for some people, when they view my works, they feel something totally different from what I initially intended. This is very interesting to see. For example, if they do not know me, how would they feel about this work?

(BDG) Can you share some insights into your creative process when conceptualising and executing a photography project? How do you translate your ideas into visual narratives?

(XL)

When I start a project, there are mainly two ways. It could be that I have not yet figured out my concept, but I am trying to figure it out by doing it. The other one could be that I already have a concept and am now just trying to find a way to execute it. It really depends on the stage you and the work are at. But it is much easier to start with what captivates you, what moves you, what inspires you to create, and how you want it to be. When I was creating "The Form of Memories," it took me a while to realize what captivated me, what moved me, and how I should create it. Sometimes it is your subconscious that notices things first, and then you delve into it by exploring through your work.

(BDG) Your artwork has been exhibited in various galleries worldwide.

How do you feel about the reception and interpretation of your work by different audiences and cultures?

(XL)

When it comes to different experiences and cultures, people may not resonate with them, which is common to see, but the feelings of the works could be conveyed. They may be received differently from their original thoughts, but as long as you build the bridge, then it is people’s option to choose the path.

(BDG) You mentioned exploring different art forms and writing poetry in your free time. How do these other creative outlets influence your photography, if at all?

(XL)

Writing poetry definitely helps me think freely, but at the same time, logically. It helps me figure out how I feel and what actually makes me feel this way. It's like tracing back to the original thoughts and subconsciousness.

(BDG) What role do you believe photography plays in capturing and preserving memories, especially in the context of the fleeting nature of time?

(XL)

For me, it plays a role in freezing moments in time, creating tangible reminders of experiences, people, and places that might otherwise fade from memory. It also has the ability to evoke emotions and stir memories in ways that words alone cannot. It serves to remind us of every present moment we experienced at that time, like the trees basking in the sunlight, the falling leaves, and the breeze rustling through the branches. All of these serve as reminders of the moments of life.

(BDG) What themes or concepts are you interested in exploring in your future photographic projects?

(XL)

I experienced an unstable life since I was a kid, and I wasn't alone in this experience. Many families in China at that time also

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experienced it. The strategies the government applied to speed up development influenced billions of individual lives, leading them down different paths. So, I want to explore, trace back, and see the consequences it caused for individual lives and for the whole society.

MY NAME IS XIANJUN LIU AND LONDON CURRENTLY, I WAS BOR experience FROM DIFFERENT CIT AND MY gay identity IN DIFFERE INSPIRES ME TO VIEW THIS WO expresses h

AFTER GRADUATING WITH A BAC FROM THE Glasgow School of Art, W INTEREST, I BEGAN MY FREELANC ART WORKS HAVE BEEN EXHIBITE OVER THE WORLD, SUCH AS Roya Holy Art Gallery IN LONDON, AND Arts IN CHINA. I LOVE DEPICTIN WITHIN MY ARTWORK AND WOR ONE-OF-A-KIND ARTWORK. IN M DIFFERENT ART FORMS A

D I AM A photographer BASED IN RN IN CHINA, MY floating growing TIES TO DIFFERENT COUNTRIES, ENT COMPLEX CONTEXTS, ALL ORLD in different perspectives AND how I feel.

CHELOR'S DEGREE IN architecture WITH ALL MY MOTIVATION AND CING PHOTOGRAPHY CAREER. MY ED IN DIFFERENT GALLERIES ALL al Scottish Academy IN EDINBURGH, D The Guangzhou Academy of Fine NG MY IDEA AND IMAGINATION RKING WITH OTHERS TO CREATE MY FREE TIME, I LIKE TO EXPLORE AND WRITE SOME poems.

REVIEW

260

Xianjun Liu's photographic narrative delves deep into the intersection of identity, memory, and the passage of time. Hailing from China and currently residing in London, Liu's lens captures the essence of his nomadic existence as an expatriate and immigrant, echoing a perpetual search for roots and stability.

His series "The Form of Memories," offers a poignant exploration of time's ephemeral nature. Through long-exposure prints, Liu immortalises fleeting

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moments, imbuing them with a haunting nostalgia that underscores the fragility of memory. Each image serves as a visual meditation on the transience of life, inviting viewers to reflect on the impermanence of the present moment.

Nature emerges as a central motif in Liu's oeuvre, serving as a canvas for his introspective musings on time and space. From lush forests to wintry landscapes, his photographs capture the cyclical rhythms of the natural world with a poetic grace.

Through subtle shifts in light and composition, Liu evokes a sense of timelessness, inviting viewers to contemplate the eternal dance of creation and decay.

In "Time," Liu embarks on a deeply personal journey to his hometown, a pilgrimage marked by a profound sense of nostalgia and longing. Through meticulously composed images, he retraces the passage of time, capturing the essence of familiar landscapes imbued with the patina of memory. Each photograph is a testament to the enduring power of place, serving as a poignant reminder of the inexorable march of time.

Throughout his work, themes of loneliness and uncertainty reverberate, echoing the universal human experience of displacement and longing. Through his evocative imagery, Liu invites viewers to confront their own existential questions, forging a profound connection that transcends cultural boundaries.

In an age marked by rapid change and uncertainty, Xianjun Liu's photography offers a beacon of solace, reminding us of the timeless beauty that resides in the fleeting moments of everyday life. Through his lens, he captures the essence of the human experience with a rare sensitivity, inviting viewers to embark on a transformative journey of self-discovery and reflection.

XIAOQING RONG XIAOQING RONG, jewellery artist, DELVES INTO HUMAN EMOTIONS THROUGH METALWORK. HER PIECES UNRAVEL THEMES OF solitude, digital existence, AND THE blend of physical and virtual realms, INVITING CONTEMPLATION OF HUMAN CONNECTION.

ARTIST STATEMENT

In the quiet spaces of solitude, where whispers of distant relationships echo, my journey through the intricate world of jewellery began. At Pratt Institute, my craft became a silent dialogue between the self and the absence of others. It was here that the themes of isolation and the vast stretches of emotional landscapes first wove themselves into the narrative of my work. The very essence of solitude, with its silent shadows, became my muse, guiding my hands in the creation of pieces that spoke to the unspoken in the collection Rebuilding the Verification of Existence.

Now at the Royal College of Art, my inquiry has broadened its horizons. The once internal reverie of distance has unfolded into the vast expanse between the digital and the physical. Here, my work, an alchemy of metal and emotion, engages with the ethereal boundaries of our digital existence— the boundaries stand invisible yet insurmountable.

This expansion of my thematic universe is not a departure but a poetic journey across the continuum of human connection. The solitude that permeated my initial work finds its echo in the silent spaces where the physical world fails to touch the digital realm.

In this, jewellery transcends its traditional role, embodying a medium through which we can investigate the intersection of our cognitive landscapes with the digital environment. It invites a tactile engagement with conceptual questions about our existence and interactions in a world where the digital and physical are inextricably linked, yet distinctly separate. My work seeks to capture the essence of this dichotomy, and invites wearers to contemplate the paradox of our age: the profound intimacy of our solitary journeys, and the complex dance of our interactions in a world where the digital and the physical strive to converge.

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ARTWORK STATEMENT

Rebuilding the Verification of Existence - This project chronicles my journey from solitude, marked initially by negative emotions, towards a state of selfacceptance. In this process, I witnessed myself in various states of social distress.

Limited activity, social distance and extended time spent alone led to anxiety, loneliness, fear, and confusion.

During the Covid pandemic, NYC and the world have slowed down a bit, everything moves slowly. This allowed me to look at my surroundings and see things I have never seen before. Every object in this collection has a trace of real life. They visualise the beauty and fragility of my so-called negative feelings.

Life’s traces bring nostalgic feelings of having a connection with someone or something. Words explaining emotions are abstract, general, and overused.

Instead, I designed objects that can be touched by and connected with the body, to imitate and embody feelings. By incorporating transparent materials such as acrylic, resin and crystals with sterling silver, these feelings are captured in each piece of jewelry.

Those concentrated depressing emotions illustrate an image of myself that I have never seen before, and introduce me to the importance of self-acceptance.

This thesis has become an act of self-improvement. I do not want to fight against these negative emotions, but rather, as in Eastern philosophy, I want to move with the resistance to go with the flow.

The "self" in this collection includes not only me but also other people in similar situations. By touching these negative feelings, we ground ourselves in the world, assuring ourselves that we can exist in different ways. It also explores who we are and where we belong.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (XR) - XIAOQING RONG

(BDG) What led you to focus on exploring themes of isolation and emotional landscapes in your jewellery?

(XR)

During the Covid pandemic in 2020,I found myself alone in New York City, enduring a prolonged separation from my family and the majority of my friends. The implementation of social distancing measures, curfews, and self-quarantine caused the world to slow its pace significantly. In this decelerated reality, I gained the opportunity to observe my surroundings with newfound clarity, noticing intricacies that had previously eluded my attention. Since then, I've embarked on an exploration of absence through the lens of everyday objects, trying to imbue them with intimacy and emotion through reconstruction.

(BDG) How do you navigate the intersection between the physical and digital realms in your jewellery pieces?

(XR)

In the creation of most of my pieces, I intertwine 3D printing, scanning, and traditional jewellery craftsmanship, navigating between the digital and physical realms. As someone deeply entrenched in the digital sphere, I seek to illustrate the interplay between these two worlds, showcasing their divergence and convergence along an invisible boundary. Through this process, I explore the dynamic relationship between technology and tradition, inviting viewers to ponder the intersections and disparities between the digital and physical realms.

(BDG) Your collection "Rebuilding the Verification of Existence" delves into constructing wearable objects that embody fleeting emotions like depression and anxiety. Could you discuss your approach to capturing such intangible aspects of human experience?

(XR)

Emotions, fleeting and intangible, stand in stark contrast to the tangible and enduring nature of the objects that surround us.

Throughout the pandemic, as I spent extensive periods alone in my apartment, I found myself intimately acquainted with these familiar objects that have been part of my daily life for years. From the floor plan to the chain lock on the door, each item seemed to reverberate with significance. Recognizing their role as both companions and repositories of untapped emotions, I resolved to immortalise them in silver, integrating transparent materials to symbolise the

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emotions that often elude our grasp. These objects are not mere possessions but vessels of unseen sentiments that accompany us on our journey through life.

(BDG) The use of transparent materials like acrylic, resin, and crystals in your jewellery pieces adds an intriguing dimension. How do these materials contribute to conveying emotions in your work?

(XR)

Transparent materials have consistently been my instinctive choice when attempting to convey intangible concepts or emotions. The transparency they offer creates a shell or a sense of emptiness within the piece, evoking the presence of absence. Furthermore, this transparency signifies an intention of dematerialization, inviting viewers and wearers alike to contemplate themes of absence, loss, emptiness, invisibility, and fragmentation.

(BDG) Can you share insights into the symbolism behind some of your pieces, such as "Knock knock..." and "Sorry! The number you dialled..."?

(XR)

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The "Knock knock..." ring represent a transparent door can not be open from inside and outside, the pair of rings supposed to be wear on the index fingers on both hands separately, the "Knock knock..." text appears on the opposite side of the invisible wall, and when the wearer wear the ring with both hands, the lock could never be open. The inspiration for the silver chain lock stemmed from the nightly ritual of checking its position on my apartment door before retiring to bed. Beyond its practical function of providing security, this simple object serves as a prohibition for interactions with the outside world.

"Sorry! The number you dialled..." is a pair of earrings, they convey a unique form of intimacy by transferring screenshots of my recent phone records onto metal sheets, with hand-chased numbers capturing each entry. However, the absence of familiar contacts renders these records as numerical sequences rather than recognizable names. Each digit stamped onto the metal surface encapsulates the isolation and longing for connection, highlighting the profound impact of distance and separation on one's sense of belonging and companionship.

(BDG) Your project "Rebuilding the Verification of Existence" seems deeply personal yet universally resonant. How do you balance conveying your own experiences while creating work that speaks to a broader audience?

(XR)

To be honest, when I initially embarked on this project, I didn't give much thought to the audience. My focus was solely on the therapeutic journey of bringing my feelings to life through tangible artefacts. However, as people encounter these objects — each unique and devoid of shared design elemens— they seem to enter a shared realm evoked by the objects themselves.

This resonance may stem from our collective memory of the

pandemic. In each piece, viewers may recognize objects that have been constant companions throughout this challenging time, yet have often overlooked the emotions they carry. It's this shared familiarity that bridges the gap between individual experiences, inviting others to reflect on their own journeys and the hidden depths of everyday objects.

(BDG) What themes or ideas are you eager to explore in your future artistic endeavours?

(XR)

I am currently studying at the Royal college of art. My work started to explore the juxtaposition and interplay between the digital and physical realms, rooted in my personal experiences with 3D modelling and the inherent frustrations of digital command errors. Specifically a digital splitting error: split failed, because the two objects are not intersecting” Based on the concept of the Illusion of Intersection - the elusive boundary where the digital and physical realms nearly converge but ultimately remain separate. My work symbolises the disconnects and diffractions that occur between our (physical) intentions in the digital world and the digital manifestations in the physical world.

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BORN AND RAISED IN BEIJING, X OF Pratt Institute WHERE SHE EAR MINOR IN fashion IN 2021. SHE IS STUDIES WITH AN M.A. IN Jeweller Art. IN HER SENIOR ACADEMIC YE TOWARDS THE realms of untoucha EXPLORING THE LESS TANGIBLE A HER COLLECTION, "Rebuilding th INTO THE INTRICATE PROCESS O CAPTURING LIFE’S SUBTLE DETA INTO WEARABLE OBJECTS. RONG WHERE FLEETING EMOTIONS LI ARE GIVEN PERMANENCE, WI RECONCILIATION OF THESE FEE PART OF HER ART

XIAOQING RONG IS AN ALUMNA RNED A B.F.A. IN Jewelry WITH A S CURRENTLY ADVANCING HER ry and Metal AT the Royal College of EAR, HER WORK BEGAN TO PIVOT able emotions AND self-acceptance, ASPECTS OF HUMAN EXPERIENCE. he Verification of Existence," DELVES OF construction and deconstruction, AILS AND TRANSMUTING THEM G'S PIECES EMBODY A NARRATIVE IKE depression, anger, AND anxiety ITH HER ARTICULATION AND ELINGS FORMING AN INTEGRAL TISTIC IDENTITY.

REVIEW

282 Xiaoqing Rong's artistic journey unfolds like a delicate dance between the tangible and the intangible, weaving intricate narratives of emotion and selfdiscovery through the medium of jewellery and metalwork. Hailing from the vibrant city of Beijing, Rong earned a B.F.A. at Pratt Institute in New York and is now pursuing an M.A. at Royal College of Art in London.

Her collection, "Rebuilding the Verification of Existence," stands as a testament to her artistic prowess and introspective depth. With sterling silver as her canvas and emotions as her palette, Rong crafts pieces that transcend mere adornment, becoming vessels for the human experience itself.

Through meticulous attention to detail and a keen sensitivity to materiality, she breathes life into abstract concepts like depression, anxiety, and solitude,

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transforming them into tangible artefacts that resonate on a deeply personal level.

What sets Rong's work apart is its profound universality.

While rooted in her own journey of self-acceptance and introspection, her creations possess a remarkable ability to touch the hearts and minds of viewers from all walks of life. In a world marked by increasing isolation and disconnection, Rong's jewellery serves as a beacon of empathy and understanding, inviting us to confront our own emotions and vulnerabilities with courage and compassion.

In pieces like "Knock knock..." and "Sorry! The number you dialled...," Rong invites us to explore the subtle nuances of human connection and separation.

Through symbolism-rich designs and thoughtful craftsmanship, she encapsulates the fragility of our relationships and the profound impact of distance on our sense of belonging. Each piece becomes a poignant reminder of the beauty and complexity of the human experience, urging us to embrace our imperfections and celebrate our shared humanity.

Looking to the future, Rong's exploration of the intersection between the digital and physical realms holds great promise. By seamlessly blending traditional techniques with cutting-edge technology, she opens up new frontiers of artistic expression, challenging us to rethink our perceptions of reality and existence in an increasingly digital age.

In conclusion, Xiaoqing Rong emerges as a luminary of emotion in the world of metalwork, casting light on the hidden depths of the human soul with each exquisite creation. Through her art, she invites us to embark on a journey of self-discovery and contemplation, reminding us of the transformative power of empathy, connection, and self-acceptance.

YADI WANG YADI WANG, A CONTEMPORARY JEWELLERY ARTIST, CRAFTING CAPTIVATING PIECES THAT EXPLORE MATERIAL INTERSECTIONS AND PUSH BOUNDARIES, EMBODYING self-discovery, social commentary, AND digital themes.

ARTIST STATEMENT

Yadi Wang's artistic practice is rooted in a profound exploration of materials and their endless possibilities.

Each piece she creates is a result of meticulous experimentation and a deep understanding of the unique characteristics of the materials she employs.

Whether it's the marriage of metals with lampwork glass or the integration of wood into contemporary forms, Yadi aims to evoke a sense of wonder and fascination in her audience. Her creations transcend mere adornments, they are interactive expressions of self-discovery and exploration. Yadi invites viewers to engage with her pieces, unravelling the layers of meaning woven into each design and discovering the beauty in the unconventional.

Yadi's work is deeply influenced by her concern for social issues, particularly those affecting women and the digital realm. She often incorporates these themes into her pieces, using her art as a medium for commentary and reflection on contemporary society.

Through her London-based art and design studio, Rew i n d W h i m , Ya d i e n d e avo u r s to p u s h t h e boundaries of traditional jewellery design. Her brand serves as a platform for creativity, offering unique and expressive accessories that resonate with individuals seeking a deeper connection to contemporary culture and craftsmanship. Each piece from Rewind Whim reflects Yadi's ongoing journey of artistic discovery and her unwavering commitment to pushing the boundaries of contemporary jewellery design.

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ARTWORK STATEMENT

In "The Guide of Lost Dreams" Collection, Yadi embarks on a profound exploration of the impact of the information age on historical narratives, focusing on the Republic of China era in China. By delving into this pivotal period, she seeks to unravel the potential transformations of cultural dynamics in an era defined by technological advancement. Through meticulous craftsmanship and innovative design, Yadi examines the intersection of past and present, envisioning how the essence of the Republic of China culture adapts and evolves within the digital landscape. Her pieces serve as tangible manifestations of this evolution, embodying a synthesis of traditional aesthetics with contemporary sensibilities.

This series is not merely a reflection of history, it is a bold reimagining of cultural heritage for the modern age. Each jewellery piece acts as a portal, inviting viewers to traverse temporal boundaries and witness the seamless continuity between traditions and future possibilities.

In particular, Yadi's exploration extends beyond mere adornment. Through larger jewellery installations, she investigates the physiological and psychological effects of wearing jewellery, offering a deeper contemplation of the intimate relationship between body and ornamentation. Through her art, Yadi prompts viewers to engage in a nuanced dialogue about the dynamic nature of culture, challenging them to reconsider their perceptions of tradition and innovation in an ever-evolving world.

In the “Last Embark” collection, the designer transcends the boundaries of traditional jewellery design to create an immersive experience that blurs the lines between art and adornment. Drawing inspiration from the enigmatic and ancient history of the Mesozoic era, each piece serves as a contemporary artefact, embodying Earth's evolutionary narrative.

From sweeping landscapes to fantastical creatures, every design captures the essence of the Mesozoic era's mythical charm. Through innovative techniques and experimental materials, the designer breathes new life into ancient motifs, infusing them with a modern sensibility that resonates with today's audience.

This collection is more than just jewellery, it is a testament to the enduring power of art to evoke wonder and curiosity. Each piece invites viewers to engage with its narrative, explore the depths of Earth's evolutionary history, and forge a personal connection with the ancient past.

By seamlessly blending elements of contemporary art with traditional craftsmanship, the designer invites wearers to become active participants in the creation of their narrative. Through their exploration of these wearable artworks, wearers are encouraged to reflect on their place in the world and to embrace the wonder of Earth's evolutionary journey.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YW) - YADI WANG

(BDG) What initially drew you to the world of contemporary jewellery design, and how has your journey evolved since then?

(YW)

What initially drew me to the world of contemporary jewellery design was a profound fascination with the idea of wearable art and the transformative power of adornment. From a young age, I was captivated by the idea that jewellery could be more than just decorative, it could serve as a means of personal expression, storytelling, and cultural reflection. This initial spark of curiosity led me to pursue formal studies in jewellery and object design, first at Birmingham City University and later at Central Saint Martins.

As I delved deeper into the world of contemporary jewellery design, I found myself drawn to the endless possibilities offered by the medium— the ability to work with a diverse range of materials, techniques, and concepts to create pieces that transcended traditional notions of adornment. At every turn of my journey, there's been an unwavering commitment to innovation and experimentation, driven by an insatiable hunger to expand the horizons of contemporary jewellery design.

(BDG) Your work often incorporates unconventional materials like lampwork glass and wood. Could you share your thoughts on the significance of exploring these materials in your artistic practice?

(YW)

Incorporating unconventional materials like lampwork glass and wood into my work is akin to wielding a diverse palette of colors in painting. Lampwork glass infuses my pieces with a kaleidoscope of vivid hues and dynamic shapes, akin to adding vibrant brushstrokes onto a canvas. This allows me to play with light and transparency, creating visually captivating effects that draw the viewer's eye.

Similarly, wood introduces a rich spectrum of earthy tones and textures to my designs, akin to blending different pigments to create depth and contrast. Each piece of wood carries its unique grain pattern and natural beauty, adding warmth and tactility to the overall composition. Just as a painter carefully selects and blends colours to evoke a desired mood or emotion, I meticulously choose and combine materials to achieve a harmonious balance in my jewellery.

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Exploring this unconventional palette opens up endless possibilities for creative expression. It allows me to challenge the conventions of traditional jewellery design and create truly oneof-a-kind pieces.

(BDG) "The Guide of Lost Dreams"explores the intersection of historical narratives and the digital age. Can you elaborate on the inspiration behind this series and the messages you aim to convey through your pieces?

(YW)

"The Guide of Lost Dreams" collection represents my exploration of the intersection between historical narratives and the digital age.

Inspired by the evolving nature of history and the transformative influence of technology, each piece in this collection serves as a visual narrative that blurs the boundaries between past, present, and future.

The collection is driven by the idea that history is not a fixed entity but rather a dynamic tapestry of interconnected stories and perspectives. Through my designs, I aim to challenge the linear narrative often associated with historical discourse, instead presenting history as a fluid and ever-changing construct.

One of the central themes of the collection is the impact of technology on our understanding of the past. By incorporating elements of the digital age, such as pixelated motifs and glitch aesthetics, I seek to highlight how technology mediates our relationship with history, shaping our perception of the past in unexpected ways.

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Moreover, "The Guide of Lost Dreams" collection serves as a reflection on the fragility of memory and the power of storytelling.

In an era where information is abundant yet fleeting, where digital archives coexist alongside ancient artefacts, the collection prompts viewers to contemplate the enduring significance of narrative in shaping our collective identity.

Overall, "The Guide of Lost Dreams" is an invitation to embark on a journey of exploration and discovery, using jewellery as a medium to navigate the complex and interconnected landscapes of memory, history, and imagination. Through each piece, I aim to provoke thought, inspire dialogue, and encourage viewers to reconsider their understanding of the past in the context of our rapidly evolving digital age.

(BDG) In your artistic process, how do you balance traditional craftsmanship with innovative design techniques to create pieces that resonate with contemporary sensibilities?

(YW)

In my artistic process, I strive to strike a harmonious balance between traditional craftsmanship and innovative design techniques to craft pieces that resonate with contemporary sensibilities.

At the heart of this balance lies a deep appreciation for the timeless artistry and techniques passed down through generations. Drawing upon traditional craftsmanship, I honour the heritage of jewellery making, paying meticulous attention to detail and craftsmanship in every step of the creation process.

However, I also recognise the importance of innovation and evolution in art. By embracing innovative design techniques, such as 3D printing, laser cutting, or digital modelling, I push the boundaries of traditional craftsmanship, exploring new forms, textures, and materials.

This fusion of tradition and innovation allows me to create pieces that are both rooted in history and relevant to the modern world. Whether it's through unexpected material combinations, contemporary aesthetics, or interactive elements, I seek to imbue my work with a sense of relevance and resonance with today's audience.

Ultimately, by balancing traditional craftsmanship with innovative design techniques, I aim to create jewellery that not only embodies the timeless beauty of the craft but also speaks to the contemporary spirit, inviting wearers to engage with art in new and meaningful ways.

(BDG) Your brand, Rewind Whim, is known for pushing the boundaries of jewellery design. What motivated you to establish your own brand, and how does it reflect your artistic vision?

(YW)

Establishing my brand, Rewind Whim, was born out of a deepseated desire to carve out a space where I could fully express my artistic vision and push the boundaries of jewellery design without limitations.

Motivated by a passion for innovation and a relentless drive to explore new creative horizons, I saw creating my brand as the ultimate opportunity to bring my ideas to life in a way that resonated authentically with me and my audience.

Rewind Whim is more than just a name, it's a reflection of my artistic ethos and approach. "Rewind" symbolizes the idea of revisiting the past, drawing inspiration from tradition and heritage, while "Whim" represents the spontaneous bursts of creativity and imagination that drive my work forward.

Through Rewind Whim, I strive to create jewellery that not only captivates the eye but also sparks curiosity and invites viewers to reimagine the possibilities of adornment. It's a platform for me to challenge conventions, experiment with new techniques and materials, and ultimately, to create pieces that resonate deeply with individuals seeking something truly unique and expressive.

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Every collection, every piece that bears the Rewind Whim name is a testament to my unwavering commitment to artistic exploration and innovation. It's a journey that continues to evolve and unfold with each new creation, and I'm excited to see where it takes me next.

(BDG) The "Last Embark" collection draws inspiration from the Mesozoic era. Could you discuss the creative process behind this collection and how you translated ancient motifs into modern wearable artworks?

(YW)

The genesis of the "Last Embark" collection stemmed from a profound fascination with the Mesozoic era's rich tapestry of life and landscapes. Immersing myself in extensive research, I delved into the realms of paleontology, exploring fossils, reconstructions, and scientific literature to glean insights into this ancient epoch.

Armed with newfound knowledge and inspiration, I embarked on a creative journey that melded traditional craftsmanship with innovative design techniques. Sketches and prototypes became my canvas, allowing me to experiment with forms, textures, and materials in my quest to capture the essence of Mesozoic motifs.

Balancing authenticity with contemporary sensibilities was paramount. I endeavored to honor the intricate details and majesty of Mesozoic creatures and landscapes while infusing my designs with a modern aesthetic that would resonate with today's audience.

The creative process involved pushing the boundaries of conventional jewellery design, exploring unconventional materials and techniques to breathe new life into ancient motifs.

From intricate patterns reminiscent of dinosaur scales to the sinuous forms of prehistoric flora, each piece was meticulously crafted to evoke a sense of wonder and awe.

(BDG) Your pieces often invite viewers to engage with them in novel and unexpected ways. How do you envision the interaction between your audience and your art contributing to the overall narrative of your work?

In envisioning the interaction between my audience and my art, I see it as an integral part of the overall narrative of my work. By designing pieces that invite viewers to engage with them in novel and unexpected ways, I aim to create a dynamic and immersive experience that goes beyond mere observation.

Each interaction with my art adds layers to the narrative, allowing viewers to become active participants in shaping the story.

Whether it's through tactile exploration, interactive elements, or unconventional presentation, I seek to spark curiosity and encourage deeper engagement with the themes and concepts underlying my work.

Through these interactions, I hope to create moments of connection and reflection, where viewers can uncover new perspectives and meanings within the artwork. Ultimately, I believe that the dialogue between the audience and my art enriches the overall narrative, breathing life into each piece and fostering a deeper appreciation for the beauty and complexity of the world around us.

(BDG) Social issues, particularly those affecting women and the digital realm, are recurring themes in your pieces. How do you use your art as a medium for commentary and reflection on contemporary society?

(YW)

Social issues, especially those concerning women and the digital realm, serve as recurring themes in my artwork. I leverage my art as a powerful medium for commentary and reflection on contemporary society by addressing these pertinent issues in innovative and thought-provoking ways.

Through my pieces, I strive to shed light on the challenges and inequalities faced by women in today's world, whether it be gender-based discrimination, societal expectations, or struggles for empowerment and equality. By incorporating symbolic imagery, evocative motifs, and subtle narratives into my art, I aim to stimulate dialogue and spark introspection on these pressing issues.

Furthermore, I explore the intersection of technology and humanity, delving into the complexities of our increasingly digitalized society. From the impact of social media on mental health to questions of privacy and surveillance, I use my art to prompt viewers to contemplate the consequences of our

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reliance on digital technologies and the ways in which they shape our lives.

Ultimately, my goal is to provoke thought, inspire empathy, and foster positive change through my artistic expression. By addressing social issues within my work, I hope to contribute to a broader conversation about the challenges and opportunities facing contemporary society, and to encourage viewers to engage critically with the world around them.

(BDG) Could you share insights into your exploration of the physiological and psychological effects of wearing jewellery, as evidenced in some of your larger jewellery installations?

(YW)

My exploration of the physiological and psychological effects of wearing jewellery is a multifaceted journey that delves into the intricate relationship between adornment and the human experience. Through my larger jewellery installations, I seek to uncover insights into how wearing jewellery impacts both the wearer and the observer on physical, emotional, and cognitive levels.

Physiologic ally, wearing jewellery c an evoke s ens ory experiences and tactile sensations that affect our perception of self and surroundings. By crafting pieces that interact with the body in unique ways, such as through varying textures, weights, and movement, I aim to explore how these physical sensations influence our comfort, confidence, and sense of identity.

Psychologically, jewellery serves as a form of self-expression and personal adornment, shaping our emotions, attitudes, and social interactions. Through my installations, I investigate how different forms, materials, and designs evoke specific psychological responses, from feelings of empowerment and confidence to nostalgia and sentimentality.

Moreover, I explore the social and cultural significance of jewellery, examining how it communicates messages about identity, status, and belonging within society. By creating immersive installations that encourage reflection and interaction, I invite viewers to contemplate the broader cultural contexts and meanings embedded within the act of wearing jewellery.

Overall, my exploration of the physiological and psychological effects of wearing jewellery is an ongoing inquiry into the power of adornment to shape our perceptions of self and others.

Through my larger installations, I aim to provoke thought, spark conversation, and deepen our understanding of the profound impact that jewellery has on our lives.

(BDG) As an artist based in London, how do you perceive the contemporary jewellery landscape, and what role do you envision your work playing in shaping the future of jewellery design?

(BDG) As an artist based in London, how do you perceive the contemporary jewellery landscape, and what role do you envision your work playing in shaping the future of jewellery design?

(YW)

As an artist based in London, I perceive the contemporary jewellery landscape as dynamic and diverse, reflecting the city's rich cultural tapestry. In this vibrant environment, I see opportunities for creativity and innovation to thrive, with artists exploring a wide range of styles and techniques.

In shaping the future of jewellery design, I envision my work playing a role in pushing the boundaries of creativity and challenging traditional norms. By blending contemporary artistry with traditional craftsmanship, I strive to create pieces that resonate with modern sensibilities while offering fresh perspectives.

Moreover, I aim to use my art to address social issues and provoke thought, contributing to a more socially conscious approach to jewellery design. Through my work, I hope to inspire dialogue and reflection, encouraging viewers to consider the broader implications of adornment in today's society.

Ultimately, I see myself as part of a movement towards a more inclusive and socially aware jewellery landscape, where artistry and craftsmanship converge to create meaningful experiences for wearers and observers alike.

YADI WANG, A contemporary jewellery art YEARS OF DEDICATED STUDY, INCLU Jewelry and Object FROM Birmingham C DEGREE FROM Central Saint Martins. H INTERNATIONAL ACCLAIM AND HA EXHIBITIONS, INCLUDING THE 9 MAR Exploring the Subject of

YADI'S CREATIVE PROCESS IS FUELED UNIQUE QUALITIES OF various materi unconventional elements LIKE LAMPW INCORPORATING INTERACTIVE ELEM VIEWERS TO ENGAGE WIT UNEXPECT

YADI'S PURSUIT OF INTEGRATING C MODERN LIFE LED HER TO ESTABLISH H CONTINUES TO PUSH THE BOUNDARI PIECES THAT RESONATE WITH INDIV accessories. THROUGH HER ART, YADI fascination, ENCOURAGING VIEWERS T AND UNEX

tist, HAS HONED HER CRAFT THROUGH UDING UNDERGRADUATE STUDIES IN City University AND A POSTGRADUATE HER INNOVATIVE WORK HAS EARNED AS BEEN FEATURED IN NUMEROUS RCH PROJECT: Contemporary Jewellery f Gender and Feminism.

D BY A PASSION FOR EXPLORING THE ials, OFTEN COMBINING metals WITH WORK GLASS AND WOOD. SKILLED IN MENTS INTO HER PIECES, YADI INVITES TH HER ART IN NOVEL AND TED WAYS.

CONTEMPORARY JEWELLERY INTO HER BRAND, Rewind Whim, WHERE SHE IES OF JEWELLERY DESIGN, CREATING VIDUALS seeking unique and expressive I AIMS TO evoke a sense of intrigue and TO EXPLORE THE UNCONVENTIONAL XPECTED.

REVIEW

In the realm of contemporary jewellery design, Yadi Wang stands as a luminary, a visionary whose creations transcend mere adornment to become immersive expressions of artistry and narrative.

Through her brand, Rewind Whim, Wang embarks on a journey that blends tradition with innovation, crafting pieces that not only captivate the eye but also stimulate the mind and spirit.

Wang's artistic journey is one marked by a relentless pursuit of creativity and exploration. From her early studies in jewellery and object design at Birmingham City University to her postgraduate degree from Central Saint Martins, Wang has honed her craft with dedication and passion. It's this foundation of knowledge and skill that serves as the bedrock for her daring forays into the uncharted territories of contemporary jewellery design.

At the heart of Wang's practice lies a profound fascination with materials and their infinite possibilities.

Whether it's the delicate interplay of copper-plated sterling silver in her "Magnolia Necklace" or the intricate beauty of 925 sterling silver in her "Orchid Phalanx Bone Ring," Wang's creations are a testament to her mastery of craft. But it's not just the materials themselves that captivate, it's the stories they tell, the emotions they evoke, and the worlds they conjure.

In her latest collection, "The Guide of Lost Dreams," Wang delves into the complex interplay between historical narratives and the digital age. Inspired

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by the Republic of China era, Wang reimagines traditional aesthetics through a contemporary lens, exploring how culture and identity adapt and evolve within the ever-shifting landscape of technology.

Through pixelated motifs and glitch aesthetics, Wang challenges our perceptions of history, inviting us to reconsider the past in the context of our rapidly advancing digital present.

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But Wang's work is not merely a reflection of the external world, it's a journey inward, a contemplation of self and society. Themes of femininity, identity, and social commentary permeate her pieces, inviting viewers to engage in a dialogue about the pressing issues of our time. In her "Regeneron Redesigned Ear Cuff" and "Coral Fossil Necklace," Wang explores the physiological and psychological effects of wearing jewellery, prompting us to consider the profound impact of adornment on our sense of self and wellbeing.

What sets Wang apart is not just her technical skill or creative vision but her ability to evoke wonder and fascination in those who encounter her work. Through her immersive installations and interactive pieces, Wang invites viewers to become active participants in the creation of meaning, forging personal connections with her art that extend beyond the physical realm.

In a contemporary jewellery landscape defined by innovation and experimentation, Yadi Wang stands as a beacon of creativity, pushing the boundaries of what is possible and challenging us to see the world anew. With each piece she creates, Wang invites us to embark on a journey of discovery, encouraging us to explore the intersection of tradition and innovation, memory and imagination, self and society. In a world where the lines between art and adornment are increasingly blurred, Yadi Wang reminds us of the transformative power of creativity and the enduring allure of the human spirit.

YAOHUA LI YAOHUA LI, A VERSATILE ARTIST, MASTERFULLY CAPTURES COMPLEX human emotions THROUGH video, theatre, and photography. HER IMMERSIVE CREATIONS GO BEYOND TYPICAL NARRATIVES, ELICITING emotional reactions AND ENGAGING WITH SOCIETAL THEMES DEEPLY.

ARTIST STATEMENT

My creative endeavors span a diverse spectrum of disciplines, including video, theater, and photography.

I am drawn to the intricate task of capturing the subtlest and most elusive human emotions through the dynamic interplay of images. In my work across these varied mediums, I strive to infuse a sense of theatrical intensity, aiming to create an immersive experience that resonates deeply with the viewer.

I perceive video not only as a powerful conduit for storytelling— traditionally dominated by narrative and textual forms like fiction and drama— but also as an expansive visual language with the inherent capacity to go beyond conventional narrative structures, offering new, boundless avenues for communication.

I aim to resonate with viewers on an intuitive level, evoking a spectrum of emotions without reliance on textual exposition. My aspiration is to craft works that stir deep emotions first, setting the stage for a reflective experience. By primarily engaging the audience's emotions — whether they evoke joy, sorrow, fear, or solace— I intend to lay the groundwork for a deeper engagement with societal themes, believing that the initial emotional response is crucial for fostering a genuine concern for the issues depicted.

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ARTWORK STATEMENT

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I have always believed that true beauty is hermaphroditic, a unity of two poles. For every girl, there must be a man living in her body, and similarly there must be a woman living in every man’s body. However, feminine beauty and male beauty, according to social disciplines, are respectively femininity and masculinity, which I believe is an absurd boundary. I want to depict the spiritual struggle between the female ego and the male ego in a woman’s heart.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YL) - YAOHUA LI

(BDG) In your artistic practice, you explore a variety of mediums such as video, theatre, and photography. How do you navigate the different expressive possibilities offered by each medium?

(YL)

For me, video, theatre, and photography share a common characteristic: they condense life itself but amplify our perceptions and feelings about life. Each medium allows me to delve into life's intricate layers from different angles. Video captures the flow of time and the subtleties of movement, offering a continuous narrative. Theatre brings the immediacy of live interaction and the profound impact of physical presence, which deeply engages the audience emotionally. Photography turns moments into eternity, capturing those fleeting but precious feelings and emotions. These are the things I try to capture through my work: evoking a moment of tears and a heartfelt laugh with the flux of the eye.

(BDG) Your work often aims to capture subtle human emotions without relying heavily on textual exposition. Could you elaborate on your approach to conveying emotions through visual storytelling?

(YL)

My approach to conveying emotions visually hinges on two main methods: Firstly, through the use of symbols and symbolism. Symbols in visual arts provide a potent, impactful means of communication that efficiently conveys themes.

Symbolism stirs the imagination significantly. For instance, in my piece "Mutuality," to express the vulnerability of the heroine who is deeply disciplined by society, I use symbols associated with virginity, such as white, menstrual blood, and a black veil — elements culturally linked to purity. Additionally, a dragon tattoo on the girl’s body symbolises the male power confined within her, and her constantly heaving shoulders signify the struggle to break free from this force.

Secondly, through the rendering of atmosphere to evoke synesthesia. Atmosphere can engage all the senses of the audience, making synesthesia a direct way to guide their emotions and feelings. When filming, I meticulously design each location and its colour tone to enhance the emotional depth. In my work Mutuality, the three distinct natural environments under

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extreme tones mirror the girl's psychological states: the deep blue sea represents vulnerability and sadness, the dark green forest, lush and complex, symbolises her inner world where she reconciles with the male power, and the emerald grassland, bright and boundless, signifies her development into a person with a complete personality.

(BDG) The theme of mutuality appears to be significant in your artwork "互 Mutuality." What inspired you to explore this theme, and how does it manifest in your creative process? Also, You mentioned your belief in the unity of feminine and masculine elements within individuals. How does this belief influence your artistic vision and the narratives you seek to portray?

(YL)

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The theme of "Mutuality" is rooted in my reflections on societal gender conditioning. The concept of "yin-yang balance" is a wellknown aspect of traditional Chinese culture and a philosophical view I consistently apply in both my life and creative work.

This concept underpins "Mutuality." However, contemporary societal norms concerning gender often run counter to this idea, particularly in East Asian societies where there are strong expectations for women to be feminine and gentle, and for men to be masculine and tough. But a truly complete personality should be harmonious and unified. Similarly, a healthy society should welcome the coexistence of various traits among people, fostering a dynamic where yin and yang nurture each other, rather than enforcing a singular type of conditioning to domesticate any specific group. This philosophy of balance and inclusivity is woven throughout "Mutuality," challenging the rigid gender roles and advocating for a more integrated and accepting social structure.

(BDG) As an artist who has worked in both the film and television industry and the realm of fine arts, how do you perceive the relationship between commercial storytelling and artistic expression?

(YL)

Both commercial storytelling and artistic expression, at their core, share a fundamental purpose: communication. For me, advertising— a prevalent form of video communication in mass media— is inherently about conveying a brand's philosophy to an audience in a manner that is not only precise but also resonant and emotionally engaging. This is analogous to the purpose of art. Art exists to enhance communication and interaction among people, breaking down the linguistic barriers that divide us, fostering deeper connections, and discovering shared thoughts and emotions.

When I work on my artistic projects, my approach mirrors that of creating advertisements. My aim is to craft a mode of communication that can be widely understood and felt, ensuring that my work transcends complexity and self-indulgence to reach and impact a broader audience. This synergy between

commercial and artistic realms enriches both, enabling each to inform and elevate the other, creating a dialogue that resonates deeply with viewers regardless of the medium.

(BDG) Could you discuss the role of immersion and theatrical intensity in your creative process? How do you aim to engage viewers on an emotional level while also addressing societal themes?

(YL)

Intensity is a crucial component of my creative process, especially stemming from my background in theatre. In the past, when creating theatrical works, I had to consider multiple elements like pacing, sound, costumes, and stage design, all vital for cultivating dramatic tension that emotionally engages the audience. I apply the same creative logic from theatre to my other types of artwork, such as video pieces. Every element has a profound significance to the overall impact of the art.

Moreover, societal issues inherently contain dramatic conflicts, much like battles between two forces: injustice on one side, and justice and resistance on the other. These forces clash, and people yearn for the triumph of justice. Many societal issues are not overt, which is precisely why artists are necessary. The role of art is to perceive, unearth, and artistically transform these social conflicts. By doing so, I aim to not only engage viewers on an emotional level but also provoke thought and discussion about these underlying issues. Art, in this way, serves as a catalyst for visibility and change, dramatising societal challenges to resonate deeply with the audience and inspire action.

(BDG) Your scriptwriting experience spans various formats, from film and television dramas to advertisements. How does this background inform your approach to visual storytelling in other mediums?

(YL)

My extensive background in scriptwriting for film, television and commercials has greatly influenced my approach to visual storytelling in a variety of mediums. In film and television, the emphasis is on deep, vivid and complex characterisation, which has equipped me with the skills to create richly layered narratives.

Advertising, on the other hand, teaches concise, impactful storytelling that conveys a great deal of information and emotion in just a few moments. These experiences have been invaluable to me in exploring other creative fields.

On top of making films and adverts, I have also engaged in a process of reflection about the artistry of video. While video has traditionally been a medium for narrative and text, I recognised its unique potential as a powerful visual tool that transcends written narrative. This insight led me to explore video's capacity as a new and limitless form of communication. Inspired by directors such as Terrence Malick, for example, who skilfully transform philosophical ideas into evocative poetic images, I aim to move

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away from a reliance on text and pure narrative, and instead communicate complex ideas and emotions through the viewer's visual, auditory and associative senses. This approach allows for a more immersive and intuitive engagement with the audience, opening up new possibilities for storytelling in my work.

(BDG) Can you share any upcoming projects or themes you're excited to explore in your future artistic endeavours?

(YL)

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Firstly, video remains a medium I plan to continue exploring.

Having amassed a wealth of experience in video creation, I am now poised to embrace the monumental shifts brought about by advancements in AI technology, such as Nora from OpenAI. The potential of video as a medium has greatly expanded beyond what was previously imaginable. In light of this, I am already integrating AI into my creative process. The recent COVID-19 pandemic, coupled with the rapid rise of artificial intelligence, has ushered in an unprecedented shift from physical to virtual interactions. With AI entering the realm of video creation, the boundaries between reality and memory, as well as truth and fiction, may further blur.

I am keen to explore how digital alterations can manipulate our perceptions through AI-enhanced video creation. This is not only an exciting new frontier in the artistic use of technology but also an opportunity to delve deeper into how we experience and interpret the evolving world around us.

(BDG) As an artist who has worked in both the film and television industry and the realm of fine arts, how do you perceive the relationship between commercial storytelling and artistic expression?

(YL)

Art, while ultimately aimed at fostering peace, does not always pursue it through peaceful means. The essence of art lies in unveiling hidden truths and highlighting the injustices within society.

Many social issues, especially those related to gender conditioning, tend to be invisible in everyday life. For instance, societal norms often dictate that women should be gentle and graceful, while men should exhibit masculinity, subtly shaping our perceptions and aesthetic judgments without our conscious awareness.

However, the role of the artist is to reflect on and expose these societal norms through their artwork, challenging these automatic assumptions and prejudices. By presenting these issues in a manner that is accessible and engaging to a broader audience, artists not only raise awareness but also encourage critical thinking and dialogue. In doing so, art becomes a powerful tool for societal change, pushing boundaries and prompting viewers to reconsider and question deep-seated norms and values. This transformative potential of art is essential for advancing discussions on gender identity and expression, making it a catalyst for a more equitable and inclusive society.

YAOHUA LI GRADUATED F of Drama AS AN UNDERG STUDYING AT THE Roya WORKED IN THE film and HAS RICH EXPERIENCE IN AND TELEVISION DRAMAS SHE HAS WRITTEN SCRIPT ADVERTISEMENTS, DIREC OUT CREATIV

HER WORKS COVER A W INCLUDING video, theatre AN HAVE BEEN SHORTLISTED AND EXHIBITED AT THE G Cultural Centre IN BEIJING KENT

FROM THE Central Academy GRADUATE AND IS NOW al College of Art. SHE HAS television INDUSTRY AND N writing scripts FOR FILM S AND ADVERTISEMENTS. TS FOR VARIOUS TYPES OF CTED THEM AND CARRIED VE PLANNING.

WIDE RANGE OF FIELDS ND photography. HER WORKS FOR THE Pro Biennale 2024 Goethe-Institut of the German G, AND Dover at Night IN T, UK.

REVIEW

In the vast landscape of contemporary art, Yaohua Li emerges as a versatile and compelling voice, weaving together an intricate tapestry of human emotions through her multidisciplinary approach. With a background in scriptwriting for film and television, Li's transition into the realm of visual arts has been nothing short of transformative, as evidenced by her thought-provoking works exhibited internationally.

At the heart of Li's artistic practice lies a profound exploration of the human psyche, a journey she undertakes through the mediums of video, theatre, and photography. Each medium serves as a lens through which she captures the essence of elusive emotions, trans cending traditional narrative structures to create immersive experiences that resonate deeply with viewers.

In her video pieces, such as the evocative "Mutuality," Li skillfully navigates the complexities of gender identity and s ocietal expectations. Through symbolism and atmospheric nuances, she depicts the

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inner struggles of her characters, inviting viewers to contemplate the inherent duality of human nature. The result is a visually stunning and emotionally resonant narrative that challenges preconceived notions and sparks dialogue on pressing social issues.

Li's theatrical background infuses her works with a sense of immediacy and intensity, engaging audiences on a visceral level. Whether through live performances or staged photography, she captures fleeting moments of raw emotion, immortalising them in captivating visual compositions. Her ability to evoke profound emotional responses without relying heavily on textual exposition is a testament to her mastery of visual storytelling.

In a world inundated with commercial narratives, Li's commitment to artistic expression shines through, blurring the lines between commercial storytelling and fine art. Drawing inspiration from her experiences in the film and television industry, she creates works that are both visually captivating and thematically rich, transcending the boundaries of traditional art forms.

Li's international exhibitions, including showcases at prestigious venues such as the Goethe-Institut in Beijing and Dover at Night in the UK, attest to the universal appeal of her art. By adapting her artistic vision to resonate with diverse audiences and cultural contexts, she bridges gaps and fosters dialogue on issues that transcend geographical boundaries.

In conclusion, Yaohua Li's artistry is a testament to the transformative power of visual storytelling. Through her multidisciplinary approach, she delves into the depths of human emotion, challenging societal norms and prompting reflection on the complexities of the human experience. As she continues to push the boundaries of artistic expression, her voice remains a vital force in the ever-evolving landscape of contemporary art.

YIBEIJIA LI YIBEIJIA LI, A FORMER ARCHITECT TURNED ARTIST, merges reality with myth, BLENDING Chinese heritage WITH London's urban landscapes. HER ARTWORKS PROMPT REFLECTION ON ecological AND cultural losses, INVITING EXPLORATION OF HIDDEN REALMS.

ARTIST STATEMENT

Yibeijia Li’s practice aims to breathe life into lost things, whether they be lifeforms that have become extinct or ideas that have disappeared from our mental landscapes. Filling gaps in knowledge with speculation and imagined scenarios, she aims to create new mythologies in the contemporary era.

Drawing inspiration from the mountains and the rivers she grew up with in China and the familiar streets of London, from the gardens and riverbanks to the found objects, spans from space and time, Li imagines a world that seeks familiarity in the unfamiliar where reality and myth are both recognised and reimagined. In this envisioned world, objects are not as merely created but as discovered elements of an imagined realm, each narrating a fragment of a larger story.

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ARTWORK STATEMENT

345 Inside - This sculpture piece operates within a context that is increasingly defined by rapid ecological and social changes, and a growing collective nostalgia for lost cultural and natural environments. The relevance of the work weaves new narratives that prompt reflection on the ecological and cultural losses we face.

By The River Fleet In A Rainy Day 1 - This work deals with the concepts of revelation and the desire to explore what lies beneath.Adopting the form of a traditional begonia-shaped vase, envision its voyage after being misplaced by its last possessor, only to be rediscovered by the riverbank decades afterward. In the intervening years, new life has thrived the vase has transformed into a sanctuary for mythical beings, while the vestiges of its past utility faintly linger beneath.

By The River Fleet In A Rainy Day 2 - This work deals with the concepts of revelation and the desire to explore what lies beneath. In this context, I perceive the River Fleet as a metaphorical curtain, veiling layers of history beneath its serene flow, existing unobtrusively beneath the hustle and bustle of our daily existence. The act of uncovering these hidden, imagery-rich artefacts represents the unveiling of a new realm or ecosystem that has flourished unnoticed by the majority.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YL) - YIBEIJIA LI

(BDG) Could you elaborate on how your extensive background in Architecture influences your approach to art, particularly in your exploration of space and environment?

(YL)

Architecture is about portraying narrative and experience through space. Doors, windows, roofs, stairs and corridors are the conventional words in its language. Similarly, I perceive my sculptures as vessels for storytelling, each linked to a tangible location. the major difference would be that architecture is destined to change, however my sculptures are more likely to reflect.

(BDG) Your artist statement mentions a desire to breathe life into lost things and create new mythologies. How do you translate this concept into your artistic process? Also, How does the juxtaposition of natural elements from your upbringing in China with the urban landscapes of London inform the themes and narratives in your work?

(YL)

I see my sculptures as vessels of memory, bridging the gaps between the past and the present, seen and unseen.

Growing up in China during its rapid transformation, I felt compelled to capture the essence of change, to immortalise moments of transition in tangible form.

The collision of natural landscape with urban development, the juxtaposition of historical context against the backdrop of modernity. Witnessing the intricacy between progress and preservation, I am inspired to explore the fertile in-between spaces where nature and humanity intersect. My memories are deeply intertwined with these ever-changing landscapes, and my creative process reflects this fluidity. Rather than adhering to strict plans, I rely on intuition and post-rationalisation to give form to the envisioned realm.

(BDG) Your sculpture piece "INSIDE" operates within a context of ecological and social changes. Can you discuss how your art prompts reflection on these contemporary issues? Also, The titles of your artworks, such as "By The River Fleet In A Rainy Day_1" and "By The River Fleet In A Rainy Day_2," evoke specific settings. Could you share how the environment or setting influences your (YL)

The narrative of the project is set on a rainy day after I discovered the fleet near Carmelite Street I then imagine a world where

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things are reminiscent of London, yet been reinvented and exposed. Straddle sci-fi, artisanal histories, philosophies and mythologies. Ultimately inventing how we humans fit in on Earth today. Even though the scene is set next to the Fleet in London, yet, the finished sculptures also reflect many traces of the Dadu River where I grew up next to.

The river bears a lot of things at the same time it swallows everything up. What is concealed by the flow of water and shifting mud, structures used to mark and marshal the flow are revealed. The making process is evolutionary, whilst working on one piece, ideas develop for the following work. I am always learning and testing the clay. Pieces sometimes take one river element as inspiration, others merge two or more to create composite descriptions of the ever-changing riverbanks and man's intervention.

(BDG) Your work often deals with the concept of revelation and exploring what lies beneath. How do you translate this exploration into tangible artistic expressions?

(YL)

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I would to see my sculptures as a snapshot of the moment in time a lot of time I will find things become different when we start to observe them, like driftwood buried in riverbeds, the moment after it has been dug out, the pressure, temperature and exposure to air change everything about the driftwood, what left to observe is the moment of change, the death of one thing became the chance for others to thrive.

(BDG) How do you see your artistic practice evolving in the future, and are there any new directions or experiments you're eager to explore?

(YL)

I am fascinated by the natural colour of the clay after the multiple firings, in my next collection I am focusing more on use a combination of different clays to achieve depth of colour and texture.

(BDG) What role do you believe art plays in addressing ecological and cultural losses, and how do you hope your work contributes to these discussions?

(YL)

I have been living in the UK for 10 years, my works a lot of time still inspired by the landscape I grew up in. But in this turbulent time, many things changed drastically physically and politically, I found myself stuck right in the middle not exactly here and not even close to there, I guess it also helped me to be more like an observer, at least it the role I am playing for my current collection. And It will evolve later on.

(BDG) Lastly, could you share any current or upcoming projects you're excited about, and how they tie into your overall artistic vision?

(YL)

In Buddhism there is a concept of a flower is a world, a leaf is a tree My next project is a collaboration with a chief, and the table is our world. That’s all I can say for now.

YIBEIJIA LI IS A LONDON BACKGROUND IN architec Central Saint Martins IN 202 THE DESIGN COLLECTIVE A TEACHING AT BA ARCHITEC MARTINS. IN HER EVOLVIN HAS collaborated with the Wh University of the Arts, AND H THE Lethaby Gal

N-BASED ARTIST WITH A cture. GRADUATED FROM 22, SHE HAS WORKED FOR ASSEMBLE, AND CURRENTLY CTURE AT CENTRAL SAINT NG ART PRACTICE, YIBEIJIA hitechapel Gallery, AND Tokyo HAD WORK EXHIBITED AT llery THIS YEAR.

REVIEW

Yibeijia Li's artistic journey, grounded in her background in architecture, unfolds as a captivating ex p l o rat i o n of s p a c e, m e m o r y, a n d c u l t u ra l intersectionality. In her latest exhibition, Li masterfully intertwines elements of her Chinese upbringing with the bustling urban landscapes of London, resulting in a body of work that is both deeply personal and universally resonant.

One of the most striking aspects of Li's art is her ability to breathe life into lost things, a theme that reverberates throughout her s culptures and installations. Each piece serves as a vessel for storytelling, inviting viewers to immerse themselves in imagined worlds where reality and myth coalesce. By drawing inspiration from her childhood landscapes in China and juxtaposing them with the familiar streets of London, Li creates a sense of displacement and discovery, prompting contemplation on the fluidity of identity and the passage of time.

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I n h e r s c u l pt u re " I N S I D E , " L i c o n f ro n t s t h e contemporary context of ecological and social change, prompting viewers to reflect on the profound losses we face as a society. Through the use of materials such as stoneware and glass, she evokes a sense of nostalgia and longing, urging us to confront the fragility of our natural and cultural heritage.

Similarly, in her works "By The River Fleet In A Rainy Day_1" and "By The River Fleet In A Rainy Day_2," Li delves into the concept of revelation and the desire to uncover hidden truths. Through the imagery-rich artefacts depicted in these pieces, she invites us to explore the unseen layers of history buried beneath the surface of our everyday lives.

In my conversation with Li, she eloquently elaborated on her artistic process and the influences that inform her work. Her deep connection to both Chinese and British cultures is evident in her creative vision, as she navigates the complexities of identity and belonging with grace and introspection.

Overall, Yibeijia Li's exhibition offers a thoughtprovoking journey through landscapes of memory, imagination, and transformation. Her ability to transcend boundaries and bridge disparate worlds speaks to the universal human experience, making her work both relevant and enduring in today's rapidly changing world.

YILING WU YILING WU COMBINES traditional embroidery WITH modern techniques, EXPLORING FREEDOM FROM stereotypes. HER ART CHALLENGES PERCEPTIONS, INVITING VIEWERS INTO A WORLD WHERE EMBROIDERY LIVES FREELY.

ARTIST STATEMENT

I make embroidery artworks which showcase the beauty of embroidery itself. I always want to showcase that embroidery could also become the main character of artwork, embroidery does not always need to be part of fabric. Also, with the water soluble method, I will be able to turn embroidery into a uncertainty structure which makes every one of my artwork unique. Apart from that, combining with resin marks the important part of my creation which through the transparent effect of resin, I can preserve and transform my embroidery into a certain shape just like photographs capturing the moment of my life.

Within my creations, I would love to create my own utopia which has its own vibrant freedom through my embroidery. Growing up as an Asian I had been trapped in multiple stereotypes for most of my childhood and I believe there are lots of people who are in the same situation as me. That is the reason why I create my embroidery and capture them into crystal clear resin.

Through the movement of embroidery itself, I wish people can capture their sense of freedom in their own meaning and enjoy the utopia without any concerns.

With the uncertainty movement from embroidery of my method, each piece of my embroidery is one and only.

Carrying the meaning of “you are the only one”, I also wish people can escape from all those stereotypes and become their true self.

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6367 “Time is never a linear pattern, it blooms in its own time zone” Inspired by our mother nature and artist Salvador Dali, the definition of ageing and time both carries in different formats. We once were told to do correct things at the correct timeline following what other people are doing. If you fail to follow what people are doing, you will be considered a failure in your life.

The time growing with the bloom collection showcases the point of view of time from Yiling in different angles. Inheriting the unique fluid embroidery style that Yiling has always explored with, the distortion of embroidery showcases her definition of time, time is never a linear replicate shape, it is a fluid water that flows in their own will. The core silhouette from the collection is inspired by Salvador Dali’s creation. In Dali’s world, time is never a fixed term, time could be shapeless, time is never a fixed timeframe that everyone should follow. Besides, through the transparency of resin in the artwork, when sun shines through the day, it also represents the fluidity of time.

By deconstructing and reconstructing shapes extracted from the inspirations, this collection Yiling is also dedicated to considering the relationship between her artworks and the functionality of innovative textile in the real world. How her artworks can interact with the environment and how her own artistic language through embroidery can stand within the current textile world and her future image as an innovative textile artist.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YW) - YILING WU

(BDG) How would you describe your artistic practice in terms of its uniqueness and approach?

(YW)

For artistic approach wise, I particularly love to experiment with how geographic patterns that I extracted from my inspiration could interact with me deconstructing my embroidery. I will say the most attractive part in my approach will be the controversial feeling between resin and embroidery in my works. I always love to align a simple body made by resin with intricate embroidery movements to create my unique approach.

(BDG) Could you elaborate on the role of digital embroidery in your artworks and how it contributes to the overall aesthetic?

(YW)

I will say my digital embroidery stands for the soul of my project.

It carries the main language I would like to express through each object that I created, it expresses my point of view to the world. Besides, digital embroidery represents my controversial personality over my aesthetic as digital embroidery normally being considered as a “neat” process in design, but I am always devoted to exploring the messy new techniques that I can create with my machine.

(BDG) Your use of water-soluble methods to create uncertainty structures in your embroidery is quite innovative. What inspired you to explore this technique?

(YW)

Actually this method started when I was doing my final collection in university. At the beginning I was exploring a new form of digital embroidery lace and tried to replicate the pattern tiles on old windows in Taiwan. I was trying to replicate the world I have seen through the window back when I was young, that was the moment when I found this method.

(BDG) Resin plays a significant role in preserving and transforming your embroidery into unique shapes. What led you to incorporate resin into your process?

(YW)

It is the transparency and fluidity of resin that gets me to incorporate it into my artistic process. At the beginning I was seeking for new materials that would allow me to maintain the shape of my embroidery without harming my embroidery materials and it needs to be clear enough for the audience to see

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the movement of my embroidery, also not too hard to get access to. That is when resin comes across.

(BDG) Your artwork often portrays themes of freedom and escaping stereotypes. How do you aim to convey these concepts through your embroidery?

(YW)

I aim to showcase the freeform of my will by creating the base pattern for my embroidery before putting them into water - the process of dissolving the embroidery is where I showcase my will of freedom and escaping. Besides, in each of my collections I will design a series of new patterns for embroidery according to my drawings. Even though sometimes after the water soluble techniques it is very hard to identify what is the original shapes of the embroidery design, I always believe that creating new patterns for each of my collections also showcase my will of freedom.

(BDG) Can you discuss the inspiration behind your collection "Time Growing with the Bloom" and its representation of the fluidity of time?

(YW)

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This collection is 50% inspired by one of the conversations with my beloved friends from childhood and 50% coming from my own experience in the past. I will say that if my collection in the past comes from my self narrative and exploration, this collection could be seen as a gift that I create for my beloved friends that we have spent the past 10 years together. As friends grew up together, we are at the point in our life facing different priorities and choices. I guess we all wish time to go backwards and stay the same once we all were, but sadly it couldn’t. We might be scared and confused at this point, but our time flows in different ways, there is no certain template we need to follow to be portrayed as a successful life.

(BDG) How do you see your artworks interacting with the environment, particularly in terms of innovative textiles and their functionality?

(YW)

Like I stated before I love to see some breathing space within my artworks. This also represents those “white space” that I have kept intentionally in my artworks such as resin and cut off from my embroidery. Those white spaces I will say are the key spaces I left for the environment to fill up with their natural movement and create the unexpected story. Take the sun movement as an example, when placing my works near places exposed to the sun, during the day when sun passes by, different sunlight could create different reflections on my artworks.

Also with regards to functionality, I will be very honest that it is a difficult process when trying to balance innovative textile and functionality and I am still working towards it. But I will say I am exploring the deconstruction of normal objects' silhouette such as vases from different angles and see if there is any possibility

that textile could step in as the main body of these objects but still keep their function as it used to be.

(BDG) Could you share your vision for the future of your artistic journey and the direction you see your work heading in?

(YW)

I would say my vision so far within my artistic journey will be carrying on exploring different possibilities that embroidery could create and interact with different materials. In my own vision the possibility is endless. I won’t say if there is a clear certain direction that I am 100% sure that I am heading towards now, but I could say now apart from creating my own resin works, I do start to explore a wider category within my art practice such as fashion jewellery and larger scale installation art.

(BDG) What message or emotion do you hope viewers take away from experiencing your artworks?

(YW)

I hope they will find their own peace as always through my works.

Other than this, I also hope viewers can find emotions they might have once left behind in their life, no matter what kind of emotion that is, they can all find their own haven to stay for a while in my utopia.

(BDG) How do you navigate the balance between tradition and modernity in your exploration of contemporary embroidery?

(YW)

Honestly I will say part of this is coming from my controversial personality and my training in university. As a person with an old soul and still love to create works through the most traditional way I guess that is where the traditional feeling comes from in my creations. But as part of me still embracing challenges and love to break through rules all the time, I think that is where modernity comes in. However, I do think that the training that I have gone through back in university did enhance my ability of balancing both tradition and modernity while creating as we are always being encouraged to explore different possibilities and go beyond the limitations when creating our own collection.

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YILING WU IS A contemporary e CURRENTLY BASED IN LONDON. College of Fashion, SPECIALISE ADVENTUROUS SPIRIT FUEL

YILING’S AREA OF EXPERTISE LIE WORK HAS BEEN SHOWCASED A Premiere Vision 2021, Taiwan Exp 2023 WHERE SHE PARTICIPATED EXPLORATION REVOLVES AROU BETWEEN fashion AND contempo THE INTRIGUING CONTRAST BE HER INSPIRATION FLOWS FROM D SHE LOVES TO OBSERVE from natu HER OWN ARTISTIC LANGUA

embroidery artist FROM TAIWAN, . SHE GRADUATED FROM London ED IN fashion textiles, AND HER LS HER CREATIVE JOURNEY.

ES IN digital embroidery, AND HER AT ESTEEMED EVENTS SUCH AS po 2022 AND London Design week D AS AN ARTIST. HER ARTISTIC UND THE INTRICATE INTERPLAY orary embroidery, HIGHLIGHTING ETWEEN tradition AND modernity.

DIFFERENT ANGLES OF HER LIFE, ure to society AND INTERPRET INTO AGE THROUGH EMBROIDERY.

REVIEW

Yiling Wu's artistic journey unfolds like a rich tapestry, intricately woven with threads of tradition, innovation, and personal narrative. Rooted in her Taiwanese heritage and nurtured by her experiences in London, Wu's approach to contemporary embroidery transcends conventional boundaries, offering a captivating glimpse into a world where artistry knows no limits.

At the heart of Wu's practice lies a deep reverence for the art of embroidery itself. Through her work, she endeavours to elevate embroidery from its traditional role as a mere embellishment to a central, dynamic element of artistic expression. This paradigm shift is evident in her use of digital embroidery, where intricate patterns and motifs take on a life of their own, infused with meaning and emotion.

One of the most striking aspects of Wu's work is her innovative use of materials, particularly resin. In her collection "Time Growing with the Bloom," resin serves as both a preservative and a transformative medium, allowing Wu to encapsulate the fluidity of time within her intricate embroideries. The transparent quality of resin adds a layer of depth and complexity to her pieces, inviting viewers to contemplate the interplay between permanence and transience, solidity and fluidity.

Wu's artistic vision is deeply rooted in her personal experiences and aspirations. Growing up as an Asian woman, she grappled with the weight of societal stereotypes and expectations. Through her art, Wu

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seeks to break free from these constraints, creating a utopian realm where individuality reigns supreme.

Each stitch, each brushstroke, becomes a symbol of defiance and liberation, a testament to the power of self-expression. The concept of time looms large in Wu's work, serving as both a muse and a canvas for her creative explorations. Inspired by the surrealist visions of Salvador Dali, Wu reimagines time as a fluid, shape-shifting entity, defying conventional notions of linearity and predictability. In "Time Growing with the Bloom," she captures the essence of this fluidity through distorted embroideries and translucent resin, inviting viewers to contemplate the ever-changing nature of existence.

In her artist interview, Wu offers insights into her creative process and inspirations. She discusses her experimental approach to embroidery, including her use of water-soluble methods to create uncertainty structures within her pieces. Wu's commitment to pushing the boundaries of her craft is evident, as she continues to explore new techniques and materials in pursuit of artistic innovation.

Overall, Yiling Wu's artwork is a testament to the power of imagination and perseverance. Through her masterful blend of tradition and modernity, she invites viewers on a journey of self-discovery and empowerment, where each piece serves as a window into her vibrant, ever-evolving world. As she continues to push the boundaries of contemporary embroidery, Wu's work promises to inspire and captivate audiences for years to come.

YUAN-CHI LEE YUAN-CHI, A jewellery artist, BLENDS PLAYFULNESS WITH PROFOUND INSIGHTS. THROUGH "STYLE ID," SHE EXPLORES how jewellery shapes individuality, OFFERING THOUGHT-PROVOKING REFLECTIONS ON ATTIRE AND PERSONAL EXPRESSION.

ARTIST STATEMENT

Yuan-Chi, a contemporary jewellery artist from Taiwan, currently studying Jewellery Design at Central Saint Martins, exploring contemporary jewellery through observation of societal phenomena and exploration of nature. Her work is characterised by a playful sense of humour, offering unique expressions of her artistic vision.

Her project centres on the intersection of clothing and identity, inspired by the varied dress codes found in society. Acknowledging the expression of individual personalities through attire, Yuan-Chi explores the dynamic relationship between jewellery and clothing in her artistic pursuits.

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This project explores how clothing serves as a medium for expressing personal identity. Inspired by the historical significance of family crests, particularly the phoenix foot crest, I've designed a shield-shaped pin to symbolise individual identity. The pin can be worn on any part of the body and features a versatile frame that adapts to various clothing patterns, reflecting the dynamic nature of personal style. Through this exploration, I aim to highlight the intricate relationship between attire and selfexpression, showcasing how wardrobe choices can convey unique personality traits.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YL) - YUAN-CHI LEE

(BDG) As a jewellery artist, how do you approach the intersection of clothing and identity in your work?

(YL)

​​As a jewellery artist, my experiences on the tube have shaped how I approach the connection between clothing and identity in my work. By closely observing people's outfits, especially during busy times, I've learned how clothing can reveal a lot about who we are.

I've noticed that certain dress codes often reflect societal norms and class distinctions. This understanding motivates me to design jewellery pieces that complement and highlight these expressions of identity through clothing. Additionally, seeing the wide range of fashion choices among students on Central Saint Martins campus, especially with international students from different cultural backgrounds, has deepened my appreciation for the diversity of identities reflected in clothing. In my art, I aim to capture and celebrate this diversity by creating jewellery that resonates with each person's unique identity expressed through their clothing.

(BDG) Could you elaborate on the inspiration behind your project "Style ID" and its connection to family crests and personal identity?

(YL)

The history of European family crests dates back to the 11th and 12th centuries, when European nobility and knights began using various symbols in wars and tournaments to distinguish themselves. Wearing these crests today still symbolises identity, especially with the shield often visually linked to family emblems. It's like a shared language in society, where we can read its meaning and use its imagery. By using blank shapes, I aim to reflect the diversity of clothing styles, echoing the idea of personal identity expressed through outfits.

(BDG) In your artistic process, how do you navigate the balance between expressing individual personality and adhering to societal dress codes?

(YL)

I believe giving wearers the freedom to choose is a way to balance societal norms with individual traits. In my artistic process, I empower individuals to decide where to place their brooches, how to match them with clothing, and which aspects of their personality they wish to emphasise through their attire.

Thus, it's not only about following societal dress codes but also

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about embracing the liberty to express personality through personal style choices.

(BDG) What role do you believe jewellery plays in enhancing or subverting traditional notions of fashion and style?

(YL)

In my artwork, using materials like beech wood and brass brings to mind the imagery of embroidery hoops. These materials maintain the functionality of traditional embroidery frames, enabling fabrics to freely swap at the centre, framing and emphasising the focal point. This approach allows my art to delve into themes of inclusivity in clothing, showcasing how materials can adapt to express individuals' unique personality traits through their clothing choices.

(BDG) How do you envision viewers interacting with and interpreting your pieces, particularly in the context of self-expression and personal style?

(YL)

I imagine people trying on my pieces, maybe helping friends match outfits and interact with the artwork, encouraging active involvement. If displayed statically, I'd showcase them on white fabric to prompt viewers to imagine wearing them. This approach sparks imagination and invites viewers to see themselves wearing the pieces, deepening their connection with selfexpression and personal style themes.

(BDG) In your opinion, what unique contributions does contemporary jewellery make to the broader landscape of artistic expression and cultural dialogue?

(YL)

In my view, contemporary jewellery combines art, craft, and personal expression with culture in many ways. Artists experiment with nontraditional materials, tell stories, and share ideas from diverse cultures. Contemporary jewellery is more than just accessories, it comments on social issues, motivating change. Artists express identity and values through their creations. These are aspects that fine jewellery achieves, which fast fashion accessories cannot replicate.

(BDG) What future directions or themes do you hope to explore in your jewellery design practice?

(YL)

I hope to continue discovering the small joys of everyday life, using objects as bridges for communication to create pieces that bring smiles and resonate with the audience. I also eagerly anticipate experimenting with a wider range of materials and incorporating my interest in floral arrangement into new collections.

YUAN-CHI, A TAIWANES STUDYING AT Central Sain JEWELLERY DESIGN, DEM IN 3-DIMENSIONAL DE BENCHWORK. HER WOR materials and technique DISTINCT PERSPEC

SE ARTIST CURRENTLY nt Martins, SPECIALISES IN MONSTRATES EXPERTISE ESIGN AND JEWELLERY RK ENCOMPASSES diverse es, SHOWCASING HER CTIVE AND STYLE.

REVIEW

Yuan-Chi Lee's artistic exploration delves deep into the realms of personal identity and self-expression through her project "Style ID." Her meticulous craftsmanship, combined with a profound conceptual foundation, imbues each piece with layers of meaning and significance.

At the core of "Style ID" lies Lee's inspiration drawn from the historical context of family crests, particularly the phoenix foot crest, renowned for symbolising identity. This historical reference serves as a rich tapestry upon which Lee weaves her contemporary interpretation, crafting shield-shaped pins that symbolise individuality. Through the careful selection of materials such as beech wood and brass, Lee elevates her pieces beyond mere accessories, transforming them into symbolic frames through which personal identity is framed and accentuated.

Lee's conceptual approach extends beyond mere aesthetics, delving into the intricate relationship between attire and self-expression. By observing societal dress codes and individual fashion choices, Lee navigates the delicate balance between adhering to norms and expressing individual personality traits.

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Through her work, she empowers wearers to make autonomous choices regarding placement and styling, thereby inviting them to engage in a dialogue about the complexities of identity and expression.

Furthermore, Lee's vision for viewer interaction underscores her commitment to fostering active engagement and introspection. Whether worn or displayed statically, her pieces serve as catalysts for imagination and reflection, prompting viewers to consider the implications of their wardrobe choices and the ways in which they express their unique identities.

Looking ahead, Lee's aspirations to continue exploring themes of everyday joy and communication demonstrate her ongoing commitment to innovation and experimentation. By embracing new materials and techniques, she seeks to infuse her work with a sense of freshness and vitality, further enriching her artistic practice and inviting viewers on a journey of self-discovery and introspection.

In summary, Yuan-Chi Lee's "Style ID" project encapsulates a harmonious blend of meticulous craftsmanship, profound conceptual depth, and a commitment to fostering dialogue and introspection.

Through her work, Lee invites viewers to ponder the complexities of personal identity and self-expression, offering profound insights into the ways in which attire and jewellery serve as vehicles for individuality and expression in the modern world.

YUWEI QIAN YUWEI QIAN CRAFTS JEWELLERY THAT SERVES AS A POIGNANT COMMENTARY ON society's increasing dependence on technology. SHE PROMPTS INTROSPECTION ON THE value of time AND THE PROFOUND CONNECTION BETWEEN humanity AND THE DIGITAL REALM.

ARTIST STATEMENT

Yuwei Qian, a graduate of Central Saint Martins, University of the Arts London, in Jewellery Design, is passionate about exploring the intersection of technology and traditional craftsmanship. Her collection, "iPhone Unavailable," has gained recognition for its innovative approach, offering unique insights into society's increasing reliance on technology.

The "iPhone Unavailable" series was selected to be showcased on the Klimt 02 official website and was named as an observation point in Bright New Gems 2023. Additionally, the bracelet "Low Battery & Full Charged" was collected by the judger of NOVA at the 2023 CSM Degree Show. Yuwei's work also made it to the shortlist of the 2023 Global Design Graduate Show in collaboration with Gucci, highlighting its international appeal and potential. These experiences have enabled her work to engage with diverse audiences and explore new avenues of creative expression.

In 2021, Yuwei obtained the International Gemological Institute (IGI) Pearl Appraiser certification, followed by the IGI Gemologist certification in 2023. These qualifications have deepened her understanding of gemstones and enriched her design process, resulting in jewellery pieces that not only captivate aesthetically but also possess intrinsic value and meaning.

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ARTWORK STATEMENT

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In today's digital age, electronic devices offer convenience and entertainment, but excessive attachment to mobile phones leads to time wastage and disconnection.

This project uses beads to symbolise pixels and data in electronic devices, aiming to raise awareness of phone dependency and promote balance in life. It explores what people see when using phones, including reflections and surroundings, offering beaded screens for iPhones to redirect attention. By prompting observation of the beaded screen, it aims to reduce screen time and encourage mindfulness. Warning icons remind people to observe the world instead of relying on devices, while replacing app notifications with labels discourages unnecessary checks. Misspelt word notifications remind users not to rely solely on auto-complete. Designs for Apple Watch incorporate elements of time confusion, reminding wearers not to be slaves to their phones. Beaded covers for the Apple Watch screen discourage constant checking. Changing the watch strap emphasises its role as a fashion accessory, not just a device. Overall, the project aims to reduce phone dependence and reconnect individuals with the world beyond screens.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YQ) - YUWEI QIAN

(BDG) Could you elaborate on how you integrate technology and traditional craftsmanship in your jewellery designs?

(YQ)

In my jewellery designs, blending technology with traditional craftsmanship involves a careful balance of contemporary functionality and timeless artistry. In the "iPhone Unavailable" series, I combined traditional weaving techniques with beadwork to create a collection of contemporary jewellery pieces inspired by electronic products, merging ancient crafting methods with modern electronic devices, showcasing the beauty of traditional craftsmanship.

(BDG) How do you aim to engage viewers with your art beyond mere visual appeal?

(YQ)

In addition to visual appeal, I also aim to stimulate viewers to contemplate their relationship with technology and the surrounding world through my artistic creations. By incorporating everyday elements such as screens, cameras, and information, my jewellery designs serve as tangible reminders, showcasing the impact of technology on our daily lives and encouraging viewers to consider how they interact with digital devices, urging them to seek a healthier balance.

(BDG) In your "iPhone Unavailable" s eries, what message or commentary are you conveying about society's relationship with technology?

(YQ)

The "iPhone Unavailable" series conveys a message about society's increasing reliance on technology and the need to reclaim attention from persistent digital distractions. By replacing application messages with labels to signify app unavailability and incorporating warning icons to remind users to observe the world with their own eyes, it emphasises the importance of reclaiming attention from constant digital stimuli.

(BDG) What inspired your use of mundane elements like screens, cameras, and messages in your jewellery designs?

(YQ)

The mundane elements of screens, cameras, and information are utilized to symbolise our daily interaction with technology.

By integrating these elements into my jewellery designs, I aim to highlight the omnipresence of digital devices in contemporary

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life and encourage viewers to contemplate how technology balances the virtual world with real-life experiences.

(BDG) Your work often reflects a commentary on contemporary human experiences. How do you hope viewers will interact with and interpret your pieces?

(YQ)

I hope the viewers engage with my works and interpret them as prompts for introspection and reflection on their relationship with technology and the passage of time. By wearing these jewellery pieces, individuals are invited to consider how they use their devices, how they allocate their time, and whether they are fully immersed in the world around them.

(BDG) Can you share insights into the significance of the titles of your artworks, such as "Fingerprint," "Flare," and "Have a Rest"?

(YQ)

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The titles of my art pieces, such as "Fingerprint," "Flare," and "Have a Rest," are carefully chosen to evoke specific themes and concepts related to technology addiction and the value of time.

"Fingerprint" symbolises the unique imprint individuals leave on digital devices, "Radiance" represents the light reflection on the screen visible only when the phone is turned off, and "Take a Break" portrays the side view of a phone, encouraging users to set aside their devices and immerse themselves more fully in life, replacing addiction to the virtual world.

(BDG) How do you envision your jewellery pieces prompting introspection and reflection in the individuals who wear them?

(YQ)

My jewellery pieces trigger introspection and reflection by providing continuous reminders to stop using phones. Whether it's subtle warning icons on phone screen protectors or carefully designed elements on Apple Watch bands, each piece encourages wearers to pause, allocate their time wisely, and reduce the frequency of phone usage.

(BDG) Could you discuss the process behind creating your intricate beaded designs and the significance of the materials you use?

(YQ)

Each draft of every piece undergoes multiple revisions to ensure the final product aligns perfectly with the intended vision. The process of weaving design demands meticulous attention, with progress marked promptly on the drafts to prevent pattern errors. Even tension is applied when threading to ensure each row of beads aligns evenly. The selection of materials, particularly beads, symbolises the pixels, data, and information woven into our digital devices, serving as tangible emblems of the interconnected digital realm we inhabit.

(BDG) What do you hope your audience takes away from experiencing your jewellery designs, particularly in relation to the themes of technology addiction and the value of time?

(YQ)

I hope that through experiencing my jewellery designs, my audience can deepen their awareness of their technology usage and gain a new appreciation for the value of time away from screens. By engaging with my jewellery designs, they can reflect on their time and frequency of electronic device usage, make conscious choices, and prioritise meaningful experiences in the physical world.

YUWEI QIAN, A 2023 GRADUATE OF Ce London, HOLDS A DEGREE IN jewellery de GRACED NUMEROUS EXHIBITIONS AND THEIR SELECTION IN VARIOUS

DRIVEN BY A PROFOUND PASSION F RELATIONSHIP BETWEEN humanity and th A UNIQUE APPROACH TO HER CRAF MUNDANE ELEMENTS SUCH AS screen and phones INTO CAPTIVATING BEAD INNOVATIVE PROCESS, SHE CRAFTS AS POIGNANT REFLECTIONS ON S electronic devices AND THE co

QIAN YUWEI’S ART SEAMLESSLY MERG OFFERING A PROFOUND COMMENTAR EXPERIENCE. EACH PIECE NOT ONLY CA INTROSPECTION, REMINDING VIEWER AND THE PROFOUND INTERCONNECTE NATURAL

entral Saint Martins, University of the Arts esign. HER REMARKABLE DESIGNS HAVE D GARNERED RECOGNITION THROUGH PRESTIGIOUS COMPETITIONS.

FOR DELVING INTO THE INTRICATE he material realm, QIAN YUWEI EMPLOYS FT. SHE INGENIOUSLY TRANSFORMS ns, cameras, and messages FROM watches DED DECORATIONS. THROUGH THIS S A SERIES OF DESIGNS THAT SERVE SOCIETY’S PERVASIVE addiction to onsequent squandering of time.

GES THE VIRTUAL WITH THE TANGIBLE, RY ON THE CONTEMPORARY HUMAN APTIVATES THE EYE BUT ALSO PROMPTS RS OF THE INHERENT VALUE OF TIME EDNESS BETWEEN HUMANITY AND THE L WORLD.

REVIEW

430 Yuwei Qian’s jewellery designs offer a thoughtprovoking commentary on society's relationship with technology, skillfully blending traditional craftsmanship with contemporary themes. As a recent graduate of Central Saint Martins, University of the Arts London, Qian brings a fresh perspective to the world of jewellery design, employing innovative techniques and materials to convey profound messages.

Her collection, "iPhone Unavailable," stands out for its captivating fusion of mundane elements from

electronic devices with intricate beadwork. Through pieces like "Fingerprint" and "Flare," Qian explores the ubiquitous presence of screens and cameras in our daily lives, prompting viewers to reconsider their dependence on technology. Each piece serves as a tangible reminder of the importance of mindfulness and balance in an increasingly digital world.

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Qian's meticulous attention to detail is evident in every aspect of her work, from the carefully chosen materials to the thoughtfully crafted titles.

By incorporating warning icons and misspelt word notifications into her designs, she encourages wearers to pause and reflect on their relationship with technology. The significance of time is a recurring theme throughout her collection, with pieces like "Have a Rest" and "Time Only" serving as poignant reminders of the fleeting nature of life.

In addition to her artistic vision, Qian's technical proficiency is also commendable. Her use of Miyuki Delica beads and monofilament demonstrates a mastery of traditional beadwork techniques, while her incorporation of magnets, earring pins, and brooch backs adds functionality to her pieces. Each creation is meticulously crafted, with attention to detail evident in every stitch and weave.

Overall, Yuwei Qian's jewellery designs offer a unique blend of artistry and social commentary, inviting viewers to contemplate their relationship with technology and the passage of time. With her innovative approach and meticulous craftsmanship, she is undoubtedly an artist to watch in the world of contemporary jewellery design.

ZHIXUAN YE ZHIXUAN YE'S JEWELLERY CONFRONTS societal norms, EXPLORING consumerism, feminism, AND empowerment.

USING MATERIALS LIKE LIPSTICK, SHE critiques societal beauty standards. HER WORK CHALLENGES VIEWERS TO RECONSIDER IDENTITY AND EMPOWERMENT IN A CONSUMERIST SOCIETY.

ARTIST STATEMENT

I am a contemporary jewellery artist with a keen interest in conveying my unique perspective on various social phenomena through my jewellery pieces. This series encompasses lipsticks, crowns, female symbols, and explores the contrasts between illusion and reality.

In one of my videos, I document the destruction of elaborate lipstick crowns, aiming to expose the illusions perpetuated by consumerism. This prompts me to question the marketing strategies surrounding female empowerment in the makeup industry. I extract lipstick, a product often used to define women, and repurpose it into a material for my empowering pieces. I believe that lipstick should not dictate a woman's identity; instead, women should reclaim the power to define themselves.

Amidst the chaotic vandalism, I earnestly proclaim, 'Welcome to the real world!' I highlight the necessity for women to pursue genuine rights rather than relying on false empowerment through makeup.

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ARTWORK STATEMENT

441 "Anti-consumerism for Women" is a compelling video piece that captures the destruction of elaborate lipstick crowns, symbolising the disillusionment with the illusions perpetuated by consumerism and societal expectations. Through this work, the artist Zhixuan Ye aims to shed light on the complex interplay between female empowerment, consumer culture, and the dichotomy of reality and illusion.

This video piece serves as a poignant exploration of themes such as feminism, consumerism, and the blurred lines between reality and fantasy. By deconstructing the symbolism of lipstick crowns, the artist challenges the viewer to question the authenticity of the empowerment narratives propagated by the makeup industry.

"Anti-consumerism for Women" is a thought-provoking addition to exhibitions exploring themes related to feminism, consumer culture, and the juxtaposition of reality and illusion. It invites viewers to critically reflect on the societal constructs that shape perceptions of beauty, power, and identity.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (ZY) - ZHIXUAN YE

(BDG) Your work often delves into social phenomena and critiques societal norms. What drives you to explore these themes through your art?

(ZY)

I tend to explore the social phenomena I observe in my daily life and which provoke deep thought through the medium of contemporary jewellery. Jewellery is closely linked with the human body, often evoking emotional resonance when worn, prompting individuals to ponder their choices in selection and wear. I have a particular appreciation for the unique interactivity of jewellery, believing that by enhancing this aspect, viewers can gain a deeper understanding of my viewpoints. Additionally, viewers can provide feedback through interaction with the jewellery, making such exchanges both intriguing and meaningful.

(BDG) Your pieces seamlessly integrate various materials and mediums. Could you elaborate on how you choose these materials to interpret your themes?

(ZY)

In the case of my project "Anti-consumerism," the process of material selection was meticulous and driven by the thematic essence I aimed to convey. Initially, my research question is how to use contemporary jewellery to expose the false illusion created by consumerism for females. To establish a foundational framework, I conducted a questionnaire targeting multicultural females aged 15-30 years old. The questionnaire aimed to identify the quintessential emblem of consumerism within female-oriented products, along with the rationale behind their selection. Subsequently, based on the survey findings, the makeup product, particularly lipstick, emerged as the predominant symbol of consumerist culture.

To further refine my thematic exploration, extensive background research encompassing the intersection of cosmetics and feminism was conducted. This preliminary investigation informed subsequent material experimentation, directing lipstick as the prime material for articulating my thematic discourse. I firmly believe that materiality serves as the cornerstone of artistic expression, necessitating utmost relevance to the overarching thematic narrative. Therefore, the selection of lipstick as a material resonates profoundly with the thematic underpinning of

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my project, forging a poignant connection between the chosen medium and the conceptual framework.

(BDG) You mentioned creating captivating artistic experiences through interaction with your audience. How do you envision viewers engaging with your work?

(ZY)

In fact, this video artwork offers both visual and auditory experiences. Although the video depicts me destroying these crowns, my intention is for the audience to engage in this destruction, aiming to expose the illusion of consumerism and unveil the truth of female empowerment. At one exhibition, I displayed physical artworks crafted from genuine cosmetic lipsticks. Attendees were encouraged to freely touch, smell, and even disrupt my creations. Furthermore, they could interact with the "Crown in mirror" through a makeup mirror, enhancing their understanding of the deceptive nature of these unwearable crowns. This piece provides audiences with multi-sensory experiences, engaging them on a deeper level through visual, auditory, tactile, and olfactory stimuli.

(BDG) Your artwork has been exhibited in various countries. How does the international reception of your work influence your artistic practice?

(ZY)

I am deeply honoured by this. Witnessing my artwork gain wider recognition on the international stage gives me a sense of satisfaction. This sense of achievement motivates me to be more active in my creative endeavours. However, I would like to keep excessive praise of this issue under control and would ask that this issue and my response not be mentioned in the presentation.

(BDG) In your video piece "Anti-consumerism for Women," you explore the intersection of feminism and consumer culture. Can you discuss the inspiration behind this work and its intended message?

(ZY)

This work is inspired by my daily life observations of phenomena that can be seen everywhere that closely associate women with consumer behaviour. For example, the alienation of International Women's Day into a festival of female consumption, and the female empowerment marketing of "the more beautiful, the stronger" constructed in cosmetic culture. I am offended by the idea of tying female empowerment to consumer behaviour, which I see as a fundamentally illogical sophistry. I have had discussions with many female consumers who were not aware of this phenomenon, and they have gained a deeper understanding of it as they have learnt about it and shared my views. This prompted me to want to spread my ideas to a wider audience through my artwork.

(BDG) Your statement emphasises the empowerment of women to define themselves beyond societal expectations. How do you hope your art contributes to this narrative of self-definition and empowerment?

(ZY)

My work emphasises the empowerment of women to define themselves autonomously beyond the expectations set by consumerism. Through my artwork and research, I hope to help women break free from consumerism and remove the barriers to their self-empowerment. Consumerism often tries to represent beauty and women's rights in terms of consumer behaviour, which I believe is wrong. Therefore, I hope that my artwork will recognise a false option for women and remove the barriers in their path to self-empowerment.

(BDG) The destruction of lipstick crowns in your video piece carries symbolic weight. How do you approach symbolism in your artwork, and what do these symbols represent to you?

(ZY)

In my artwork "Anti-consumerism for women," the destruction of the lipstick crown is seen as a crucial step, symbolising women's breaking through the glamorous facade of consumerism and seeking a genuine path to empower women. This symbolism is imbued with hope and positive energy. In the critical realm of art with which I am familiar, I believe that every element carries symbolic significance and should be refined to contribute to the interpretation of the theme, thus better conveying the artist's intent.

(BDG) Could you walk us through your creative process, from conceptualization to execution, particularly when working on pieces that challenge societal norms?

(ZY)

When it comes to creating work that challenges societal norms, in-depth preliminary research is very important. I strongly believe that objectivity is crucial and should never be guided by personal bias. After realising that there was a consumerist phenomenon concerning women, I conducted extensive data collection and research to gain an in-depth understanding of my subject before I began to create my work. I would extract keywords from the research, then choose related design elements and materials to experiment with, and think about how to further enhance them by making test pieces. My creative process is a continuous spiral, so my works rarely have a true final version and they can evolve continuously. At the same time, creating works that challenge social norms requires creators to be very conscious of human rights. For example, when conducting interviews, I will never intentionally lead or disrespect an interviewee for having a different point of view.

(BDG) How do you anticipate viewers will respond to your exploration of themes such as feminism and consumerism? What reactions or reflections do you hope to evoke through your art?

(ZY)

I anticipate that the audience will respond to my exploration of feminist and consumerist themes by becoming more cognizant

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of the inherent contradiction and hypocrisy within the grand marketing campaigns of the cosmetics industry, particularly in relation to female empowerment. I hope that viewers will perceive all the crowns in my artwork as false symbols of empowerment that need to be dismantled, thus realising that the marketing efforts of the cosmetics industry, purportedly championing female empowerment, are ultimately disingenuous. Based on my research findings, notably regarding leading brands like Dior Beauty, some cosmetic companies exploit feminism merely as a marketing ploy, rather than genuinely supporting women's empowerment. It is important to clarify that my critique is directed towards these capitalist entities leveraging feminism, rather than towards the female consumers of cosmetics. Through my work, I aim to prompt reflection among these cosmetic brands regarding their marketing strategies concerning female empowerment.

(BDG) As you continue to evolve as an artist, what new themes or concepts are you interested in exploring in your upcoming works?

(ZY)

I have been exploring methods of incorporating humour into my critical satire recently. I believe that humour serves as a means to penetrate the psyche of the audience more effectively, enabling them to more easily embrace my perspectives. Additionally, I am keen on developing and enhancing the interactivity between jewellery and the audience in terms of wearing.

CONTEMPORARY JEWELLERY A INSPIRED BY social phenomena, OF of irony and critique. SHE OFFERS A WORLD, USING ART AS A MEAN AND VIEWPOINTS ON society. W THE INFINITE POSSIBILITIES BET INTERPRET VARIOUS THEMES, THEM INTO HER CREATIONS. OF interaction between her work CAPTIVATING ARTIS

ZHIXUAN YE'S PIECES HAVE BEEN ITALY, AND OTHER LOCATIONS ENGAGED IN H

ARTIST ZHIXUAN YE'S WORK IS FTEN REVOLVING AROUND themes A UNIQUE PERSPECTIVE ON THE NS TO EXPRESS HER THOUGHTS WITH A FOCUS ON EXPLORING TWEEN materials and mediums TO SHE SEAMLESSLY INTEGRATES THROUGH MULTIPLE FORMS k and the audience, SHE CRAFTS STIC EXPERIENCES.

N EXHIBITED IN THE UK, CHINA, S, AND SHE REMAINS ACTIVELY HER PRACTICE.

REVIEW

452 Zhixuan Ye's artistic practice is a compelling exploration of societal norms, consumerism, and feminism, woven together with thought-provoking symbolism and meticulous craftsmanship. Her series "Anti-consumerism for Women" stands out as a poignant critique of the illusions perpetuated by consumer culture, particularly within the realm of female empowerment.

Through her video documentation, Ye captures the destruction of elaborate lipstick crowns, effectively dismantling the superficial ideals propagated by the cosmetics industry. This act of destruction serves as a powerful metaphor for breaking through the veneer of consumerism and reclaiming genuine

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empowerment. The juxtaposition of the destruction with the artist's proclamation, "Welcome to the real world!" underscores the urgency of this message, urging viewers to confront the realities obscured by glossy marketing campaigns.

Ye's approach to material selection is particularly noteworthy, with lipstick emerging as a potent symbol of societal expectations and the commodification of beauty. By repurposing lipstick into her empowering pieces, she challenges the notion that external adornments should define a woman's identity, advocating instead for autonomy and self-definition.

Ye offers valuable insights into her creative process, emphasising the importance of thorough research and objective exploration of themes. Her commitment to e n g a g i n g v i ewe r s t h ro u g h m u l t i - s e n s o r y experiences, such as touch and smell, demonstrates a nuanced understanding of the power of art to provoke introspection and dialogue.

Overall, Zhixuan Ye's work serves as a thoughtprovoking commentary on the complex interplay between gender, consumerism, and identity. Through her innovative use of materials and keen conceptual framework, she invites viewers to question societal norms and envision a more authentic path to empowerment.

ZIWU ZIWU DELVES INTO consciousness, identity, AND society, DRAWING FROM PERSONAL AND CULTURAL INFLUENCES TO EXPLORE mortality, memory, AND tranquillity. HER NARRATIVES PROVOKE INTROSPECTION ON EXISTENCE AND TIME.

ARTIST STATEMENT

Z I W U ’s o e u v re i s s a t u ra t e d w i t h t h e m e s o f consciousness, fiction, and a pervasive sense of collective identity, all rooted deeply in the soil of her upbringing and life experiences. Her artistic endeavours increasingly occupy spaces that transcend the personal, weaving through broader frameworks of experience, response, and introspection. She perceives the stages of life as intricately linked to the essence of her original art forms. Embarking on a journey to articulate notions of extinction, she intertwines the dual realities of spirituality and emptiness with the complex tapestry of history, alongside discourses on evolving political structures, self-identity, culture, and history. This exploration into the realms of mortality, paired with visual articulation, cultivates a sophisticated understanding of rebirth while engaging with themes of memory, family, and contemporary epochs.

Simultaneously, ZIWU orchestrates a delicate interplay of pattern, image, and object to craft narratives about society and revolution, adopting metaphoric and indirect storytelling techniques that underscore themes of tranquillity and gradual erosion.

The aim of ZIWU’s artistic evolution at this juncture is to dissect her creations and link them to a broader societal narrative through the paradigm of art. During her formative years, she was charged with the rudimentary tasks of film development and darkroom work as part of her undergraduate training. Her initial gravitation towards photography was fueled by its potent capacity to encapsulate isolation— a quality she seeks ardently: the photograph emerges as a symbol of eternity and mortality, a vessel for memory, and a medium through which the flow of time can be

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discerned. Her aspiration is for viewers to engage with and interpret the temporal dimensions ensconced within her photographs, recreating and exploring as they traverse the original visual narratives.

ARTWORK STATEMENT

0 461 The set of 2D photographic works emphasises the concept of multistable images, ranging from distorted human bodies to the imitation of a solar eclipse held by hands. It questions the confusion caused by the vision and the sequence of being, leading to a disruption of order.

While each generation refreshes, the heart turns to dust with nothing else remaining, life seems as dead as something long deceased. Thus, it paradoxically adheres to the notion of "stability". OMAKASE, as a cultural product of the capitalisation of traditional cuisine, is linked to the emphasis on the fate of individuals governed by social norms. It represents a culture finding a new form of stability. Yet, it brings no peace, meanwhile, the emphasis on a perspective that shaped my upbringing suggests that "people who refuse to follow the prevailing order can be seen as being abandoned by the generation".

The inspiration for this project came from the OMAKASE box. After photographing, the editing of human limbs and sushi ingredients aimed to create a landscape that expresses the individual’s and society’s lack of choice and place of belonging.

The entire editorial process addresses the dilemmas individuals face in social situations, the extinction of self, and self-determination. The final edition aimed to stimulate the idea of the chisel, differentiation, and repetition, portraying people as unconscious vessels, reflecting on the profound development of relationships between the photographic and the visual.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (Z) - ZIWU

(BDG) In your artistic practice, you explore themes of consciousness, fiction, and collective identity. How do these concepts manifest in your work, and what drives your fascination with them?

(Z)

By observing, audiences may realise the final pieces in this collection are distorted, transforming original images and objects into abstract images manifested in the mind. The intent is to subtly challenge the allegiance to the 'reality' of images, extending to an implicit faith, the narrative collapse, and the placement of human hands beneath planets. 'Planets' here are depicted with a camera-shot sphere and a rotting apple presented together in a photograph. Despite this, I have blended these elements to create a space for representational photography devoid of human presence, adding mystery by removing the human factor, and expanding the opportunity to develop the allegorical aspect.

(BDG) Your art traverses a diverse range of mediums, from photography to installations, drawing influences from oil painting. How do you navigate between these different forms of expression, and what unique perspectives does each medium offer you? Also, The interplay between three-dimensional works and photography is central to your artistic expression. Could you elaborate on how you use this interplay to convey your artistic vision and engage with your audience?

(Z)

To delve into the term ‘Installation’ suggests exploring a concept that sits at the crossroads between installations and sculpture.

This is due to the components of my installations, which I personally prefer leaning towards morphing sculptures to probe possibilities, which means they don't fit neatly into the category of installations alone. Turning to the interplay between photography and painting, I've been captivated by the distinct languages of both mediums. From the initial mimicry and gradual referencing to the potential future renderings, I find the rapid evolution from hours or even days spent depicting an apple to capturing its likeness in mere seconds via photography astonishing. The camera, to an extent, can mimic the texture of an oil painting, maintaining the characteristics of each medium while blurring the lines between photo-like paintings and painting-like photos.

This leads me to ponder where the boundaries between these mediums lie. Both photography and painting virtualise a world onto a two-dimensional plane, whereas installations and

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sculptures bring an abstract concept into reality. Rather than mastering these mediums, I reflect more on their similarities and differences, focusing on the outcomes of their combination.

In contemplating the interactivity between two-dimensional and three-dimensional artworks, we may consider two illustrative examples. Observing the performance art of Yoko Ono, what one sees is essentially a three-dimensional work reprised in the two-dimensional medium of photography. This documentation by photographers captures the essence of the performance, employing props used during the performance itself. This allows the audience a space for reinterpreting the work. Each reinterpretation— whether by the photographer at the moment, deciding from which angle to capture the scene, or by the curator, choosing which props to include— represents a reinvention of the performance art, rendering it into a flattened process. This interaction bridges time and space, enabling a continuous reengagement with the art.

Conversely, examining Sarah Pickering's work on the theme of "Explosions and Fire" highlights the dynamic nature of fire as a photographic subject. Fire, inherently destructive and volatile, moves uncontrollably. Yet its still image in photography suspends it in a way that is beyond human perception. This stillness creates a delineation between reality and imagination, constructing a two-dimensional scene that transcends both. In photography, the viewer becomes an external observer, not immersed in the scene as one might be with a physical piece. Instead, the scene represents a world modelled through the lens of the camera— a world crafted through random operations within the confines of this small, dark box. This transformation of a vibrant, three-dimensional phenomenon into a static two-dimensional image invites the viewer to explore the boundary between the ephemeral and the eternal, between chaos and order.

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(BDG) Could you discuss your approach to storytelling in your art, particularly through metaphoric and indirect techniques? How do you weave narratives about society and revolution into your work, and what emotions or reactions do you hope to elicit from your viewers?

(Z)

In discussions about photographic narrative, during the creation process, I often attempt to break free from the entrenched notion of the "here and now" that photography imposes on me.

For instance, by utilising pre-existing locations, models, and text, I reconstruct the concept of "ready-made objects," thereby dismantling the immediacy of photography. Nonetheless, visualisation, abstract imagination, and cognitive concepts remain integral components of the creative process. Indeed, in many of my works, the steadfast tension between creation and re-creation is consistently contemplated, enhancing the direct

link between the immediacy of my creative acts and historical materials. Photography can, in a formal sense, facilitate the coexistence of realism and abstraction.

(BDG) Yo u r a r t i s t i c j o u r n e y e n c o m p a s s e s a s o p h i s t i c a t e d understanding of rebirth and mortality, intertwined with themes of memory, family, and contemporary epochs. How do these themes intersect in your work, and what narratives do you aim to evoke through them? Also, Photography holds a significant place in your artistic evolution, serving as a vessel for memory and a medium to discern the flow of time. How do you utilise photography to capture moments of isolation and eternity, and what significance do these moments hold within your broader artistic narrative?

(Z)

The idea of rebirth and extinguishment tends to one beginning, while the questions you mention form the process, together shaping this artwork. Initially, when humans grapple with the notions of 'life' or 'death', a simplistic dichotomy tends to position death as the antithesis of life. Yet, in the realm of art, could we envisage death through the lens of Maurice Blanchot's arguments of the first night— a counterpart to daylight where all meaning extinguishes or is already formed, a state where "everything vanishes"? Conversely, as "all things melt away," the emergence of the inevitable second night becomes apparent. If the first night represents life itself, the second night symbolises the epitome of creative expression, and the artistic process explores the essence of death. Intellectual and artistic pursuits seek another night— a form of unforgettable oblivion and memories that never materialise. However, only within the "first night" can one conceive and sculpt the "second night."

In artistic creation, this second night is merely a state of questioning, doubting, and approaching, much like the 'death' mentioned in your query— it is merely "dying more," yet never truly "dying." It exists in a perpetual state of unformed chaos, straddling visibility and invisibility, light and darkness, the internal and the external— difficult to define, or perhaps best described as estrangement and separation. Following this logic, the desire for the "second night" could be seen as an estrangement from the "first night." The process of creating the second night (the artwork) is also a process of distancing. In this exploration, the essence (concept, fact, anything in itself) is perpetually receding, with human consciousness replacing historical consciousness and conceptual thinking being supplanted by a second-order imagination.

Similarly, the moment of capturing an image does not represent a specific period. The term used here, "here and now," expresses a moment when the act of pressing the shutter is deliberate and direct, evident from its captured content. The camera's narrative shifts into time— not only as a piece of art but also as the artist. The narrator becomes a character and engenders

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transformation, in these re-creations, I become the one who governs time and its changing rules.

(BDG) Your recent project, "OMAKASE," explores multistable images and questions the confusion caused by vision and sequence of being. Could you delve into the inspiration behind this project and how it reflects your artistic inquiry into stability and disruption? Also, The editing process in your work often involves creating landscapes that express the lack of choice and place of belonging for individuals in society. How do you navigate the complexities of social dilemmas and self-determination through your artistic practice?

(Z)

In essence, OMAKASE originated from the common quandary faced by diners, particularly when presented with an array of sophisticated seafood options such as sea urchins, seasonal fish, and various cuts of fish. This concept alleviates the discomfort associated with the inability to navigate such a diverse menu.

Historically, the barrier to entry in sushi restaurants was not just about palate sophistication but also societal standing, making it challenging for those unfamiliar with the etiquette to step into a professional sushi setting. OMAKASE, as a commodified expression of traditional Japanese gastronomy, ties into societal norms that often dictate individual destinies, symbolising a new form of cultural equilibrium.

The genesis of this project was the OMAKASE box, which inspired me to photograph and edit human limbs alongside sushi components to craft a visual narrative that explores the interplay between individual and collective identities. Furthering this exploration, I sculpted and merged images of human limbs with sushi elements, achieving a cohesive visual synthesis that reflects on themes of standardisation, interchangeability, and the illusion of individualism, pointing to a broader cultural homogenisation.

Technological advancements have reshaped both production and cultural engagement, diminishing face-to-face interactions and fostering a climate where ideas and values are passively absorbed over time, leading to pervasive intellectual and cultural stagnation. In this context, the prevalent culture of the capitalist era, marked by its formulaic and standardised nature, employs interchangeability to capture public interest. This mirrors the personal challenges I address through my artistic process.

My approach to photo editing, inspired by the OMAKASE method of ingredient selection and preparation, underscores a perspective deeply rooted in my formative experiences. It suggests that rejecting conventional order might be viewed as a form of abandonment by society. This reflection delves deeply into the themes of struggle, powerlessness, the fear of uncertainty, and the randomness of success, offering a more profound contemplation of these disruptive social dynamics.

(BDG) In your view, how does art serve as a tool for introspection and reflection, both for the artist and the audience? How do you hope your viewers engage with and interpret the temporal dimensions ensconced within your photographs and installations?

(Z)

My interpretation of this question is based on the realm of photography and film. When individuals in real life are subject to the dictates of ideology, every action is reduced to puppetlike motions. These abstract systems continue to exert their influence. Conversely, the order within the world of photography is not characterised by descriptions of 'good' and 'bad', but rather stitches the viewer into a realm of chaos. This stitching defines the subject and then situates the observer within it. The world crafted by the artist evolves into an artwork that melds two realms: that of 'absence' and 'presence'. The world of 'absence' morphs into a domain of 'fantasy', intertwining with another realm of 'presence', necessitating a semantic exchange between the material and the fantastical.

The structure of photographic works resonates with the viewer's daily experiences, while the style, script, narrative, and setting of films enhance creativity and the opportunity to venture into worlds of fiction, despair, and fantasy. As audiences engage in this experience and understanding, they simultaneously negotiate on cognitive, emotional, and narrative levels. Whether in photography (static) or film (dynamic), these are transformed by the artist into a symbolic space where viewing encompasses both an understanding of concepts and a 'reading' of them.

This 'reading', in turn, holds symbolic significance, the viewer is subverted, altered by its echoes, and mimicked by its matrix, tying the fractured logic of the entire work to the audience. Regardless of external occurrences, humans inevitably face a fundamental chasm that they bridge by relating familiar aspects of artworks to themselves, thus averting a sense of alienation and strangeness.

Emotion drives this fragmented narrative order, akin to a nonlinear narrative framework.

Even as virtual and physical worlds merge, audiences maintain a collective emotional sorrow for the past and an unconscious hope for the future. Yet, behind the scenes, it is only the storyteller who decides to impose order on this transient world, crafting a sequence of events and a logic of cause and effect, obscuring the precise timing or perception of time, and inviting musings on the unknown. As certainty fades, the actual meaning of the story is veiled, revealing only the fragmented recollections of the impending narrator (creator) .

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ZIWU (B. 2001), NOW MOSTLY base artist ACTIVE IN VARIOUS FIELDS, FOCUS HER ART PROJECTS MORE WHILE STILL DRAWING ON INFL WORKS DELVE INTO A RANGE OF generations, and society, ENGAGIN AND LINKING THEM TO THE PASS cultural heritage, AND

ZIWU'S ECLECTIC CREATIONS THE diverse cultural background WAS EXPOSED TO DURING HE ZIWU’S CREATIVE PROCESS, ON OF VICARIOUS INFRA-MINCE A THE INTERPLAY BETWEEN THR PHOTOGRAPHY—THE CAPTU THEIR CURATION, WH HER ARTISTIC

ed in London. AS A multidisciplinary ZIWU HAS RECENTLY BEGUN TO E ON photography and installations, LUENCES FROM oil painting. HER F ISSUES CONCERNING humanity, NG DEEPLY WITH THESE THEMES SAGE OF time, societal relationships, D THE realm of cinema.

ARE GREATLY INFLUENCED BY ds AND historical traditions SHE ER UPBRINGING. TO DESCRIBE NE COULD HIGHLIGHT HER USE AND METAPHORS, ESPECIALLY REE-DIMENSIONAL WORKS AND URE OF fleeting moments—AND HICH ARE CENTRAL TO C EXPRESSION.

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Ziwu's artistic journey is a profound exploration of consciousness, identity, and societal constructs.

Through a range of mediums including photography and installations, she delves into themes of mortality, memory, and societal evolution with a depth and complexity that captivates the observer.

Her work challenges conventional norms, offering nuanced perspectives on the intricacies of human

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existence. By intertwining personal experiences with cultural influences, Ziwu crafts narratives that resonate with a sense of tranquillity amidst the constant flux of change. Each piece invites viewers to embark on a reflective journey, prompting introspection and contemplation of the delicate balance between existence and time.

In her recent project "OMAKASE," Ziwu explores the concept of multistable images, questioning the confusion caused by vision and the sequence of being. Through a meticulous editing process, she creates landscapes that express the lack of choice and sense of displacement experienced by individuals within society. This project serves as a poignant commentary on societal dilemmas and the struggle for self-determination.

Ziwu's artistic vision is not confined to a single medium, rather, it transcends traditional boundaries to weave together a tapestry of visual storytelling. Her ability to navigate between different forms of expression, from photography to installations, demonstrates a versatility that enriches her artistic narrative.

Through metaphorical and indirect techniques, Ziwu intricately weaves narratives about society and revolution into her work, evoking a range of emotions and reactions from her audience. Each piece serves as a catalyst for introspection, inviting viewers to engage with the temporal dimensions ensconced within her photographs and installations.

Overall, Ziwu's artistic practice offers a profound exploration of the human condition, prompting viewers to confront the complexities of existence and the passage of time. Her work serves as a poignant reminder of the ever-changing nature of reality, inviting us to contemplate our place within the vast tapestry of life.

EXPLORE THE WORLD OF ART THROUGH THE VOICES OF diverse talents. JOIN US ON A JOURNEY INTO THE MINDS AND MOTIVATIONS OF ARTISTS, unlocking the secrets BEHIND THEIR CAPTIVATING CREATIONS.

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