Blackdot Gallery Artist Interviews & Reviews LDF24 by Blackdot Gallery

BECKY GUO, CHANDLER CHENG, CINDY (XINYI) WU, EKTA BAGRI, EVA BURYAKOVSKY, HELENA POWELL, JIAN GAO, JIAYI ZHANG, JUNO HUANG, LINGXI ZHANG, MEISHUO LIU, MIZUKI TOCHIGI, MOLLY, MUYAN GAO, ROSIE GROSVENOR, SIXU GAO, TECTRIX COLLECTIVE, XUANBO CAO, XUANLIN HE, XUECHEN WANG, XUEYAN SHEN, YANRAN WANG, YICHEN ZHAO IVAN, YIQING XIE, YIRUI DENG, YIYUAN BAI, YUFENG PAN, YUWEI QIAN, YUXIN LUO, ZHEYUAN LUO

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.

www.blackdotgallery.com Instagram blackdot

LONDON DESIGN FESTIVAL 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

BECKY GUO

16 - 33

CHANDLER CHENG

34 - 49

CINDY (XINYI) WU

50 - 75

EKTA BAGRI

76 - 97

CONTENTS

EVA BURYAKOVSKY

98 - 117

HELENA POWELL

118- 139

JIAN GAO

140 - 161

JIAYI ZHANG

162 - 185

CONTENTS

JUNO HUANG

186 - 207

LINGXI ZHANG

208 - 239

MEISHUO LIU

240 - 267

MIZUKI TOCHIGI

268 - 289

CONTENTS

MOLLY

290 - 317

MUYAN GAO

318 - 341

ROSIE GROSVENOR

342 - 365

SIXU GAO

366 - 391

CONTENTS

TECTRIX COLLECTIVE

392 - 411

XUANBO CAO

412 - 433

XUANLIN HE

434 - 451

XUECHEN WANG

452 - 475

CONTENTS

XUEYAN SHEN

476 - 495

YANRAN WANG

496 - 521

YICHEN ZHAO IVAN

522 - 551

YIQING XIE

552 - 569

CONTENTS

YIRUI DENG

570 - 595

YIYUAN BAI

596 - 617

YUFENG PAN

618 - 633

YUWEI QIAN

634 - 651

CONTENTS

YUXIN LUO

652 - 671

ZHEYUAN LUO

672 - 697

BECKY GUO BLENDING biomimicry, cultural heritage, AND SUSTAINABILITY, HER WORK CREATES interactive, ADAPTABLE GARMENTS THAT CONNECT THE natural world WITH CUTTING-EDGE technology.

ARTIST STATEMENT

My artistic practice is inspired by the hidden beauty of nature and exploring the relationship between humans and the natural world through rare, invasive and noninvasive plants that impact our well-being in both beneficial and dangerous ways. In my studio, I consistently use soft and hard materials such as silk, organza, flock, pearl and filament to showcase the delicacy and resilience of botanicals. Silk holds a special place in my heart due to my childhood connection with Sericulture. My grandparents spent eight years harvesting mulberry leaves and raising silkworms for silk production. I vividly remember the silkworms basking in the sunlight on bamboo-woven baskets, slowly spinning their cocoons. I often helped by gently placing the soft, smooth silkworms back into their baskets when they wandered away. This heritage and intricate, labourintensive process of nurturing silkworms and extracting silk imbue this material with deep personal and cultural significance, which I incorporate into my practice. I frequently employ flock printing, 3D printing, inkjet printing and pleating techniques to enhance the aesthetic of my work. Through my fashion and textile creations. I aim to foster inclusive and accessible design solutions for vulnerable individuals, providing an escape from reality and promoting a sustainable lifestyle. This led me to develop my designs' adaptable and removable nature, encouraging users to focus on the present and engage with the arts. My approach aligns with the theme of Innovative Sustainability by incorporating botanical elements that reduce stress and promote well-being. I advocate for a sustainable lifestyle through prints, 3D accessories, and garments. I incorporated technology for

sustainable design through adaptable and removable designs. This not only reduces waste and eliminates the need for sewing but also ensures that my creations are timeless and never out of fashion.

ARTWORK STATEMENT

In the spirit of pushing the boundaries of sustainability and focusing on innovative and cutting-edge eco-friendly designs. My project, The Symphony of Survival: Botanical Insight, explores how botanical elements can reduce stress and maintain human well-being, promoting a sustainable lifestyle. In the realm of fashion, my artwork introduces a collection of unique, innovative, interactive and adaptable garments inspired by plants and the ability to adapt to adverse conditions. These designs allow for endless personalisation through 3D magnetic pieces and pleating collars, offering a sustainable alternative to traditional fashion. This approach minimises waste, as individuals can continuously update their wardrobe without needing new materials, aligning fashion with the principle of sustainability. My commitment to sustainable fashion extends to integrating technology, enabling the 3D magnetic pieces to become adaptable and removable accessories. This eliminates the need for sewing, allowing easy customisation and prolonging the garment's life. This practice supports sustainable fashion by reducing waste and promoting continuous personalisation, demonstrating that technology can be a powerful ally in the quest for sustainability. This approach addresses the issues of an unfit, unfair and unfashionable system "Conti,2022". Lastly, the body of work embodies with vibrant colours, shapes, highlights the remarkable resilience of unknown plants such as Indi Pipe, Puff-balls, Heliopsis cayennensis and Monophyllaea (single leaf). Bringing attention to these organisms fosters awareness and a deeper appreciation for the natural world. This narrative encourages respect for biodiversity and recognises the intricate balance with ecosystems, promoting a sustainable mindset. Together, the garments illustrate the multifaceted nature of sustainable design, showcasing innovative approaches that significantly impact our world. Through this showcase, we invite you to explore the possibilities of a greener future where creativity and sustainability go hand in hand.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (BG) - BECKY GUO

(BDG) Your work deeply engages with both soft and hard materials, such as silk and organza, reflecting a balance between delicacy and resilience. Could you elaborate on how your personal and cultural connections to silk, particularly through your family’s involvement in sericulture, influence your material choices and overall design approach? (BG)

Silk holds a special place in my heart, like an old friend - soft, warm and deeply memorable. I spent my formative years watching my grandparents’ involvement in sericulture, where observing the silkworms basking in the sunlight and slowly spinning their cocoons became a part of my everyday life. I would often help by gently placing the soft, smooth silkworms back into their bamboo-woven baskets when they wandered away. This profound personal and cultural connection to silk has deeply influenced my work, leading me to incorporate it as a saviour in my practice, weaving together the threads of my childhood and the memories of growing up with my grandparents.

(BDG) Biomimicry plays a central role in your practice, drawing inspiration from the natural world. How do you navigate the translation of biological concepts into wearable art? Are there specific challenges or discoveries in this process that have significantly shaped your artistic direction? (BG)

I navigate the translation of biological concepts into wearable art by closely examining and understanding plants both internally and externally. The biggest challenge I have encountered is translating the intricate 3D organic forms and patterns found in 2D cells into wearable designs that effectively convey their characteristics. This challenge has significantly shaped my approach, leading me to create designs that are both adaptable and removable, allowing the essence of these natural forms to be expressed in a tangible and wearable way.

(BDG) Your practice advocates for a sustainable lifestyle through adaptable, removable designs that minimise waste. How do you envision the balance between innovation and sustainability in fashion? (BG)

My vision for balancing innovation and sustainability in fashion centres on creating durable, recyclable, adaptable and removable products, ensuring they never go out of style. By

incorporating personalisation and reducing material waste, I aim to design sustainable and timeless pieces. However, when integrating technology with traditional textile practices, I encounter limitations such as the differing material properties and the limited colour range of filaments. These challenges present opportunities to explore new techniques and materials, pushing the boundaries of what is possible in a sustainable fashion. (BDG) You mention that your work explores the impact of botanical elements on human well-being, both in beneficial and dangerous ways. How do you address this duality in your work? (BG)

I address the duality of botanical elements in my work by exploring both autotrophic and heterotrophic species. For example, I draw inspiration from orchids, known for their air quality improvement, stress reduction and therapeutic healing properties. In contrast, I also consider invasive species like Himalayan Balsam and Japanese knotweed, which can hinder other plants’ growth and reduce biodiversity, thus affecting ecosystem stability and resilience. This exploration leads me to incorporate a mix of shapes, colours and textures in my creative process, using various techniques to reflect these botanical elements' diverse and sometimes conflicting roles.

(BDG) The concept of personalisation is key in your work, with garments designed to be updated and modified by the wearer. How do you see this interactivity affecting the wearer’s relationship with the garment? (BG)

The interactive nature of personalised garments enhances the wearer’s creativity, allowing them to express their individual style and stay fashionable over time. This process indeed changes the conventional designer- wearer dynamic by shifting some creative control to the wearer. It represents the future of fashion, moving away from static, one-size-fits-all designs to more dynamic and personalised experiences, where the wearer becomes a cocreator in the design process.

(BDG) Your work brings attention to resilient yet lesser-known plants. How do these plants’ characteristics inform the narrative and aesthetic choices in your work? (BG)

I extract colours and shapes from lesser-known resilient plants, such as Indi Pipe, Puff-balls, Heliopsis cayennensis and Monophyllaea, to highlight their remarkable endurance. These characteristics inform both the narrative and aesthetic choices in my work, allowing me to showcase how these plants thrive in adverse conditions. Storytelling plays a crucial role in my design process, as it helps bring attention to these resilient species and fosters a deeper appreciation for the natural world, encouraging

awareness and respect for the often-overlooked aspects of our environment. (BDG) Your work seems to invite the audience into a dialogue about sustainability and the natural world. How do you measure or interpret the impact of your work on viewers or wearers? (BG)

I interpret the impact of my work on viewers and wearers through their interactions with the large, vibrant prints and 3D magnetic accessories featured in my designs. These elements are intended to invite the audience into a dialogue about sustainability and the natural world by encouraging them to explore and appreciate nature’s hidden wonders. I aim to evoke an emotional response of relaxation, happiness and curiosity, fostering a deeper connection with nature and promoting a sense of escapism from daily routines.

(BDG) Given your focus on eco-friendly design and sustainability, where do you see your practice evolving in the future? (BG)

In the future, I envision my practice evolving by showcasing ecofriendly designs through fashion shows and exhibitions, aiming to inspire others to rethink their approach to sustainability in fashion and textiles. I plan to continue developing my 3D printing skills to create adaptable and removable designs that meet current and future needs. Additionally, I anticipate addressing emerging technologies and ethical challenges, such as balancing the ethical sourcing of materials. These considerations will guide the evolution of my practice as I strive to stay at the forefront of sustainable design.

BECKY GUO IS A multidisciplinary SHE IS PASSIONATE ABOUT Bio centered DESIGN. BECKY ENVISIO EXTRACT AND LEARN FROM na WORLD, ALLOWING US TO ad well-being OF PRESENT AN SHE USES fashion, textiles AND tech BEAUTY OF BOTANICALS INTO OU TO KNOWN for a change OF EN

y DESIGNER BASED IN LONDON. omimicry, Science AND HumanONS HER PRACTICE TO EXPLORE, ature TO FOSTER AN imaginative dapt and escape reality FOR THE ND FUTURE GENERATIONS. hnology TO UNRAVEL THE HIDDEN UR DAILY LIVES FROM UNKNOWN NVIRONMENT AND MINDSET.

REVIEW

Becky Guo’s artistic practice is a delicate yet powerful exploration of the intersection between nature, culture, and technology. Rooted in her personal and cultural heritage, Becky’s work transforms the traditional into the contemporary, reimagining natural forms and ecological principles through the lens of modern fashion and textiles. Her collection, “Symphony Of Botanical Collection,” epitomises this approach, where the tactile beauty of silk and the resilience of invasive plant species converge to create a narrative that is both evocative and instructive. Becky’s connection to silk, a material deeply embedded in her family’s history, is not merely nostalgic but serves as a foundational element of her practice. The tactile memory of handling silkworms and the intricate process of silk production infuse her work with a sense of continuity and reverence for the natural world. This cultural significance enriches her material choices, enabling her to blend soft, natural fabrics with the rigid, futuristic forms of 3D-printed accessories. The juxtaposition of these materials - silk, flock, and filament - mirrors the delicate balance between nature and technology that her work seeks to address. In her exploration of biomimicry, Becky translates the complex, often unseen, dynamics of the natural world into wearable art. The challenge of replicating the intricate patterns and forms of plants into functional garments is one she navigates with precision. Her ability to adapt and incorporate these biological concepts into her designs is a testament to her commitment to both aesthetic and environmental sustainability. By creating garments that are not only adaptable but also interactive, Becky extends the life cycle of fashion,

offering a sustainable alternative to the fast fashion model. This adaptability is not just a design feature but a philosophical statement, inviting wearers to engage with their clothing in a more thoughtful, personalised way.

Becky’s work is also deeply influenced by the dual nature of botanical elements, which can be both beneficial and harmful. This duality is reflected in her designs, where the beauty and utility of plants like orchids are contrasted with the invasive tendencies of species such as Japanese knotweed. This nuanced approach adds layers of meaning to her work, encouraging viewers to reflect on the complex relationship between humans and the environment. By using vibrant colours and intricate shapes, Becky highlights the resilience of these plants, weaving their stories into the fabric of her creations. The concept of personalisation in Becky’s designs is particularly compelling, as it transforms the wearer from a passive consumer into an active participant in the creative process. This shift in the designer-wearer dynamic challenges traditional fashion paradigms and underscores the potential for a more sustainable and inclusive approach to design. By allowing garments to be modified and updated, Becky not only extends their usability but also fosters a deeper connection between the wearer and the garment, promoting a sense of ownership and care that is often absent in contemporary fashion. Overall, Becky Guo’s work is a poignant reflection on the potential of fashion and textiles to act as a bridge between the past and the future, the natural and the artificial. Her practice is a celebration of life’s complexities, and through her innovative use of materials and technology, she offers a vision of fashion that is not only beautiful but also deeply meaningful and sustainable.

CHANDLER CHENG BLENDING organic forms WITH TECHNOLOGY, THESE speculative DESIGNS PROVOKE DEEP REFLECTIONS ON human enhancement, EVOKING A FUTURISTIC, YET uncannily familiar, WORLD.

ARTIST STATEMENT

Chandler Cheng is a pioneer in the field of digital fabrication, turning the impossible into reality. He is passionate about speculative design and 3D technology, exploring the possibilities of human enhancement through a unique blend of sculpture, robotics, and biomimicry. His advanced 3D printed installations provoke thought about the future. His works have been exhibited at the Centre for Innovation and Design at Grand-Hornu in Belgium and galleries in London and other locations. Holding a Master's degree in Design Futures from the Royal College of Art, he is currently an Associate Lecturer at the University of the Arts London, where he shares his expertise. Currently residing and working in London, Chandler continues to turn science fiction fantasies into reality.

ARTWORK STATEMENT

Each piece in the "Augmented Limb" series creates a visually stunning yet slightly uncanny experience by combining soft silicone materials with rigid mechanical joints. These sculptures blend the flexibility of biological forms with the precision of machines, with joint arrangements evoking the appearance of vertebrates, twisted into unusual spirals. The contrast between hard and soft, individual joint angles, and the overall spiral line achieve a quiet, almost explosive balance. Viewers feel as if they are in the world of "Blade Runner," contemplating unknown realms. The details and textures of the works provide a strong visual impact and an intellectual adventure, sparking curiosity and imagination about future technologies.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (CC) - CHANDLER CHENG

(BDG) Your work explores speculative design, often blurring the line between science fiction and tangible reality. How do you navigate the translation of speculative concepts into physical forms? (CC)

Translating speculative concepts into physical forms is a journey that blends the fantastical with the feasible. My process begins with a vision, often drawn from the realms of science fiction, where the boundaries of reality are stretched. I then employ new technologies like 3D printing to materialize these visions, ensuring they retain their otherworldly essence while being grounded in practical reality. The main challenge lies in maintaining the essence of these imaginative ideas without diluting their impact. This process involves an intricate dance of balancing artistic creativity with the practicalities of materiality and form. Each piece undergoes several iterations, ensuring that it remains true to its original vision while being grounded in the physical world. Through this synthesis, I aim to create works that are not just visually captivating but also deeply evocative, inviting viewers to ponder the future and the intricate interplay between humanity and technology. This approach allows me to craft pieces that resonate on an emotional level, bridging the gap between the speculative and the real.

(BDG) Biomimicry appears to be a recurring theme in your work, particularly in the “Augmented Limb” series. How do you approach the ethical implications of drawing inspiration from biological forms for human enhancement? (CC)

Biomimicry in the “Augmented Limb” series is a thoughtprovoking exploration of our ability to use technology to modify and create life. My approach is neutral, presenting potential outcomes without imparting a definitive stance. By drawing inspiration from natural forms, my work invites viewers to reflect on the profound capabilities of human enhancement and the ethical questions it raises. Rather than advocating for or against technological augmentation, I aim to create a platform for dialogue. Through my art, I present possible futures and encourage the audience to form their own

opinions about the role of technology in our evolution. This neutrality fosters a deeper engagement with the complexities of biomimicry and its implications for humanity. (BDG) The combination of soft silicone materials with rigid mechanical joints in your sculptures creates a striking contrast. How does this juxtaposition inform the narrative or emotional impact of your work? (CC)

The combination of soft silicone and rigid mechanical joints in my sculptures serves to evoke a dialogue between organic and artificial elements. This contrast creates a visual and emotional tension that underscores the themes of my work. The soft silicone embodies vulnerability and fluidity, symbolizing life and adaptability, while the mechanical joints represent precision and strength, highlighting technological advancement. Through this juxtaposition, I aim to provoke contemplation about the convergence of human and machine, the balance of nature and technology, and the evolving definition of what it means to be alive. The dialogue between these opposing materials invites viewers to reflect on the possibilities and implications of a future where the organic and mechanical are seamlessly integrated.

(BDG) Your work is described as both visually stunning and intellectually stimulating, sparking curiosity about future technologies. How do you see the relationship between visual aesthetics and intellectual inquiry in your practice? (CC)

In my practice, visual aesthetics and intellectual inquiry are deeply intertwined and mutually reinforcing. I believe that striking visuals can captivate and draw viewers in, creating a space for deeper contemplation. My aim is to use aesthetics as a gateway to provoke thought and engage viewers on an intellectual level. Neither is prioritized over the other instead, they coexist in a harmonious balance. The visual allure of my work sparks curiosity, while the underlying concepts and themes stimulate intellectual engagement, leading to a richer, more immersive experience. This interdependence ensures that my creations are not only beautiful but also meaningful, inviting viewers to explore the complex dialogues between technology, nature, and the future.

(BDG) As a pioneer in digital fabrication, how do you perceive the role of 3D technology in contemporary art? (CC)

I see 3D technology as a transformative tool in contemporary art, enabling the creation of complex forms and precise details that were previously unattainable.

However, one limitation I've encountered is the surface texture of the final product, which can often appear uniform and lacks the variety of finishes achievable with other materials. This makes it challenging to experiment with different material surfaces, posing a creative constraint. Despite this, the possibilities offered by 3D technology in terms of innovation and complexity far outweigh these limitations, making it an essential medium for my work. (BDG) Your work has been likened to the world of “Blade Runner,” a dystopian future where technology and humanity are deeply intertwined. How do specific science fiction narratives or aesthetics influence your work? (CC)

My work often addresses the rapid and dramatic changes in today's world, such as humanity's ventures into space and oceanic oil spills. These significant environmental shifts outpace natural evolution, leaving species unable to adapt quickly enough to survive. Against this backdrop, I explore whether technological evolution might be a viable option for adaptation. My art questions the role of technology in helping us navigate these unprecedented changes and whether it can serve as a means to enhance our ability to thrive in new and challenging environments.

(BDG) As an Associate Lecturer at the University of the Arts London, how does your academic role influence your practice as an artist? Do you find that teaching speculative design and 3D technology offers new perspectives or challenges to your work, or vice versa? (CC)

Engaging with students and guiding them through their artistic projects consistently sparks new inspiration for my own work. These interactions often lead to a wealth of fresh ideas that influence my future creations. Students frequently present bold and innovative concepts, providing me with valuable opportunities to absorb diverse perspectives. This exchange of ideas not only enhances my teaching but also invigorates my artistic practice, allowing me to stay current and continuously evolve as both an educator and an artist.

(BDG) The “Augmented Limb” series evokes both curiosity and a sense of the uncanny. How do you anticipate or hope viewers will interact with your work on an emotional and intellectual level? (CC)

The "Augmented Limb" series is designed to evoke a range of emotions and intellectual responses. I hope viewers experience a sense of wonder and curiosity, mixed with a touch of the uncanny, as they engage with the installations. Emotionally, I aim to provoke a visceral reaction to the fusion of organic and mechanical elements, prompting contemplation about the nature of life and technology.

Intellectually, I hope my work sparks dialogue about the ethical and philosophical implications of human enhancement and technological evolution. I want viewers to question the boundaries between the natural and artificial, and consider how rapid environmental changes may necessitate new forms of adaptation. By presenting these speculative futures, I invite viewers to explore their own perspectives on the role of technology in shaping our world and our identities. (BDG) As an Associate Lecturer at the University of the Arts London, how does your academic role influence your practice as an artist? Do you find that teaching speculative design and 3D technology offers new perspectives or challenges to your work, or vice versa? (CC)

In the next few years, I envision my practice evolving to explore new frontiers in speculative design and human enhancement, driven by both emerging technologies and ethical considerations. Advances in artificial intelligence, biotechnology, and materials science will likely play a significant role in shaping my work, enabling even more intricate and dynamic creations. Ethically, I am increasingly interested in the implications of blurring human and machine boundaries, particularly in terms of identity, agency, and environmental impact. These themes will continue to inform and inspire my artistic exploration, pushing the boundaries of what art can communicate about our rapidly changing world.

CHANDLER CHENG IS A pion fabrication, TURNING THE I HE IS PASSIONATE ABOUT 3D TECHNOLOGY, EXPLOR human enhancement THRO SCULPTURE, robotics, AND BI 3D PRINTED installations PR THE FU

neer IN THE FIELD OF digital IMPOSSIBLE INTO REALITY. T speculative DESIGN AND RING THE POSSIBILITIES OF OUGH A UNIQUE blend OF BIOMIMICRY. HIS ADVANCED ROVOKE THOUGHT ABOUT UTURE.

REVIEW

Chandler Cheng’s work stands at the intersection of speculative design, digital fabrication, and biomimicry, crafting pieces that push the boundaries of what is possible in contemporary art. His “Augmented Limb” series exemplifies this approach, blending the organic with the mechanical to create sculptures that are both visually arresting and intellectually challenging. Chandler’s use of 3D technology is nothing short of pioneering. By utilising advanced digital fabrication techniques, he turns speculative concepts, often drawn from the realms of science fiction, into tangible reality. The “Augmented Limb” series, for instance, features sculptures that combine soft silicone with rigid mechanical joints, evoking a sense of both familiarity and the uncanny. This juxtaposition between the pliable and the rigid is not merely aesthetic, it underscores a deeper narrative about the convergence of biological life and mechanical precision, a theme that resonates throughout Chandler’s body of work. Chandler ’s work is also heavily influenced by biomimicry, particularly in its exploration of human enhancement. The ethical implications of drawing inspiration from biological forms to create augmented realities are not lost on him. Rather than presenting a clear-cut stance on these advancements, Chandler uses his art as a neutral platform for dialogue, encouraging viewers to form their own opinions

about the role of technology in our future evolution. This neutrality is a powerful tool, fostering a deeper engagement with the complex and often contentious issues surrounding human augmentation. The material contrasts in Chandler’s sculptures are particularly striking. The soft, flexible silicone juxtaposed with the hard, mechanical joints creates a visual and emotional tension that is central to the work’s impact. This contrast invites viewers to ponder the integration of organic and artificial elements, reflecting on the evolving relationship between humanity and technology. The tactile qualities of the materials further enhance this dialogue, making the sculptures not only visually captivating but also intellectually stimulating.

Chandler envisions his practice continuing to explore the frontiers of human enhancement and speculative design. Emerging technologies such as artificial intelligence and biotechnology, coupled with ethical considerations about the blurring of human and machine boundaries, will likely shape his future work. These themes, already central to his current practice, will continue to inspire and inform his artistic exploration, pushing the boundaries of what art can communicate about our rapidly changing world. Chandler’s work is a compelling fusion of technology, nature, and speculative futures. His “Augmented Limb” series invites viewers into a world where the organic and the mechanical coalesce, provoking thought and dialogue about the possibilities and implications of human enhancement. Through his innovative use of 3D technology and his deep engagement with speculative design, Chandler is not just creating art; he is crafting a vision of the future that challenges us to reconsider the boundaries of what is possible.

CINDY (XINYI) WU A BOLD exploration OF SUSTAINABILITY AND MATERIALITY, THIS jewellery COLLECTION INTEGRATES bread with metal, CREATING SCULPTURAL PIECES THAT CHALLENGE conventional design boundaries.

ARTIST STATEMENT

Jewellery, to me, is a language with its own rules and values. I view the discipline as a vehicle to connect an idea with the body. Each of my designs is deeply personal, reflecting my internal dialogues about individual concepts and my personal stories. Quotidien presences - such as beauty standards, interpersonal relationships, everyday objects, and personal experiences - root each piece. They are then dissected and distilled into a design, often incorporating elements of Eastern culture and aesthetic contemplation. Formally, my works feature unique compositions, I favour organic structures and textures and I frequently incorporate innovative materials. I question the value and meaning of jewellery through non-traditional materials. Each piece seeks to emphasize beauty and individuality of the wearer beyond society’s superficial framework. In my journey, I aim to continue to make highly sculptural jewellery which goes beyond accessorizing to embody more nuanced stories.

ARTWORK STATEMENT

53 In 'Rising' collection, I have used bread, an unconventional and biodegradable material, as the main material for my jewellery works, representing an innovative approach to using sustainable materials. The dough is made from simple, organic substances - flour, water, salt, and yeast that can naturally decompose, aligning with the sustainability aspect of the theme. By employing dehydration techniques to preserve the bread, I aim to reduce material waste and energy consumption, supporting sustainable design. My approach to creating jewellery challenges conventional methods by using new, sustainable materials, which opens up fresh perspectives in the field and showcases their potential to audiences. By exploring personal connections and emotional bonds with materials like bread, my work adds depth to the concept of sustainability. I believe that jewellery can transcend traditional definitions and reliance on conventional precious materials, embracing innovative materials that unlock new possibilities for design. This fusion of innovation and personal significance in jewellery design not only redefines aesthetic values but also aligns with sustainable practices.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (CW) - CINDY (XINYI) WU

(BDG) You describe jewellery as a language with its own rules and values. How do you negotiate this language in your practice? (CW)

I view jewellery as a language that connects my concepts with the wearer's body, acting as a vehicle to link the human form with stories or ideas. I believe that wearing jewellery is an interaction between the person and the art piece, making the jewellery a sculptural interaction on the body. For instance, in my "With the Crack" series, inspired by the damaged sculptures of the Mogao Caves in Dunhuang, I explored the beauty of imperfection brought about by cracks and damages. My pieces feature lines that resemble the seams of kintsugi-repaired ceramics. When worn, the jewellery displays golden cracks similar to those on golden-repaired pottery, transforming the wearer into a sculpture within my concept. The act of wearing the jewellery becomes an interpretation of the dialogue between sculpture and the beauty of cracks, allowing both viewers and wearers to engage with and understand my ideas through their interaction. Thus, jewellery serves not merely as decoration but as a medium for conceptual and bodily interaction, becoming a language itself.

(BDG) Your pieces often incorporate elements of Eastern culture and personal experiences. How do you balance the integration of your personal narratives with broader cultural references? (CW)

Personal experiences and the subtle details of life are primary sources of inspiration for my designs, often serving as the starting point. In most of my works that feature elements of Eastern culture, these components are integral parts of my personal experiences too: for instance, my "With The Crack" series was inspired by my trip to the Mogao Caves in Dunhuang, and the "Double Happiness 囍 " series draws from my parents' traditional Chinese wedding. These personal stories coexist with the broader cultural references in my work. Being born and raised in China, my background and the Eastern culture inherently form part of who I am. I believe that certain aspects of Eastern aesthetics, such as the use of lines, compositions, and even materials, have subtly influenced my design style over time, naturally integrating into many of my pieces.

(BDG) In your ‘Rising’ collection, you use bread as a primary material, which is both unconventional and biodegradable. What inspired you to explore such an ephemeral and non-traditional material in jewellery? (CW)

Firstly, I enjoy innovation in my creative process - whether in structure, technique, or materials. As a designer, I place a high value on sustainability, which I've consistently aimed to integrate into my design practices. A significant reason for choosing bread as a material is my own passion for baking. With extensive baking experience, I am familiar with and fond of dough, and I've been captivated by its beauty and vitality during the baking process. Every time I observe the bread gradually expanding in the proofer and oven, swelling as air bubbles fill the dough and make it plump, it makes me feel as if it possesses a life of its own. Each batch's random and varied rising often results in fascinating and unique shapes. This led me to think that the natural expansion of dough could seamlessly integrate with metal frames, creating an unconventional form of inlay. An accidental experience of drying bread revealed to me a method for its long-term preservation and increased durability; the hardened, dehydrated bread, adorned with flecks of dark grain, resembles beautiful stone. Bread is both beautiful and vital, qualities that are often overlooked. Many everyday materials around us, though seemingly ordinary, are beautiful, potent, and full of potential. Through my work, I hope to inspire audiences to embrace an open mindset towards non-traditional materials, breaking away from traditional material constraints and exploring new possibilities.

(BDG) The ‘Rising’ collection involves using dehydration techniques to preserve bread as jewellery. How do you view the process of preservation in your work? (CW)

Firstly, using dehydration facilitates wear, exhibition, and preservation by overcoming the inherent fragility, deformability, and perishability of bread, enhancing the wearability of my pieces. Also, this collection aims to convey the concept that bread, a mundane item, embodies vitality and energy. Its 'rising' action allows the dough to break free from the confines of hard metal, reflecting growth and resilience. Therefore, I dehydrate the bread when the dough has expanded optimally to capture its most energetic and vital moment. By fixing this specific moment and state - when it appears most full and lively - I highlight my theme of 'rising.' Additionally, the dehydration step reduces material waste, making my creations as sustainable as possible. Ordinary bread quickly deteriorates, moulds, or deforms under typical conditions, necessitating frequent remakes. By using dehydration techniques to preserve the bread, I can reduce

material waste and energy consumption that would occur with repeated production. (BDG) As you continue to explore innovative and sustainable materials in your practice, where do you see the future of jewellery design heading? (CW)

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? (CW)

I believe contemporary jewellery will become more diverse and inclusive, evolving in various directions. The future will hold not only traditional pieces that symbolise "eternity" and "heritage" but also more innovative possibilities. Advancements in technology and increasing awareness of environmental issues and resource wastage may spur new pursuits in jewellery. I think that the jewellery production processes of the past and present may, over time, reveal their negative impacts on the environment. Moreover, fashion trends are rapidly changing, leading to the mass production of trendy items. The waste and pollution from overproduction and fast-paced product cycles deserve significant attention. I hope and believe that the future will emphasise reducing resource wastage in production, such as through recycling materials and minimising energy consumption, and exploring new biodegradable and eco-friendly materials to steer the jewellery field towards greater sustainability. Innovative materials might also introduce new aesthetic styles to the realm of contemporary jewellery. Sustainable jewellery should not just mimic traditional aesthetics with sustainable materials for the sake of "sustainability." Instead, we can leverage the unique properties of new materials to showcase their potential, distinct beauty, and the stories they bring, thus transcending traditional standards and methods. For example, in the "Rising" series, I capitalised on the inherent properties of dough - its ability to ferment and expand - to merge and set it within the structure alongside metals, replacing the traditional metal setting technique. Additionally, the organic, soft, flowing form of bread contrasts dramatically in style with the shapes of traditional gems and

jewellery. I hope my creations will bring not only new materials but also new methods and aesthetics to the jewellery field. Of course, maintaining and enhancing beauty, wearability, and practicality will be challenges in developing innovative materials.

CINDY XINYI WU WAS born in Chi LONDON, UK, AS A jewellery design THE UNITED STATES, WHERE SHE IN various visual arts disciplines. SU HER BACHELOR'S DEGREE FRO COURSE AT Central Saint Martins. H mere accessories; THEY ARE sculp THE WEARER’S BODY, NARRATIN CINDY EXCELS IN CREATING UNI CHALLENGE traditional boundarie materials AND BLENDING TRAD DIGITAL FAB

ina AND IS CURRENTLY BASED IN ner. SHE STUDIED VISUAL ARTS IN GAINED A ROBUST BACKGROUND UBSEQUENTLY, CINDY OBTAINED OM THE BA JEWELLERY DESIGN HER JEWELLERY PIECES transcend ptural works THAT MERGE WITH NG personal stories THROUGH ART. IQUE JEWELLERY DESIGNS THAT es, INCORPORATING INNOVATIVE DITIONAL metalsmithing WITH BRICATION.

REVIEW

Cindy Wu’s work is a provocative blend of material innovation and cultural introspection. Her “Rising” collection exemplifies a groundbreaking approach to jewellery design, where the incorporation of bread - a biodegradable and unconventional material - offers a fresh perspective on sustainability. This use of bread, preserved through dehydration techniques, not only reduces waste but also captures a unique moment of natural growth, transforming a common substance into a sculptural, wearable form. Cindy’s practice transcends traditional jewellerymaking by merging everyday materials with intricate metalwork, thus challenging established notions of value and permanence in adornment. Her decision to use bread reflects a thoughtful engagement with environmental issues, demonstrating a commitment to sustainable design practices that resonate with contemporary concerns. Her designs are deeply personal and culturally reflective, drawing from her own experiences and Eastern influences. This fusion of personal narrative and broader cultural references infuses her work with

profound meaning, allowing her jewellery to function as both art and storytelling. Cindy’s pieces are not merely accessories but become extensions of the wearer’s identity and experiences. In addition, Cindy’s focus on sustainability is not just a trend but a core element of her creative process. By embracing unconventional materials and exploring their aesthetic potential, she opens new avenues for innovation in jewellery design. Her work invites viewers to rethink traditional material hierarchies and consider the beauty and significance of the mundane. Overall, Cindy’s jewellery exemplifies a compelling intersection of aesthetics, ethics, and personal narrative. Her approach to integrating non-traditional materials with sculptural design elements marks a significant contribution to contemporary jewellery, offering both a visual and intellectual challenge to the field.

EKTA BAGRI “FACES OF FLAME” installation MERGES sustainable wood-firing TECHNIQUES WITH DYNAMIC ceramic FORMS, REFLECTING A PROFOUND DIALOGUE BETWEEN fire, material, AND environmental consciousness.

ARTIST STATEMENT

As a ceramic artist and researcher, my practice is deeply rooted in the exploration of sustainable methodologies and traditional craftsmanship. My artistic journey has been a convergence of cultural heritage, environmental cons ciousness, and innovative ceramic techniques. The core of my work revolves around the concept of sustainability in ceramics. In today's world, where resource depletion and climate change are pressing issues, my work aims to present an alternative model of production that harmonizes with nature. I employ waste materials such as pallet wood, tree barks, and agricultural by-products to fuel my kilns and create unique ceramic pieces. This approach not only reduces waste but also imbues each piece with a story of transformation and renewal. My research at Oxford University, under the guidance of anthropologist and archaeologist Dr. Robin Wilson, focuses on single-chamber kiln dynamics and the use of alternative materials in ceramic production. Through the Oxford University Kilns Project and under the supervision of Dr. Robin Wilson, I explore how waste wood can control kiln dynamics to produce distinctive ceramic objects. This project exemplifies my commitment to circular thinking within my discipline, turning industrial waste into beautiful, functional art. Working with traditional potters in various parts of the world has been a significant influence on my practice. At the Kumartuli Potters Colony in Bengal, under the mentorship of China Pal, I delved into the traditional

methods of idol-making using local materials like river clay and rice husk. This experience taught me the importance of preserving cultural practices while innovating within them. In South Korea, I collaborated with Oongi Master Hyangjong Oh, learning traditional wood firing techniques. This residency deepened my understanding of the cultural and technical aspects of ceramics, which I aim to preserve and modernize through my work.

My installation series, "Faces of Flames," is a testament to my fascination with the interplay of fire and clay. Each piece in this series captures the dynamic movement of flames and the unique glaze textures formed by the settling of ash during the firing process. The process is labor-intensive, requiring constant attention to the kiln's temperature and the behavior of the flames, resulting in a natural glaze that cannot be replicated. My work also reflects a deep respect for the materiality and history of ceramics. The use of reduction clay, white stoneware, and local clays in my pieces is a deliberate choice to highlight the diversity and richness of ceramic materials. Each piece is a narrative of its own, telling the story of its creation through its texture, form, and glaze. Ultimately, my goal as an artist is to create works that are not only aesthetically pleasing but also thoughtprovoking and environmentally responsible. Through my practice, I strive to challenge conventional perceptions of ceramics and inspire a deeper appreciation for the art form and its potential for sustainability. My work is a continuous dialogue between tradition and innovation, a testament to the enduring beauty and relevance of ceramics in our contemporary world.

ARTWORK STATEMENT

"Faces of Flame" is a wood-fired ceramic installation that embodies my exploration of the relationship between fire, material, and form. This series is an ode to the transformative power of fire and its role in the alchemical process of ceramics. The genesis of "Faces of Flame" lies in my fascination with the dynamic interplay between flames and clay. Each piece in this series is crafted from reduction clay and other local materials, and then subjected to a rigorous wood-firing process that spans up to 72 hours. The firing process is an intense and meditative practice that requires constant vigilance. As the temperature in the kiln rises to 1300°C, the flames dance around the pieces, depositing layers of ash that create a natural glaze. This glaze, formed from the ashes of waste wood, results in unique textures and patterns that are impossible to replicate through conventional glazing methods. The installation reflects my commitment to sustainability and the use of waste materials in art. By utilizing discarded wood and other by-products as fuel for my kilns, I aim to reduce waste and promote circular thinking within the ceramic arts. This approach not only minimizes the environmental impact of my practice but also adds a narrative layer to each piece, transforming waste into a work of art. Each face in "Faces of Flame" tells its own story. The varying degrees of heat and the direction of the flames create distinct patterns and textures on the surface of the clay. Some pieces bear the marks of intense heat and rapid cooling, resulting in crackled glazes and rugged textures, while others display smoother, more uniform surfaces where the flames have gently caressed the clay. These variations capture the essence of the firing process, where control and unpredictability coexist, producing works that are both spontaneous and deliberate. The inspiration for this series also draws from my experiences working with traditional potters around the world. In Bengal's Kumartuli Potters Colony, I learned the art of idol-making from China Pal, one of the few female artists in a

predominantly male community. This experience taught me the value of preserving traditional techniques while infusing them with contemporary relevance. Similarly, my residency with Oongi Master Hyangjong Oh in South Korea enriched my understanding of wood-firing and its cultural significance. "Faces of Flame" is not just a series of ceramic pieces; it is a reflection of my journey as an artist and researcher. It embodies my commitment to sustainability, my respect for traditional craftsmanship, and my passion for innovative ceramic techniques. Each piece is a dialogue between the material and the maker, the fire and the clay, the past and the present. Through this installation, I aim to evoke a sense of wonder and appreciation for the beauty and complexity of wood-fired ceramics. I invite viewers to explore the intricate textures and patterns, to feel the energy of the flames that shaped them, and to reflect on the transformative power of art and nature. "Faces of Flame" is a celebration of the elemental forces that define ceramics and a testament to the enduring relevance of traditional practices in contemporary art.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (EB) - EKTA BAGRI

(BDG) Your work blends traditional ceramic practices with modern sustainability methods. How do you balance these two seemingly contrasting approaches in your creative process? (EB)

My creative process is deeply rooted in exploring how traditional methodologies can be reconstructed to lead to innovative approaches in ceramics. Ceramics have been integral to human existence since 9000 BCE, serving various purposes - from symbols of wealth, power, and politics to everyday utensils. Different methodologies were developed to meet these diverse needs. I am particularly interested in immersing myself in communities that continue these generational practices, observing how their interaction with materials and inherited knowledge shapes their understanding of the craft without relying on scientific analysis. The challenge lies in blending these contrasting approaches into a cohesive body of work. I navigate this challenge by harmonising traditional techniques with unconventional, contemporary design approaches, creating pieces that are both respectful of tradition and forward-thinking.

(BDG) You emphasise the use of waste materials like pallet wood and agricultural by-products in your kiln firing. Can you elaborate on the challenges and rewards of integrating sustainability into your ceramic practice? (EB)

Integrating sustainability into ceramics presents a unique set of challenges, particularly in achieving consistency in production. For example, when using traditional minerals to create glazes, consistency in color and texture is typically maintained. However, substituting these with waste materials introduces an element of unpredictability and inconsistency. I view this unpredictability not as a limitation but as a strength. It allows each piece to showcase the raw beauty and materiality of waste products, challenging viewers to see waste in a new light. The reward lies in creating ceramic objects that are inherently unique and impossible to replicate, even with deliberate effort. This unpredictability adds depth and character to each piece, making the process as rewarding as the final product.

(BDG) “Faces of Flame” explores the dynamic relationship between fire and clay. What inspired you to focus on this elemental interplay, and how does it shape the narrative of this installation? (EB)

Wood-firing is a process that allows ceramic objects to experience both reduction and oxidation atmospheres, a unique occurrence that is particularly distinct in a wood kiln. Additionally, the natural ashing from waste wood contributes to creating ceramic objects that are truly one-of-a-kind, impossible to replicate. What fascinates me most is the dynamics of the flames within the kiln and how they interact with the surface of the ceramics, effectively painting the pieces with their movement. The installation captures the "faces" of the flames - their marks, the heat that has transformed surfaces, and the ash that has settled to create a unique character. Each piece is a portrait of the fire itself, a narrative of the elemental forces that shaped it.

(BDG) Your work has been influenced by your collaborations with traditional potters in various countries. How have these diverse cultural experiences shaped your artistic vision and techniques?

(EB)

These experiences have been profoundly influential in shaping my artistic vision and practice. Stepping outside the confines of my studio and engaging with potters from India, Japan, Korea, and Vietnam has given me a broader perspective on ceramic production and aesthetics across different cultures. For instance, learning how to use rice straw as an aesthetic element in Bizen ware or mastering traditional Onggi techniques in Korea has enriched my understanding of the cultural significance of ceramics. Experiencing wood-firing in climbing kilns, where the process can last up to a week, has taught me how to manipulate kiln dynamics and design to influence the movement of the flame. These experiences have not only enhanced my technical skills but also deepened my appreciation for the cultural narratives embedded in ceramic practices.

(BDG) Your work often intertwines cultural heritage with environmental consciousness. How do you hope these themes resonate with your audience, and what conversations do you aim to spark through your art? (EB)

I hope that my work inspires viewers to celebrate the diversity of pottery and the richness of cultural and traditional techniques. More importantly, I aim to provoke discussions about the ethical use of materials and sustainability in times of global challenges and environmental crises.

Ceramics, while visually captivating, also raise important questions about the use of resources, especially in times of scarcity. I want my audience to consider the implications of what we produce, the space it occupies, and its true necessity. My work is a call for mindfulness in creation - a reminder that while beauty and craftsmanship are vital, so too is the responsibility to produce with intention and purpose. (BDG) Given your extensive research and innovative practices, what new directions or projects are you excited to explore next in your journey as a ceramic artist and researcher? (EB)

As I continue my journey, I am eager to further my work with the Oxford Kilns Project under Dr. Robin Wilson, particularly in experimenting with different types of pallet wood and exploring ethical firing methodologies. Looking ahead, I aspire to pursue a doctoral degree in archaeology, focusing on kiln dynamics from an anthropological perspective. This would allow me to delve deeper into the cultural and historical significance of ceramic practices while continuing to innovate within the field.

EKTA BAGRI IS AN innovative cera IN Oxford. HER ARTISTIC JOURNEY in Fine Art AND History of Art FROM FOLLOWED BY A Master's in Cerami of Art, LONDON. CURRENTLY, SHE Archaeology of Asian Ceram

EKTA'S WORK IS CHARACTERI sustainability AND A PROFOUN CERAMIC PRACTICES. HER RESEA materials SUCH AS pallet wood A CREATE UNIQUE CERAMIC PIECES PROJECTS ACROSS THE GLOBE, IN Kilns Project, Kumartuli Potters Colon IN SOUTH KOREA, AND Takatori

HER INSTALLATIONS, LIKE THE "F innovative kiln designs AND firing DYNAMIC interplay

amic artist AND researcher BASED Y BEGAN WITH A Bachelor's degree M Goldsmiths University of London, ics & Glass FROM THE Royal College IS PURSUING A Master of Science in mics AT Oxford University.

IZED BY A deep commitment TO ND respect FOR TRADITIONAL ARCH FOCUSES ON utilizing waste AND agricultural by-products TO S. SHE HAS WORKED ON VARIOUS NCLUDING THE Oxford University ny IN BENGAL, THE Oongi Residency Pottery IN JAPAN AND VIETNAM.

FACES OF FLAMES," REFLECT HER TECHNIQUES, CAPTURING THE y OF flames and ash.

REVIEW

Ekta Bagri’s “Faces of Flame” stands as a testament to her unique fusion of tradition and innovation within the realm of ceramics. Her work is distinguished by its commitment to sustainability and its deep-rooted respect for traditional craftsmanship. By employing waste materials such as pallet wood and agricultural by-products, Ekta not only mitigates environmental impact but also infuses her ceramics with rich, narrative layers of transformation and renewal. Her method of wood-firing, which spans up to 72 hours, is an intense process that captures the elemental interplay between flames and clay. The resulting textures and glazes are natural manifestations of this dynamic interaction, creating pieces that are as much about the process as the final product. The use of ash from waste wood to create unique glazes highlights a creative approach to resourcefulness, where waste is turned into art, thereby challenging conventional notions of both value and production. Ekta’s experiences working with traditional potters worldwide have greatly informed her practice. The

knowledge gained from mentors in Bengal, South Korea, and beyond has enriched her understanding of ceramic techniques and cultural contexts, allowing her to blend traditional methods with contemporary sustainability practices. This global perspective enhances her work, making each piece a dialogue between various ceramic traditions and modern environmental concerns.

Ekta’s integration of sustainability with traditional techniques demonstrates her innovative approach to ceramic art. Her work not only showcases the aesthetic potential of waste materials but also serves as a critical commentary on the need for responsible production practices. By reimagining waste as a creative resource, Ekta invites viewers to reconsider the possibilities within ceramic art and the broader implications of sustainability. Overall, Ekta’s “Faces of Flame” offers a compelling exploration of ceramics as both an art form and a medium for environmental advocacy. Her dedication to combining historical practices with modern sustainability challenges, and her ability to transform waste into beauty, mark her as a significant and forwardthinking artist in the field of contemporary ceramics.

EVA BURYAKOVSKY A vibrant fusion OF EASTERN AND WESTERN EUROPEAN mythologies, BLENDING traditional TEXTILE TECHNIQUES WITH modern DESIGN TO CREATE culturally rich, SUSTAINABLE FASHION PIECES.

ARTIST STATEMENT

My practice is led by craft processes and pagan imagery found in traditional Russian textile handicrafts and folk costumes, which I reimagine in a contemporary style. I gravitate towards investigating pre-Christian domestic symbols and medieval embellishment techniques of my home country, such as hand embroidery, resist dying, and block printing combined with screen printing, garment construction, and millinery. When creating, I often fuse references from various periods of Russian history with modern design tools to develop culturally rich and digitally perfected designs. My artistic style is whimsical and historically informed. I incorporate elements of traditional Slavic folk motifs into the embellishment and decoration of my products. Because my pieces uniquely focus on the craftsmanship found in historical Russian costumes and handicrafts, I am interested in how this form of making can be adapted to provide a new cultural narrative that offers reliable craft-based design solutions for the fashion market. Through my projects, I aim to address the inconsistent production systems utilised by textile companies and redirect the attention towards sustainable traditions that smaller craft communities adhere to as an alternative. Preserving and adapting heritage craft techniques is a powerful form of innovation that can inform and lead the garment industry forward while aiding in creating durable and educational products. As I progress in my practice, I aim to further hone my ability to transform historical research into meaningful design solutions of today.

100

ARTWORK STATEMENT

101 Through this project, I examined how living and studying in the UK has impacted my relationship with my Russian heritage. This was conducted by exploring Eastern and Western European mythology and craft practices. The preliminary focus was on medieval objects and textile artefacts. However, late 19th-century and contemporary references were also included, enabling me to trace and combine the aesthetic similarities that have emerged on both terrains through time, like using the shape of a 15th-century Russian dress as the medium on which Western and Eastern European medieval symbols were united. Tackling the concept of sustainability within the project, it was essential to question the very act of designing. I proposed to return to a more mindful way of making encouraged by historic artisan guilds. By incorporating craft-based techniques preserved and passed on by generations of English and Russian makers, such as traditional embroidery and printing, I delved into a culturally informed outlook on sustainable design, offering centuries-long proven durability through the decorative form. In this way, the costume and the installation back-drop created for the project convey a sign of encouragement towards the intentional study and production of heritage material goods as a means of dismantling our problematic culture of consumption and disposal.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (EB) - EVA BURYAKOVSKY

(BDG) Pagan imagery plays a significant role in your work, often sourced from pre-Christian domestic objects. How do you navigate the potentially controversial aspects of reviving and reinterpreting these ancient symbols in a modern context? (EB)

Whilst some of the pagan practices and belief systems from which many of the symbolic visuals stem do not align with modern values, I think that by intentionally choosing to focus on and share the signifiers with a cultural narrative that serves a unifying and uplifting purpose, I avoid potential controversies and share stories that resonate with today's public just as profoundly. For example, the symbol of the Sirin and Alkonost birds displayed on the costume is directly tied to the narrative of powerful female archetypes in Slavic folklore - they are half-women, half-bird creatures with the ability to influence the fate of their community through singing. To me, this symbol is deeply empowering but also delightfully nuanced, encompassing the light and dark sides of femininity holistically. Likewise, the unicorn illustration on the skirt is considered a reliable and trustworthy mythological companion in Anglo-Saxon countries. These mythological aids were deeply valued in medieval Western and Eastern cultures, as it was believed that they protected their community and brought prosperity to the land. On a personal level, having been brought up with a dog that was a prominent part of my family, I have developed a deep connection and a sense of security from historic protective sigils referencing earthly and fantastical animal guardians.

(BDG) Your work is described as narrative-led, often grounded in Slavic mythology and Russian history. How do you construct these narratives within your designs? (EB)

My textile design background provides me with a prominent advantage in storytelling by enabling me to transform my narrative illustrations directly into prints and embroideries. By adding textile visuals of critical moments or figures from a narrative to my design work, I am sharing enough of the story for it to be understood and openly engaged with by the public. Likewise, the

108

colour palette, choice of material, and finish incorporated into the piece just as effectively reinforces and accentuates the tale by providing psychological and three-dimensional qualities to the artwork. The myth of the Sirin and Alkonost birds mentioned above is undoubtedly a recurring motif in my work. Through my 'cooperation' with them, I discovered that these characters have close ties with Slavic deities, ancient Greek mythology, and Irish swanwomen folklore. In fact, the familiarity of most cultures with these anthropomorphic birds makes them a universal symbol of warrior women, an archetype I wanted to embody and prioritise in the projects where I have referenced them. These birds have been directly cited in an illustrative form in two of my projects. In Mythological Creatures (2023), I was still becoming acquainted with their archetype, which is why they were not the focal point in the printed ornament but a part of the story of symbols. Alternatively, in Reconnecting… (2024), their illustration was expanded and prioritised in the print placement, allowing them to take up the most significant areas of the costume.

109

(BDG) Your practice involves the adaptation of traditional techniques such as hand embroidery, resist dyeing and block printing. How do you ensure that these methods remain relevant and innovative in the fast-paced world of contemporary fashion? (EB)

My internship at the London-based fashion company Vilshenko taught me that combining traditional techniques with digital design tools frames traditional processes as more relevant from production and consumption angles. A mixed-technique piece would be faster and cheaper to execute; a digital embellishment project would inevitably attain a unique and appealing hand-made signature if mixed with a traditional process, while a traditional design executed with digital tools would look more polished and elevated. This understanding also creates an abundant ground for innovation. By experimenting with combinations of traditional and digital approaches, it becomes viable to find the silver lining in which you maintain the aesthetic character and sustainable attributes of a heritage craft while improving the precision and timing of its execution with the aid of a contemporary machine.

(BDG) In your project "Reconnecting…", you explore the intersection of Eastern and Western European mythology and craft practices. Do you see your work as a bridge between these cultures? (EB)

I aim for my projects to serve as a connector between my home country and my country of residence. Given the ongoing political

developments, I believe now more than ever, it has become essential to empathise the commonalities between the East and the West, intentionally bridging these two distinctive parts of Europe together through the analysis and creative implementation of their shared historical aesthetics and symbols found in their traditional dress, accessories, textiles, art, and objects of worship. (BDG) Your project explores aesthetic similarities between Eastern and Western European medieval symbols. What discoveries did you make about these shared aesthetics, and how did they influence the final outcome of your project? (EB)

As my focus within the project was primarily set on the medieval craft of both nations, the aesthetic similarities that I have found and utilised apply specifically to this time frame. I have traced resemblances in the silhouettes of women's dresses with fitted busts and hooped skirts, an abundance of goldwork adornments, floral motifs woven into brocade fabrics, sun and moon symbolism incorporated into the headwear, and mythological creatures native to the land embedded into the ornament. These principles have been directly integrated into the final costume of my project. For instance, the goldwork embroidery was imitated with digitally embroidered viscose threads and gold foil screen-printing; the floral ornaments were directly printed on top of the foil to emulate the brocade fabric sheen; and, lastly, the sun and moon imagery was integrated into the decoration of the skirt, bodice, and headpiece. When observing the ornamental signifiers of both nations, it is difficult to ignore the resemblances in the bestial symbology used. The repeated motif of the ancient Slavic horse and the Anglo-French unicorn found on the lacework, embroidery, and woven cloth of both cultures demonstrates that these pagan signifiers were profoundly ingrained into the citizens' daily lives even with the advent of Christianity. The Slavic symbol of the horse turned into the respected icon of Saint George and Saint Pseglavets, while the symbol of the unicorn came to signify the purity of Christ in medieval England and France. Despite religious reorder, this persistence of agricultural animal imagery in both civilisations highlighted that, at their core, they were both notably land-worshipping societies.

(BDG) You propose a return to a more mindful way of making, inspired by historic artisan guilds. How do you envision this craft-based approach as a viable model in the modern fashion industry? (EB)

The Abramtsevo Estate crafts guild, which actively operated at the end of the 19th century and the beginning of the 20th century, is a fascinating example of a historical artisan guild that

110

created a robust production model which could be successfully implemented as a functional and reliable methodology for contemporary fashion companies of varying scales. This guild's agenda enabled the production of authentic pieces that reflected the distinctiveness of their manufacturing region. This organisation has also attained respect and admiration from national and international Abramtsevo estate goods consumers of the 20th century, consequently improving the de-escalating material values of their time. With the addition of current technological advancements enabling the decrease in the cost and production time of such heritage goods, this strategy could be successfully transferred to today's fashion manufacturing setting as a vehicle for affecting consequential improvements in the widespread devaluation of designed goods. Another example of a craft-oriented establishment that followed in the guild's footsteps was the Research Institute of the Art Industry. It was opened in 1944 as a branch of the Museum of Handicraft in Moscow dedicated to reviving the study and production of Russian decorative arts.

111

The facility's work in studying and preserving craft materials and practices of remote regions resulted in the discovery of numerous long-lasting, culturally significant, and ecologically friendly fibres and processes. The existence of such programmes in today's industry would result in the successful integration of heritage materials with technologically advanced design tools. This would prompt the creation of readily accessible and sustainable garments of cultural significance, incentivising a rapid de-escalation in the manufacturing of disposable items. Finally, the institute's prioritisation of artisans enabled the provision of fair wages and professional development opportunities for the makers, which naturally improved the quality of the garments produced. This confirmed that the organisation's precedence for craft practitioners was a successful strategy for influencing a widespread appetite for ethically made products among respective consumers. Applied in the 21st century, this shift in production mentality could create a ripple effect that would ubiquitously establish a more humane operational dynamic in the apparel industry.

EVA BURYAKOVSKY IS A pro DESIGNER SPECIALISING IN IS ORIGINALLY FROM Russia AROUND Slavic mythology A THROUGH HER EDUCATION SHE HAS ACQUIRED AN i TRADITIONAL AND DIG TECHNIQUES, WHICH SH narrative-led projects. SHE IS SKILLS WITHIN THE FASH EMPHASIS ON historical resea

oactive and curious TEXTILE N print AND embroidery. SHE a AND BASES HER PROJECTS AND heritage craft practices. N AND WORK EXPERIENCE, in-depth understanding OF GITAL TEXTILE-MAKING HE IMPLEMENTS IN HER S ORIENTED TO utilise HER HION INDUSTRY, WITH AN arch AND BESPOKE DESIGN.

REVIEW

Eva Buryakovsky’s “Reconnecting…” project is a profound exploration of heritage and sustainability through textile design. By integrating Eastern and Western European mythologies and traditional craft techniques, Eva reimagines Slavic folklore in a contemporary context, infusing her work with historical depth and cultural richness. Her approach melds traditional techniques such as hand embroidery, resist dyeing, and block printing with modern digital tools. This synthesis not only respects the craftsmanship of historical practices but also enhances their relevance in today’s fashion industry. Eva’s use of digital design tools to complement traditional methods exemplifies how historical techniques can be adapted to meet contemporary demands, ensuring that these practices remain viable and innovative. The project’s thematic focus on pagan imagery and historical symbolism serves both as a personal journey and a cultural commentary. By drawing on Slavic folklore, including the Sirin and Alkonost birds, Eva reinterprets these ancient symbols to create new

114

narratives that resonate with modern audiences. Her work reflects a deep engagement with historical and cultural contexts, bridging past and present through a visually compelling narrative. Eva’s exploration of aesthetic similarities between Eastern and Western medieval symbols highlights a shared cultural heritage, suggesting that these historical traditions are more interconnected than often realised. The integration of goldwork, floral motifs, and mythological creatures into her designs illustrates this continuity, blending historical aesthetics with contemporary craftsmanship. This cross-cultural dialogue enriches the project’s visual and conceptual layers, offering a nuanced perspective on the interconnectedness of European textile traditions.

115

The project’s sustainability focus is particularly noteworthy. Eva’s call for a return to mindful, craftbased production methods addresses contemporary fashion’s environmental and ethical challenges. By advocating for practices inspired by historic artisan guilds and integrating traditional techniques with modern technology, Eva presents a viable model for sustainable fashion. In conclusion, Eva Buryakovsky’s “Reconnecting…” is a remarkable testament to the power of textile design to bridge historical and contemporary contexts. Through her innovative approach to combining traditional techniques with modern tools, and her thoughtful integration of cultural symbolism, Eva offers a compelling vision of how heritage craftsmanship can inform and enhance sustainable fashion practices. Her work not only preserves and adapts historical techniques but also challenges contemporary fashion to reconsider its approach to production and consumption.

HELENA POWELL A COLLECTION OF silk scarves EXPLORING THE CONTRAST BETWEEN rural Suffolk AND urban Glasgow, MERGING mathematical precision WITH SUSTAINABLE TEXTILE PRACTICES.

ARTIST STATEMENT

I am inspired by my environment; my designs channel the landscape of Scotland and Suffolk along with cityscapes to create pieces that interact with light and colour, capturing the iridescence of water when they move. I work with materials that reflect the intangibility of the environment. Thanks to the support from Sudbury Silk Mills through their Mill Shop,I have been able to work sustainably, which is a vital part of my process. I create my pieces with a computerised dobby loom, which is central to my practice, allowing for the bridge between new technology and traditional handweaving. My work is a distillation of meticulous planning and careful execution that goes into every piece. I take inspiration from natural sequencing, such as the Fibonacci sequence, and transform mathematics and coding into art. This logical approach is evident in the planning and dyeing of the woven pieces, with carefully calculated warps and weft to minimise wastage and small batch dyeing to ensure minimal dye and water wastage. The result is a textile collection that tells a story and showcases dedication to craftsmanship and skill without ever compromising the considered aesthetic.

120

ARTWORK STATEMENT

121 In this work, I have explored the themes of contrasting aesthetics between Suffolk’s rolling hills and Glasgow’s cityscape. My work primarily explores contrasts with tonal blends and mathematically inspired stripes, which have been studied in sketching, thread wraps and digital development before weaving to test the iridescence of the silk. Sustainable design is the process's focus, so I have explored hand-painting warps and smallbatch dyeing weft. I have worked closely with The Sudbury Silk Mills Shop and Skye Silks to repurpose deadstock materials, such as different weights of silks and cotton. Through sampling and refined design ideas, I have created a bespoke collection of scarves, using double cloths and different shading within the woven structure to convey the sense of home I feel in each place.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (HP) - HELENA POWELL

(BDG) Your work intricately links mathematical principles, such as the Fibonacci sequence, with the art of weaving. Could you elaborate on how you approach the translation of abstract mathematical concepts into tangible textile forms? (HP)

Working with a woven fabric allowed me to initially develop a more mathematical approach, with the ability to connect sequencing with the structure to start to create different forms using what is the first computer. Developing through my degree, I rediscovered that I wanted to intertwine a more profound sense of place and give the illusions of landscape as well as natural stripes that would appear in nature. From exploring the likes of Gherard Ritcher and, later on Scott Campbell, I found inspiration in how to break down a visual image of a landscape. I further develop these ideas into visual aids of pixel stripes and thread wraps to inspire the warp I want to make. When preparing the warp, this is where things become abstract; I arrange standard colours that I identify with the abstract stripes and look at different proportions that, from a far, may give the illusions for a blend of the various tones within the image. Mathematical integrity is maintained as I warp up with a trusty pen and paper to keep each colour count and ensure the blends are as I have designed through the different stages.

(BDG) Sustainability is central to your practice, particularly in your dyeing processes and use of deadstock materials. How do you navigate the tension between maintaining the integrity of traditional textile techniques and incorporating modern sustainability practices? (HP)

With weaving the interest of tradition aspect. As weaving is a craft with thousands of years of development, the structures I use explore the development within the traditional aspects, from exploring damask, commonly used within the silk weaving industry, to developing lampas double cloth. I wanted to put a spin on these practices with my use of colour and inspiration and develop these patterns to a more illustrative approach. The tension that I have found contains detail within my work whilst using a dobby loom, working with set patterns within the warp threads rather than jacquard, where each thread moves individually. Although these can be restrictions, they have also been a considerable learning curve, developing a deeper

126

understanding of the tradition that comes from weaving. The innovations of dyeing stem from the waster and dye wastage of the warp and weft, with small batch dyeing of the weft to minimalise both of these and painting the warps to enable rich colours with the minimal quantity of dyes. After research, I found that to get these bright colours and an array of patterns before the texture is added within the weave structure, I found that colour was a way for me to break the rules of the grid when weaving. My inspiration has always been with curves and fluidity of the natural world, and when I first started to weave, I found that the structures were too grid-like compared to the curves that inspired me. Dyeing allowed the irregularity within the grid structure, breaking the lines of warp and weft as a starting point. (BDG) Your collection “A Collection of Places I Call Home” explores the contrasting aesthetics of Suffolk’s landscapes and Glasgow’s urban environment. How do you capture and translate the emotional resonance of these places into your textiles? (HP)

127

There is a slight methodology, and there is also an intuition that sparks inspiration for the warps. Working with a range of colours from the Silk Mill through their Mill Shop and dyeing my own colours from batch dyeing has allowed my emotional attachments of these places to shine, quite literally, with the material! My design process is as such: although the places become abstract, I still want to show the spatial influence of the different forms; this is particularly shown with the damask-based structure, where the shading is influenced by the shapes of the corrugated iron and where the colours blend. In addition, the double cloth with slight changes within the different cloth to give a more illustrative approach.

(BDG) You have a particular focus on materiality, especially the use of silk and its interaction with light and colour. How do you select and experiment with differentn materials to achieve the desired luminosity and textural effects in your pieces? (HP)

Since my degree, I have been experimenting with my understanding of materials. My first year of university, I set myself a project of creating with sheep wool and processing it and creating small tapestry-style woven pieces. With research in different areas through the past four years ranging from alpaca to viscose. I have always wanted to dive deeper into our interaction with the materials that we use, so whilst weaving and interacting with these materials, I have learnt how each of them differs within their pre-spinning and spinning processes as well as what chemicals could potentially be used with the yarns that I would be using. For my final year project, I wanted to be able to convey the heritage of so many things that are close to me, with my great grandfather being a weaver, learning to weave from Skye Silks,

as well as the mills close to where my parents live, The Sudbury Silk Mills. I wanted my material choice to have a deeper meaning, showing the development of my weaving journey and where I want to go with my weaving journey. I have been taught through these different companies the true magic of silk and how it can change, unlike any material, with ideas of shock silk and subtle shading, it has a shine in the fibre that moves with the light and contains different material properties to anything I have worked with before. The movement created within the piece reminds me of memories within these places, capturing different elements of the woven piece from any direction and changes with the light. In addition such rich colours that are prominent when describing the places I call home. (BDG) The use of a computerised dobby loom is pivotal in your practice, bridging traditional weaving with new technology. How do you see the relationship between technology and craftsmanship in your work? (HP)

A loom is like an extension of my body, when weaving with the computerised dobby this allows me to have more freedom with my peg plans and to illustrate within my weaves. Craftsmanship comes from the technique with the weave, looking at how to convey the human hands' work within the piece, how each pick of weft is placed and the slight variation and how the selvage reflects the emotion of the weaver. The use of the technology has enabled me to have more freedom with the coding side of weaving and enabled me to be more experimental with the patterns that I use. Overall, this has been able to be an extension of traditional weaving.

(BDG) Your designs are inspired by both natural and urban landscapes. How does your understanding of these environments shape your creative process? (HP)

The combination of cityscapes and landscapes is an inspiration for my journey, from walks to bus journeys and is my way of trying to communicate the world around me. The environments act as a pivotal point to deduct from each pattern, colour and way the cloth moves. Examining these differences closely and combining the different shapes and movements, I have found that I can relate to others who have experienced the place and given that sense of belonging and identity.

(BDG) You mention recent developments in your colour theory and dyeing processes have been crucial to your work. Could you delve deeper into how your approach to colour has evolved?

128

(HP)

For colours, I believe in a logical approach. I am exploring main colours within images and separating these into primary, secondary and tertiary colours. The ideas of blends and rations have always been crucial, and being able to separate the different colours enables me to plan on adding depth with tonal values and giving the illusions of landscapes and natural forms rather than flat fabric. This has developed through the years, exploring a multitude of different stripe combinations, how different colours interact with each other, in addition to closely analysing how the Bauhaus movement interacts with colours and the subtleties that they are able to convey. I found that with design, the more I plan, the more focused I become on a specific element, therefore trying to take a step back and review the primary source and different stages of design to come back to what I think makes sense, aesthetically and logically.

(BDG) Your work is deeply personal, reflecting your connection to specific places and landscapes. How do you balance the personal and universal aspects, ensuring that it resonates with a broader audience while staying true to your own experiences? (HP)

129

With each piece I try and play with the pattern as if it is a story narrating a start, middle and end. I find that the changing of the pattern and the colour story may flow or slightly change, but I hope it can have a personal relationship with the viewer. What is more interesting is the communication, with each viewer noticing something different within the details that interests me the most. At first glance, when they look closer, something completely different may capture their attention.

(BDG) How do you envision your practice evolving, especially in terms of integrating new technologies or exploring further the relationship between mathematics and textile design? (HP)

I would love to explore AirDyeing, using carbon dioxide as a solvent to transfer the dye. I am interested in how this technology is developing to reduce CO2 emissions and further push the limitation of how much dye and water consumption I can reduce with my work. Sustainability has always been a critical feature. The research gives depth and further understanding and includes the viewer in the process and the steps I can take to inspire others to ask these questions about the production and design. I would also like to explore different ideas, such as the butterfly effect and other relations of equations that can be reflected with colours. The notions of small changes helping to shape a bigger factor are interesting and help give different illusions or perspectives.

(BDG) You have received commendations for your sustainable practices within textiles. From your perspective, what are the biggest challenges the textile industry faces in terms of sustainability? (HP)

The developments within the textiles and fashion world have been giant within the past 20 years, with developments from designers such as Stella McCartney showing the way with different products as an alternative. However, with the experience of COP24 taking place close to when I started university, the exposure of fast fashion truths and the light of the Anti-Fashion Manifesto, I wanted to show something that is a change from the readily available clothes - creating fashion thatwould not be able to be replicated by machine, developing a style that, although technology has helped it inspires something different from what you may typically see. I want to be able to contribute to the questions of how things are made and what happened each step to be able to get to the place where it is now; I want to start triggering questions of how things are made and questioning of a broader sense of how clothes may be made and what could be done better. Going into textiles, there was always an element of unknown, whether the materials or design and being able to work through this project, I have found interest in the known and questioning these elements further in addition to slowing down the fashion with each different process and being able to explain the quantities and what chemicals, why each of them has been used and although the techniques mean that these are not repeatable, how to be able to make something that is equally beautiful and unique.

130

GROWING UP, I HAVE ALWAYS LE approach. I HAVE BEEN FASCINATED BE EXPRESSED THROUGH MATHEMA pattern EXPRESSED THROUGH AN equ TEXTILES FROM my family, AND M embroider. I THEN DEVELOPED THESE I STARTED STUDYING AT THE Glasgo embroidery. I THEN BEGAN TO link cod THE nature O

AT ART SCHOOL, I WORKED WITH S ME UNDERSTAND THE importance of NEEDED TO CREATE FABRIC, FROM fib side OF dyeing, I HAVE INCREASED MY properties and reactions WITHIN THE D reduce dye wastage and water wastage PROCESS HAS BEEN COMMENDED BY AND BECOMING A Green Gown Finalis TO experiment MORE WITH COLOUR theory and dyein

EANED TOWARDS A mathematical D BY how the world around me COULD ATICS AND science, WITH EACH logical uation. FROM a young age, I LEARNED MY mother TAUGHT ME TO knit and SKILLS FURTHER AT SCHOOL. WHEN ow School of Art, I WAS INTERESTED IN ding AND mathematical patterns WITH OF WEAVES.

SOME fantastic PEOPLE WHO HELPED sustainability, EXPLORING THE STEPS bre to cloth. LOOKING AT THE chemical Y UNDERSTANDING OF THE different DYEING PROCESS, developing ways TO THROUGHOUT THE PROCESS. THIS Y THE UltraFabrics Sustainability award st. THIS RESEARCH HAS ENABLED ME R THIS YEAR, DEVELOPING MY colour ng PROCESSES.

REVIEW

Helena Powell’s work represents a fascinating synthesis of mathematical precision and artistic expression. Her collection of scarves, titled “A Collection of Places I Call Home,” delves into the juxtaposition of Suffolk’s pastoral landscape with the dynamic urban environment of Glasgow. This contrast is not merely visual but deeply embedded in the textile’s conceptual and technical execution. Helena’s use of the Fibonacci sequence and other mathematical patterns in her weaving process showcases a rigorous approach to translating abstract concepts into tactile forms. Her method of integrating these patterns with the structural elements of weaving highlights a sophisticated understanding of both tradition and innovation. The mathematical integrity of her designs is meticulously maintained through a detailed planning process, involving careful colour calculations and warp arrangements.

134

Sustainability is a core component of Helena’s practice. She navigates the tension between traditional techniques and modern environmental considerations by employing small-batch dyeing and repurposing deadstock materials. Her approach to dyeing, which includes hand-painting warps and minimising waste, underscores a commitment to reducing environmental impact without compromising aesthetic quality. This careful balancing act between tradition and modernity enriches her textiles, adding layers of meaning and responsibility to each piece.

135

Helena’s personal connection to her materials particularly silk, which she views as both a technical and symbolic medium - enhances the emotional depth of her work. Her exploration of how silk interacts with light and colour serves to evoke the landscapes and cityscapes that inspire her. This engagement with materiality ensures that her textiles are not only visually captivating but also resonate on a sensory level. In addressing the broader textile industry, Helena’s commitment to sustainable practices positions her work as a critical counterpoint to the prevalent fast fashion model. Her focus on creating unique, artisanal pieces challenges the norms of mass production and encourages a more thoughtful approach to textile creation and consumption. Overall, Helena’s work exemplifies a thoughtful and innovative approach to textile design, blending mathematical precision, sustainable practices, and a deep personal connection to her materials and inspirations.

JIAN GAO FUSING digital storytelling WITH wearable art, THIS JEWELLERY SERIES EXPLORES THE intersection OF HUMAN AND NON-HUMAN FORMS IN A speculative future OF SYMBIOTIC EXISTENCE.

ARTIST STATEMENT

With life at the heart of my work, I focus on the relationship between humans and non-humans. By re-examining the value of other life in nature, I explore the future forms of non-human existence and virtual life through jewelry. Stimulating thought, engagement and action through speculative scenarios, towards a future of symbiotic ecology and equality of life for multi-species assemblages. My practice intends to challenge the human-centered design approaches and attempt to incorporate non-human entities into, where non-human life is seen as an extension or component of the human body. I would develop more to explore the relationship between human and nonhuman, virtual and reality. Donna Haraway's article "Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene"3 explores the interconnectedness of life forms and the need to move beyond human exceptionalism. Haraway introduces concepts such as the Chthulucene, a term she uses to describe an epoch where multispecies entanglements are central. She uses the metaphor of tentacles to illustrate the intricate, non-linear relationships among species. Examples include the 'spider Pimoa cthulhu',4 which embodies these interconnected narratives, and critiques of the Anthropocene and Capitalocene for their inadequate representation of these complex interactions. Tentacular thinking emphasizes life lived along interwoven lines, not isolated points, and advocates for a new epoch, the Chthulucene, where multispecies entanglements are central. Through the theoretical lens of Donna Haraway's "Tentacular Thinking," I have developed my jewelry project to explore the life of tentacular beings, such as mantises. Haraway's idea that life exists along interwoven lines, rather than

142

isolated points or spheres, has influenced my designs. This perspective emphasises the interconnectedness and entanglements of multispecies life in the Chthulucene epoch. Consequently, my jewellery incorporates elements inspired by animal antennae and interlacing lines, reflecting the complex, intertwined nature of life forms and their relationships.

143

ARTWORK STATEMENT

“Mattid: Diabolica Series I-IV” is an art piece that combines digital storytelling and wearable jewellery, set in a futuristic world where a biotechnology company creates new human species through genetic recombination, and these experimental subjects are confined in the ‘Forgotten Zone.’ The protagonist, Ezra, is a hybrid entity of human and insect characteristics, experiencing a transformation from weakness to adapting to his new body. Inspired by H.R. Giger’s Alien character, the work brings the virtual character into reality, blurring the boundaries between virtual and reality through jewellery design. It explores the fusion of diversity and technology in a post-humanism context, challenging traditional concepts. This project includes two physical digital humans and five wearable jewellery pieces.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (JG) - JIAN GAO

(BDG) Your work is inspired by the writings of Alfred Lord Tennyson and Malcolm de Chazal. How do these literary influences shape your artistic vision and the themes you explore in your jewellery? (JG)

My artistic vision is deeply shaped by the writings of Alfred Lord Tennyson and Malcolm de Chazal. Tennyson's idea that "I am a part of all that I have met" inspires me to explore the complex interconnections between life forms, while de Chazal's reflections on the symbiotic relationships between animals and plants guide me in creating jewelry that blurs the boundaries between human and non-human. These literary influences encourage her to challenge traditional, human-centered design by emphasizing the interconnectedness and ecological balance in my work. Through her jewelry, Jian seeks to reimagine the relationship between species, moving away from a human-centric worldview towards one that embraces the diversity and complexity of life.

(BDG) You’ve drawn inspiration from Donna Haraway’s “Tentacular Thinking.” How has her philosophy influenced your design process, particularly in the creation of your tentacular-themed jewellery? (JG)

Donna Haraway’s concept of “Tentacular Thinking” has profoundly influenced my design process, particularly i n m y t e n t a c u l a r- t h e m e d j e w e l r y. H e r p h i l o s o p h y o f interconnectedness and the rejection of rigid boundaries inspired me to create pieces that embody the fluidity between species. By integrating tentacular forms, I aim to reflect the complexity and entanglement of life, emphasizing the idea that no entity exists in isolation. This approach allows me to explore themes of hybridity and the merging of human and non-human elements, challenging the viewer's perceptions of identity and coexistence.

(BDG) Your piece “Mantid: Diabolica Series I-IV” blends digital storytelling with wearable art. How do you navigate the intersection of virtual and physical worlds in your work? (JG)

In "Mantid: Diabolica Series I-IV," I blend digital storytelling with wearable art to explore the intersection of virtual and physical worlds. Navigating this space requires a careful integration of digital technology, such as 3D modeling and virtual characters,

146

with tangible materials like metal and resin. The goal is to create a seamless connection between the two realms, allowing the viewer to experience a new form of reality where the boundaries between human, non-human, virtual, and physical are blurred. I hope viewers take away a deeper understanding of how these worlds can coexist and the potential for new forms of expression and identity in a post-human future. (BDG) In the context of post-humanism, your work explores the fusion of diversity and technology. How do you envision the future of jewellery design in this evolving landscape? (JG)

147

In the context of post-humanism, I see the future of jewelry design as one where the boundaries between human and nonhuman, organic and technological, are increasingly blurred. As technology continues to evolve, it will play a crucial role in my creative process, enabling the seamless integration of digital and physical elements. I envision using advanced techniques like 3D printing, virtual reality, and genetic algorithms to create pieces that challenge traditional concepts of identity and form. The goal is to design jewelry that not only adorns the body but also reflects the symbiotic relationships and the interconnectedness of all life forms, embodying a future where diversity and technology coexist in harmony.

(BDG) The “Mantid” series is influenced by H.R. Giger’s Alien character. What aspects of this iconic design inspired you, and how did you translate those elements into your jewellery? (JG)

The "Mantid" series draws significant inspiration from H.R. Giger’s Alien character, particularly in its fusion of biological and mechanical elements. What captivated me most was the way Giger's design evoked both beauty and terror, representing a form that is both familiar and alien. I translated these aspects into my jewelry by incorporating insect-like features, such as segmented limbs and exoskeletal structures, combined with organic forms that evoke a sense of fluidity and transformation.

JIAN GAO WAS BORN AND RAIS SHE HAS four SIBLINGS AND IS T COMPLETED HER undergraduate ST IN CALIFORNIA, USA, AND GRADU IN JEWELRY & METAL FROM THE R BY Alfred Lord Tennyson'S EXPLORA am a part of all that I have met," SUG IS a product of its experiences. THIS THE complexity AND interdepende Chazal IN SENS- PLASTIQUE STA additional instinct. FLOWERS ARE A PERFUME. IN THE CYCLE OF NAT OTHER,"HIGHLIGHTING THE DEE relationships BETWEEN ANIMALS INSPIRE ME TO EXPLORE THE THROUGH MY JEW

SED IN Urumuqi, XinJiang, CHINA. THE THIRD IN HER FAMILY. SHE TUDIES IN Fashion Design AT FIDM UATED WITH A MASTER'S DEGREE Royal College of Art. SHE IS INSPIRED ATION OF evolution, HE WRITES, "I GGESTING THAT EVERY LIFE FORM S IDEA SPARKED MY INTEREST IN ence of life. SIMILARLY, Malcolm de ATES, "Animals are flowers with an ANIMALS WITH AN ADDITIONAL TURE, EACH COMPLEMENTS THE EP CONNECTIONS AND symbiotic S AND PLANTS. THESE INSIGHTS diverse forms of life IN NATURE WELRY DESIGNS.

REVIEW

156 Jian Gao’s jewellery presents a striking examination of the relationship between human and non-human entities, combining speculative fiction with tangible artistry. Her piece “Mantid: Diabolica Series I-IV” merges digital storytelling with wearable art, envisioning a future where biotechnology creates hybrid beings. This series draws inspiration from H.R. Giger’s Alien, incorporating both biological and mechanical elements to evoke a sense of beauty and alienness. Jian’s creative vision is profoundly influenced by the literary works of Alfred Lord Tennyson and Malcolm de Chazal. Tennyson’s idea of interconnectedness and de Chazal’s reflections on the symbiosis between

animals and plants guide Jian in challenging traditional, human-centred design. Her jewellery reimagines these relationships, exploring the deep connections between diverse life forms. Donna Haraway’s concept of “Tentacular Thinking” has also significantly shaped Jian’s design process. Her philosophy of fluidity and interconnectedness is embodied in Jian’s use of tentacular forms, reflecting the complex entanglement of life. This approach questions traditional boundaries, presenting a more nuanced perspective on identity and coexistence.

157

Jian navigates the fusion of virtual and physical realms in her “Mantid” series by blending digital technology with physical materials. Techniques such as 3D modelling, combined with metals and stones, create a seamless connection between these realms. This integration allows Jian to blur the lines between reality and virtuality, inviting viewers to explore new forms of identity and existence. Looking forward, Jian envisions a future where jewellery design embraces both technological innovation and organic diversity. Advanced techniques like 3D printing and genetic algorithms will enable the creation of pieces that reflect the interconnectedness of life. Her work challenges conventional notions of form and identity, creating jewellery that not only adorns the body but also explores the harmony between technology and nature.

JIAYI ZHANG INFUSING JEWELLERY WITH THE essence of tea CULTURE, THIS COLLECTION TRANSFORMS fresh tea leaves INTO WEARABLE ART, BLENDING TRADITION WITH interactive functionality.

ARTIST STATEMENT

Jiayi has a keen sensitivity to materials, breathing life into unconventional elements. The dynamic interplay of forms in her work reflects a meticulous process of experimentation and refinement. Her designs are not just accessories; they are wearable expressions of individuality that appeal to those seeking to express themselves through personal style. Tea is an integral part of Jiayi daily life, a passion nurtured by my father since childhood. While contemplating tea culture,Jjiayi also reflected on my own relationship with tea. As a jewellery designer, Jiayi wanted to convey her love for tea and respect for its traditional culture through jewellery. Thus, her final collection includes jewellery made from fresh tea leaves. When wearing these pieces, tea holds special significance for her. Tea culture has a long history, with various methods of picking, making, and drinking. Through a deep understanding of tea culture, Jiayi found tea cakes particularly fascinating. In ancient times, for transportation, tea was compressed into cakes for trade, a tradition that continues today. The intriguing process of making tea cakes gave her a deeper understanding of tea culture. During the development process, Jiayi concluded that the best way to express this was through the tea itself, using brewed tea leaves and tea dregs as the main materials. She shaped these materials through traditional techniques and experimentation, combining the forms of tea cakes and tea leaves to reflect the process of tea culture and create a unique visual experience, expressing my feelings about tea through handmade methods. Jiayi focused on creating a visual experience to convey the profound significance of tea culture.

164

Through tea as a unique material and cultural element, She expressed the interactivity of tea in my work. Each piece can be removed to enjoy a cup of hot tea whenever desired, presenting a novel and meaningful form of jewellery. ARTWORK STATEMENT Drinking tea is an integral part of my daily life, and my love for tea was nurtured by my father from a young age. While thinking about the culture of tea, I also reﬂected on my own identity with tea. As a jewellery designer, is it possible for me to convey my love of tea and respect for its traditional culture through jewellery? So my ﬁnal collection consists of Jewellery made from fresh tea.

165

When I wear it, tea has a kind of meaning for me. Its culture has a long history, and there are many different ways from picking and making it to drinking it after we get it. Through the deep understanding of tea culture, I humanities tea cake is a very interesting point, due to the ancient transport, tea will be squeezed into a cake form for trade, nowadays this form has also been passed down, the tea cake does not use to water, through the traditional skills through some steps to tightly press it together to set the shape, this is a very interesting process, I went through the production of tea cake to understand the culture. During the development process I thought the best way to express this was the tea itself, so I tried to use consumed tea and tea dregs as the main materials. I tried to make their forms through traditional techniques as well as some experimentation. During the development process, I considered not only the form of the tea cake but also the form of the tea leaves, combining them to reflect the process of tea culture and create a unique visual experience, and I used handmade methods to reflect my feelings about tea. In order to ensure that the material performs as expected, and whether it will come loose with subsequent wear, I have conducted many experiments and tests, focusing on the stability and durability of tea as a jewellery form. Through my experiments I discovered that tea is a material with many possibilities, and that it can take on different forms as well as hardness through different methods of making. The mechanism of tea leaves leaves shape after being squeezed. Different kinds of tea leaves have different colours after being made into tea cakes. I think that tea cakes can be made in different sizes to provide different people with choices. Throughout the process, I focus on finding the right way to experience the visual experience in order to show the profound meaning of tea culture. I have incorporated my understanding of tea culture into my work. As well as the interactivity with tea is expressed in the jewellery, we can remove a piece at any time to allow ourselves to enjoy a cup of hot tea. Through the unique material and cultural element of tea, I present novel and meaningful jewellery.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (JZ) - JIAYI ZHANG

(BDG) Tea plays a central role in your work and daily life. Can you share more about how your personal connection with tea, especially its significance in your family, inspired you to incorporate it into your jewellery designs? (JZ)

Tea plays an important role in my life. Since I was young, I saw my dad and grandpa enjoying tea together, and I gradually integrated into this family activity. Tea is a part of our communication, and I gradually fell in love with it during this process. While learning about tea culture through my elders, I gradually began to think about how to integrate its elements into my design. Seeing tea leaves being discarded after a few stews, I began to think about the potential value of these waste tea leaves and decided to recreate their preciousness in the form of jewellery.

(BDG) Your work uses unconventional materials like fresh tea leaves and tea dregs. What challenges did you face in using such perishable and unconventional materials for jewellery, and how did you overcome them? (JZ)

There were some accidents during the experiment, sometimes it was impossible to make them hard because of the humidity, and once I found that my sample had hair (mouldy). Sometimes it is the form that leads to the ultimate failure. By constantly adjusting the temperature and trying different methods, I finally got the most suitable temperature and form for each different variety of tea.

(BDG) You mentioned that your collection explores the profound significance of tea culture. How do you see your work as contributing to a deeper appreciation or understanding of tea culture, both in its traditional and contemporary forms? (JZ)

My jewellery uses different types of tea and selects ancient tea cake making techniques to help the wearer better understand and appreciate tea culture. And each piece has a unique texture and colour of tea. By combining traditional and modern perspectives, a contemporary form of jewellery is presented. Each piece represents the production process of a tea cake, bringing the wearer to feel and participate.

(BDG) The creation of your jewellery involves traditional techniques as well as experimentation. Could you walk us through your creative process and how you balanced tradition with innovation in your work?

172

(JZ)

Since the production process is a method passed down from ancient times, I tried to soften the tea by improving my understanding after understanding the principle. The huge steam stove was reduced to a steamer. Through the design of the form and the understanding of jewellery. I reconstructed the tea cake to create a unique form. Since the raw material of the jewellery is tea, each piece of jewellery retains its unique aroma.

(BDG) Your jewellery pieces are designed to be interactive, allowing the wearer to experience tea in a new way. How did you approach the design to ensure that this interactivity was both meaningful and practical for the wearer? (JZ)

173

Since each piece of jewellery is made from tea, each piece has a unique tea aroma, and the wearer can connect with the jewellery through smell. Part of the jewellery is designed to be drinkable, integrating the packaging concept of tea cake into it, which is both beautiful and can protect the tea, and the wearer can take out a piece of it at any time for drinking. This design not only enhances the practicality of the jewellery, but also gives the wearer a unique interactive experience with the tea.

(BDG) Given that tea is a natural and somewhat fragile material, how did you address concerns about the durability and longevity of your jewellery pieces? (JZ)

Individual tea leaves are very fragile, and by pressing their structure together, the staggered tea leaves have strong properties when pressed. Each small piece is fully air-dried, so that it can be preserved for a long time.

(BDG) Given that tea is a natural and somewhat fragile material, how did Your work blurs the line between art and functionality, as it allows for a physical interaction with tea. How do you see this fusion of art and utility influencing the way people perceive and interact with your jewellery? (JZ)

Through this collection, I hope to showcase the possibility of turning functional items into art. It explores some unexpected ways of interpretation. The wearability of the body changes the tea-drinking experience.

(BDG) What are your future plans for exploring other cultural or material themes in your jewellery design? (JZ)

I am very interested in non-traditional materials, and I love the clash of soft and hard. In the future, I will continue to explore the possibility of various materials and study the recyclability of jewelry. At the same time, I am very interested in China Intangible Cultural Heritage Handicrafts, which may be incorporated into my future designs.

IN THE realm OF JEWELLERY DESIGN, artist, WHOSE CREATIVE JOURNEY BE OF KNOWLEDGE AT Central Saint M UNDERGRADUATE DEGREE IN Jewelry Des IN an unwavering commitment TO EXP WITHIN materials,

WITH A FERVENT passion for innovati RANGE OF JEWELLERY PIECES THAT S artistic perspective. HER CREATIONS TRA SHOWCASING A FUSION OF creativity narrative, AN EXPLORATION OF THE sym ADORN

JIAYI'S ARTISTRY IS CHARACTERISED ALLOWING HER TO breathe life INTO UNC interplay of forms, EVERY PIECE REFLECTS A and refinement. HER DESIGNS are not m expressions OF individuality, RESONATING STATEMENT THROUGH THEIR personal s the boundaries OF TRADITIONAL JEWEL THE WEARER TO EMBARK ON A JOURNE BECOMES A cond

JIAYI ZHANG EMERGES AS A visionary EGAN WITH A DEDICATED PURSUIT Martins, WHERE SHE EARNED HER sign. JIAYI'S ARTISTIC ETHOS IS ROOTED PLORE THE VAST possibilities THAT LIE , colours, and forms.

ion, JIAYI ZHANG CRAFTS A DIVERSE STAND AS TESTAMENT TO HER unique ANSCEND CONVENTIONAL boundaries, y AND craftsmanship. EACH PIECE IS A mbiotic relationship BETWEEN ART AND NMENT.

D BY AN acute sensitivity TO materials, NCONVENTIONAL ELEMENTS. DYNAMIC A meticulous PROCESS OF experimentation mere ACCESSORIES; THEY ARE wearable G WITH THOSE WHO SEEK TO MAKE A style. JIAYI ZHANG CONTINUES TO push LLERY DESIGN. EACH CREATION invites EY OF self-expression, WHERE JEWELLERY duit for storytelling.

REVIEW

176 Jiayi Zhang’s jewellery embodies a profound dialogue between tradition and innovation, centred on her personal connection with tea culture. The “Journey of Tea” collection transforms fresh tea leaves and tea dregs into intricate jewellery pieces, offering a novel approach to both material use and cultural expression. Jiayi’s artistic journey is deeply influenced by her family’s tea-drinking rituals, which she reflects through her jewellery. Her use of unconventional materials like tea leaves is a bold exploration of their intrinsic value and cultural significance. The integration of these materials poses challenges, such as maintaining durability and form stability, which Jiayi navigates through rigorous experimentation and refinement.

The collection’s design also celebrates tea culture’s rich history, particularly the traditional practice of compressing tea into cakes for trade. By drawing from these historical methods, Jiayi connects her modern creations with ancient practices, creating a bridge between past and present. Each piece not only serves as a wearable artefact but also engages the wearer in a sensory experience, allowing them to enjoy tea directly from the jewellery. Jiayi’s creative process marries traditional techniques with contemporary innovation. She meticulously adapts ancient methods to suit the modern context of jewellery design, resulting in pieces that are both functional and aesthetically compelling. The focus on interactivity enhances the wearer’s experience, blending the practical with the artistic.

177

Looking ahead, Jiayi aims to explore further cultural and material themes, including non-traditional and recyclable materials. Her interest in China’s intangible cultural heritage may inspire future designs, reflecting her ongoing commitment to blending heritage with modernity. Through her jewellery, Jiayi offers a unique perspective on how art can function as both a personal expression and a cultural dialogue.

JUNO HUANG

A FUSION OF recycled silk AND contemporary art REFLECTS ON SUSTAINABILITY AND women’s roles IN TEXTILE HISTORY, BRIDGING ancient techniques WITH modern ETHICAL PRACTICES.

ARTIST STATEMENT

For Court Ladies Preparing Newly Woven Silk 2024, Juno uses recycled silk off-cuts to create timesensitive works of art using sustainable materials. Coming from a city with over 4,000 years of silk culture, the connection to humanity, the environment and public memories have sparked her interest in this material and she has been researching silk for over four years, thinking about how to use it more ethically, more accessible and more equitably. She tried to find the unique narrative qualities of sustainable materials. In addition to the material, the detailed reconstruction of the work is also rooted in her exploration of the commonalities between Chinese and Western. Tim Ingold's thoughts on the relationship between dots, lines and surfaces and human activity have also inspired her thinking. She hopes that through the ephemeral creation of relatively static art spaces, we can reflect on our past and future and reawaken our awareness and reflection on our identity, culture and history.

188

ARTWORK STATEMENT

189 This work explores sustainable silk materials and the upcycle approach to waste. My hometown, renowned for silk exports, inspired my research into pre-consumer silk waste. Familiar with the material since childhood, I aimed to make its use more ethical. In this project I focus on recycled silk brocades, reconstructing the material through aesthetics and research. The juxtaposition of women in modern factories and the ancient silk weaving industry informs my work, highlighting identity and labour issues in silk production. I hope this piece conveys the narrative of natural recycle material, encouraging audiences to consider sustainable materials and raising awareness of women's labour issues in the silk weaving industry.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (JH) - JUNO HUANG

(BDG) Your work is deeply rooted in the silk culture of your hometown. How has your personal connection to this material influenced your artistic practice, and what does silk represent to you beyond its physical properties? (JH)

My hometown's connection with silk is deeply rooted in my life. I remember when I was a child, we would raise silkworms to watch their process from worm to cocoon, and I would go with my parents to find out where there were wild mulberry leaves to pick, because it was not easy to buy mulberry leaves at that time. When I grew up and learned more, I found that silk culture is rooted in the memories of the people in my hometown, including some areas where there are also some blessed silk folk activities, records of human production and life related to silk, and a variety of contemporary museums, such as the Silk Museum, which people in my hometown often go to on weekends, and other places. The content of silk-related art includes text, music, pictures, contemporary artworks, etc. So I felt at that time that the people in my hometown had a kind of strong connection between their memories and silk as a material. My interest stems from this, there is no fibre that I feel more familiar with and comfortable in, and my preference could be described as a gradual exploration of self-expression from the collective.

(BDG) You focus on using recycled silk and sustainable materials in your work. What challenges have you encountered in making textile art more ethical and accessible, and how do you navigate the balance between sustainability and artistic expression? (JH)

In my previous works I've mainly explored how to use silk to express different themes, it's more like a natural theme and I've used all new silk materials. Many of my artist friends have expressed to me that they find silk too expensive to use, but it was when I exhibited my last work Narcissus, which is a female perspective exploring the disappearing connection between people in the contemporary world from the point of view of the self, and of course I also used silk as a material, that I had a new idea about how to use silk. Of course I used silk as a material. A comment from a viewer at the time changed my mind, when she asked me how women who couldn't afford silk could relate to the

196

work. I began to think about this and how to make this material more accessible. Without a doubt, recycled materials caught my attention. So I travelled back to my hometown, Hangzhou, China, and started my field research. At first, I encountered difficulties in the collection process. I contacted more than a dozen local factories to recycle their waste materials, including fabric trimmings and warp thread remnants, but was ultimately unsuccessful. There are several reasons for this. Firstly, very few of the local factories actually understand the concept of recycling, apart from a few that do. Secondly, because silk fibre is expensive, modern factory production minimises the amount of waste produced, so there is not much left.Thirdly, most of the waste has a reasonable downstream treatment that can be directly economically viable, and their recycling volumes are generally measured in tonnes. In the end, I found a garment factory that specialises in silk brocade fabrics and recycled their off-cuts, which became the base material for my project. As silk is a material with a long history, there is no shortage of stories to tell around it, with different silk mills in different areas having different preferences, such as the use of brocade in my project, and in another recycled silk piece for a company in London, which relates to classic historic silk pieces made in the Spitalfield area. Art is not as difficult a part of my work as collecting waste, and I don't think it's difficult to find artistic inspiration that resonates with the rich history of textiles, which is one of the temporal and narrative components of recycled materials that I mentioned.

197

(BDG) Your work highlights the juxtaposition of women in modern factories with the ancient silk weaving industry. How do you address the complexities of women’s labour in your art, and what message do you hope to convey about the role of women in textile production? (JH)

The name of this work is Court Ladies Preparing Newly Woven Silk 2024, and in fact this painting is originally a very famous female portrait painting from the Tang Dynasty, depicting the daily life of court ladies making silk fabrics at that time. The Tang Dynasty was a time when women's power began to emerge in various fields, including China's first female emperor. Before the Tang dynasty, Chinese paintings were dominated by landscape paintings, but from the Tang dynasty onwards there were a large number of paintings of ladies, such as Hairpin Lady and Pounding Practice. This indicates that the status of women was elevated during this period, and silk as a medium testifies to the elevation of women's status during this period. This was due to the rapid economic development of the Tang Dynasty. Silk products, especially jacquard brocade, became richer in colour and changed in technique under the influence of the Silk Road, society and culture. I have reconstructed and reapplied

some of the classical design elements to the image of women's production in contemporary factories. The final jacquard image is a more abstract image, all elements of the image are woven from recycled silk material, which represents a fairer approach and is intended to convey the spirit - at this time, the female characters working in the silk industry can still have their own power, just like the women of the Tang Dynasty 2000 years ago. The same goes for the women of the Tang Dynasty two thousand years ago. (BDG) You describe your work as creating “ephemeral” art spaces that encourage reflection on identity, culture, and history. Can you elaborate on how the temporality of your work contributes to its impact, and what you hope viewers will take away from these reflective spaces? (JH)

Most of my work is about truth, goodness and beauty. Although this is a clichéd theme, I still believe that this is the meaning of my creations. I hope that in the moment of seeing the work, the viewer can feel that part of the power that I want to convey, which is what I call the 'ephemeral' space of art. In terms of reflection, there are a thousand Hamlets and everyone has a different opinion. There are many different elements in my work, but they are all connected and I don't want to give up any of them. It's like a treasure hunt, like when I saw the RA summer show recently and I was surprised to find something by Shelia Hicks in the corner, because it was unexpected, but it made sense.

(BDG) You explore how sustainable design intersects with public memory and cultural heritage. How do you see your work contributing to broader conversations about sustainability? (JH)

As I mentioned earlier, heritage can be a rich source of artistic inspiration. I prefer to think of it as 'post-stuff'. During the process of making this piece, I struggled with the question of whether to make it a design project or an artwork. Because recycled material is a very new material compared to other materials, especially the upcycled silk waste that I am exploring, there is very little information to refer to, and the total amount of silk waste can be said to be minimal compared to the plastic waste that we are all familiar with. Until I came across a point of view from Mr Chen Min, who believes that in developing sustainable design in China, having a sustainable mindset is as important as having sustainable product choices. What I am doing is trying to do as much as I can, which relies on the cooperation of many parties, and I think teamwork is an important part of sustainable practice. For example, material support from factories and technical support from engineers. In the end, the inspiration from the heritage has made this work what it is, everything is a dialogue between

198

the materials themselves, but in a natural way. I hope that my attempt can provide a new example of upcycling silk waste and that the audience can feel the sustainable point of view conveyed in the work. (BDG) With over six years of experience in textile art, where do you see your work evolving in the future? Are there new materials, techniques, or themes you are excited to explore in your upcoming projects? (JH)

199

My love for textiles is unwavering. I don't want to put too many limitations on my work, the core of my creativity is to be able to make people feel the truth and beauty, just like the weavers 2000 years ago didn't know that people could still pick up trash and make good looking things today, the unknown is the most joyful part of creating. I'm currently perfecting Narcissus and my current projects, there are still some finished projects that I can't show but I like them.Court Ladies Preparing Newly Woven Silk 2024 is the beginning, I want to start my exploration of silk waste from different regions, recently my friend recommended me to go to Thailand to do research, I'm a bit tempted.

JUNO HUANG IS A texti EXPLORES THE USE OF cont sustainable DESIGN, AND AS ALSO INTERESTED IN USIN TO THE female community. J EXPERIENCE STUDYING TE OF woven and jacquard, AND AT Chelsea College, Univers WORK HAS BEEN EXHIBITED iconic MAGAZINE AND AT

ile artist WHOSE WORK temporary craft TO EXPLORE S A FEMALE ARTIST SHE IS NG TEXTILES TO give a voice JUNO HAS OVER SIX YEARS EXTILE ART IN THE FIELDS D POSTGRADUATE STUDIES sity of the Arts London. HER D AT Fitzrovia GALLERY, Italian T airbnb hangzhou EVENTS.

REVIEW

Juno Huang’s “Court Ladies Preparing Newly Woven Silk 2024” is a compelling exploration of recycled silk that intertwines personal heritage with pressing contemporary issues. Drawing from her deep-rooted connection to Hangzhou’s silk culture, Juno employs recycled silk to address sustainability while honouring the material’s historical significance.

204

The piece stands out not only for its aesthetic appeal but also for its narrative depth. By reconstructing silk brocades into modern forms, Juno juxtaposes the ancient craft of silk weaving with contemporary industrial practices, highlighting the evolution of women’s roles in this domain. The use of recycled materials underscores a commitment to ethical artistry, turning pre-consumer waste into a statement about both environmental and social responsibility.

Juno’s engagement with the textile’s historical context is particularly poignant. Her work reflects on the status of women in both ancient and modern settings, drawing a parallel between the Tang Dynasty’s silk culture and today’s labour practices. The choice to use recycled silk brocades, inspired by her childhood experiences and recent research challenges, illustrates a thoughtful approach to materiality and sustainability. Her struggle to source these materials also brings to light broader issues within the textile

205

industry, adding another layer of depth to her practice. The ephemeral nature of her work encourages viewers to reflect on their own identities and cultural heritage. By creating spaces that prompt contemplation, Juno’s art goes beyond mere visual appeal to engage with the viewer’s understanding of history and sustainability. Looking ahead, Juno’s exploration of silk waste and her interest in materials from different regions promise to further enrich her practice. Her commitment to blending traditional techniques with modern concerns makes her work a significant contribution to discussions on sustainability and cultural heritage in textile art.

LINGXI ZHANG

AN immersive digital game CHALLENGES anthropocentric PERSPECTIVES BY ALLOWING PLAYERS TO experience life THROUGH VARIOUS nonhuman species, BLENDING TECHNOLOGY WITH speculative design.

ARTIST STATEMENT

As a designer, I am committed to pushing the boundaries of traditional visual communication design and exploring new and innovative ways of storytelling and communication. My creative tools include speculative design and interactive mediums, challenging conventional methods and opening up fresh avenues for creative expression. I envision design as a bridge, fostering communication and collaboration between diverse disciplines. Whether working with science, art or philosophy, I strive to create a harmonious balance between sensibility and rationality in my designs. My approach is rooted in a deep respect for all forms of life and existence, and I make it a point to listen to and amplify the voices that are often overlooked or marginalised. My work is deeply inspired by research in diverse fields such as political philosophy, psychology, and the natural sciences. By integrating multidisciplinary perspectives, I actively explore themes related to posthumanism and the decentering of the human narrative. This approach allows me to challenge anthropocentric views and reimagine our relationship with the world around us. In my designs, I aim to question the status quo and provoke thought around the complex and often overlooked issues of our time. By combining interdisciplinary insights, I seek to create work that not only communicates but also inspires dialogue, reflection, and a deeper understanding of the interconnectedness of all things. My goal is to create a body of work that resonates across various fields, serving as a catalyst for new ideas and collaborations. Through this process, I hope to contribute to a more inclusive and expansive understanding of design - one that transcends

210

traditional boundaries and embraces the full spectrum of human experience, as well as the vast, often untapped potential of the non-human world. Ultimately, my work is about fostering connections, encouraging critical thinking, and offering new perspectives on how we interact with and understand the world. By respecting the diversity of life and existence, and by giving voice to the unheard, I aim to create designs that are meaningful and inspired to wide audiences. ARTWORK STATEMENT "Beings" is an experimental digital game that challenges players to explore the world through the perspectives of nonhuman species. Set on the fictional planet Wu-Vo, a meticulously designed artificial planet created as a secondary habitat for humanity, the game offers an immersive narrative that encourages players to rethink anthropocentric thinking.

211

Wu-Vo replicates Earth's diverse ecosystems and even revives extinct species, but it was abandoned after a series of mysterious disappearances among those working on the planet. A hypothesis emerged that those who vanished may have transformed into new life forms on Wu-Vo. Despite the mystery, no one has dared to come - until the ‘you', the player, driven by curiosity, decides to uncover the truth. In "Beings," players explore Wu-Vo, a planet ecologically similar to Earth, yet uniquely strange. The game’s core mechanic involves unexpected transformations, where players shift from one species to another at random moments. These changes are not just cosmetic; they require players to adapt to new abilities and perspectives, each bringing them closer to solving the mystery of Wu-Vo. As players complete tasks, they gather fragments of memory related to Wu-Vo’s lost inhabitants, gradually uncovering the planet’s secrets. The game’s bodytracking feature enhances this experience, allowing players to use their physical movements to control the characters, making the transformations more immersive and engaging. "Beings" is a speculative narrative that challenges players to reconsider their relationship with nonhuman life. By navigating the world through various species’ perspectives, the game dismantles the human-centred worldview and fosters empathy for all forms of life. Its unpredictable transformations and rich narrative create a unique, thought-provoking experience that prompts reflection on the interconnectedness of all beings. Ultimately, "Beings" is not just a game but a commentary on the limitations of human perception. It invites players to step beyond their own experiences and engage with the world in a profoundly different way, making it a powerful tool for challenging anthropocentric thinking.

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

(BDG) Your work spans design, art, and technology, often blending these fields in innovative ways. How do you navigate these disciplines, and what drives you to push the boundaries of traditional design practices? (LZ)

My interdisciplinary approach is deeply influenced by my education at Goldsmiths, where we were taught that everything is design. This philosophy encouraged me to explore the full spectrum of design, art, and technology, understanding how they can intersect to create something truly innovative. For example, our graduation thesis required not just writing but also typesetting, printing, and binding. This holistic approach pushed me to think about how design could visually and interactively express my ideas from the very beginning, rather than treating graphic design as a separate, final step. What drives me to push the boundaries of traditional design practices is a desire to create work that transcends conventional definitions and engages audiences on multiple levels. I believe that design shouldn’t be confined to a single discipline; instead, it should be a fluid, dynamic process that adapts to the needs of the project. This mindset empowers me to take on ambitious projects. For instance, despite having no prior experience in game design, I chose to create a game for my graduation project because I felt it was the best medium to convey my ideas in an engaging and interactive way. The process of pushing these boundaries often involves collaboration. The game I created was a collaborative effort, with programming and interaction design handled by Sravan Kumar Kairamkonda and my technical mentor Peter Rogers, and the UI designed by graphic designer Xiao Zhang. Working with professionals from different fields not only brings in fresh perspectives but also challenges me to think beyond my own expertise, leading to innovative outcomes. Balancing these diverse disciplines within a single project requires not just technical skill but the ability and mindset to connect different fields. Successfully integrating different skill sets and ensuring that the final product is cohesive demands meticulous planning, clear communication, and a willingness to embrace new perspectives.

220

(BDG) You draw inspiration from political philosophy, psychology, and the natural sciences. How do these diverse fields inform your work, and how do you balance these influences to create cohesive designs? (LZ)

221

I have a deep curiosity about the world, and I love immersing myself in a wide range of information. My mind is constantly buzzing with questions, and in the search for answers, I naturally gather knowledge from diverse and expansive sources. This exploration doesn’t always yield immediate or tangible benefits it’s a process of gradual absorption. For example, I recently read Elizabeth A. Wilson’s Gut Feminism (2015), which explores the relationship between the gut, feminism, and depression. The article advocates for moving beyond the binary of biology versus culture. It encourages a more dynamic dialogue between biology and feminism. I don’t expect this information to instantly inspire my creative work. In fact, I’m cautious when ideas pop-up too quickly after encountering something new. It should take time for these inputs to be fully understood. I’ve noticed that these diverse pieces of information often resurface after, at a moment, helping me to consolidate scattered ideas into a cohesive creation. For instance, I encountered a thought experiment called Original Position (Veil of Ignorance) in the field of political philosophy a long time ago. This experiment asks people to consider how resources should be allocated in a society without knowing their own gender, race, appearance, or other personal characteristics. Four years later, I took this concept beyond its original context of human society and incorporated it into Beings to explore the relationship between humans and non-human beings. In the game, players cannot choose their avatar, reflecting the fundamental equality pursued by the Original Position. This design choice forces players to adapt to the characteristics of different species, encouraging reflection on how humans treat the non-human beings with whom they coexist. As I mentioned, it takes time for information from various fields to eventually nourish my creative process. What may seem like chaotic information from various fields gradually weaves together, creating connections that complement and inspire each other. When I detect a subtle connection, a spark, I often give it a try. With my current experience, I allow diverse information to take root in my mind, then make sure to prioritise one each time. I focus on what I most urgently want to express in each piece of work, with secondary information supporting the main message. This is my current approach, though I remain open to evolving or completely redefining my process in the future.

(BDG) “Beings” invites players to experience the world from nonhuman perspectives. What inspired you to create a game that challenges anthropocentric thinking, and how do you hope this will impact players’ understanding of their relationship with the nonhuman world? (LZ)

My inspiration for "B eings" was largely influenced by posthumanist and ecofeminist scholars reflecting on the Anthropocene, particularly the ideas explored in *The Arts of Living on a Damaged Planet*, edited by Anna Tsing. In this collection, biologist Andrea Hajnol discusses how the scientific community has historically measured other creatures' intelligence based on how closely their organs resemble the human brain. This hierarchical way of thinking has not only shaped our perception of nature but also influenced how we manage it. Our misplaced sense of superiority has led to shortsighted and even destructive consequences for both other species and ourselves. These ideas were a driving force behind my creative process. As I delved deeper into this field, I became increasingly fascinated by the incredible diversity of life forms. Merlin Sheldrake's descriptions of fungi, particularly the mycelium network, were particularly captivating. Similarly, James Bridle’s *Ways of Being* reveals how life exists in ways that transcend human imagination. I wanted to "translate" these complex concepts into experiences that people can intuitively grasp. Direct sensory experience in games can sometimes bypass the limitations of language, making these ideas more accessible and impactful. In "Beings," I’ve attempted to construct how different species perceive the world with digital tools, drawing on scientific studies. For example, Iguanas and Harpy Eagles have four types of cones in their eyes, compared to the three that humans have, allowing them to see colors beyond ultraviolet light. Their eyes are also positioned on either side of their heads, giving them a broader field of vision. When players embody an Iguana in the game, they could see the sky in purple and a landscape stretched like a fisheye lens. By allowing players to experience life as different species, "Beings" aims to foster empathy for nonhuman forms of life. My broader ambition is to cultivate a pure appreciation for "the other" - existences vastly different from our own. I hope this appreciation will inspire people to think differently about the environmental and multi-species challenges we face today not merely seeing other species as entities to be exploited or protected, but recognizing the unique potential they hold, such as their distinct behaviours, remarkable adaptability, and the inspiration they can offer us.

222

(BDG) The game “Beings” features body-tracking technology to enhance player immersion. Can you discuss the challenges and rewards of integrating such technology, and how it contributes to the overall experience of the game? (LZ)

Using body-tracking technology in games has undoubtedly been the most challenging aspect of this project. I designed a series of movements inspired by various biological patterns. With the guidance of my technical tutor, I initially attempted to record videos of different people performing these actions, then used the extensive video data for machine learning. Unfortunately, the final recognition accuracy wasn't as high as we had hoped. This led us to connect Xcode (for body-tracking) with Unity (for game execution) through custom coding. The decision to use body tracking was driven by my desire to offer players an experience that goes beyond merely controlling a creature - it’s about 'becoming' that creature. While using a gamepad to move an avatar is easier, I wanted players to experience the unfamiliarity and adjustment period that would naturally occur if they suddenly inhabited a different body. This approach creates a more immersive and authentic experience. One movement in particular - flying' - was consistently reported as tiring by players, but at the same time, some expressed envy of real birds. This feedback was what I expected and validated my choice to use embodied interaction. It might demonstrate that this method fosters a deeper connection with each creature, leading to a more direct and profound appreciation.

223

I also observed that this project strongly appeals to children at my graduation exhibition. Almost every child displayed more patience than adults while trying the game, even though the camera often took longer to recognize them. They were eager to try again and again, with several returning repeatedly to play. This enthusiasm from younger players impressed and touched me deeply. (BDG) “Beings” unfolds through the player’s exploration of Wu-Vo and the memories they uncover. How do you approach narrative design in your projects, and what do you hope players will take away from the story of “Beings”? (LZ)

Creating a backstory for Beings is much like engaging in speculative design. Both require the construction of a world distinct from reality and the subtle suggestion to the audience of why this world differs from our own. The exploration of these differences is usually left to the audience, encouraging them to uncover the underlying causes. For Beings, I designed the game’s setting on an artificial planet called WU-VO, created to replicate Earth's ecological environment. Humanity views WU-VO as their potential second home. However, after this nearly perfect planet was completed,

the workers who constructed it began to mysteriously disappear. As players explore WU-VO, they undergo several unexpected "transformations," becoming different species. After each transformation, they receive a message - memories within the game - that reveals more about the planet's operations. Ultimately, once players have gathered all the information, they are faced with a choice: return to the human world to expose the truth or stay in the WU-VO. I hope that audiences will have questions for the narrative, asking such as why humans need a second home. If the truth is uncovered and scientists resolve the issues, would WU-VO truly be the ideal destination for humanity? The name WU-VO, meaning "no-me" in Chinese, reflects that the planet's inhabitants are entangled, with no distinct individual identities. The nature laws of WU-VO force humanity to confront its deeply intertwined existence with other species. Meanwhile, As a creation of humanity, WU-VO was expected to serve human needs, but instead, it rebels against human control, defying expectations. Ultimately, this project aims to provoke thought about the future direction of the relationship between humans and non-humans. (BDG) As a designer working at the intersection of art and technology, where do you see the future of digital art and interactive design heading? What new technologies or concepts are you excited to explore in your future projects? (LZ)

As an artist and designer, I view technology as one of my essential creative tools. Besides, I believe it’s our responsibility to reveal the broader possibilities of technology - showing how it can be both destructive and creative. When a new technology enters our lives, it's often presented in a predetermined way. For instance, body-tracking is commonly used in fitness games to promote physical activity. But why not use this technology for storytelling? My work may not be a polished commercial product, but my role is to propose these innovative ideas and push the boundaries of what’s possible. It is a kind of future, when technology is used in unexpected, even wired ways. This future isn’t a straightforward, logical progression; it's more like the parallel world futures proposed by Anthony Dunne and Fiona Raby (2013), where alternative realities and futures coexist. Looking ahead, I’m still deeply intrigued by topics related to non-humans, particularly inspired by the enthusiasm children have shown for my current work. I see potential in exploring the relationship between children and non-humans, and I’d love to investigate and improve the technologies that can offer children even more immersive and meaningful experiences.

224

225

(BDG) Graduating with first-class honours from Goldsmiths and being featured in prestigious exhibitions are significant milestones. How have these achievements shaped your artistic journey, and how do you see your work evolving in the coming years? (LZ)

Each piece I create emerges from a painful and lengthy process. I’m not one of those fortunate artists who can always create in a pleasant mood. That said, I do love the process - especially the research and experimentation with different tools. However, self-doubt often creeps in at various stages of a project. It’s during these times that these achievements become a source of encouragement and validation for my efforts. These recognitions make me more determined to continue my practice and motivate me to keep pushing the boundaries of my creativity. Having previous experience working with interactive mediums has given me greater confidence in exploring new techniques and mediums, as well as finding the proper ways to engage with various topics. Additionally, collaborating with others and interacting with audiences have been crucial in helping me grow. These experiences have matured my approach to communication and broadened my perspective. I intend to continue my current creative habits, drawing inspiration from a wide range of contexts and diverse existences to nourish my creativity. In the near future, I plan to revisit and improve several of my previous works, including Beings. I feel that regularly reviewing my work reveals many opportunities for refinement.

LINGXI ZHANG IS A London-based ar FROM Goldsmiths, University of Lond THE intersection OF ART, DESIGN, boundaries OF TRADITION

IN 2023, LINGXI WAS SELECTED FO SAME YEAR, SHE EXHIBITED AT T WILL ALSO SHOWCASE AT T

LINGXI ENVISIONS DESIGN AS A b AND collaboration BETWEEN DIVE THE harmonious balance BETWEEN DESIGNS. HER APPROACH IS RO FORMS OF life and existence, AND S TO AND amplify voices THAT ARE

rtist and designer WHO GRADUATED don, IN 2024. HER WORK EXPLORES , AND TECHNOLOGY, pushing the NAL DESIGN PRACTICES.

OR Youth Design 100 IN BEIJING. THE Tide 2023 IN LONDON. HER WORK THE Dutch Design Week 2024.

bridge, FOSTERING communication ERSE DISCIPLINES. SHE EXPLORES N sensibility AND rationality IN HER OOTED IN A deep respect FOR ALL SHE MAKES IT A POINT TO LISTEN OFTEN overlooked or marginalised.

REVIEW

228 Lingxi Zhang’s project, “Beings,” is an exemplary fusion of art, design, and technology that pushes the boundaries of traditional storytelling. Her innovative use of digital gaming to explore nonhuman perspectives offers a fresh critique of anthropocentric views, making significant strides in how we perceive our relationship with the nonhuman world. Drawing from her interdisciplinary education at Goldsmiths, Lingxi navigates the intersections of design, art, and technology with remarkable f l u i d i t y. H e r a p p ro a c h t o i n t e g ra t i n g b o d ytracking technology into the gameplay mechanics demonstrates a commitment to creating a deeply engaging and immersive experience. The technical challenges, such as achieving high recognition

229

accuracy for body movements, are met with inventive solutions, enhancing the authenticity of the player’s transformation between species. Lingxi’s narrative in “Beings” reflects a profound engagement with posthumanist and ecofeminist ideas. The game’s speculative setting on the planet Wu-Vo, and its premise of exploring through diverse species, serves as a vehicle for critiquing hierarchical and anthropocentric thinking. This narrative design encourages players to reflect on their own place within the broader ecological spectrum, engaging with themes of empathy and interconnectedness in a compelling and interactive manner. Her inspiration drawn from political philosophy and natural sciences is evident in the thoughtful integration of thes e concepts into the game. The us e of scientific insights, such as different species’ sensory perceptions, to enrich the gameplay experience demonstrates a sophisticated understanding of how interdisciplinary knowledge can enhance creative expression. Lingxi’s method of allowing players to embody different species not only challenges their perceptions but also fosters a deeper appreciation for nonhuman forms of life. Looking forward, Lingxi’s exploration of nonhuman perspectives and her innovative use of technology signal exciting possibilities for the future of interactive design. Her dedication to expanding the scope of digital art and her focus on creating meaningful, reflective experiences through her work are poised to influence and inspire future projects in the field.

MEISHUO LIU Playful AND contemplative, THE JEWELLERY melds NATURAL MATERIALS WITH MODERN DESIGN, CREATING functional art THAT ENGAGES WITH time AND human emotion.

ARTIST STATEMENT

As a jeweller and illustrator, Meishuo Liu explores the boundaries of jewellery with playfulness as the cornerstone. Seeing herself as a mirror, she captures the intersections between the outside world and her inner emotions, embodying these intersections in her work in the form of jewellery. Handcrafting is her area of expertise, and she is dedicated to expanding the potential applications of natural materials in jewelry design. The integration of traditional craftsmanship with innovative design is essential for her ongoing development.

242

ARTWORK STATEMENT

243 This series of works explores the symbiotic relationship between time and humanity. Inspired by ancient water clocks, modern precise timekeeping often leads individuals to feel rushed and anxious, whereas imprecise timekeeping allows for moments of forgetting the specificity of time. These rings incorporate ancient timekeeping methods into contemporary life; when the wearer spins them, when water flows through the woven metal holes, when droplets are flung out, the rings transform into stress-relief toys. The emphasis on handcrafted production underscores human growth over time. Wood and metal are not materials that can be quickly produced; the craftsmanship involved in woodworking and metal weaving narrates a story of human development and accumulation throughout time. To me, this represents a life philosophy, these works remind both myself and the wearer not to overly concern ourselves with the passage of time but to seek peace and selfawareness within its flow.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (ML) - MEISHUO LIU

(BDG) Your approach to jewellery design is characterised by a sense of playfulness. How do you balance the playful elements with the technical and aesthetic demands of jewellery? (ML)

In the early stages of design, I usually start by ignoring the details of the piece and focus more on the smoothness of the overall silhouette. The beauty of wood turning lies in its symmetry, and as I continue to experiment with this skill, I draw inspiration from it and incorporate the emotions of the moment into my work. I think about how to play with the piece of wood while carving, and the fun comes from this, from the interaction and dance between me and the material.

(BDG) You highlight the use of natural materials like Goncalo Alves wood in your work. How do these materials influence the design and functionality of your jewellery? (ML)

Natural materials bring a unique sense of touch and warmth to my designs, which not only enriches the visual layers of the jewellery, but also enhances the wearer's connection with nature. However, the irrecoverable nature of wood poses some challenges during the crafting process. The beautiful grain of wood is often accompanied by uncontrollable cracks. Its dryness and cracks determine the success of the finished product, and once it cracks, it means starting all over again. However, I think this is the charm of natural materials, and this sense of balance between the controllable and the uncontrollable strengthens the bond between humanity and nature.

(BDG) The “Time Drip” collection reflects a symbiotic relationship between time and humanity. How do you translate the abstract concept of time into tangible jewellery forms? (PRK)

Wo o d a n d m et a l a n d t h e i r p ro c e s s i n g sy m b o l i s e t h e accumulation and flow of time, while the incorporation of woven metal expresses the power of traditional human craftsmanship and the traces left by mankind. This combination conveys the constant growth of human beings over time, intending to embody the value of human beings and hopefully reduce anxiety about the passage of time.

256

257

(BDG) Your work combines traditional handcrafting techniques with modern design elements. How do you ensure that the integration of these seemingly disparate approaches enriches your jewellery? (ML)

Contemporary jewellery design emphasises simplicity and innovation, while traditional craftsmanship is known for its complex visual expression and deep cultural connotations. I hope to reinterpret the essence of tradition through the lens of modern design and give them a modern expression, so that the work retains the traditional charm but has a contemporary design sense.

(BDG) The rings in your “Time Drip” collection transform into stressrelief toys when manipulated. How do you approach the design process to ensure that the jewellery is both functional and aesthetically pleasing? (ML)

I hope that these pieces are first worn as jewellery and then used as stress relieving toys. With this design, the wearer can interact with the jewellery while wearing it, maximising the fun and relaxation it brings.

(BDG) Your work reflects a philosophical view of time, encouraging a shift from stress to self-awareness. How do you incorporate this philosophy into your design process? (ML)

My design is inspired by the water clocks of ancient countries. I wish that after understanding this background, the wearer will be able to reflect on the passage of time when interacting with the piece. Through this design, I hope that the wearer can find a moment of peace in the busyness of daily life and feel the presence of self in the passage of time. This experience is not only a re-examination of time, but also a subtle influence on the attitude towards life.

(BDG) You describe your jewellery as a mirror reflecting your emotions and experiences. How do you translate personal emotions into design elements? (ML)

The Vase ring was originally shaped like a scaled-down water clock, with the lower part of the ring made of wood, which I have repaired and completed with a metal weave. When the water flows through the ring, it doesn't need to be shaken too much, the water will flow naturally. This is actually my deep sense of helplessness about the passage of time.

(BDG) How do traditional techniques influence your design approach and creative process? (ML)

I consider that traditional techniques actually broaden my understanding of contemporary jewellery. The sense of history and the value of craftsmanship that traditional skills bring to a piece gives it cultural depth and a unique texture. These

techniques allow me to retain the warmth and uniqueness of handmade craftsmanship in contemporary design. (BDG) Considering your focus on integrating traditional craftsmanship with modern design, where do you see your practice evolving in the future? (ML)

In the short term, I would like to continue to expand the possibilities of wood and metal weaving in the field of wearable jewellery, favouring more natural materials, and taking into account the concepts of environmental protection and sustainable design.

259

BASED IN LONDON AND GU IS A contemporary jewellery WITH A DEGREE IN JEWEL Royal College of Art. SHE IS JEWELLERY THAT OFFE EXPERIENCE. OVER THE PA FOCUSED ON UTILIZING na COMBINING HER craftsma PASSION FOR MERGING trad modern D

UANGDONG, MEISHUO LIU y artist WHO GRADUATED LLERY & METAL FROM THE S dedicated TO CREATING ERS A natural and playful AST TWO YEARS, LIU HAS atural materials, SKILLFULLY anship EXPERTISE WITH A ditional TECHNIQUES WITH DESIGN.

REVIEW

264 Meishuo Liu’s jewellery exemplifies a delicate balance between playfulness and profundity, blending traditional craftsmanship with contemporary design. Her “Time Drip” collection stands out as a prime example of this fusion, where functional stress-relief features are seamlessly integrated into striking jewellery forms. Meishuo’s approach to design is deeply rooted in the interaction between material and maker. By focusing on the tactile qualities of Goncalo Alves wood and sterling silver, she creates pieces that are not only visually compelling but also emotionally resonant. The playfulness she describes in her creative process is evident in the functional aspects of her jewellery, such as the rings that transform into stress-relief toys. This playful interaction extends the role of jewellery from mere adornment to a tool for mindfulness and relaxation.

265

The incorporation of natural materials poses both opportunities and challenges. Meishuo embraces the inherent imperfections of wood, such as cracks and inconsistencies, as integral to her design philosophy. This acceptance reflects a deeper appreciation for the natural world and highlights the tension between human craftsmanship and nature’s unpredictability. Her work celebrates the beauty of these imperfections, turning potential flaws into a distinctive feature of her designs. The thematic exploration of time in the “Time Drip” collection is particularly noteworthy. Meishuo translates the abstract concept of time into tangible jewellery forms inspired by ancient water clocks. This conceptual depth, combined with the physical manipulation of the pieces, offers a novel perspective on time’s impact on human experience. The integration of woven metal and the interactive elements of her rings underscore a broader commentary on the passage of time and personal reflection. Meishuo’s commitment to merging traditional techniques with modern aesthetics reflects a sophisticated understanding of both historical and contemporary design. Her work successfully retains the charm of traditional craftsmanship while infusing it with a modern sensibility. This duality enriches her jewellery, making it relevant both in terms of its artistic heritage and its contemporary appeal. Looking to the future, Meishuo’s focus on expanding the possibilities of natural materials and sustainable design suggests a promising direction. Her dedication to these principles indicates an evolving practice that continues to11 push the boundaries of contemporary jewellery, blending environmental consciousness with innovative design.

MIZUKI TOCHIGI TRANSFORMING waste plastic INTO ELEGANT JEWELLERY, THIS ARTIST REDEFINES material value AND PROMOTES SUSTAINABILITY THROUGH innovative, WATER-INSPIRED DESIGNS.

ARTIST STATEMENT

I am deeply passionate about creating jewellery that merges sustainability with contemporary design. I approach my work with a unique perspective, aiming to combine innovative materials and challenge conventional techniques. My journey at Central Saint Martins has solidified my belief that sustainable practices can be a powerful and creative force. I aimed to represent the lightness, transparency, reflection, and refraction of water. I focused on the relationship between the body and the water surface. I want the wearer to feel the sensation of water as if they are laying, standing, or touching it. By doing so, I hope to bring awareness and appreciation of clean water.

270

ARTWORK STATEMENT

0 271 I wanted to make jewellery that can prove the preciousness of waste plastic combined with traditional jewellery techniques and materials. We all know that plastic damages the ocean for decades, however, it is still easy to find plastic bottles. It is not the material itself that is bad, but our lack of responsibility to ensure plastics don’t end up in almost all our oceans where the damage is great. One day, I saw a plastic bottle literally in a new light. Sitting next to a window and through the sunlight, suddenly I was fascinated by the cleanliness, transparency and reflection of the plastic. Looking again at plastic bottles encouraged me to treat it as a precious material. Inspired by the great oceans of the world, I am exploring the energy of ocean waves and poetic beauty of water around the body to propose a new perspective on a material that is damaging our water environment. I wanted to bring awareness to the subtle beauty of plastic bottles for jewellery, and at the same time, to bring thoughts to the clean water which still can be saved if we change our actions.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (MT) - MIZUKI TOCHIGI

(BDG) Your work emphasises the importance of sustainability, particularly in relation to everyday materials like plastic. What first sparked your interest in exploring sustainability through jewellery, and how has your perspective evolved over time? (MT)

My interest in exploring sustainability through jewellery was sparked during my studies at Central Saint Martins. I have focused on sustainability in my projects since the beginning of my degree. Over time, my perspective has evolved as I have come to see sustainable thinking as a positive, creative force that drives my designs. In one of my pieces, I used broken heels to create a work that represents the gender gap in the workplace. I also made 50 brooches and pendants from off-cut material from the aluminium section, and I exchanged each of them for a sustainable promise that could be fulfilled within a month. This project aimed to encourage small changes in our daily lives by using waste material. Sustainability is an ongoing issue that people have only recently started to notice. These practices encourage me to use waste or environmentally friendly materials, to create less waste, and to use fewer energy resources. Beyond using waste materials, I believe that making a direct change in people's actions towards sustainability is the new way of communicating through jewellery.

(BDG) You’ve mentioned that your perception of plastic changed when you saw it in a new light. Can you elaborate on that moment and how it transformed your approach to using plastic in your designs? (MT)

We see plastic bottles everywhere - in the bin, on the street, on the beach, and so on. They're always dirty, and you don’t even want to touch them. When we see waste, it usually ends up in the bin. But what if we could see its preciousness? How can I transform this almost demonised material into something valuable? Then one day, while experimenting with materials, I saw a plastic bottle in a new light. It was sitting next to a window, and through the sunlight, I was suddenly fascinated by its cleanliness, transparency, and reflection. This moment made me realise that it is not the material itself that is bad, but our lack of responsibility in managing it. This is the point when I realise that I want to address

278

279

that we have to take more responsibility when we throw them away, or even before buying them. (BDG) Water seems to play a central role in your work, both in terms of the materials you use and the emotions you wish to evoke. Can you discuss the symbolism of water in your designs and how it informs your creative vision? (MT)

Water plays a central role in my work because of its symbolism and the emotions it can evoke. The lightness, transparency, reflection, and refraction of water are qualities I strive to represent in my designs. By focusing on the relationship between the body and the water's surface, I aim to make the wearer feel connected to water, as if they are laying, standing, or touching it. I hope that through my designs - by creating pieces that remind us of water patterns around the body or the powerful waves represented through the use of plastic bottles - we can reflect more mindfully on our actions on this earth and rethink what waste material truly is.

(BDG) What are some of the biggest challenges you’ve faced in integrating sustainability into your jewellery practice, and how have you overcome them? (MT)

The biggest challenge was creating a piece that doesn't look like it was made from waste material. My mission is to change the perception of waste material, so this was an important goal for me. At the same time, I wanted to keep the process as sustainable as possible, so I avoided using too much heat or glue that isn't environmentally friendly. This required me to closely examine the material and make the most of its properties. I hope that through my jewellery pieces, I can help shift the demonised image of single-use plastic, allowing people to see this innocent material with fresh eyes and appreciate the beauty of upcycling.

(BDG) How have people responded to your work, particularly the concept of using waste plastic in jewellery? (MT)

When viewers come across my piece for the first time, I ask if they can guess what the material is. When they can't guess correctly, I consider it a success. It means I was able to create something that people couldn't imagine was made from waste plastic bottles, and I was able to showcase the material's undiscovered potential. I collected all the bottles from my classmates. After doing this for months, one of them finally decided to stop buying bottled water because she realised how much waste she was producing. My aim is to make small changes - my jewellery helps me achieve this.

(BDG) Looking ahead, how do you see your work evolving? Are there other materials or environmental issues you’re eager to explore through your jewellery practice? (MT)

I am eager to incorporate fine materials such as gold, silver, and gemstones, alongside sustainable materials like waste plastics. My mission is to challenge the perception of everyday materials by adding value to them. At the same time, I want to expand my possibilities in jewellery design by combining conceptual jewellery with traditional techniques. The reason I am interested in conceptual jewellery is that it allows for unlimited freedom in the choice of materials and how the piece is worn on the body. I appreciate how conceptual jewellery communicates with the wearer or the viewer, creating a dialogue through the piece itself.

MIZUKI IS A LONDON-BASED con HER STUDIES AT Central Saint M sustainability IN HER PROJECTS FR SHE STRONGLY BELIEVES THAT POSITIVE, creative force AND US DESIGNS. MIZUKI AIMS TO challen materials, adding value TO THEM B TO REASSESS OUR relationship with A direct change TO OUR actions FO JEWEL

ntemporary jewellery artist. DURING Martins, SHE HAS FOCUSED ON ROM THE START OF HER DEGREE. AT sustainable thinking CAN BE A SES THIS mindset TO DRIVE HER nge THE PERCEPTION OF everyday BY USING HER JEWELLERY SKILLS h waste. SHE BELIEVES IN MAKING OR SUSTAINABILITY through HER LLERY.

REVIEW

Mizuki Tochigi’s jewellery represents a profound reimagining of waste materials, turning the oftendemonised plastic into objects of beauty and significance. Her work is driven by a compelling vision: to address sustainability not merely as a concept but as an active, transformative practice within contemporary design. Her pivotal moment came when she observed the clarity and reflection of a plastic bottle illuminated by sunlight. This epiphany shifted her perspective, revealing the inherent value of a material commonly dismissed as waste. Mizuki’s approach to plastic reflects a broader commentary on our responsibility towards the environment. She treats plastic with respect, showcasing its potential when viewed through a lens of innovation and sustainability. The “water” motif in Mizuki’s designs is not incidental but central to her creative vision. By focusing on water’s qualities - transparency, reflection, and refraction - she creates jewellery that evokes the sensations of water interacting with the body. This metaphorical and literal engagement with water underscores the delicate balance between human activity and the natural

284

4285

world, emphasising the urgency of environmental stewardship. Mizuki’s training at Central Saint Martins has significantly shaped her approach. The institution’s emphasis on sustainability has reinforced her commitment to using her craft as a means of promoting ecological consciousness. Her projects, such as creating jewellery from broken heels and off-cut aluminium, reflect a profound understanding of how design can influence behaviour and raise awareness. Challenges in integrating sustainability into jewellery design are evident in Mizuki’s work. The difficulty of making waste materials appear desirable and valuable is met with innovative techniques and a dedication to minimal environmental impact. By avoiding excessive heat and non-environmentally friendly adhesives, she ensures that her pieces embody her commitment to sustainability. Public reaction to Mizuki’s work often highlights the success of her design strategy. When viewers are unable to identify the material as waste plastic, it indicates a successful transformation of the material’s image. The feedback she has received underscores the effectiveness of her approach in shifting perceptions and encouraging environmental mindfulness. Looking ahead, Mizuki plans to merge fine materials like gold and silver with sustainable components. This evolution aims to further challenge and expand the boundaries of jewellery design, combining conceptual depth with traditional craftsmanship. Her future work promises to continue bridging the gap between aesthetic value and environmental responsibility, creating jewellery that not only adorns but also inspires thoughtful consideration of our impact on the planet.

MOLLY A DELICATE FUSION OF ROMANTIC aesthetics AND feminist NARRATIVE, TRANSFORMING TRADITIONAL symbols INTO CONTEMPORARY JEWELLERY THAT EMBODIES empowerment AND liberation.

ARTIST STATEMENT

Infused with romantic and dreamlike aesthetics, Molly is a London-based jewelry artist who graduated from the Royal College of Art. Seamlessly blending traditional craftsmanship with contemporary sensibilities, she specializes in crafting exquisite wedding jewelry that resonates deeply on special occasions. Each piece she designs unfolds as a captivating narrative, delicately weaving visual stories told through photography. Molly’s artistic journey has flourished through prestigious exhibitions worldwide, including showcases at galleries in London and participation in various international Jewelry Weeks. These global platforms have not only elevated her profile but also enriched her artistic perspective, fostering a continuous exploration of innovative techniques. In her practice, Molly meticulously blends age-old jewelry-making techniques with modern design principles. Rooted in storytelling, her approach aims to imbue each creation with layers of meaning beyond mere adornment. Symbolic elements and intricate details are hallmarks of her designs, reflecting her profound interest in capturing emotions and narratives through wearable art. Dedicated to craftsmanship, Molly employs materials and techniques that enhance the narrative quality of her pieces. She seamlessly integrates jewelry with visual storytelling, utilizing photography and other visual arts to enrich the narrative behind each creation. Her forward-thinking approach envisions wedding jewelry not just as an accessory but as a timeless symbol of love and celebration. Through her art, Molly invites viewers to engage with her work as a reflection of identity, values, and the universal human experience. Her creations embody

292

293

elegance, femininity, and the enduring beauty found in the passage of time, inviting admiration and fostering personal connections with all who encounter them.

ARTWORK STATEMENT

White bows have long symbolized innocence, purity, and femininity. This collection explores the concept of purity, tracing the evolution from traditional female stereotypes to the modern woman. The floating ribbon symbolizes the journey towards liberation, embodying elegance, freedom, and the spirit of femininity. Inspired by themes of innocence and femininity, this project centers on the feminist revolution. It began with white lace, historically linked to purity and new beginnings. Today, a bride wearing white lace signifies a fresh start rather than traditional notions of virginity. Research led to the traditional Japanese wedding dress, the shiromuku, an all-white kimono symbolizing a blank canvas for the husband to imprint his values onto his bride, thus signifying her subservience. The collection challenges the notion that a bride must erase her past to conform to her husband's desires. It questions the origins of these stereotypes and their impact on women. Before the late nineteenth century, women lacked the freedom and power to define their identities and were bound by strict societal norms. During the early Victorian period, women couldn't vote, take legal action, or retain their property after marriage. This collection traces the journey of women's liberation up to modern times. Societal influence is a central theme in this work, advocating for the reduction of stereotyping to allow individuals to explore their identities freely. The collection features various types of headwear depicting women's liberation, starting with elaborate decorative headpieces and progressing to simpler, freer forms. This progression mirrors the gradual empowerment of women throughout history. In the making process, a combination of techniques is employed. Designs are developed using CAD programs for 3D design and traditional jewelry techniques like anticlastic forming. Each bow is meticulously hammered to create a soft and refined edge, giving the impression of a ribbon delicately floating in the air. This meticulous craftsmanship ensures the delicate appearance of each piece and emphasizes the beauty of feminist elegance.

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

(BDG) Your jewellery is described as having romantic and dreamy aesthetics. How do you incorporate these qualities into your design process? (M)

My creative process is deeply rooted in romantic and dreamlike aesthetics. I achieve this through delicate, flowing forms and intricate details that evoke an ethereal sense of beauty. In the "Under The White" collection, the floating ribbons and softly hammered edges bring a lightness and grace to each piece. This aesthetic choice not only enhances the visual appeal but also tells a story of elegance and liberation.

(BDG) White bows are central to the “Under The White” collection. How did you choose this symbol to represent the journey from traditional stereotypes to modern femininity? (M)

The white bow is a poignant symbol in the "Under The White" collection, chosen for its rich historical associations with purity, innocence, and femininity. Traditionally, these bows have embodied societal expectations placed upon women. In my work, however, I’ve reimagined the bow, allowing it to transcend its origins and become a symbol of empowerment and liberation. The floating ribbon, a key element in my designs, captures this transformation beautifully. Its fluid, airy form speaks to movement and freedom, reflecting a shift from rigid stereotypes to a more nuanced, modern femininity. The gentle curves and soft edges of the ribbon convey a sense of grace and elegance, while also hinting at the quiet strength that lies within. In elevating the white bow from a simple ornament to a meaningful symbol, I aim to challenge and redefine its traditional connotations. The floating ribbon, with its delicate yet powerful presence, becomes a metaphor for the journey toward selfdiscovery and empowerment - a journey that is as beautiful as it is resilient.

(BDG) Your collection traces the evolution of feminine symbols from traditional to modern times. How do you research and reinterpret historical symbols to create pieces that resonate with contemporary audiences?

300

(M)

In exploring the evolution of feminine symbols, I immerse myself in their cultural and societal contexts to reimagine them for today’s audience. The work of Louise Bourgeois, with its deep engagement with identity, memory, and emotion, has profoundly influenced my artistic vision, continuously enriching my creative process. I meticulously research historical symbols and their societal implications - such as Victorian gender roles - to guide my design choices. For instance, I reinterpret the traditional white bow, once a symbol of purity, transforming it into an emblem of empowerment. Through this reinterpretation, I challenge historical stereotypes and celebrate contemporary femininity, crafting pieces that resonate with modern audiences while honoring the rich historical tapestry that informs them.

(BDG) The collection involves intricate techniques like CAD design and anticlastic forming. What technical challenges did you face during the creation of these pieces? (M)

0301

Creating the "Under The White" collection presented its own set of technical challenges, particularly in achieving a delicate and refined look. When developing the form of the ribbon, I explored various methods like wax casting and 3D printing. However, these techniques didn’t quite capture the floating, airy quality I envisioned, leading me to the traditional metalsmith technique of anticlastic forming. At first, forming the silver into fine curves was a bit tricky. It took many attempts, but eventually, I succeeded in creating the floating movement I had imagined. The final result was a ribbon with a soft, refined edge that conveyed elegance and fluidity. Overcoming these challenges was a journey of dedication and learning, allowing me to preserve the collection's ethereal and romantic aesthetic.

(BDG) Your designs are influenced by cultural and historical references, such as the shiromuku and Victorian-era gender roles. How do these influences shape your creative process and the conceptual framework of your jewellery? (M)

Cultural and historical references, such as the shiromuku and Victorian-era gender roles, profoundly influence my creative process, offering a rich tapestry of symbolism and narrative depth. These historical elements are intricately woven into my designs, manifesting through motifs like the white lace and ribbon. The shiromuku, a traditional Japanese wedding dress, historically symbolizes a blank slate for societal expectations. I reinterpret this by transforming the white bow, traditionally associated with purity, into a symbol of empowerment and modern femininity. This shift challenges conventional meanings and redefines the bow’s significance in today's context.

Similarly, Victorian-era gender roles, which once confined women’s freedoms, inspire me to rethink and reshape these constraints. My designs reflect a journey from historical subservience to contemporary self-expression. By blending these historical symbols with modern aesthetics, my work creates a dialogue between tradition and innovation, celebrating both the depth of historical meanings and the dynamic spirit of the present. This approach allows my jewelry to honor historical roots while offering a fresh perspective that resonates with contemporary audiences, bridging the past and present in a meaningful way. (BDG) Your meticulous craftsmanship is highlighted in your work. How does your approach to craftsmanship enhance the emotional and narrative aspects of your jewellery? (M)

Craftsmanship is the foundation of my creative journey. I approach each piece with meticulous care, shaping every detail to ensure it embodies both quality and emotion. Techniques like anticlastic forming and hand-finishing allow me to breathe life into my designs, giving them the fluidity and movement that reflect the themes of femininity and liberation. It's through this careful attention to detail that the emotional and narrative depth of my work truly emerges. A gentle curve or a delicate texture can convey the quiet strength of the modern woman, while the floating ribbon becomes a symbol of her journey toward empowerment. For me, the balance between technical skill and artistic expression is essential. My goal is to create jewelry that is not only beautifully crafted but also resonates on a deeper level, weaving together craftsmanship and storytelling to capture the essence of the narratives I wish to share.

(BDG) How do you differentiate your contemporary wedding jewellery from traditional pieces? (M)

In my approach to wedding jewelry, I seek to transcend traditional boundaries by infusing each piece with a contemporary sensibility that resonates with today’s bride. While traditional wedding jewelry often emphasizes time-honored motifs and materials, my designs reinterpret these elements through a modern lens. The ribbon motif, central to my work, is an example of this blend. Traditionally associated with purity and femininity, I reimagine the ribbon as a symbol of empowerment and liberation, crafting it with delicate curves and fluid forms that reflect the elegance of the modern woman.

302

My jewelry is not just an accessory but a reflection of personal identity and a celebration of individual stories. By blending traditional craftsmanship with modern techniques, I create wedding jewelry that honors the past while speaking to the present, offering brides something that feels deeply personal and uniquely their own. (BDG) Looking ahead, how do you envision your practice evolving? Are there new themes, materials, or techniques you are interested in exploring that could further expand the narrative and aesthetic dimensions of your jewellery? (M)

Looking ahead, I’m truly excited about the evolving path of my practice. I’m in the midst of launching my own wedding jewelry brand, which will showcase my artistic vision and core values. This brand will build upon the ribbon motif, symbolizing femininity, while maintaining the romantic and elegant essence that defines my work. I plan to seamlessly blend the anticlastic forming technique with 3D printing to enhance the delicate, flowing shapes that are central to my designs. This fusion will create pieces that are both timeless and contemporary, reflecting a harmonious balance of tradition and innovation. I am eager to collaborate with artists across diverse disciplines, from visual artists to performance creators. Collaborating with artists from different fields will help me infuse my jewelry with more vibrant and evolving stories, blending diverse artistic styles into a cohesive and captivating form.These interdisciplinary partnerships will enable me to weave richer, more dynamic narratives into my jewelry, merging various forms of artistic expression. Through participation in global exhibitions and meaningful collaborations, I aim to share my evolving story with a broader audience, leaving a lasting impression on the people international jewelry scene.

WITH romantic and dreamy ae BASED JEWELRY ARTIST, GRAD MASTERFULLY BLENDS TRAD CONTEMPORARY sensibilities. SP jewelry, SHE CREATES PIECES TH THROUGH photography. HER WO PRESTIGIOUS EXHIBITIONS worl GALLERIES IN LONDON AND INT MOLLY METICULOUSLY COMBINE design principles, INFUSING EACH meaning. HER JEWELRY, DISTING AND INTRICATE DETAILS, CAP TRANSFORMING THEM

esthetics, MOLLY, A LONDONDUATE FROM Royal College of Art, DITIONAL craftsmanship WITH PECIALIZING IN exquisite wedding HAT TELL CAPTIVATING stories ORK HAS BEEN SHOWCASED IN ldwide, INCLUDING RENOWNED TERNATIONAL JEWELRY WEEKS. ES age-old techniques WITH modern H CREATION WITH PROFOUND GUISHED BY symbolic ELEMENTS PTURES emotions and narratives, M INTO WEARABLE ART.

REVIEW

Molly’s jewellery transcends mere adornment, emerging as a profound exploration of identity, femininity, and liberation. A graduate of the Royal College of Art, Molly’s work is deeply rooted in a romantic and dreamlike aesthetic, where traditional symbols such as the white bow are reinterpreted to reflect modern feminist ideals. Her Under The White collection is a testament to this, as she deftly navigates the delicate balance between historical context and contemporary relevance. Each piece in this collection tells a story. The white bow, historically a symbol of purity and innocence, is reimagined under Molly’s skilled hands as a symbol of empowerment. The floating ribbons in her designs embody a sense of freedom and fluidity, challenging the rigid gender roles of the past. The narrative she constructs through her jewellery is as much about the liberation of the modern woman as it is about the delicate craftsmanship that defines her work. Molly’s approach to craftsmanship is meticulous. The use of techniques such as anticlastic forming not only highlights her technical prowess but also adds a layer of emotional depth to her pieces. The soft, refined

306

6307

edges of her ribbons convey an ethereal beauty, while their gentle curves and fluid forms speak to the quiet strength inherent in her themes of femininity and empowerment. Her thoughtful engagement with historical and cultural references, such as the Victorian-era gender roles and the traditional Japanese shiromuku, further enriches her work. These elements are not merely decorative; they are integral to the conceptual framework of her jewellery, allowing her to create pieces that resonate deeply with contemporary audiences while honouring the past. Molly’s work stands out in the often traditional field of wedding jewellery. By infusing her designs with contemporary sensibilities, she offers brides something uniquely personal - pieces that are not just symbols of marital union but also of individual identity and empowerment. Her use of modern techniques like CAD design, combined with traditional methods, ensures that each piece is both timeless and forward-thinking. Looking ahead, Molly’s vision continues to evolve. Her ambition to blend traditional craftsmanship with new technologies, such as 3D printing, promises to expand the aesthetic dimensions of her work. Moreover, her interest in interdisciplinary collaborations hints at a future where her jewellery could merge with other forms of art, creating even richer narratives. In conclusion, Molly’s jewellery is a celebration of the journey towards modern femininity. Through her meticulous craftsmanship and thoughtful reimagining of traditional symbols, she has created a body of work that is not only visually stunning but also deeply meaningful. Each piece invites the viewer to reflect on the themes of identity, liberation, and the enduring beauty of the feminine spirit.

MUYAN GAO TRANSFORMING recycled paper INTO functional ART, THE WORK MERGES SUSTAINABILITY WITH sculptural elegance, CHALLENGING TRADITIONAL BOUNDARIES OF material AND form.

ARTIST STATEMENT

The work typically uses recycled paper to make paper mâché as the main material, completed through repeated manual shaping, cutting, painting, and other processes. This is a slow but enjoyable process where I use the material’s characteristics to gradually shape it into uncertain forms. In this process, half is exploration and half is expression, resulting in delicate and unique individual objects that can be either small or large freestanding pieces. Combines sculpture and functionality, creating forms through both intentional and unintentional actions. By exploring the material, weight, size, color, and texture, I attempt to understand how the physical world, which is usually imperceptible to humans, subtly shapes our experiences. The concept of "upcycling" is indispensable in the work, transforming discarded or seemingly useless materials into new, valuable creations. By repurposing materials that might otherwise become waste, it emphasizes the potential beauty and functionality inherent in often overlooked or discarded objects, or serves as a metaphor for renewal.

320

ARTWORK STATEMENT

321 This group of work represents a continued exploration of paper mâché as an ecofriendly material. Each sculpture is crafted from recycled paper pulp, meticulously shaped, cut, painted, and polished by hand, preserving the original handmade traces. The work focuses on the interrelationships between plants, land, life, and the body, exploring how the act of creation can be seen as a means of existence. Can these rational, restrained, swaying, cute, and innocent descriptive languages be embodied in various forms and containers? Containers are often metaphorically likened to symbols of the body, with paper mâché perceived as skin. The aim is to turn each sculpture into an inception of context, akin to a plant that continuously grows and spreads. Each body is wrapped in skin, and every narrative seems to be filled with imagination, providing them with a "nest." Each object originates from this vision: fluctuating between sculpture and functionality, and expressing slowly between form, color, and texture.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (MG) - MUYAN GAO

(BDG) Your work heavily focuses on using recycled paper to create paper mâché sculptures. Can you share more about what drew you to this material and the creative process behind shaping and transforming it into your unique sculptures? (MG)

The feeling that paper-mâché gives me is primitive, simple, light, and highly malleable. The uncontrollability in the process of making pulp also brings me a lot of freshness. Compared to traditional clay sculpture, the natural texture that forms after the pulp dries has always fascinated me. It is precisely this texture that brings a sense of clumsiness and handcraft that I intend to express. I enjoy exploring and researching materials, attempting to gradually "functionalize" the work and blur the boundary between sculpture and product. The work is "squeezed" between the two. Through understanding color, structure, and current popular culture, I continuously advance the development of my work while maintaining a certain degree of unpredictability.

(BDG) You blur the lines between sculpture and functionality in your art. How do you approach this balance, and what does it mean to you to create objects that are both aesthetically pleasing and functional? (MG)

I want to create sculptures that can be used, so they can be more integrated into daily life. Not only can people appreciate their aesthetic form, but they can also touch and use them. For me, functionality is very important. I believe that sculptures should serve people and serve life, so it's essential to reflect the value of each piece in everyday use.

(BDG) Upcycling seems to be a core concept in your practice. How do you choose the materials you upcycle? (MG)

The concept of "upcycling" is essential in my art. My sculptures aren't just about creating art; they also emphasize the importance of recycling and reimagining the endless possibilities of discarded materials. To me, upcycling is about turning discarded or seemingly useless materials into new, valuable creations. This aligns with my beliefs in sustainability and environmental awareness. By reusing materials that might otherwise become

330

waste, I aim to highlight the beauty and functionality that often lie hidden in things we overlook or throw away. In my work, I use pulp made from recycled paper. This not only gives new life to materials that might otherwise end up in a landfill but also brings a unique texture and character to my sculptures. The process of turning old paper into pulp and sculpting it into new forms is a metaphor for transformation and renewal. It reflects the idea that everything has the potential to be reborn and reimagined. Upcycling also allows me to create art with unique qualities and stories. Every piece of recycled paper I use has its own history and background, which adds depth and character to the finished sculpture. (BDG) Living and working between Beijing and London, how do these distinct cultural environments influence your artistic practice? (MG)

331

I’m not sure if there are clear influences, and it’s not something I’m particularly concerned about either. I want to explore the feelings that "containers" evoke, blurring the boundaries between sculpture and containers. This reflects the concepts of enveloping, surrounding, and containing, emphasizing the subtle imprints of individual existence and the dialogue between self and nature. The somewhat dazzling changes in color and shape break the stereotypical perceptions of sculpture and vessels, inspiring the viewer's poetic imagination and subconscious personal experiences. As a female creator, I believe my artworks have certain gender inclinations - they can be beautiful, sensual, robust, rational, and infinitely charming. By integrating art with functionality or everyday life, I aim to reflect on and explore the role that art can play in daily life.

(BDG) Your work often explores the interrelationships between plants, land, life, and the body, with each sculpture serving as a narrative “nest.” Could you elaborate on the stories or concepts you are expressing through these forms? (MG)

I want to incorporate elements of nature, such as fossils, organisms, soil, or seeds. However, I do not aim to completely replicate nature. Instead, I use highly saturated colors and gradient techniques to express a fresh, easily captured, and fluid feeling. To me, color signifies vitality and emotion. Colored pieces seem more alive, as if they are breathing.

(BDG) You mention that your work explores the subtle ways in which the physical world shapes our experiences. How do you hope viewers will physically and emotionally engage with your sculptures? (MG)

My artworks often take on an abstract or semi-abstract form, reflecting my pursuit of expressing inner emotions and feelings. I tend to explore the relationship between form and color, seeing these elements not only visually but also as expressions of emotions and spirituality. This abstraction allows for multiple interpretations of my work, and I hope each viewer finds resonance and understanding in it.

(BDG) The metaphor of containers as symbols of the body is central to your work. How does this concept influence the design and form of your sculptures? (MG)

In my work, containers symbolize the multifaceted nature of the body. They represent not just a physical form but also a symbol of encompassing, protecting, and carrying. Just as the body holds our emotions and experiences, containers also represent the external manifestation of our inner world. Through flowing curves and organic structures, I hope viewers can feel the vulnerability and strength of the body, as well as the encompassing nature of life. Every individual's identity is multi-layered, much like a container that can hold various substances at once. Through my work, I aim to encourage people to reflect on their own state of existence, understand the relationship between self and the world, and recognize the roles we play within it.

(BDG) Over the years, your work has evolved through various exhibitions and mediums. How has your approach to sculpture changed, and what new directions or themes are you excited to explore in your future projects? (MG)

I want to focus more on reduction in my creative approach. In the future, I aim to express my experiences and life, such as my recent loss of my little dog. I think my next group of works should be related to him.

(BDG) Your work involves a meticulous, hands-on process of cutting, shaping, and painting. How do you navigate the relationship between art and craft in your practice, and where do you find the most joy in this process? (MG)

At first, I would roughly sketch some drafts. These shapes usually stem from my pursuit of nature and organisms. However, I usually do not directly translate these sketches into three-dimensional sculptures. For me, the images bring new experiences, maybe through lines or colors. Next, I build models based on my memory of the sketches. I feel this is a slow and interesting process where I gradually establish a personal relationship with each piece

332

333

through a dialogue with it. I often start with a typical shape and gradually distort it into a character. It might not be about "looking like" something specific but rather about evoking a certain feeling. During the process, I layer and shape the pulp until I find a satisfying form. Finally, I paint the dried white pulp. The colors enhance the realism of each character, making them feel close and endearing, providing me with a lot of imaginative space. (BDG) With your work exhibited in various international settings, including Shanghai, London, and the USA, how do different audiences react to your art? Are there any particular responses or interactions with viewers that have stood out to you? (MG)

One of the most unforgettable feedback I received at an exhibition came from a young child. As he looked at my sculpture, he exclaimed loudly, "I want to live inside this!" I was very surprised; it showed that my work can touch the imagination and emotions of audiences of different ages. The child's imagination enlarged what was originally a small sculpture, giving the work infinite possibilities beyond itself. This has inspired me to explore a larger and more enriching artistic world in my next steps.

MUYAN GAO IS AN ARTIST WHO CREA THE RELATIONSHIP BETWEEN sculpture Glasgow School of Art AND AN MFA FROM HAS UTILIZED forms AND recycled paper USED. SHE CURRENTLY LIVES IN BEIJIN AND OPERATES

MUYAN HAS BEEN INVOLVED IN nume SHOWS, IN 2023, MUYAN'S SOLO EXHIB AT Zuoyou Gallery IN SHANGHAI, REF MATERIALITY AND FORM. OTHER NO "Urban Confession" AT THE Beijing Yintai C ALSO BEEN FEATURED IN SEVERAL grou AT HOLY ART GALLERY IN LONDON, AN themed SPECIAL EXHIBI

IN 2024, MUYAN’S WORK "Fake Vases" W Visual Art Journal IN THE USA. HER "Ma MARCH 2022 EDITION OF Vogue Beauty WAS RECOGNIZED IN THE BOOK One H

ATES paper pulp works THAT EXPLORE and functionality. WITH A BA FROM THE M Chelsea College of Art and Design, MUYAN r TO MAKE SCULPTURES THAT CAN BE NG AND LONDON, WHERE SHE OWNS S HER STUDIO.

erous NATIONAL AND INTERNATIONAL BITION "Paper Islands" WAS SHOWCASED FLECTING HER ongoing exploration OF OTABLE SOLO EXHIBITIONS INCLUDE Center IN 2021. MUYAN'S WORKS HAVE up EXHIBITIONS, INCLUDING "ALCHEMY" ND THE 53rd China National Arts and Crafts ITION IN GUANGZHOU.

WAS FEATURED IN THE JUNE ISSUE OF agic" SERIES WAS SHOWCASED IN THE IN CHINA. ADDITIONALLY, IN 2015, SHE Hundred Young Artists of 2015 IN CHINA.

REVIEW

Muyan Gao’s work delves deeply into the intersection of sculpture and functionality, crafting pieces that are as utilitarian as they are visually compelling. Her choice of paper pulp as a primary medium is not only environmentally conscious but also deeply symbolic. The recycled material, often seen as disposable, is reborn through her hands into objects that embody both fragility and resilience, echoing the complex nature of existence itself. Her method - meticulous and time-consuming allows for a tactile exploration of texture and form. The process of shaping, cutting, and painting each piece by hand ensures that no two works are identical, highlighting the importance of individuality in art and life. The resulting sculptures possess a raw, organic quality, where the traces of their making are celebrated rather than concealed. Muyan’s exploration of the relationship between sculpture and functionality is particularly compelling. By blurring the lines between art and utility, she invites a dialogue about the role of art in everyday life. Her works are not just to be viewed but to be interacted with, creating a personal connection between the object and the viewer. This duality - where art meets practicality - encourages a deeper engagement with the piece, making it a part of the viewer’s daily experience rather than a distant, untouchable object. The concept of upcycling is central to her practice, infusing her work with a narrative of renewal and

336

337

transformation. By repurposing discarded materials, she not only comments on sustainability but also on the potential for beauty and functionality in the overlooked and the forgotten. This approach is reflective of a broader cultural shift towards environmental consciousness, yet it is rendered with such personal sensitivity that it transcends mere commentary to become a profound artistic statement. Cultural influences from her time spent in both Beijing and London subtly permeate her work, though she eschews direct representation in favour of a more abstract exploration of form and colour. The dichotomy of these two environments - one rooted in tradition, the other in modernity - can be seen in the way her pieces balance timeless craftsmanship with contemporary relevance. The interplay of vibrant colours and organic forms in her work suggests a deep connection to nature, while simultaneously breaking conventional boundaries through innovative design. Muyan’s art also reflects a profound meditation on the body and identity. The metaphor of the container as a symbol of the body adds layers of meaning to her sculptures. These vessels, whether swaying or static, seem to encapsulate not just physical forms but also the emotional and psychological experiences of life. Each piece acts as a ‘nest,’ cradling narratives that are open to the viewer’s interpretation, inviting them to project their own stories onto the work. In conclusion, her art is a testament to the power of material transformation and the enduring dialogue between form and function. Through her unique blend of artistry and practicality, she challenges us to reconsider the objects that surround us, to find beauty in the mundane, and to embrace the ever-present possibility of renewal.

ROSIE GROSVENOR FUSING ancestral INSPIRATION WITH MODERN SUSTAINABILITY, THIS WORK TRANSFORMS discarded materials INTO INNOVATIVE, tactile knitted textiles THAT REFLECT NATURE’S resilience.

ARTIST STATEMENT

I am a 2024 graduate from Manchester School of Art, with a First Class Honours Degree in Textiles in Practice. My practice as a knitted textile designer is rooted in heritage, with inspiration being pulled from my own ancestry to be articulated into a modern concept. I aim to push the form of knitted textiles through materiality and the manipulation of yarns to create experimental and dynamic outcomes. Throughout the development process of my designs I am constantly researching and testing innovative solutions in order to positively impact the future of design in a sustainable way. My graduate collection ‘Entrap the Tide’ was sparked by an initial interest into an Aran jumper my Great Grandma made, which developed into a broader exploration into fishing cultures and the protective nature of nautical textiles. As my project developed, a firm focus on sustainability materialised, sourcing dead-stock yarns and regenerative fibres, allowing my practice to align closer to my artistic ethos and also the traditional way of making.

344

ARTWORK STATEMENT

345 My work pushes the boundaries of knitted textiles using unconventional materials and methods to push sustainable innovation. Research into recycled fishing line fibres and PP yarn informed my artistic decisions, looking to reduce the amount of waste that ends up in landfill and our oceans to protect wildlife and our futures. The use of sea glass within my work captures Earth's natural ability to turn rubbish into something beautiful. A once discarded bottle ends up in the sea, which then churns it up, breaks it, and returns the pieces to shore- smooth and shining. Through using these pieces of ‘beautiful rubbish’ within my work I wish to shine light onto how we can reimagine manmade materials through innovative redesign solutions.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (RG) - ROSIE GROSVENOR

(BDG) Sustainability is clearly a core aspect of your practice. Could you elaborate on how you source materials like dead-stock yarns and regenerative fibres, and how these choices influence your design process? (RG)

During my studies in Manchester, I was fortunate to have Fairfield Yarns nearby, a shop specialising in deadstock yarns. I began by developing a concept board and colour palette to guide my inspiration. Visiting the shop in person allowed me to truly connect with the wool and understand its unique qualities. The hands-on approach I developed at university continues to significantly influence my design process. The interaction between my creative vision and the yarn's characteristics creates a dynamic, symbiotic relationship. I experiment extensively, testing various yarns on different knitting beds, tensions, and gauges to ensure that the final pieces align with my artistic goals while harmonising with the yarn's inherent properties. Using deadstock yarn, such as the Shetland wool in "Entrap the Tide," requires adapting my designs to accommodate its specific qualities. This approach not only influences the design but also enriches the final product, resulting in a creative interplay between my intentions and the material's characteristics.

(BDG) Your graduate collection, ‘Entrap the Tide,’ explores fishing cultures and nautical textiles. What specifically about these cultures and textiles inspired you, and how did you translate that inspiration into your work? (RG)

The main inspiration for my graduate collection, "Entrap the Tide," came from the beautiful shapes and lines found within nautical textiles. A particularly significant influence was the Aran jumper made by my great grandmother - a thick, knitted piece designed to protect fishermen from harsh elements. The symbolic stitches of the jumper, such as the lattice stitch reminiscent of fishing nets, captivated me with their intricate shapes and contortions. I was inspired to document these patterns through drawing and swatching, exploring how these textures could be translated into my designs. My fascination extended to other protective nautical textiles, like early life vests made from cork. I was drawn to the textures of

354

cork and the striking contrast between the blocks of cork and the negative space. I loved examining the progression of protective gear in fishing culture through a creative lens, as it revealed a unique blend of beauty and practicality. This exploration of patterns within patterns allowed me to reimagine and incorporate these elements into my designs, celebrating the rich aesthetic of functional nautical textiles. (BDG) You aim to push the form of knitted textiles through materiality and manipulation. Can you discuss some of the unconventional materials and methods you’ve experimented with, and the impact they have on the final outcome? (RG)

355

I love experimenting with how exaggerated textures can be created both during and after the knitting process. By varying yarn weights, needle arrangements, and gauges within a single sample, I push the boundaries of traditional linear structures, resulting in fluid and bold outcomes. To further this exploration within my graduate collection, I developed work with Polypropylene yarn. After rigorous tests I created a way to heatset an exaggerated ‘Lattice’ structure within my knit, keeping it solid and textured, whilst also ensuring my work was fully recyclable in the process. Additionally, I experimented with monofilament and incorporating sea glass into the knit. The monofilament provided a delicate, almost ethereal framework that held the sea glass in place, while the sea glass itself introduced a unique textural element and a stunning play of light. This combination not only added a beautiful weight to the piece but also created a mesmerising glow that enhances its visual and tactile appeal. Using these unconventional materials creates pieces that invite touch and interaction, embodying the essence of textile art.

(BDG) Sea glass plays a significant role in your work, symbolising the transformation of waste into beauty. What is it about sea glass that resonates with you, and how do you integrate it into your textiles? (RG)

Sea glass deeply resonates with me due to its representation of nature's remarkable ability to transform waste into beauty. The sea, with all its raw power, battles against man-made refuse, and in doing so, it creates something stunning from our discarded materials. This process, where a bottle discarded by humans is broken down and smoothed by the ocean's relentless forces, serves as a profound metaphor for resilience and renewal. I integrate sea glass into my textiles to reflect this transformation. By encasing the glass within translucent monofilament, I symbolise its entrapment within the sea and various forms of

waste. Yet, despite this entrapment, the glass continues to shine, representing hope and the possibility for a sustainable future. Through this, I aim to inspire a deeper connection to nature’s ability to overcome and beautify even the most neglected elements of human life. (BDG) How has your education at Manchester School of Art shaped your approach to textile design, particularly in terms of sustainability and material experimentation? (RG)

The Textiles in Practice course at Manchester School of Art offered immense creative freedom, allowing me to explore every avenue I was interested in. A significant part of the curriculum focused on understanding how my work fits within the wider world. Thus, through units on sustainability, workshops, external speakers, and the opportunity to complete my Carbon Literacy training, I was well-prepared to integrate my designs into the ever-evolving textile landscape, with a sustainable perspective. My tutors played a crucial role in pushing me to refine my material manipulation skills and expand my understanding of what textiles can be. Their guidance was instrumental in broadening my horizons and shaping my design vision. I am deeply grateful for my time at MSoA, as it has provided me with a clear sense of my identity as a designer and significantly enhanced my ability to create impactful and innovative work.

(BDG) Working sustainably often presents unique challenges. Can you share some of the hurdles you’ve faced in sourcing materials or implementing sustainable practices, and how you’ve overcome them? (RG)

One of the primary challenges I faced in sourcing materials for sustainable practices was the difficulty in accessing the specific materials I wanted. I was particularly interested in using recycled polypropylene yarn and recycled fishing line, and I spent a considerable amount of time researching companies that collect waste fishing nets and recycle them into nylon yarn. Despite the impressive efforts of these companies in recycling waste, I found that their production was geared towards large-scale clients, which made it difficult for me, as a third-year textile student, to procure these materials. This challenge presented a significant obstacle, making it hard to maintain momentum in my designs. To overcome this, I had to pivot and adapt my approach. I decided to work with deadstock materials and fully recyclable yarns, which were more accessible yet still aligned with my sustainability goals. This adjustment allowed me to continue my work without compromising on my commitment to sustainable practices or my artistic vision.

356

6357

(BDG) You describe your work as transforming man-made waste into something beautiful. What is your process for identifying and working with discarded materials, and how do you ensure that the final pieces remain aesthetically pleasing while also carrying a deeper message? (RG)

My process for working with discarded materials is deeply research-based, focusing on sourcing historically and culturally accurate materials and integrating them into more innovative designs. Initially, I considered incorporating discarded fishing weights into my pieces to address issues like ghost nets in our seas. However, I found that the poisonous lead in these weights would undermine the interactive nature I strive for in my knits. Instead, I opted for sea glass, which still represents waste caught in the ocean but adds an ephemeral quality to the work. This approach allows me to create aesthetically pleasing pieces that also convey a meaningful message about environmental concerns.

MY GRADUATE COLLECT SPARKED BY AN INITIAL I jumper MY GREAT GRA DEVELOPED INTO A broad cultures AND THE protect TEXTILES. AS MY PROJECT D ON SUSTAINABILITY materia yarns AND regenerative fibres TO ALIGN CLOSER TO MY a TRADITIONAL W

TION ‘Entrap the Tide’ WAS INTEREST INTO AN Aran ANDMA MADE, WHICH der exploration INTO fishing tive nature OF NAUTICAL DEVELOPED, A FIRM FOCUS alised, SOURCING dead-stock s, ALLOWING MY PRACTICE artistic ethos AND ALSO THE WAY OF MAKING.

REVIEW

Rosie Grosvenor’s practice as a knitted textile designer exemplifies the harmonious marriage of heritage and innovation. Drawing deeply from her ancestry, she transforms the familiar textures and symbolism of traditional textiles into modern, sustainable creations. Her graduate collection, “Entrap the Tide,” serves as a testament to this, with its roots in the protective Aran jumper made by her great-grandmother - a piece steeped in familial and cultural history. The intricate stitches and patterns, reminiscent of fishing nets, are not merely replicated but reimagined, allowing Rosie to explore the concept of protection in both a literal and metaphorical sense. Rosie’s approach to textiles is not only a celebration of her heritage but als o a bold step towards sustainable innovation. Her use of deadstock yarns and regenerative fibres highlights a commitment to environmental responsibility. She describes a symbiotic relationship between her creative vision and the materials she works with, allowing the qualities of the yarn to inform the final outcome. This respect for materiality is evident in the way she manipulates yarns, experimenting with different weights, tensions, and gauges to push the boundaries of traditional knitting. The integration of unconventional materials, such as polypropylene yarn and sea glass, further

360

0 361

distinguishes her work. The polypropylene yarn is heat-set into exaggerated lattice structures, creating bold, fluid forms that challenge the linearity of traditional textiles while remaining fully recyclable. Sea glass, with its natural beauty and tactile appeal, is enc as ed in monofilament , symbolising the transformation of waste into something beautiful. This material choice not only adds a unique texture and weight to her pieces but also serves as a powerful metaphor for resilience and renewal in the face of environmental challenges. Rosie’s exploration of nautical textiles extends beyond their aesthetic qualities to their functional and protective roles. Her fascination with the textures and patterns of early life vests made from cork, for instance, reveals an appreciation for the practical beauty of these items. By reinterpreting these elements in her designs, she pays homage to their original purpose while imbuing them with contemporary relevance. Education at the Manchester School of Art has clearly played a significant role in shaping her practice, particularly in terms of sustainability and material experimentation. The creative freedom afforded by her studies, combined with rigorous training in sustainability, has empowered her to develop a distinctive approach to textile design that is both innovative and deeply personal. Rosie’s work is a testament to the potential of textiles to convey complex narratives and inspire change. By transforming discarded materials into pieces of beauty and meaning, she not only honours her heritage but also contributes to a more sustainable future. Her designs invite interaction, encouraging us to engage with the tactile and visual qualities of textiles in new and meaningful ways.

SIXU GAO A BOLD REIMAGINING OF grey hair AS A SYMBOL OF VITALITY, SIXU’S JEWELLERY USES unconventional MATERIALS TO CHALLENGE TRADITIONAL VIEWS ON femininity AND ageing.

ARTIST STATEMENT

Sixu’s work explores the complexities of femininity and personal identity within conventional societal frameworks by employing unconventional biomaterials. Inspired by the memory of her mother's grey hair, which was habitually dyed black, Sixu sees grey hair as a powerful symbol of life, renewal, and the accumulation of valuable memories. This personal narrative becomes a lens through which she examines and challenges societal norms that dictate cultural values. In her collection "Hidden Silver Blossom," Sixu draws parallels between her mother's concealed grey hair and the floral motifs often hidden in women's lingerie. Flowers in her work symbolize renewal and power, inviting viewers to reconsider the impact of traditional social identities on personal experiences. By revealing social phenomena beneath personal stories, her work prompts a reevaluation of how societal expectations shape individual perceptions and roles. Through her innovative creations, Sixu emphasizes the beauty and resilience found in aging and women's oftenundervalued contributions. Her pieces tell a profound story of memory, identity, and the inherent beauty in life's transformations, encouraging a dialogue about the intersection of personal identity and cultural constructs.

368

8369

ARTWORK STATEMENT

My collection, “Hidden Silver Flowers,” explores themes of feminism and femininity, inspired by my mother’s grey hair and her role as a mother. This project challenges societal expectations of women, focusing on the repression of individuality. My mother’s habit of dyeing her grey hair black reflects her struggle with aging and the belief that grey hair is less valuable than black. However, I view grey hair as a symbol of life’s fullness, experience, and renewal, akin to flowers in nature, which represent vitality. In my work, I draw parallels between my mother’s concealed grey hair and the hidden floral motifs in women’s lingerie. I explore the undervalued textiles and tools traditionally associated with women, such as lace, yarn, and spinning. By spinning grey hair into silk threads and incorporating floral motifs into fabric jewelry, I highlight the sacred and powerful abilities of women while challenging societal demands. Throughout my process, I have experimented with different spinning techniques, discovering that each fiber requires specific tools. Spinning grey hair with a spindle and then a spinning wheel, I found strength in the yarn I created, using it to crochet necklaces and lace patterns. This exploration underscores the complexity and strength inherent in tasks often perceived as simple. My final collection consists of interactive pieces that celebrate the undervalued power and work of women. Through spinning lace fabrics and showcasing beautiful grey hair, I aim to honor and elevate the often-overlooked contributions of women in textiles and beyond.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (SG) - SIXU GAO

(BDG) Your work deeply explores feminist themes, particularly the roles and identities of women. How did your personal experiences and influences, such as your relationship with your mother, shape your perspective on these themes? (SG)

My personal experiences, particularly my relationship with my mother, have profoundly shaped my exploration of feminist themes. Observing my mother dye her grey hair black, not just for aesthetics but due to societal pressure to appear youthful, made me question why grey hair is often seen negatively instead of as a symbol of wisdom and experience. This inspired me to challenge societal expectations and redefine women’s identities through my work. By incorporating grey hair and floral motifs, I aim to honour women’s experiences and reveal their true strength, encouraging a rethinking of traditional definitions of womanhood. My mother’s journey has deeply influenced my commitment to these themes in my designs.

(BDG) Grey hair plays a significant role in your collection “Hidden Silver Blossom.” Can you elaborate on how you interpret grey hair as a symbol of life, renewal, and memory, and why it resonates so strongly with you? (SG)

Grey hair in my collection “Hidden Silver Blossom” symbolises life, renewal, and memory. It resonates deeply with me because, contrary to societal views that often see grey hair as something to hide, I view it as a powerful testament to lived experiences and wisdom. Grey hair represents the richness of a life filled with stories and challenges, embodying the idea of renewal, much like nature’s cycles. Each strand is a marker of memories and growth, making it a sacred element of identity. Through my work, I seek to challenge the negative perceptions of grey hair, highlighting its beauty and significance as a symbol of strength and resilience.

(BDG) You draw parallels between hidden grey hair and floral motifs in women’s lingerie. What message do you hope to convey by connecting these two elements? (SG)

By drawing parallels between hidden floral motifs in women’s lingerie with grey hair, I aim to highlight how aspects of femininity are often concealed or undervalued due to societal expectations.

378

379

Both grey hair and the delicate floral patterns are symbols of strength, beauty, and resilience, yet they are frequently hidden away, much like the true identities and experiences of women. Through this connection, I hope to convey that what is often seen as private or less visible - the natural ageing process or the intricate details of lingerie - holds significant power and meaning. These elements reflect my view that femininity should not be defined by external standards but celebrated in all its forms, including those aspects that are typically kept out of sight. My work seeks to challenge these conventions, encouraging a more inclusive and authentic understanding of what it means to be feminine. (BDG) Your use of unconventional biomaterials like hair and freshwater pearls is striking. What inspired you to work with these materials? (SG)

My use of grey hair, freshwater pearls, and floral motifs was inspired by their deep connection to feminine beauty and strength. Integrating these materials posed challenges, such as finding the right techniques to handle and combine them effectively. However, these challenges also allowed me to explore their rich symbolism and the powerful messages they convey about femininity and identity.

(BDG) Your process involves traditional techniques like spinning and crocheting, often associated with undervalued women’s work. How do you approach reinterpreting these crafts in a way that challenges conventional perceptions and adds new meaning to them? (SG)

I approach reinterpreting traditional crafts like spinning and crocheting by elevating them from their often-undervalued status to forms of artistic expression that challenge conventional perceptions. These techniques, historically associated with women’s work, are rich in cultural significance but have been frequently overlooked. In my work, I deliberately use these crafts to highlight the complexity, skill, and strength involved, thereby redefining them as powerful tools for storytelling and social commentary. By incorporating these techniques into contemporary jewellery design, I aim to add new meaning, showing that these traditional crafts are not just functional but are also capable of conveying profound messages about identity, femininity, and resilience.

(BDG) How do you see your jewellery pieces contributing to the broader conversation about feminism and societal norms? (SG)

I see my jewellery pieces as both artistic expression and a form of activism, but primarily as a means to awaken self-awareness in women. Through the feminist narratives in my designs, I aim to encourage women to reflect on what they truly desire, rather

than conforming to societal expectations or engaging in gender opposition. Feminism, for me, is about guiding women to embrace their true selves, including their imperfections, and to think critically about their identities and roles. My work seeks to spark this inner dialogue, fostering a deeper understanding and acceptance of oneself within the broader societal context. (BDG) Your final collection includes interactive pieces. Can you describe how the interactivity of your jewellery enhances the experience for the wearer and contributes to the themes of your work? (SG)

The interactive nature of my jewellery allows the wearer to physically engage with the pieces, offering a deeper appreciation of the themes of my work. Through this interaction, wearers not only connect personally with the jewellery but also gain insight into the complexities and strengths involved in traditionally undervalued women’s work. The tactile experience serves as a reminder of the resilience and skill inherent in these crafts, encouraging wearers to reflect on the broader feminist themes of identity and empowerment that my work seeks to convey.

(BDG) Through your work, you make a social commentary on the repression of individuality in women. How do you balance creating beautiful, wearable art with the desire to provoke thought and discussion about cultural constructs? (SG)

I believe that beauty and thought-provoking commentary are not mutually exclusive; in fact, they can complement each other. In my work, I strive to create pieces that are not only visually striking but also invite deeper reflection on cultural constructs and the repression of individuality in women. Beauty, in my view, is a highly subjective experience, and through my designs, I aim to show that something beautiful can also carry a powerful message. By blending aesthetic appeal with meaningful narratives, I seek to engage wearers and viewers on both an emotional and intellectual level, encouraging them to appreciate the art while also questioning the societal norms it addresses.

(BDG) Your collection challenges societal norms regarding age and beauty, particularly the devaluation of grey hair. How do you hope your work will influence people’s perceptions of ageing and the beauty that comes with it? (SG)

I hope my work encourages women to embrace their unique beauty at every age, rather than conforming to societal expectations or chasing ideals that don’t bring them joy. Ageing is simply a natural part of life, but the spirit of courageously pursuing what makes us feel alive and fulfilled is something deeply personal and belongs to each woman. Through my collection, I want to inspire a shift in how people perceive ageing, highlighting

380

0 381

that true beauty comes from confidently embracing who we are at every stage of life, rather than feeling pressured to hide or change our natural selves. (BDG) Looking ahead, how do you plan to further develop your exploration of feminist themes and the use of innovative materials in your future projects? Are there new directions or concepts you are excited to explore? (SG)

I see my exploration of feminist themes as an ongoing journey, one that evolves as I do. With each stage of life, I gain new perspectives on what it means to be a woman, and this continuous growth fuels my creative process. As I personally experience the challenges and joys of being a woman, I anticipate that my work will naturally expand to include new ideas and concepts. Looking ahead, I'm excited to delve deeper into innovative materials and techniques, always with the aim of pushing boundaries and broadening the conversation around feminism. My future projects will reflect this evolving understanding, as I continue to explore the complex and everchanging nature of female identity.

SIXU IS A jewellery designer WHO Martins. INFLUENCED BY HER moth INTEREST IN feminist themes, EXPL HER WORK. HER CREATIONS FOCU identities of women WITHIN TRADIT USING JEWELLERY DESIGN AS A M cultural stereotypes

KNOWN FOR HER innovative use O SIXU PRESENTS A UNIQUE PERSP resilience AND beauty OF WOMEN AS AN ARTISTIC EXPRESSION BU AIMING TO INSPIRE VIEWERS TO SOCIAL ROLES INFLUE

GRADUATED FROM Central Saint her, SHE HAS DEVELOPED A KEEN LORING THESE IDEAS DEEPLY IN US ON EXAMINING THE roles AND TIONAL SOCIETAL FRAMEWORKS, MEANS TO challenge AND redefine s ABOUT WOMEN.

OF MATERIALS AND TECHNIQUES, PECTIVE THAT HIGHLIGHTS THE N. HER WORK SERVES NOT ONLY UT ALSO AS A social commentary, O reconsider HOW TRADITIONAL ENCE personal identity.

REVIEW

Sixu Gao’s work offers a fresh and provocative take on femininity, using unconventional biomaterials to challenge traditional perceptions of ageing and identity. Her collection, “Hidden Silver Flowers,” stands out for its innovative use of grey hair, which elevates from a symbol of ageing to one of renewal and strength. By incorporating grey hair alongside floral motifs and freshwater pearls, Sixu transforms personal and societal narratives into a powerful commentary on women’s roles. The artist’s choice to use grey hair - a material often hidden or undervalued - reflects a deep personal and cultural introspection. This material choice, combined with the technical intricacies of spinning and crocheting, transforms mundane practices into profound artistic statements. Her method of spinning grey hair into silk threads and incorporating them into jewellery not only challenges the stigma surrounding grey hair but also celebrates it as a marker of wisdom

384

385

and life experience. Sixu’s interview reveals a thoughtful engagement with feminist themes. Her reflections on her mother’s practice of dyeing grey hair black underscore the societal pressures that compel women to conform to youthful ideals. By drawing parallels between concealed grey hair and hidden floral motifs in lingerie, Sixu critiques how aspects of femininity are often suppressed or undervalued. This juxtaposition serves as a powerful metaphor for the broader conversation about women’s often overlooked contributions and experiences. The interactive nature of Sixu’s pieces further enhances their impact, inviting wearers to engage with the jewellery and reflect on its deeper meanings. This interactivity not only makes the jewellery personal but also underscores the artist’s intent to provoke thought and discussion about societal constructs and individual identity. Overall, Sixu’s work is a compelling blend of beauty and activism, using traditional crafts and innovative materials to challenge and redefine the narratives around femininity and ageing. Her collection encourages viewers and wearers alike to reconsider societal norms and embrace a more nuanced understanding of personal identity and cultural expectations.

TECTRIX COLLECTIVE A transformative APPROACH TO ethical materiality, REIMAGINING discarded fibres THROUGH TRADITIONAL TECHNIQUES AND cultural narratives TO CREATE CONTEMPORARY, MEANINGFUL ART.

ARTIST STATEMENT

Tectrix Collective explores the properties and aesthetics of reusability by sourcing materials from local communities to repurpose them into novel forms and visual languages. They collect discarded wood chips, raw virgin wool, mill end yarn, and raw flax fibres. They then incorporate and build on traditional techniques such as weaving, felting, and embroidery to enhance the materials’ visual tactility through a series of objects, wall hangings, and installations. Their “material-centred” approach is the most defining and crucial part of the making process. They begin by collecting available materials and working with the inherent properties and symbolic meanings of what is foraged, revealing and enhancing textures, colours, and natural forms to convey emotions and narrate stories.

394

ARTWORK STATEMENT

395

Sacred Continuity was created by artists and co-founders of Tectrix Collective, Shaden Almutlaq and Xiao Tan. Their "material-centred" approach involves collecting materials from past projects and local communities, working with their inherent properties to enhance textures, colours, and natural forms. They use and build on traditional techniques such as weaving, felting, and embroidery to enhance the materials’ haptic language. Both Shaden and Xiao are Indigenous to Saudi Arabia and China, respectively. In sacred continuity, the woven patterns reinterpret Indigenous geometric art through a contemporary lens.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (TC) - TECTRIX COLLECTIVE

(BDG) Tectrix Collective is a unique platform that champions ethical materiality and collaboration. Can you share the story behind how you both met and what inspired you to form this collective? (TC)

While researching sustainable materials and nature-inspired design at the RCA studios, we often shared a workspace where we exchanged views and experiments. The process of giving and receiving feedback from someone equally passionate about materials was crucial to the growth of our practices, and it eventually led to a close friendship. Despite our different backgrounds and cultural upbringings, we bonded over a shared interest in materials, allowing us to see sustainability from new perspectives influenced by each other's insights. This collaboration inspired us to start Tectrix Collective. Our goal was to create a community where artists could collaborate, explore novel forms and visual languages using a range of materials, and push each other out of their comfort zones in a shared experimental environment.

(BDG) Your collective emphasises “ethical materiality.” Could you elaborate on what ethical materiality means to you and how it influences your creative process and choice of materials? (TC)

Ethical materiality means a focused and continued process of questioning what sustainability means in the world of materials. The term can be illuminating and is hard to address in one paragraph. The values we centre our work on with our textile work are choosing materials with long lifecycles that will endure time, and if disposed of, the work is considered bio-compostable. The formation and invention of materials always have a long history, and the stories behind them can strongly impact the overall narrative. We need to know whether they are fairly traded, their carbon and water footprints, and the narrative and meaning they hold for the society and culture from which they are sourced. We aim to have a transparent process and will continue developing our definition of ethical materiality as we expand to other mediums.

402

(BDG) Both of you bring diverse cultural backgrounds from Saudi Arabia and China into your work. How do these cultural influences shape the aesthetic and conceptual aspects of your projects, especially in works like “Sacred Continuity”? (TC)

Each culture has a unique history that shapes its aesthetic. Chinese aesthetics are often associated with atmosphere, meditation, and the passage of time. In contrast, Saudi Arabian art has historically been deeply rooted in Islamic traditions. Its aesthetics are characterized by the use of figurative Arabic script, abstraction, intricate and precise designs, and a strong integration of art and architecture. Both cultures have different articulations of their values in the art of weaving, embroidery, and other textile practices.

(BDG) Your artist statement mentions a “material-centred” approach. How do you go about sourcing and selecting the materials you use, and what role does the history or origin of these materials play in your creative process? (TC)

403

IInitially, our project aimed to challenge and redefine the value of materials. We began by our disused materials and noticed a shared preference for natural textures and raw fibres. We then sought out materials with cultural and sustainable significance. Considering the material context of the UK and Saudi, we prioritised wool and flax, which created an interesting contrast as they were abundant in one country and scarce in the other. Silk, with its significant role in Chinese history, was chosen for its elegance and strength. We used it as a warp to connect and communicate with the other materials.

(BDG) Tectrix Collective builds on traditional techniques such as weaving, felting, and embroidery. How do you balance preserving these traditional crafts with pushing the boundaries of contemporary art and design? (TC)

The interpretation of the same material can have subtleties across different times and places. For us, craft has always carried its spiritual, historical, and even technical values. While we may use advanced tools to create new visuals, the essence of these aspects remains unchanged. Practically, this usually starts by following a traditional process like felting or weaving, then building on it through interventions by, for example, using a new tool or material.

(BDG) Community is a key aspect of your practice, as you source materials from local communities. How do you engage with these communities, and what impact does this interaction have on your work? (TC)

We have employed various methods to achieve this. By speaking directly to the maker about recycling their waste materials, we

have found unconventional textile materials that kindle new aesthetics and creativity. Another method is to reach out to institutions, as some art workshops have material waste bins, making the recycling process smoother. Moreover, we realised sometimes the unwanted or leftover materials could potentially be unique in different contexts. As a result, it has shed light on us that participating in the communities could lead to unexpected results, it’s a reciprocal process to benefit both the makers and local communities. (BDG) In “Sacred Continuity,” you reinterpret Indigenous geometric art through a contemporary lens. Can you discuss the significance of this reinterpretation and how it contributes to the overall narrative of the piece? (TC)

Both Chinese Latticework and Islamic Art inspired Sacred Continuity. Geometry is fundamental and primary. Although they approach geometric art differently, both schools of thought have close ties to religious and cultural practices, emphasising harmony and integration with nature. We choose geometric shapes to eliminate unnecessary visual elements, allowing the material language to shine and creating a series of contingent yet varied flows. It also lends beautifully to weaving, combined with textural interventions of materials like flax.

(BDG) Your work explores the duality of textiles as a medium for healing and storytelling. Could you delve into how you express these concepts in your art, and why textiles are particularly suited for this purpose? (TC)

The history of textiles dates back centuries. We chose essential natural fibres with deep historical roots, some of which are preserved in their natural forms, retained for their raw textures and unique aesthetic. We draw on diverse cultural perspectives to create works that, like in Sacred Continuity, celebrate the geometric language of Indigenous communities worldwide. The general perception of textiles as “domestic” makes it a rebellious medium to work with; in our way, we are joining other artists in pushing back against these gendered assumptions and asserting the value and complexity of fibre arts. Inherent to textile work is labour, often by women in communal gatherings, where they practise and pass on their art to younger generations. It’s a medium of healing embedded with women’s stories and history across cultures.

(BDG) Working with sustainable and ethically sourced materials often presents challenges. What are some obstacles you have faced, and how have you overcome them in your practice?

404

(TC)

These two criteria can limit material and technical choices. It can be unreliable to come across the same materials consistently, so we follow a material-led process where we work around what we’ve foraged or collected. Following a hand-and-mind approach, we start integrating and experimenting with different ways to make something new; we emphasise leaving the marks and rawness as they were to reveal the material’s natural visual language, characteristics, and symbolism.

(BDG) What are your long-term goals for Tectrix Collective? How do you envision the collective evolving in terms of both artistic practice and impact on the broader art and design community? (TC)

We are building Tectrix Collective as a vibrant community where those passionate about materials can share their work and ideas through collaborations and commissions. With our diverse backgrounds and shared love for textiles, we came together to create this collective. Our goal is to establish a shared commercial space where artists can collaborate to generate new income sources, allowing them the financial freedom to focus on their artistic practice. Although we launched in May 2024, we've already made significant strides in selling our work and garnering interest from potential clients. Sustainability in materials and processes is a core value in today’s design landscape and is deeply embedded in everything we do. What sets Tectrix Collective apart is the rich diversity of voices and cultures we represent, making it easier for clients and curators to find sustainability and cultural diversity in one unique space.

SHADEN ALMUTLAQ AND XIA LONDON AND THE founders OF T MET DURING THEIR STUDY AT WORKING TOWARDS AN MA in Products. TECTRIX COLLECTIVE COLLABORATION BETWEEN A PRIORITISE ethical materiality. CEN THE STUDIO PROPOSES novel form THEIR COLLABORATORS’ interpret THEIR EXPERIENCE AND INTERES of textiles AS A MEDIUM OF heal ACROSS C

AO TAN ARE ARTISTS BASED IN TECTRIX COLLECTIVE. THE DUO T THE RCA, WHERE XIAO WAS Textiles AND SHADEN IN Design IS A platform THAT CHAMPIONS ARTISTS AND DESIGNERS WHO NTRED AROUND A SET OF VALUES, ms AND visual languages THROUGH tations OF ETHICAL MATERIALITY. ST IN fibre art EMPLOY THE duality ling AND storytelling EMBEDDED CULTURES.

REVIEW

Tectrix Collective, formed by Shaden Almutlaq and Xiao Tan, embodies a unique blend of ethical materiality and cultural storytelling. Their “Sacred Continuity” series illustrates their dedication to repurposing discarded and natural materials into compelling artistic expressions. With backgrounds in textiles and design, Shaden and Xiao effectively merge traditional techniques such as weaving and felting with contemporary aesthetics, producing work that is both innovative and deeply meaningful. Their diverse cultural backgrounds - Saudi Arabian and Chinese - significantly inform their artistic approach. “Sacred Continuity” is a testament to this, as it reinterprets Indigenous geometric art through a modern lens. This synthesis not only honours the historical contexts of their respective cultures but also integrates these traditions into a contemporary framework, enriching their work with multiple layers of significance. The collective’s commitment to ethical materiality is a standout feature. By sourcing materials from local communities and previous projects, they address sustainability in a thoughtful manner. This practice extends beyond mere material reuse, delving into the stories and histories of the materials themselves. Their method challenges conventional material lifecycles, reflecting a broader awareness of environmental and cultural impacts. Their “material-centred” approach highlights a deep engagement with the inherent qualities of their

408

409

chosen materials. By enhancing the textures, colours, and natural forms of these materials, they create works that are both visually arresting and emotionally resonant. This approach combines a respect for traditional textile techniques with a fresh perspective, demonstrating the versatility and ongoing relevance of fibre arts. Community engagement plays a crucial role in their practice. By collaborating with local artisans and institutions, they not only source unique materials but also weave local narratives into their work. This reciprocal relationship benefits both the artists and the communities involved, enriching the creative process and the resulting artworks. The collective’s exploration of textiles as both a medium for storytelling and a vehicle for healing challenges conventional perceptions of textile art. By asserting the value and complexity of fibre arts, they confront and redefine the often-dismissed domestic connotations of textiles, affirming their significance in the broader art world. Overall, Tectrix Collective’s work represents a dynamic intersection of traditional techniques and contemporary concerns. Their innovative use of materials, cultural influences, and commitment to sustainability make their practice both relevant and thought-provoking. As they continue to evolve, their collective offers a fresh perspective on the role of textiles in art, blending heritage with innovation to create works that resonate on multiple levels.

XUANBO CAO BLENDING VIBRANT colours AND ABSTRACT forms, THIS ARTIST EXPLORES nature AND witchcraft, CHALLENGING TRADITIONAL NOTIONS AND CELEBRATING female empowerment THROUGH UNIQUE MATERIAL COMBINATIONS.

ARTIST STATEMENT

My initial fascination with plants, witches, and their colours and textures was simply an interest. I loved collecting seeds and creating magic-like moments - it felt like discovering hidden treasures. However, I soon realised that these natural and magical elements carry deep cultural significance. Through further research, I uncovered the darker history behind these captivating figures - witches, often linked with malevolent magic, were blamed for any misfortune. Innocent women were accused of witchcraft and deemed responsible for plagues and disasters. Traditionally, witches are depicted in dark hues, like purple and black. But I wonder if their image can be redefined. I believe it can, and it will.

414

ARTWORK STATEMENT

415

The inspiration for this work stems from the imagined experiments of a witch in her laboratory, where she manipulates plant cells to create new life forms. She then selects one of these forms and fashions it into an accessory to carry with her. In this narrative, I am that witch, creating these living beings and preserving them in transparent containers. "Witches represent women who transcend domination and restriction." With the rise of awareness around equal rights, women are gradually growing beyond the constraints imposed upon them, expressing their vibrant energy in a multitude of ways. The cells in this work, breaking free from the glass slide on which they are observed, represent this evolution. They take on free-form shapes, symbolising the potential for the image of the witch - and the culture surrounding witches - to evolve and flourish.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (XC) - XUANBO CAO

(BDG) Your work draws inspiration from nature, plants, and daily life. Can you share more about how these elements influence your creative process and how you translate them into your vivid and abstract art pieces? (XC)

For me, everything I see, hear, and feel is constantly changing, and these ordinary things, along with my subjective emotions, transform me as well. When creating, I often pause to take a walk outside, diverting my attention from my work to experience the same objects in a different state of mind. For instance, swaying trees can be soothing one moment and unsettling the next; sunlight can be too harsh, while rainy days can feel gentle. These are fleeting emotions and subtle details, and my role is to sense them, immerse myself in them, and understand them, moving with their rhythm. When everything flows naturally, my artworks are infused with vivid emotions.

(BDG) You mention striving to balance representation and abstract art in your work. How do you approach this balance, and what challenges or discoveries have you encountered in blending these styles? (XC)

I usually record everything I see, hear, and feel using pencils, a camera, or by writing. I then combine these elements into a moodboard, grouping them by similar colours, compositions, or atmospheres. These moodboards often feature lines, curves, circles, squares, and other shapes, which I collage together randomly, leading to new patterns, colour schemes, and compositions. The challenge in achieving this balance lies in the absence of shortcuts - there are no easy techniques. It requires constant collecting, experimenting, thinking, accumulating, and enriching one's knowledge. This approach may be slow and ordinary, but it not only allows me to generate endless new ideas, it also helps me connect everything on Earth and ponder the meaning of existence. It gives me a calm space for reflection, far removed from the superficial pursuit of art.

(BDG) Your fascination with witches and their portrayal in culture is evident in your artist statement. What initially drew you to this theme, and how do you see the image of the witch evolving in your work?

420

(XC)

My interest in witches began with a cartoon I loved as a child. In this show, witches had their own huts where they conducted experiments with magical potions. They could use magic to instantly grow seedlings into towering trees and a variety of flowers and plants. They could also change the colours and shapes of these plants to suit their preferences. The stories in the cartoon were told entirely from a female perspective. When the witches returned home or to school, they were just ordinary girls - daughters, friends, family members, and members of society. They had their own worries, strengths, and weaknesses, but together, all these qualities formed their unique identities, and they shone as independent beings. In my work, the image of the witch represents all girls, including myself. We can be witches or take on any other identity, and all the colours that make us who we are represent the incredibly beautiful moments of life.

(BDG) You use a mix of materials such as resin, soft clay, glass, and acrylic in your piece “Witch’s Plant Laboratory.” How do these materials contribute to the narrative and visual impact of your work, and what inspires your choice of materials?

421

(XC)

The title of the piece may initially evoke images of real plants, medicine bottles, and magic books. However, I wanted to avoid using materials that were too obvious or directly tied to traditional witchcraft. Instead, I chose materials that are soft, transparent, and colourful, capable of taking on any shape - whether flat, three-dimensional, or even wrapping around another material. These materials are more novel and, when combined, form a new artistic language. It’s akin to women of different personalities, identities, skin colours, and appearances coming together to create a vibrant, powerful force, showcasing diverse possibilities. Softness and transparency symbolise fragility and beauty; rich colours represent the diversity of life - whether positive, melancholic, passionate, or sombre; random shapes symbolise plasticity, as there is no fixed definition of femininity; the interplay of flatness and three-dimensionality, along with mutual inclusion and envelopment, reflects the fusion, intersection, understanding, and coexistence of different life forms.

(BDG) Your work touches on themes of female empowerment, with witches symbolising women transcending domination and restriction. How do you hope your work resonates with viewers in terms of these themes, and what message do you aim to convey about women’s evolving roles in society? (XC)

In my work, the plant cells within the transparent frames are magnified and displayed flat. They are like the female characters who have been observed, judged, constrained, and criticised

since childhood. As girls grow up, they gradually become aware of these imposed shackles, and they start to reexamine themselves, disregarding the hurt inflicted upon them. Eventually, they break free from the frame of observation, growing outwards from flat to three-dimensional, into unrestrained and exaggerated shapes. Moss grows freely, covering various surfaces. I use it to represent every place on Earth, symbolising that women everywhere should have the freedom to grow without restrictions.

422

XUANBO CAO IS AN artist B WORK IS DEEPLY INSPIRE everyday life. SHE COLLEC compositions FROM THESE FIND A balance BETWEEN re art. HER DISTINCTIVE STYL COLOURS AND lively forms, VARIOUS MATERIALS TO imaginativ

BASED IN LONDON WHOSE ED BY nature, plants, AND CTS colours, shapes, AND E ELEMENTS, SEEKING TO epresentational AND abstract LE IS MARKED BY VIBRANT ACHIEVED BY COMBINING O CREATE innovative AND ve PIECES.

REVIEW

Xuanbo Cao, a London-based artist, brings a refreshing perspective to the contemporary art world with her vibrant explorations of nature, culture, and female empowerment. Her work stands out for its ability to balance representation and abstraction, rooted in a deep connection to the natural world. Xuanbo’s art draws heavily from her observations of nature. Through her vivid use of colour and form, she captures the fleeting beauty of everyday life, transforming it into abstract compositions that are both dynamic and emotionally resonant. Her creative process is marked by a deliberate, almost meditative approach, where she allows the natural world to influence and inform her work. Xuanbo skilfully blends the familiar with the abstract. By creating ‘moodboards’ from her experiences, she crafts intricate compositions that are rich in both form and meaning. This method allows her to explore new visual possibilities while maintaining a connection to the tangible world, resulting in pieces that invite deeper reflection.

426

427

A central theme in Xuanbo’s work is the redefinition of the witch. Moving beyond traditional, dark portrayals, she reclaims the witch as a symbol of female strength and resilience. Her witches are not figures of fear, but of empowerment - women who challenge societal constraints and embrace their power. This theme is vividly expressed through her innovative use of materials, which evoke both the fragility and strength inherent in the female experience. In works like “Witch’s Plant Laboratory,” Xuanbo employs unconventional materials - resin, soft clay, and glass - to craft narratives that transcend the ordinary. These materials, with their softness and transparency, symbolise the complex nature of female identity and the potential for transformation. The resulting pieces are both visually striking and conceptually rich, offering new interpretations of familiar themes. At the core of Xuanbo’s work is a powerful message about female empowerment. She uses the metaphor of plant cells breaking free from their frames to represent women overcoming societal limitations. Her work speaks to the evolving roles of women, celebrating their ability to grow, flourish, and redefine themselves in a world that often seeks to confine them. Xuanbo Cao’s art is a thought-provoking exploration of nature, culture, and identity. Her ability to blend abstract and representational elements with deep cultural commentary makes her work both visually engaging and intellectually stimulating. Through her reimagining of the witch, Xuanbo not only redefines a cultural symbol but also offers a powerful statement on the strength and resilience of women.

XUANLIN HE FUSING TRADITIONAL TEXTILE techniques WITH MODERN SUSTAINABILITY, THIS ARTIST TRANSFORMS natural dyes INTO eco-friendly ART, BLENDING heritage WITH CONTEMPORARY PRACTICES.

ARTIST STATEMENT

Xuanlin He is a textile artist. Her work is characterized by a vibrant exploration of color and a deep commitment to sustainable textile development. Her artistic journey is influenced by traditional craftsmanship, which she meticulously integrates with contemporary sustainable practices. Xuanlin’s creations emphasize aesthetic beauty and embody the intricate relationships between humans, nature, and history. In pursuing sustainable textiles, Xuanlin delves into the potential of age-old techniques, seeking innovative ways to repurpose and reinvent them for modern applications. Her work often features natural dye and eco-friendly materials, highlighting the harmony that can be achieved when traditional methods meet sustainable innovation. Through her art, Xuanlin aims to foster a deeper understanding and appreciation of the natural world, urging us to consider the environmental impact of our choices.

436

ARTWORK STATEMENT

437 "Back to the Future" explores the intersection of ancient techniques and sustainable practices in textile arts. The project aims to infuse linen fabric with natural hues derived from tea, utilizing elm bark gel as a mordant. This innovative approach also repurposes tea leaves, commonly regarded as food waste. My research focuses on the sustainable development of natural dyes, driven by the environmental harm caused by conventional chemical mordants, which release significant amounts of heavy metals into the environment. This led me to explore natural mordants and suitable dyeing materials and yarns to achieve a sustainable future for natural dyes. The work uses knitting to express, drawing inspiration from an Eastern musical instrument I discovered in a second-hand shop. The instrument's long string, divided by a stand, produces different sounds when plucked at both ends, symbolizing balance within imbalance. Project "Back to Future" utilizes tea leaves extracted from food waste to dye linen fabric, demonstrating the potential of tea leaves as a natural dye. This process weaves tradition with modernity, minimizing environmental impact and waste by using agricultural by-products. The result is a series of natural, health-conscious textiles that honor tradition while promoting a sustainable future.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (XH) - XUANLIN HE

(BDG) Your work is known for blending traditional textile techniques with contemporary sustainable practices. What inspired you to pursue this unique intersection, and how do you navigate the balance between tradition and innovation in your creative process? (XH)

This is related to my upbringing in Guangzhou, a city rich in traditional culture, and my undergraduate years in Chongqing, a city known for its ethnic diversity. Growing up in such environments allowed me to engage with and appreciate many traditional crafts. I recognize the necessity of preserving these traditional textile techniques as cultural treasures, but I am also aware that some of their processes can cause environmental pollution due to the limitations of past technologies. I am deeply committed to improving these environmental impacts so that our traditional textile techniques can be sustainably preserved.

442

Regarding the balance, I personally lean towards innovation in technology, aiming to retain the visual effects of traditional techniques. It is equally important to me that these techniques, when integrated with sustainable development practices, continue to embody the cultural significance they represent. (BDG) In your project “Back to the Future,” you utilise tea leaves and elm bark gel as natural dyes and mordants. Can you share more about the challenges and discoveries you encountered during this exploration of natural dyeing methods? (XH)

In the past, I experimented with natural dyeing using many traditional materials, almost all of which required metal mordants to fix and react with the colors. However, the environmental impact of these mordants was often overlooked, leading to significant pollution. To address this, I conducted research into the components involved in the dyeing process and discovered that tea leaves and elm bark gel could serve as natural dyes and mordants. My current project is still in the early stages of exploring this technique, but the combination of these two materials has shown potential in improving dyeing efficiency. I am continuing to conduct further experiments on the fabric's exposure to sunlight and washing, which are scientific challenges for me.

(BDG) Sustainability is a core aspect of your work. How do you see the future of sustainable textiles evolving, and what role do you believe artists and designers play in this movement? (XH)

I remain optimistic about the future of sustainable textiles, but I also recognize that integrating them into people's daily lives is a significant challenge. I once had a conversation with a PhD student from Imperial College who is researching microbial pigment production. We both agreed that the technology for commercializing sustainable textiles is crucial. The dilemma for artists and designers is that we have creative ideas for art and products but often lack the rigorous technical knowledge, while researchers in science and engineering face the opposite challenge. I believe that artists and designers can serve as a bridge for bringing sustainable textile technologies to market.

(BDG) Your work emphasises both aesthetic beauty and environmental consciousness. How do you approach achieving a balance between these two important aspects in your creative practice? (XH)

443

I prioritize using natural materials with minimal environmental impact, such as linen and plant-based dyes. Linen is not only a beautiful fabric but also can remediate soil. The traditional crafts I study, such as knitting and natural dyeing, inherently possess a natural aesthetic. By using natural mordants like elm bark gel, ensuring that the dyeing process is environmentally friendly, while also allowing the final work to exhibit natural, harmonious colors and textures.

(BDG) Your background includes a master’s degree in textiles from the Royal College of Art and a bachelor’s degree in fashion from Sichuan Fine Arts Institute. How has your educational journey shaped your artistic identity and approach to textile design? (XH)

During my undergraduate studies in fashion, I became aware of the significant resource waste in the fashion industry and saw the efforts being made toward sustainability. My study of traditional crafts revealed their immense potential for development and improvement, helping textiles achieve sustainability. During my time at RCA, I became more determined and independent, fostering a passion for research and a strong desire to become an artist dedicated to sustainable textile development.

(BDG) Textile art is experiencing a resurgence in the contemporary design world. How do you see your work fitting into this larger movement, and what unique contributions do you hope to make? (XH)

What sets my work apart is the emphasis on bridging cultural heritage with modern sustainability. I aim to preserve the visual and cultural significance of traditional crafts while innovating

their processes to minimize environmental impact. By doing so, I hope to inspire a deeper connection between contemporary audiences and the rich history of textile arts, while also demonstrating that tradition and sustainability can coexist and thrive in the modern world. Ultimately, I aspire to make a unique contribution by creating textiles that are not only visually compelling and culturally significant but also aligned with the values of environmental stewardship. My goal is to push the boundaries of what textile art can be, making it a meaningful part of both the art world and everyday life. (BDG) Looking ahead, what new techniques, materials, or themes are you excited to explore in your future projects? How do you envision the evolution of your work in the coming years? (XH)

My current plan is to apply for a PhD program to further refine the dyeing techniques using tea leaves and elm bark gel. My goal is to develop this dyeing technology and concept to the point where they can be mass-produced and implemented, extending beyond the realm of art creation. By leveraging my skills as an artist, I aim to bridge the gap between sustainable technologies and textile production, facilitating their integration into broader industry practices.

XUANLIN HE IS A textile arti AND natural dyeing. SHE HO IN TEXTILES FROM THE R BACHELOR'S DEGREE IN FA Arts Institute. XUANLIN HAS TEXTILE TECHNIQUES AN WORK AT China Gra

ist SPECIALIZING IN knitting OLDS A MASTER'S DEGREE Royal College of Art AND A ASHION FROM Sichuan Fine MASTERED TRADITIONAL ND HAS SHOWCASED HER aduate Fashion Week.

REVIEW

448 Xuanlin He’s textile art reflects a profound engagement with both traditional techniques and sustainable practices. Her work, particularly in the “Back to the Future” series, demonstrates a meticulous exploration of natural dyes and materials. By using tea leaves and elm bark gel, Xuanlin not only reimagines the dyeing process but also addresses the environmental impact of conventional mordants. This innovative approach aligns with her commitment to sustainable textile development, showcasing a harmonious blend of tradition and modernity. Her background in traditional textiles from Sichuan and her advanced studies at the Royal College of Art have significantly shaped her artistic identity. Growing up in culturally rich environments and witnessing the environmental toll of conventional textile practices,

449

Xuanlin’s work strives to bridge these cultural and environmental gaps. This dedication is evident in her use of natural materials like linen and plant-based dyes, which reflects a careful balance between aesthetic beauty and ecological responsibility. The “Back to the Future” project, with its integration of repurposed tea leaves and eco-friendly mordants, highlights Xuanlin’s innovative spirit. The project’s conceptual foundation - drawing inspiration from an Eastern musical instrument to symbolise balance - further illustrates her ability to weave complex ideas into her work. This fusion of aesthetic and environmental considerations marks a significant contribution to contemporary textile art, where she emphasises the importance of sustainability without compromising on visual impact. Xuanlin’s focus on sustainability also extends to her vision for the future of textile art. She sees artists and designers as vital in bridging the gap between innovative technologies and practical applications, aiming to bring sustainable practices into broader i n d u st r y u s e. H e r c o m m i t m e nt to t h i s c a u s e underscores her role as a forward-thinking artist who is not only preserving traditional crafts but also enhancing them through modern sustainable practices. In summary, Xuanlin He’s work stands out for its thoughtful integration of traditional techniques with contemporary sustainable practices. Her dedication to using natural materials and addressing environmental concerns while preserving cultural heritage presents a compelling model for the future of textile art. As she continues to explore and refine her techniques, her contributions will likely inspire further dialogue on the intersection of tradition and sustainability in the art world.

XUECHEN WANG

TRANSFORMING carpets INTO metal objects, THE WORK FUSES functionality WITH AESTHETIC INTRIGUE, reimagining EVERYDAY MATERIALS THROUGH innovative AND sustainable TECHNIQUES.

ARTIST STATEMENT

Xuechen Wang is a jeweller and artist who specialises in making jewellery, utensils and body sculptures. Most of her works come from her observation and thinking about everything around her. She is keen on studying the cultural and material properties of materials existing in specific environments, and how they have interesting connections with people. Her ongoing projects deal with carpets, nature and space, and she hopes to engage in artistic exploration by creating a new metal expression. In the future, she will continue to make contemporary crafts and experiment with more art forms.

454

ARTWORK STATEMENT

455 My work "Stability Seeking" consists of 8 containers and objects. Centred around the study of the materiality of carpets, I explored the relationship between carpets, space and human’s traces. I believe that carpets are carriers in an abstract sense, so in my creation, I deconstruct the function of carriers and imagine the transformation of form and material when carpets are made into concrete containers. In terms of material selection, I first collected and dismantled several second-hand carpets, and then used electroforming to wrap the metal layer by layer on the carpet and harden it, showing a unique metal mechanism. These containers bring new life to old carpets, giving them new functionality and value.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (XW) - XUECHEN WANG

(BDG) Your practice is rooted in the theory of vital materialism, which connects material culture, environmental relations, and body propositions. How does this theory influence your creative process, particularly in your “Stability Seeking” collection? Can you provide examples of how these ideas are reflected in your work? (XW)

Vital materiality emphasises the agency and subjectivity of material and criticizes traditional materialism that takes humans as the subject. It serves as a theoretical reference for my current work and gives me the inspiration to interpret the materiality of the carpet. For example, I imagined that carpets would have different relationships with the environment in different states, thus triggering different actions of people: a flat carpet would make people step on it habitually, while a rolled carpet would make people observe it from a distance. So in my work, I intentionally changed the traditional placement of the carpet to emphasise its subjectivity. In addition, the use of electroforming technology is also regarded by me as giving new life and vitality to the carpet. The unique shape displayed by the combination of metal and carpet impacts the audience's senses. I think my purpose has been achieved.

(BDG) You use carpets in a transformative way by integrating them with metals through electroforming. What drew you to use carpets as a primary material, and how do you approach the process of transforming this everyday material into a functional and aesthetic object? (XW)

The reason that attracts me to use carpet is that it is an unfamiliar item to me, so all the feelings it brings to me are fresh and it will collide with many interesting ideas. Second, carpet is an everyday item full of historical significance and material metaphors, and deserves more in-depth research. Carpet is not only a daily material, but also a practical and beautiful object. The work I do is just to reconstruct the function of the carpet and provide a new interpretation angle for the carpet.

(BDG) The idea that carpets serve as carriers of human traces is central to your work. How did you develop this concept, and how does it inform the design and functionality of your pieces?

460

0 461

(XW)

By investigating the historical and cultural attributes of carpets and observing how carpets carry my daily activities, I came up with the concept of "carpets as carriers of human traces", which directly points to my transformation of carpets from abstract carriers into concrete containers. It is a process of deconstruction and reconstruction of the carpet, which closely links the two functional items of the carpet and the container. Through the reimagined carpet form, I hope to convey the cultural and physical metaphors of carpets while broadening the creative boundaries of metal crafts.

(BDG) Your process involves dismantling carpets and applying electroforming to create metal layers. Can you describe the technical challenges and innovations involved in this process? (XW)

In the process of creating these containers, it was a big challenge to hold the soft carpets in the shape I wanted because I couldn't add additional supports, otherwise the metal would wrap them all up during the electroforming process and prevent them from being separated. So I innovatively used melted wax soaked into the carpet, which gradually became harder and easier to shape as the wax returned to a solid state. Moreover, electroforming has randomness that is difficult to control, so it is difficult to achieve perfection. However, this randomness adds vitality to my works, allowing the carpet to grow more freely, and ultimately forming a unique texture.

(BDG) The “Stability Seeking” collection includes various types of objects, from tea cups to door handles. How do you ensure that each piece maintains both artistic integrity and functional practicality? (XW)

Each of my works has different thoughts and designs in terms of form and concept, but is generally framed under the same theme and creative method, that is, they all revolve around the imagination of containers and the technical application of electroformed carpets. Specifically, when designing these containers, I looked for many traditional container shapes as references, such as Chinese tea cups, wine pots, vases, etc. Integrating these morphological features with the electroformed carpet is a challenge, because in addition to considering the overall beauty, I also need to consider how to make and how to tightly connect the pure metal parts and the electroformed carpet parts. I ended up trying a variety of different methods including wax casting, 3D modeling and hammering to create the different parts and connect them using cold linking methods.

(BDG) In what ways does the transformation from carpet to metal alter the aesthetic and symbolic significance of the material?

(XW)

The carpet is covered with metal through electroforming, fusing two completely different materials together, showing a balance between softness and hardness. I think I changed the traditional smooth and flat surface of metal crafts, and the carpet serves as the lining so that metal can also have a "furry" aesthetic. The visual appeal and conceptual underpinnings of the work have always been complementary to each other. From the concept to the visual implementation of the work, the process in between has gone through countless attempts and experiments, constant self-reflection and iteration of ideas, which ultimately made the two more powerfully connected.

(BDG) How does your background and the environments of London and Guangzhou influence your approach to materiality and design? (XW)

The change of environment was one of the opportunities for me to start this creation. The humid and hot weather in Guangzhou caused me to never use carpets. Therefore, this material aroused my strong interest after I came to London. Many of my creations come from regarding my thinking about the environment, I habitually observe the surrounding environment and feel the changes in my body. The restrained and pure culture of East Asia has profoundly influenced my aesthetics and the vibe of my works. Therefore, when I create carpets, I do not deliberately emphasize and display complex carpet patterns that represent other cultures. Instead, I chose to work with the tactile feel of carpets.

(BDG) You mention exploring carpets, nature, and space in your ongoing projects. What future directions are you considering for your practice? (XW)

I will continue to create more diverse carpet containers, and around the theory of vital materialism, I will continue to create works using electroforming technology as the main method, and continue to explore topics related to nature and space. Recently I have been particularly interested in the phenomenon of sedimentation. Sedimentology is closely related to geography, physics and biology. Electroforming is one of the physical deposition methods. I look forward to more interesting ideas emerging.

(BDG) Repurposing second-hand carpets is a sustainable practice. How important is sustainability in your work, and how do you address environmental concerns through your materials and processes? (XW)

The metal and carpet I use to make these containers come from wasted scraps. The carpets are clean second-hand carpets purchased on eBay, and the metals are cut pieces that are placed in the electroforming machine as raw materials for copper ions. Sustainability in my works is embodied in the avoidance of waste: leftover materials that have lost their value become new valuable

462

2463

contemporary crafts through technological and technological innovation. I think it is difficult to truly solve environmental problems through artworks. What I can do is to reach a certain preset for environmental improvement through practical research on sustainable materials. (BDG) Looking back at your journey from your studies at RCA to your current practice, how have your ideas about materiality and design evolved? How do you see your practice evolving in the coming years? (XW)

The year I spent at RCA was a year in which I continued to accumulate creative energy. I found unique creative methods, and also gained a better understanding of the material relationships in this world through reading and practising. In the next few years, I will not be limited to making jewellery or containers. I will try a variety of creative methods and even develop more realistic product designs.

XUECHEN WANG IS A jewellery a STUDYING IN LONDON. SHE H IN Jewellery and Metal AT THE RC cross-media artistic practice, INCL CONTEMPORARY JEWELLERY, o HER WORK HAS BEEN EXHIBITE BEIJING AND GAINED ATTENTIO HER understanding AND imagina MATERIALISM, connecting MATER RELATIONS AND BO

artist AND designer LIVING AND HAS JUST COMPLETED HER MA CA. SHE CREATES THROUGH A LUDING BUT NOT LIMITED TO objects, AND GRAPHIC WORKS. ED IN LONDON, SHANGHAI AND ON. HER PRACTICE IS BASED ON ation OF THE THEORY OF VITAL RIAL CULTURE, ENVIRONMENTAL ODY PROPOSITIONS.

REVIEW

466 Xuechen Wang’s “Stability Seeking” collection offers a compelling examination of material transformation and environmental consciousness. Her approach to integrating carpets with metal through electroforming stands out for its originality and depth. By deconstructing and reconstituting carpets into functional art pieces, she challenges traditional boundaries of material use, creating objects that are both visually striking and conceptually rich. Xuechen’s use of electroforming to apply metal layers to carpets introduces a novel interplay of textures, merging the softness of the original material with the rigidity of metal. This technique not only highlights her technical skill but also aligns with her exploration

6467

of vital materialism - a theory that views materials as active participants in their own evolution. The collection reflects her unique ability to blend cultural context with innovative design. Her choice to repurpose second-hand carpets and scrap metals underscores a commitment to sustainability, addressing environmental concerns through creative reuse. This approach is more than a nod to ecoconscious practices; it represents a thoughtful integration of sustainability into the artistic process. The challenges of working with such diverse materials are met with inventive solutions, such as using wax to maintain the shape of carpets during electroforming. This not only showcases Xuechen’s problem-solving capabilities but also adds a layer of complexity and nuance to her work. Overall, Xuechen’s practice represents a dynamic intersection of art, material science, and sustainability. Her work invites viewers to reconsider the potential of everyday materials, offering a fresh perspective on functionality and design. As she continues to explore new techniques and concepts, her evolving practice promises to push the boundaries of contemporary craft and design.

XUEYAN SHEN

BLENDING NATURE’S simplicity WITH historical AESTHETICS, THIS TEXTILE COLLECTION redefines CONTEMPORARY CRAFT, EMBRACING sustainability AND INTRICATE DETAIL IN EACH HANDMADE PIECE.

ARTIST STATEMENT

Xueyan Shen's body of work combines textile artistry and design, specifically through knitting, to capture the essence of nature and moments from her life. By advocating for a slow-paced lifestyle, she aims to create knitted artworks and home products with a timeless aesthetic, fostering a deeper connection between the observer and the natural world. Using natural materials, Xueyan crafts her pieces with a meditative approach to knitting, allowing for introspection and self-healing. This practice not only strengthens her bond with the yarns but also supports sustainable and eco-friendly methodologies. Inspired by the intricate beauty of nature and the philosophy of slow living, her work draws influence from traditional craftsmanship and contemporary design principles, seamlessly blending art, craft, and design. Looking ahead, Xueyan is excited to explore new dimensions of textile art through upcoming projects and exhibitions. Currently, she is working on a series that integrates interactive elements, allowing viewers to engage more intimately with the textures and forms of the knitted pieces. These forthcoming works aim to continue her exploration of the emotional resonance between humanity and nature, further advocating for sustainable and mindful living.

478

479

ARTWORK STATEMENT The inspiration for my current collection originates from pebbles I collected by the seaside. Their unique colours and textures captivated me, leading to a process of arrangement and photography that evoked the minimalist beauty of Muqi's ‘Six Persimmons’ from the Song Dynasty. This initial spark inspired deeper research into ancient Song Dynasty paintings, where I found the architectural lines in the artworks providing additional creative pathways. The result is a collection that seamlessly blends the rustic charm of nature with the timeless elegance of Daoist aesthetics, embodying the philosophy of ‘following the rules of nature.’ Colour plays a pivotal role in this collection, with hues meticulously extracted from the pebbles and enriched by incorporating analogous shades. My commitment to sustainability is reflected in the use of natural yarns, chosen not only for their environmental benefits but also for their ability to evoke a deep emotional connection and a sense of tranquility and stability. Some yarns were repurposed from previously discarded samples, unraveled and used primarily as inlay yarns. Linen, with its properties best representing rustic charm, is the primary yarn in this collection. A consistent theme in my work is the blurring of boundaries between knitting and weaving. Building on this idea, I conducted extensive research and experimentation, comparing different yarns and textures to find the ideal combination: linen and paper yarn. Using linen as the primary yarn, supplemented by paper yarn and small amounts of wool and cotton for inlay, I developed a fabric that balances strength and light permeability while maintaining necessary density. Drawing from the architectural lines observed in Song Dynasty paintings and the relationships between doors and windows, I extracted line-based patterns. I simulated these patterns using various knitting structures, allocating colours and proportions to reflect the architectural influences. Due to the lack of elasticity in linen yarn, achieving the right structure and tension required knitting numerous samples. After extensive trials, I settled on a knitting structure that combines inlay, ripple, and floating techniques. This structure allowed me to distribute knitting patterns and colours into grids, culminating in a piece of window dressing called ‘558,’ named after the number of rows knitted for this piece. Following a similar approach, I created ‘1121,’ incorporating 'windows' through floating stitches. By combining linen yarns of different thicknesses, I achieved an uneven surface that beautifully showcases the rustic charm of linen. When sunlight filters through, the shadows cast by the window dressing on the wall sway with the wind, creating a visual effect of tranquility. This collection reinforced my creative core: “keep simplicity and follow the rules of nature.” Utilising sophisticated craftsmanship to express the rustic charm of nature, the slow-paced process of handcrafting allows me more time to connect with myself and feel the material. This approach not only aligns with my lifestyle but also represents my commitment to practicing sustainability. Through my work, I strive to create pieces that possess a timeless beauty, embodying the philosophy of slow-making and sustainable living.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (XS) - XUEYAN SHEN

(BDG) You mention Muqi’s ‘Six Persimmons’ and Song Dynasty paintings as sources of inspiration. How did these historical artworks influence the architectural lines and patterns in your collection? (XS)

The influence of Muqi’s ‘Six Persimmons’ and Song Dynasty paintings on my work is deeply rooted in their minimalist beauty and architectural precision. I was particularly inspired by the linear qualities and compositional balance in these artworks. To translate these traditional aesthetics into my contemporary designs, I selected several Song Dynasty paintings and traced the lines of doors and windows. By simplifying these lines, I developed layouts composed of grids and linear patterns. These layouts then guided my colour choices and knitting structures, allowing me to incorporate the essence, proportions, and harmony of the original paintings into my work. This process not only honours the historical art but also reinterprets it in a modern context, creating a dialogue between the past and present in my collection.

(BDG) The collection uses natural and repurposed yarns, such as linen and paper yarn. How do you select your materials to align with your sustainability goals? (XS)

Material selection is a critical part of aligning my work with sustainability goals. Based on extensive research, I prioritise biodegradable and renewable materials in my collection. For instance, linen plays a prominent role due to its rapid growth cycle and minimal environmental impact. Its natural properties, such as breathability and durability, make it ideal for interior textiles. The undyed linen, with its organic hue, evokes a sense of comfort and tranquility. Additionally, I explored the use of linen in various thicknesses to create an uneven surface and texture that highlights its rustic charm. By repurposing discarded yarns and integrating them as inlay, I ensure that each piece not only meets sustainability standards but also enhances the aesthetic and functional qualities of my work. 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

484

4485

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. (BDG) You explore the boundary between knitting and weaving. Can you discuss the technical and conceptual challenges of merging these two techniques, and how you achieved a balance between strength, light permeability, and density in your fabrics? (XS)

My goal was to blur the visual boundaries between knitting and weaving, which led me to extensively use the floating technique in my designs. Additionally, by incorporating inlay methods, I simulated the interlacing effect of woven textiles, which also enhanced the strength and density of the fabric. To recreate the fringed effect, I manually inlaid each yarn due to the limitations of the knitting machine. Ensuring that each yarn lay perfectly between the front bed and back bed required a meticulous and time-consuming process. Furthermore, I devised specific solutions to overcome the challenges associated with producing floating sections.

(BDG) Your work involves a variety of knitting structures, including inlay, ripple, and floating techniques. How did you determine the optimal combination of these techniques for your collection? (XS)

When selecting knitting techniques for this collection, my primary

(XS)

focus was on their visual impact and ability to blur the boundaries between knitting and weaving. I also had to consider the feasibility of these techniques, especially since certain knitting structures cannot coexist in the same row. For instance, inlay, ripple, and floating techniques were carefully combined based on specific layouts to achieve the desired textures and patterns. I meticulously planned the distribution of these techniques to ensure that the final piece not only met the aesthetic goals but also maintained structural integrity and durability.

(BDG) You emphasise a slow-paced, meditative approach to knitting. How does this philosophy influence your creative process and personal connection to your work? (XS)

The philosophy of slow making is central to my creative process. This meditative approach allows me to fully engage with each strand of yarn and every movement involved in the crafting process. It’s a time for me to focus inward, fostering a deep emotional connection with the work as it evolves. The extended time spent on each piece infuses it with a unique warmth that is characteristic of handcrafted art. By avoiding mass production, I reduce waste and resource consumption, ensuring that each creation possesses emotional resonance. I firmly believe that only through time and mindful engagement can a piece truly embody timeless beauty and evoke a profound connection with the viewer.

(BDG) What new dimensions or directions are you excited to explore in your textile art? Are there any specific materials, techniques, or themes you are interested in investigating for future projects? (XS)

Looking ahead, I am excited to continue developing interior textiles and textile artworks, incorporating additional techniques into my knitting practice. I am particularly interested in exploring the integration of knitting with rattan, which will enhance functionality while maintaining a timeless aesthetic. Additionally, I plan to deepen my research into various bast fibres, including linen, flax, and ramie. This exploration will allow me to expand the material palette and discover new possibilities in texture and form, further pushing the boundaries of sustainable and innovative textile art.

486

XUEYAN SHEN IS A textile artist AND desi SHE COMPLETED HER UNDERGRADU THE Istituto Marangoni, WHERE SHE DE PRINCIPLES OF FASHION AND DESIGN. SHEN FURTHERED HER EDUCATION A EARNING A MASTER

SHEN'S WORK SEAMLESSLY blends T CONTEMPORARY AESTHETICS, REFL VIBRANT cultural hubs. HER UNIQUE WOR details AND USE OF materials, DEMON OF BOTH form and function. WITH A CO AN EYE FOR BEAUTY, SHEN XUEYAN CO OF TEXTILE ART AND DESIGN, CREATI STRIKING AND THO

igner BASED IN LONDON AND TIANJIN. UATE STUDIES IN FASHION DESIGN AT DEVELOPED A strong foundation IN THE PURSUING HER passion FOR TEXTILES, AT THE RENOWNED Royal College of Art, R’S DEGREE IN Textile.

TRADITIONAL TECHNIQUES WITH LECTING HER dual residency IN TWO RKS ARE CHARACTERISED BY INTRICATE NSTRATING A DEEP UNDERSTANDING OMMITMENT TO SUSTAINABILITY AND ONTINUES TO PUSH THE BOUNDARIES ING PIECES THAT ARE BOTH VISUALLY OUGHT-PROVOKING.

REVIEW

Xueyan Shen’s work is a remarkable blend of meticulous craftsmanship and deep cultural reverence. Her collection, “Ro,” is an ode to the natural world, steeped in the timeless philosophies of Daoism and the minimalist elegance of Song Dynasty art. Drawing inspiration from Muqi’s ‘Six Persimmons’ and ancient Chinese architectural lines, Xueyan has managed to translate these elements into a modern textile language that speaks to both history and innovation. Xueyan’s commitment to sustainability is not merely a trend but a deeply ingrained philosophy. The choice of materials - natural yarns like linen, silk, and paper - reflects a deliberate alignment with eco-friendly practices. Her use of repurposed yarns, particularly the discarded samples reworked into inlay yarns, demonstrates a resourcefulness that not only minimises waste but also adds layers of meaning to her creations. The textures she achieves through the interplay of different yarns and knitting techniques create surfaces that are not just visually appealing but also resonate with the rustic charm she seeks to evoke.

492

2493

The architectural influence in her work is profound. Xueyan’s careful study and simplification of the lines found in Song Dynasty paintings have led to the development of patterns that are both structured and fluid. This is most evident in her piece ‘558,’ where the grid-like knitting structure captures the essence of traditional Chinese doors and windows, allowing light to interact with the fabric in a way that mimics the gentle interplay of shadows and sunlight through ancient architecture. Technically, Xueyan challenges the boundaries between knitting and weaving. Her exploration of floating techniques and inlay methods pushes the fabric to resemble woven textiles while retaining the softness and flexibility inherent to knitting. This blurring of lines is not just a visual effect but a conceptual one, as it bridges the gap between two distinct yet related crafts, creating a hybrid that is stronger and more complex in its construction. The philosophy of slow making that Xueyan embraces is a refreshing counterpoint to the fast-paced nature of contemporary design. Her meditative approach to knitting is evident in every piece, where the time invested is palpable, and the emotional resonance is undeniable. Each creation is a narrative of care, thoughtfulness, and a deep connection to both the material and the maker’s inner world. Looking ahead, Xueyan’s intention to explore the integration of rattan into her textile work and her ongoing research into bast fibres suggest a future filled with even more innovative and sustainable creations. Her work not only honours the past but also pushes the boundaries of what textile art can be, making her a compelling figure in the contemporary art scene.

YANRAN WANG

A multidisciplinary DESIGNER CRAFTING THOUGHTPROVOKING experiences THAT CHALLENGE human perspectives THROUGH THE LENS OF speculative AND critical DESIGN.

ARTIST STATEMENT

Yanran Wang excels at bridging private experiences and public expression, creating pathways for audiences to understand, empathize with, and immerse themselves in the context of her works. In the project When We Are Fruit Fly, Yanran combines scientific and artistic expressions by using the absence of RGB colour channels and scale transformations to replicate the vision of fruit flies, and by converting fruit sugar levels to CO² levels to sound pitch to simulate their sense of smell. By translating the sensory experiences of fruit flies into the human realm, she helps the audience empathise with a radically different perspective. Choosing the often-disregarded fruit fly as a starting point, Yanran aims to provide insight into a creature s eldom actively explored by people, thereby challenging preconceived notions about nonhuman entities. Through engaging interactions and experiences, she hopes to offer audiences a chance to touch upon worlds beyond the human. This creative exploration of non-human narratives seeks to provide more opportunities for people to contemplate the relationship between themselves and the concept of decentering humanity. Beyond the human realm, countless other life forms write their own stories, and by looking beyond ourselves, we can often find unexpected illumination. Yanran aspires to capture and convey the collisions between humanism and the environment/nonhuman/“other” in various contexts, striving for insights that transcend the human experience.

498

8499

ARTWORK STATEMENT

With 8.7 million known species in the world, it’s a shame we can only experience one! Why not be a fruit fly lingering in your kitchen? Some people really hate them, others don’t care about them, but they are with us nonetheless. The project demonstrates possibilities beyond humans by transforming and translating the senses of fruit flies so that humans can experience the world that other species live in. The project has two parts, Sweetness Chime and Giant apple. Giant apple shows what an apple looks like when seen through the eyes of a fruit fly at true scale and colour. Sweetness Chime converts the sugar content of different fruits and vegetables into sound, allowing humans to experience how fruit flies perceive environmental information. Visitors can stand in the table centre of Sweetness Chime and make their own music by knocking on different bottles, which represent different fruits or vegs. By converting the different fruits or vegs’s sugar content to the bottles’s CO2 content to changed air pressures, the higher the sound, and the sweeter the fruits and vegs represented. This method translates the fruit fly’s sense of smell into human hearing. All images in the project simulate the visible colour range of fruit flies, the processing of image pixelation is a mimicry of the Fruit fly compound eye presentation. By converting apple, human, and fruit fly size data, the Giant apple’s image presented is the surface of an apple in fruit fly eyes on a real scale. This translates fruit fly vision into human vision. When visitors play with this project, their behaviour is just like a fruit fly lingering in people’s kitchen, landing on the surface of an apple, looking for a safe and sweet place to live. By seeing what fruit flies see, and doing what fruit flies do, this experience could let human beings feel what fruit flies might feel. Green design is scientific and sentimental. The project showcases Innovative uses of scientific data in art and the use of Design in Environmental Sustainability. Through interdisciplinary understanding, entertain and educate the audience to rethink our relationship with the environment and other living beings. With the fruit fly as an anchor, look beyond the human race to a wider, more probable world, look down and be aware of every "other" around you at the moment, even if it is insignificant.

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

(BDG) Your project aims to offer a glimpse into the sensory world of fruit flies. What inspired you to choose fruit flies as the focus of this exploration, and how does this choice challenge conventional perspectives on non-human entities? (YW)

We often encounter fruit flies in our daily lives - perhaps in Tesco or Sainsbury’s, maybe in your kitchen, or even when you're standing on the street, you might notice them drifting through the air as if they were intoxicated. However, people seem to either be indifferent to them or utterly despise them. More often, we see them as a nuisance and promptly remove them from our sight. But in reality, fruit flies are a very common laboratory organism. To date, six Nobel Prizes have been awarded for research involving fruit flies. They have made outstanding contributions to genetics, neurology, and disease research. I believe that taking a different approach, encouraging people to pay more attention to this tiny creature that has always surrounded us yet often goes unnoticed, can challenge the traditional narrative about non-human entities. What I want to emphasize is the possibilities that exist beyond humanity, and there are so many possibilities beyond the human realm. The fruit fly is just one of many other organisms whose ethical considerations by humans have yet to be fully explored.

(BDG) The project integrates scientific data with artistic expression, such as converting fruit sugar levels into sound. How do you balance the scientific and artistic components in your work, and what challenges did you face in translating scientific data into sensory experiences for humans? (YW)

In the early stages of this project, I conducted extensive research. As a laboratory organism, the fruit fly is thoroughly understood by humans. I began by understanding the significance of scientific data on fruit flies as presented in research papers (as these articles often don’t explicitly explain this). Then, based on this data, I analyzed, imagined, and constructed the life of a fruit fly(I once wrote a story about the life of a fruit fly). For example, when reading a paper analyzing fruit fly vision, we can find scientists’ hypotheses about the visual spectrum of fruit flies, and from there, we can infer what an apple might look like through the eyes of a

504

4505

fruit fly. I believe that when we attempt to enter the world of other organisms and speculate about their behaviour, the support of scientific research is indispensable. The goal of this project is to translate the world of fruit flies that I’ve explored into a format that is intuitive and easy to understand for others. Data that can be traced back and is based on concrete evidence is the most convincing choice. During the exploration process, we are sometimes surprised by the creativity inherent in these facts. Take, for example, the conversion of the sugar content of fruits into sound. There’s even a serendipitous coincidence in this: the grams of sugar in the fruits I used match perfectly with the grams of dry ice required for a 200ml bottle without any conversion. From low sugar to high sugar, they naturally form a perfect musical scale. All of this leads me to believe that scientific data possesses both power and beauty. I simply need to adopt the right application method to present this data, and the data itself will guide the expression. (BDG) The “Sweetness Chime” allows visitors to interact by creating music from different fruits and vegetables. How did you design this interactive element to engage visitors and what feedback have you received regarding their experiences with this component? (YW)

Fruit flies search for fruits and vegetables rich in sugar in their environment, relying on this nutrient-rich setting for feeding and reproduction. Fruits and vegetables contain varying concentrations of sugar, and typically, fruit flies are more attracted to fruits with higher sugar content. Their sense of smell is the most crucial factor in helping them determine the sugar content of objects. After testing, I finally referenced a method of sound conversion explored by Japanese music enthusiast Yamazawa Honami: a combination of bottles and dry ice. The carbon dioxide produced by the sublimation of dry ice changes the sound produced when the bottle is struck. Before striking, we cannot distinguish between the bottles. This connects the human experience of judging the material of an object by striking and listening to the sound it produces, with the experience of fruit flies using their antennae to touch the surface of an object to determine if it is an edible fruit. For example, apples have a sugar content of 11.1g per 100g, so I put 11.1g of dry ice in a plastic bottle. Red grapefruit, which is not as sweet as apples, has a sugar content of 6.5g, so the plastic bottle contains 6.5g of dry ice. After the dry ice sublimates, the

concentration of carbon dioxide in the apple bottle will be higher than in the red grapefruit bottle, and the sound produced by striking the apple bottle will have a higher pitch than that of the red grapefruit. I experimented with different bottle shapes and materials for the mallet in a series of tests to find the best sound quality. The audience is free to strike different bottles and can learn the data behind the sounds after striking them. To realize this plan, I decided to create a musical table. When people play this instrument, it's as if they are floating through a fruit platter like a fruit fly. By continuously listening to these sound conversions, we might train ourselves to perceive a new dimension - what I call “new sugar senses.” The Sweetness Chime might allow you to hear the melody of a fruit platter, similar to how Neil Harbisson gained a new sense by receiving audible vibrations through an antenna implanted in his skull. (BDG) The “Giant Apple” presents the apple’s surface as seen through a fruit fly’s eyes. What technical and creative approaches did you use to achieve this scale and colour transformation, and how does it alter the viewer’s perception of familiar objects? (YW)

The most distinctive feature of fruit flies is their small size. A human is about 165 cm tall, an apple has a diameter of 7 cm, and a fruit fly is only 0.25 mm long. This means a human is 660 times larger than a fruit fly. If a person were to become the size of a fruit fly and view an apple from its perspective, the apple would appear to be 46,000 mm, or 46 meters, in size - about the size of a football field. Imagine standing on a football field - that’s what it feels like for a fruit fly landing on an apple. In addition to the scale difference, the visual receptors of fruit flies are also significantly different from those of humans. Fruit flies are not sensitive to the red light in the visible spectrum. Their compound eyes collect light from a single point in the environment, and their field of vision is a mosaic of these individual light points gathered by each compound eye. Based on this, I removed the red channel from the RGB channels of an apple’s image and applied a compound eye filter. What is familiar to humans becomes incredibly unfamiliar in this context. At the exhibition at St James Parish Church, I displayed a giant 3-meter by 3-meter wallpaper that transformed all the humans present into tiny fruit flies. The world seen through the eyes of

506

507

a fruit fly is a marvel for humans, and I wanted to merge the two worlds by showcasing the differences in how these two beings perceive an apple. (BDG) You aim to provoke thought about environmental sustainability and the relationship between humans and other species. How does “When We Are Fruit Fly” contribute to these themes, and what impact do you hope it will have on audience perceptions of environmental and non-human narratives? (YW)

Many people kill an ant or a fruit fly without a second thought. I hope that everyone can reconsider their relationship with the environment and the living creatures around them. When we find ourselves in the same situation as others, we are more likely to understand and respect their lives. "When We Are Fruit Fly" strives to create an opportunity for humans to better understand fruit flies. After experiencing the wonder and finding enjoyment in it, I hope that people will no longer so easily crush a life.

(BDG) What were some specific challenges you encountered while developing this project, particularly in terms of technical execution and audience interaction? How did you address these challenges to achieve your intended outcomes? (YW)

We often observe flies constantly rubbing their legs together, which is their way of cleaning their sensitive antennae. They use their antennae to touch various surfaces, sniffing to determine if the material is what they need. I believe they are naturally synesthetic creatures, combining touch and smell. Then, I went down a route that I decided not to pursue further. I sketched and planned a "human antenna device," attempting to equip humans with an external apparatus that, through electricity and Arduino, could create a series of interactive feedbacks, adding an organ that we do not naturally possess. However, I later realised that instead of creating a "human antenna," I should focus more on the information that fruit flies gather with their antennae - information that humans either don't know or don't value. This information is crucial in determining the behaviour of fruit flies. This led to my subsequent exploration of the varying sugar content in different fruits and vegetables.

YANRAN WANG IS A multidiscip USING speculative AND critical DE life." SHE AIMS TO ENGAGE IN soc yet powerful DESIGN LANGUAGE AND EXPLORING THE DIVERSE P BETWEEN humans AND THE env NUMEROUS EXHIBITIONS

AFTER GRADUATING FROM Golds SHE IS CURRENTLY WORKING ON publications, AND EXPERIME

plinary DESIGNER WHO ENJOYS ESIGN TO EXPLORE THE "cracks in cial interventions THROUGH warm GE, PROMOTING humanistic care POSSIBILITIES OF INTERACTIONS vironment. SHE HAS ORGANISED S AND LOCAL ACTIVITIES.

smiths, University of London IN 2024, N non-human narratives, CREATING ENTING WITH photography.

REVIEW

Yanran Wang’s When We Are Fruit Fly presents a captivating blend of art, science, and social commentary. The project invites viewers into the sensory world of the fruit fly, encouraging a reexamination of our relationship with non-human species. Yanran’s unique ability to integrate scientific data with artistic expression allows audiences to experience the unfamiliar perspective of a tiny creature that is often disregarded. Her installations, Sweetness Chime and Giant Apple, exemplify this approach. Sweetness Chime transforms the sugar content of fruits and vegetables into sound, mimicking the fruit fly's sense of smell. This interactive element not only engages participants but cleverly highlights the often-overlooked complexity of non-human senses. Visitors create melodies by tapping bottles, simulating how fruit flies "sense" their environment. The conceptual brilliance here lies in

514

Yanran’s ability to translate a scientific process into a playful, sensory experience that sparks curiosity. The visual element of Giant Apple further deepens this engagement. By altering scale and colour, Yanran gives visitors a glimpse of how a fruit fly sees the world, turning a familiar object - an apple - into something vast and alien. This transformation disrupts humancentric perceptions and forces viewers to confront the vast differences between our sensory experiences and those of other creatures.

515

What sets Yanran’s work apart is its emotional and environmental resonance. Beyond exploring the sensory world of fruit flies, the project subtly encourages audiences to rethink how they view all life forms, fostering a sense of empathy and respect for even the smallest creatures. Yanran’s work offers a gentle but powerful commentary on environmental sustainability, urging us to reconsider our impact on other species. In When We Are Fruit Fly, Yanran masterfully combines scientific rigour with artistic imagination. Her work is playful, immersive, and thought-provoking, pushing boundaries in both form and concept. By inviting us to inhabit the world of a fruit fly, she challenges our view of the natural world, offering a fresh perspective on the interconnectedness of all living things.

YICHEN ZHAO IVAN EXPLORING THE boundaries BETWEEN JEWELLERY AND everyday tools, REIMAGINING FUNCTIONAL OBJECTS AS wearable art, PROVOKING REFLECTION ON materiality AND DESIGN.

ARTIST STATEMENT

Jewels have always been an ornament for our body, as diamonds have always represented love. I am interested in the relationship between the material and immaterial world. Jewellery and metal are the basic expressions of myself. I focus on playing with the definition between object and jewellery. To identify more possibilities of the world. I work through variable materials, and combinations of objects.

524

525

ARTWORK STATEMENT Sustainability is the goal of all of us designers, I focus on the objects and jewellery of our lives, small objects that are often plastic, disposable, easy to lose, industrial, which often require mass industrial production, and I think about the waste of materials and the pollution of the environment that is caused by the behaviour of people who lose and buy them over and over again. I rethink the wearable object and the possibilities of jewellery through a unique perspective: are we wearing the objects of our lives? And: are we using jewellery as a tool? Thus, in some cases we may use jewellery as a 'tool', for example, when we don't have a sim-card pin we tend to use an earring as a tool to change the sim-card. In this case we tend to see jewellery not only as a wearable or decorative object, but as a functional tool. Therefore, in this project I use the traditional shapes of jewellery, such as rings and necklaces, and the traditional materials of jewellery, such as silver, pearls and diamonds, to make the audience rethink the way we think about objects. This project makes the audience rethink our understanding of objects, whether we can revisit these small tools in our lives and promote the preservation and definition of gadgets. I researched into the production, industrialisation and processing of tools and jewellery, and found that in the context of mechanised industrialisation, they are made in a very similar way, with the majority of mass-produced tools and jewellery being made through 3d printing or casting. I find that the difference between them is only due to the different contexts in which they are used, and that the shapes of the jewellery or tools are sometimes subtly similar. For example, a part of a sim-card pin is very similar to an earring, or a key ring and a ring both have a circular design. So I try to redesign these tools and jewellery using CAD and CAM processes. There are various situations in our lives where jewellery can be used to solve various problems. Through primary research I have looked at the good and bad effects that jewellery can have on our lives: the function of jewellery, and explored the symbolism of diamonds: love, and other functional tool shapes, and combined tool and jewellery shapes and materials to redesign functional jewellery that can be worn. For example, in some cases where we don't have sim pins, we can often use studs as tools, so I designed a series of sim studs as wearable tool jewellery as an example. I modelled this through Rhino and experimented with 3d printing to simulate the process of making traditional jewellery with mass produced tools. Using white resin 3d printing as a medium for design development, I experimented with different sizes and designs, which were then confirmed by casting them in silver using 3d printing wax, and finally set and polished and plated. Most of the works use silver as a traditional precious metal material, and the reflection effect after polishing simulates the stainless steel of the material in the tool. It makes the work look like the texture and appearance of a tool, but it is made using the traditional precious metal and production process in jewellery. It challenges the boundary between jewellery and tools.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YZI) - YICHEN ZHAO IVAN

(BDG) Your work explores the intersection between jewellery and functional tools. What inspired you to investigate this relationship, and how does it challenge conventional definitions of jewellery and functionality? (YZI)

Often in life we use all sorts of objects and because we are so familiar with them I can easily forget about them, and throughout my career in jewellery design I have always been committed to rethinking objects and the definition of jewellery, in particular: why are they designed in the shape they are? So when I revisited these objects, I suddenly realised that there are a lot of similarities between objects and jewellery, for example, a keyring has a similar shape to a normal ring, and I started to think whether we can use a ring to contain keys or whether we are wearing the keyring when we use it. So I rethought the boundaries between these objects and jewellery through shape, material, function and wearability.

(BDG) You’ve used traditional materials like silver, pearls, and diamonds in unconventional ways. How do these materials influence the functional aspects of your designs, and what role do they play in blurring the lines between jewellery and tools? (YZI)

Most of my work uses the traditional materials of jewellery, expensive metals, to create designs for functional objects. By using people's perceptions of the identity of a material to make them think about whether it is the material that defines the identity of an object/jewellery? Often people understand wearable objects made of precious metals as expensive, jewellery things. So when people see an everyday object made of precious metal that is contradictory, they may rethink the definition of object and jewellery.The goal of this project is to translate the world of fruit flies that I’ve explored into a format that is intuitive and easy to understand for others. Data that can be traced back and is based on concrete evidence is the most convincing choice. During the exploration process, we are sometimes surprised by the creativity inherent in these facts. Take, for example, the conversion of the sugar content of fruits into sound. There’s even a serendipitous coincidence in this: the grams of sugar in the fruits I used match perfectly with the grams of dry ice required for a 200ml bottle without any conversion.

532

From low sugar to high sugar, they naturally form a perfect musical scale. All of this leads me to believe that scientific data possesses both power and beauty. I simply need to adopt the right application method to present this data, and the data itself will guide the expression. (BDG) In your project, you’ve redesigned everyday tools into functional jewellery. Can you discuss the design process for these objects? How did you balance aesthetics with functionality in your redesigns? (YZI)

533

For example, for the keyring series, I took the shape of a basic keyring and the shape of an ordinary diamond ring, retained the similarity of their circular structure, and deconstructed and reorganised them by using their materials, shapes and sizes to create a series of different designs for the keyring. For the appearance of these designs, I have preserved the sparkle of the precious metal and the jewellery itself, as well as the hardness and functionality of the object, and have cleverly fused them together. They retain the elegance of the jewellery and the functionality of the tool at the same time.

(BDG) You address sustainability and the environmental impact of mass production. How does your work contribute to these issues, and what specific design strategies have you implemented to promote sustainability? (YZI)

I respond to sustainability through the definition of the design and the metaphors behind it. People tend to throw away these everyday, low value objects, such as a sim card pin. I use the expensive nature of jewellery and the value of precious metals to make people rethink whether these everyday objects can be preserved like jewellery. This will reduce the neglect and wastage of these objects in society due to mass production.

(BDG) Your project involves CAD and CAM processes for designing and producing your jewellery. How did these technologies influence your design approach, and what advantages or challenges did they present in your creative process? (YZI)

Through my research into the industrial production of objects and my study of industrial processes such as CNC metal cutting, industrial model printing and casting, combined with my experience of jewellery crafting, I have been able to think deeply about the impact of modern industrialisation on jewellery design and production. Throughout my creative life, I have been able to produce my ideas quickly through such rapid production processes, but industrial production also poses challenges in terms of size, weight, and specific processing methods. All in all, revisiting the process of industrial manufacturing and the industrialisation of jewellery has allowed me to be more efficient

and to produce better quality work. (BDG) The project reimagines traditional jewellery symbols, such as diamonds representing love, in new contexts. How do you approach the symbolism of these materials, and how does it inform the functional aspect of your designs? (YZI)

Every material object possesses meanings that people understand and misunderstand about them. These symbols control every bit of our lives, and the world is created by these symbols that people understand. And I think that by observing and using these symbols, designers can create work that most people can understand. And make people rethink whether the perception of these symbols is correct, and whether we are controlled by such symbolisation. So in my designs, I want people to rethink the symbols of these objects by seeing the works that I have created using the symbols.

(BDG) How do you hope your audience will engage with your work? What reactions or reflections are you aiming to provoke through the functional and symbolic aspects of your designs? (YZI)

The viewer wears the objects and thinks about how they have been used in the past, and whether the objects they own or used to own are still with them or whether they have been lost. This process of reflection and reminiscence allows the viewer to focus on the value and definition of the objects in their lives.

(BDG) Given the exploration of functional jewellery in your current work, what future directions are you interested in pursuing? (YZI)

In the future I would like to focus on object jewellery, functional jewellery and performance art. I hope that I, or even the viewer, can be involved in my work, for example by using such objects to create a series of performance art, humour or satire on a deeper level of discourse. In the future I would like to think that I could think more broadly, or definitively about objects, or conceptual directions.

534

YICHEN ZHAO IS A jewellery artist AN AN UNDERGRADUATE DEGREE IN JEW LIVING AND WORKIN

HE USES humour AND thoughtfulness AND PRODUCTION METHODS TO QU OF JEWELLERY AND OBJECTS. HIS W EVERYDAY EXPERIENCE

YICHEN WORKS independently A AND PUBLIC PROJECTS, PERSON COLLABORATIVE DESIGN PROJECTS VARIOUS

ND designer WHO GRADUATED WITH WELLERY FROM Central Saint Martins. NG IN THE UK, CHINA.

s IN HIS WORK, COMBINING DESIGN UESTION THE identity AND MEANING WORK IS A PERSONAL response TO ES AND OBSERVATIONS.

AND collaboratively ON PRIVATE NAL RESEARCH PROJECTS AND S. HAS EXPERIENCE WORKING WITH BRANDS.

REVIEW

Yichen Zhao’s work delves into the intersection of jewellery and everyday objects, reshaping our understanding of both. By transforming functional items like SIM c ard pins, keyrings, and other disposable objects into precious wearable jewellery, he challenges the traditional notions of what defines value, ornamentation, and utility. His unique approach encourages a re-evaluation of objects we often overlook, merging practicality with art to invite deeper thought about materialism, sustainability, and consumerism. In many of his pieces, Yichen uses traditional jewellery materials such as silver, pearls, and diamonds but in unconventional ways, blending them with everyday items to create functional jewellery. For instance, in his SIM studs, Yichen reinterprets the common SIM card pin, an item that’s frequently lost or discarded, by fashioning it from precious metal. In doing so, he asks the wearer to reconsider its role and worth, highlighting how easily we discard things that could

540

have enduring value. This provocative approach reflects Yichen’s exploration of sustainability, emphasising the need to reframe our relationship with mass-produced items and environmental impact.

541

The use of CAD and CAM technologies in his work introduces an industrial dimension to traditional j ewe l l e r y- m a k i n g t e c h n i q u e s . B y e m p l oy i n g processes like 3D printing and casting, Yichen manages to recreate these everyday objects with precision, mirroring their original industrial production while giving them an artisanal, crafted quality. This blend of industrial design with the handmade results in jewellery that is simultaneously functional and aesthetically elegant. The process itself becomes part of the commentary, as Yichen reflects on the relationship between modern industrialisation and craftsmanship. Central to Yichen’s artistic vision is the reimagination of material symbolism. In traditional jewellery, diamonds have long been associated with love, and silver and gold are markers of luxury and status. Yichen’s work subverts these associations, questioning whether these materials inherently possess the value society places on them. His designs often blur the lines between luxury and utility, encouraging viewers to reassess the roles and meanings of the objects and materials they encounter. Ultimately, Yichen Zhao’s work pushes the boundaries of both form and function, inviting audiences to engage with his pieces not only as jewellery but as thoughtprovoking objects that challenge conventional notions of value, materiality, and sustainability. His approach is a refreshing blend of humour, intellectual curiosity, and craftsmanship, offering a new lens through which to view everyday life and its overlooked objects.

YIQING XIE JEWELLERY ARTIST FUSING East Asian HERITAGE AND Western INFLUENCES, CREATING SUSTAINABLE, narrative-driven PIECES THAT CHALLENGE CONVENTIONAL gender roles AND CELEBRATE FEMALE STRENGTH.

ARTIST STATEMENT

Chinese-born jewellery designer Yiqing Xie studied BA Fashion Jewellery at the renowned London College of Fashion in the United Kingdom. The course provided her with the opportunity to not only integrate her personal and unique East Asian cultural background with her Western learning experiences but also incorporate them into her jewellery projects, creating captivating works of art. As an East Asian woman and member of the LGBTQ+ community, she possesses a keen insight into the experiences of women in various societal and cultural contexts, which serve as the primary inspiration for most of her projects. In her designs, she seeks to showcase the power of female strength and diversity through her unique perspective, experience, and love for the art of jewellery.

554

555

ARTWORK STATEMENT

This jewellery piece is crafted from brass and loofah, drawing inspiration from the traditional labour tool - the apron - while incorporating loofah, a sustainable material commonly used as a natural dish scrubber. This unique combination not only reimagines the traditional roles associated with household labour but also emphasises the importance of sustainability and social responsibility in design. Loofah is an exceptionally eco-friendly material; it is biodegradable and renewable, reflecting a growing awareness of our environmental impact. By utilising loofah, I am committed to promoting sustainable practices within the fashion and jewellery industries, which often contribute to environmental degradation through the use of non-renewable resources. In this piece, I aim to challenge conventional material usage and inspire others to rethink their choices by showcasing the beauty and versatility of sustainable alternatives. Moreover, this piece serves as a catalyst for dialogue surrounding the gendered division of household labour. The apron symbolises the often-unrecognised work done within the home, primarily by women, while the loofah represents the everyday tools that facilitate this labour. By merging these elements, I intend to provoke deeper reflection on the value of domestic work and its implications in contemporary society. Through this work, I hope to encourage an appreciation for the complexities of household labour and to spark conversations about how we can collectively support a more equitable distribution of these tasks. This piece is not just jewellery; it is a social call to re-examine the value of domestic labour and consider how to achieve gender equality in modern society.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YX) - YIQING XIE

(BDG) Your work beautifully integrates elements from both East Asian and Western cultures. Can you share how your cultural background influences your design process and the themes you explore in your jewellery? (YX)

Thank you for your kind words! My cultural background plays a significant role in shaping my design process and the themes I explore in my jewellery. Growing up in China, I was immersed in the rich traditions, symbols, and aesthetics of East Asian culture. This deep connection to my heritage naturally influences my creative vision. When I moved to the UK and studied at the London College of Fashion, I was introduced to a new world of design philosophies and artistic expressions that were vastly different from what I was accustomed to. This intersection of Eastern and Western influences became a source of inspiration, allowing me to merge these two cultural perspectives in a way that feels authentic and personal. For instance, I often draw on traditional Chinese culture, reinterpreting them through a contemporary Western lens to create something unique. My work frequently explores themes like identity, gender, and strength, particularly from the perspective of an East Asian woman and a member of the LGBTQ+ community. By blending these cultural elements, I aim to create jewellery that resonates on a deeper level, not just as adornment, but as a statement of strength, diversity, and personal expression.

(BDG) You mentioned that your jewellery pieces resonate with personal stories and emotions. Can you delve into how you approach storytelling through jewellery, and how you ensure that each piece carries a meaningful narrative? (YX)

Thank you for your question! Storytelling through jewellery is central to my creative process, and I believe that each piece should carry a narrative that resonates on a deeper level with both the wearer and the viewer. When I approach a new design, I start by reflecting on the personal stories, emotions, and societal issues that are important to me. These reflections guide the materials I choose, the forms I create, and the

558

559

symbolism embedded in each piece. For instance, in the piece crafted from brass and loofah, I was inspired by the traditional labour tool - the apron - which carries a strong cultural and emotional significance, particularly in relation to domestic work. By incorporating loofah, a sustainable and everyday material, I aimed to create a dialogue about the often-overlooked value of household labour, which is typically gendered and underappreciated. Through this piece, I wanted to provoke thought and conversation about the broader social themes of gender equality and environmental responsibility. By carefully selecting materials and imbuing them with symbolic meaning, I ensure that each piece not only tells a story but also serves as a catalyst for deeper reflection and dialogue. In this way, my jewellery becomes more than just an accessory - it becomes a powerful narrative tool that invites the wearer and observer to engage with important social issues. (BDG) As an East Asian woman and member of the LGBTQ+ community, how do these identities shape your work, particularly in how you aim to showcase female strength and diversity? (YX)

As an East Asian woman and a member of the LGBTQ+ community, my identities deeply influence and shape my work. These aspects of who I am give me a unique perspective on the world, particularly regarding issues of identity, strength, and diversity. My experiences navigating different cultural contexts and societal expectations have made me acutely aware of the challenges faced by women, especially those who, like me, belong to marginalized communities. In my work, I aim to showcase female strength by drawing on these personal experiences and channeling them into my designs. I often explore themes of resilience, empowerment, and the beauty of diversity, striving to create pieces that reflect the complexity and depth of women’s lives. This involves using materials, symbols, and forms that resonate with the struggles and triumphs of women, especially those who are often underrepresented or misunderstood. Moreover, my work is a celebration of diversity in all its forms. By incorporating elements from both my East Asian heritage and my experiences as part of the LGBTQ+ community, I aim to create designs that challenge traditional norms and expand the narrative of what it means to be a strong, diverse woman.

(BDG) Your piece “She Works For Her Family” draws inspiration from the traditional apron and household labour tools. What inspired you to use these motifs, and how do you see them resonating with contemporary discussions on gender and labour? (YX)

The inspiration for my piece "She Works For Her Family" came from a desire to highlight the often-overlooked work of household labour, which has traditionally been associated with women. The apron, as a motif, is deeply symbolic of domestic work - an everyday tool that represents care, dedication, and the laborious tasks that are often undervalued in our society. I chose to use these motifs to bring attention to the gendered division of labour that persists even today. Despite the progress made in gender equality, domestic work is still largely seen as "women's work," and it often goes unrecognized and uncompensated. By incorporating elements like the apron and tools commonly associated with household tasks, I wanted to create a piece that not only honors this work but also prompts reflection on its value and the inequalities that surround it. In contemporary discussions on gender and labour, these motifs resonate strongly as they challenge us to reconsider the distribution of work within the home and in society at large. The piece encourages dialogue about how we can achieve a more equitable sharing of responsibilities and greater recognition of the essential, yet often invisible, labour that sustains families and communities.

(BDG) Loofah plays a significant role in your work. How do you choose materials for your pieces, and what importance do you place on sustainability and social responsibility in your creative practice? (YX)

Loofah, as a biodegradable and renewable material, is central to my work. Incorporating loofah into my designs is a deliberate choice to challenge conventional material usage in the fashion and jewellery industries, which often rely on non-renewable resources that contribute to environmental degradation. Sustainability and social responsibility are at the heart of my creative practice. I believe that as artists and designers, we have a responsibility to consider the broader impact of our work. This means not only choosing materials that are environmentally friendly but also using our platforms to raise awareness about issues like environmental conservation and the social implications of the materials we use.

(BDG) In “She Works For Her Family,” you challenge conventional perceptions of household labour. How do you hope your work will impact the viewer’s understanding of these traditional roles and their relevance in today’s society?

560

(YX)

In this piece, my intention is to challenge and expand the conventional perceptions of hous ehold labour by bringing attention to its significance and the often-unseen contributions involved. I aim to elevate the perception of household labour by highlighting its value, challenging traditional gender roles, emphasizing its relevance in modern society, and fostering reflection on equitable distribution and recognition of domestic responsibilities.

(BDG) Your work acts as a catalyst for conversations about the gendered division of labour. What do you hope to achieve through these discussions, and how do you see your jewellery contributing to the broader dialogue on gender equality? (YX)

561

Through my work, I aim to spark meaningful conversations about the gendered division of labour and its implications in contemporary society. I hope to draw attention to the unequal distribution of household and domestic responsibilities, highlighting the often-unacknowledged effort and value associated with this work. And by using my jewellery to question traditional gender roles and expectations, I seek to encourage a re-evaluation of how domestic labour is perceived and valued. My jewellery is designed to inspire individuals and communities to reflect on their own practices and attitudes towards gender roles, ultimately encouraging more inclusive and fair approaches to labour in both the home and society.

(BDG) Your work seems to bridge the gap between traditional craftsmanship and modern design. How do you navigate this balance, and what challenges or rewards do you find in blending these two realms? (YX)

Balancing traditional craftsmanship with modern design is a rewarding yet challenging aspect of my work. I begin by deeply understanding traditional techniques and materials, respecting their cultural and historical significance, which allows me to innovate and integrate these methods into contemporary designs. This involves experimenting with combining classic techniques with new materials and forms, requiring creative problem-solving and adaptation.The key rewards is contributing to the preservation of traditional crafts while making them relevant to modern audiences, creating pieces that bridge historical and current perspectives.

(BDG) Looking ahead, what themes, materials, or concepts are you excited to explore in your future work? How do you see your practice evolving in the coming years? (YX)

Reflecting on my background, as an Asian woman, I am deeply committed to integrating my cultural heritage into my designs. A key focus of my work will be on traditional Qing porcelain

craftsmanship from my hometown, combining this ancient technique with contemporary jewellery design. By doing so, I aim to create unique pieces that both honor traditional craftsmanship and embrace modern aesthetics. In my creations, I will continue to explore themes centered around women. This focus stems not only from the crucial roles women play in society but also from my personal understanding and appreciation of female strength and diversity. Through my designs, I hope to express the diverse beauty of women while stimulating discussions and reflections on gender equality.

562

YIQING XIE IS A jewellery artist WHO College of Fashion, SPECIALISING EXPLORES THE FUSION OF TRA materials, DRAWING INSPIRATION F SHE HAS SHOWCASED HER D AND WAS SHORTLISTED FOR T COMMITTED TO SUSTAINABLE F BEEN FEATURED AT London’s 69B B PERSPECTIVE, YIQING XIE CREATE WITH PERSONAL stories AND emo BE A MEANINGFU

O GRADUATED FROM THE London G IN Fashion Jewellery. HER WORK ADITIONAL AND unconventional FROM HER cultural BACKGROUND. DESIGNS AT London Craft Week THE Fine Tune Competition 2024. FASHION, HER WORK HAS ALSO Boutique. THROUGH HER UNIQUE ES JEWELLERY THAT RESONATES otions, BELIEVING EACH PIECE TO UL WORK OF ART.

REVIEW

Yiqing Xie’s jewellery is a compelling blend of cultural heritage, personal identity, and social commentary. A graduate of the London College of Fashion, she specialises in fashion jewellery that challenges conventional notions of adornment by exploring deeper narratives. Her work reflects her experiences as an East Asian woman and a member of the LGBTQ+ community, making her jewellery not just decorative but also a powerful medium for expressing themes of gender, strength, and sustainability. Her standout piece, She Works For Her Family, exemplifies Yiqing’s approach to design. Crafted from brass and loofah - a biodegradable material - this piece draws inspiration from the traditional apron, a symbol of household labour often associated with women. By incorporating loofah, typically used as a natural scrubber, Yiqing juxtaposes industrial materials with eco-friendly elements, sparking a conversation about the environmental impact of fashion and the undervalued labour of women in the domestic sphere. The apron motif reimagines domestic roles, urging a reevaluation of how society values household work, which is often invisible and underappreciated. At the heart of Yiqing’s creative process is storytelling. Each piece is imbued with personal significance, t a c k l i n g t h e m e s l i ke g e n d e r i n e q u a l i t y a n d sustainability. She uses her jewellery to amplify the voices of women, particularly those from marginalised

566

567

communities, and to celebrate the complexity and diversity of female experiences. Through her work, she aims to provoke reflection on social issues and challenge traditional gender roles, creating pieces that resonate with the wearer on both an emotional and intellectual level. I n a d d i t i o n t o h e r fo c u s o n g e n d e r, Yi q i n g ’s commitment to sustainability is central to her practice. The use of loofah reflects her dedication to promoting eco-friendly alternatives in a fashion industry often criticised for its environmental footprint. By choosing materials that are renewable and biodegradable, she not only highlights the beauty and versatility of these resources but also encourages others to reconsider their own choices in design and consumption. Yiqing’s unique perspective as an East Asian artist allows her to bridge the gap between traditional craftsmanship and modern design. She skilfully blends her cultural heritage with contemporary aesthetics, creating jewellery that honours the past while speaking to the present. Her work is both a tribute to the strength of women and a call to action for greater gender equality, all while maintaining a commitment to ethical and sustainable practices. Looking ahead, Yiqing is excited to continue exploring themes of female empowerment and cultural identity in her future projects. She plans to incorporate traditional Qing porcelain craftsmanship from her hometown into her designs, further blending ancient techniques with modern sensibilities. Her work will continue to focus on the diverse beauty and strength of women, offering a unique perspective that challenges societal norms and celebrates individuality. Through her jewellery, Yiqing Xie aims to inspire reflection, dialogue, and change, making her a significant voice in the world of contemporary fashion jewellery.

YIRUI DENG A JEWELLERY ARTIST WHO merges TRADITIONAL craftsmanship WITH CUTTING-EDGE technology, EXPLORING sound, vision, AND SUSTAINABILITY TO CREATE innovative, meaningful WEARABLE ART.

ARTIST STATEMENT

Yirui's passion lies in the exploration of crossd i s c i p l i n a r y a p p ro a c h e s w i t h i n t h e re a l m of jewellery and metal practice such as technology, music, and sustainability to create innovative and meaningful pieces for wearing. She believes that it is a commitment to pushing the boundaries of what is possible within the context of jewellery.

572

ARTWORK STATEMENT

In the series of works “Improvisation”, Yirui Deng explores the interplay of sound and vision through jewellery, transforming life's rhythms into spontaneous melodies. Her work encourages an appreciation for the beauty of random everyday moments and their harmonious echoes, just like a jazz improvisation.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YD) - YIRUI DENG

(BDG) Your practice incorporates elements of technology, music, and sustainability. How do you integrate these diverse fields into your jewellery design process, and how do they influence your final pieces? (YD)

I believe that the methodology of shaping the jewellery by sound and programming are infinite and sustainable, because they can create designs that are strongly relevant to individuals while retaining its featured aesthetic identity. I applied software programming by Houdini to generate patterns by the rhythm and volume from auditory recordings and used the parametric feature of grasshopper within 3d modelling in Rhino to achieve an accurate translation of sound into vision.

(BDG) The “Improvisation” series draws parallels between jewellery and musical improvisation. Can you explain how you translate the concept of jazz improvisation into your designs, and what role randomness plays in your creative process? (YD)

These subdivided series stem from my deep fascination with jazz music. I believe the essence of jazz lies in its ability to create an infinite number of narratives within a limited realm of the music notes. In a jazz jam session, musicians who might have never met before take the stage to perform, getting to know each other through the dialogue of music. The only communication on stage is through eye contact or head nodding, while the audience interprets their personalities through the music. In order to add randomness in my design language, I employed a technique patination for the colour of one of my works. I selected this method for the oxidation of silver with eggs. The resulting colour and patterns are randomly generated. This adventure was undertaken by the influence of John Cage. I think it also brings new opportunities to the overall aesthetics as Cage says: “Some intentional actions take place, basically by creating the conditions of possibility for unpredictable results.” For the Duo Collection, I use the engaging nature of puzzle structures to imply the conversation between each combination of sound and also people; any two bells of varying sizes can

576

be mixed and matched to create a unique tone. The design language has added a sense of playfulness, aligning with the concepts of chance, offering a more intimate connection for the audience who chooses to wear sound as a means of selfexpression. These combinations, though appearing random, are actually the result of the designer's intention; however, individuals have the freedom to trigger their expression through body rhythm. (BDG) Your collections use a variety of materials such as silver-plated brass, titanium, and stainless steel. How do these materials contribute to the thematic and aesthetic aspects of your work, and what challenges did you face in using them? (YD)

577

For the timbre of the bell, I selected brass, and another interesting material: titanium after heat. It is exciting to mention that at the beginning, the tone of the collision of titanium was like iron sheets with no special feature of tonality. When I heated the titanium to add colour, I found by accident that the titanium bell made a higher and longer sound than brass when it fell on the table, and then it became the significant part of my work. For the less successful experience, which is the material test with limited length, I learned about the vibration frequency of glass, aluminium, titanium, copper, steel and silver have a less recognizable sound quality or the material elasticity is not high enough to produce a longer note. For the shapes, I initially applied outlines of cymatics to see how they produce distinct tones. I was surprised to find that with the same material, there were very different in tone under different shapes. The polygonal bell has a jingle sound, but too short and conventional like the collisions of keys. Only the round bowl shape can help extend vibration as the principle of sound wave transmission, the edgeless design would minimise interference with sound waves. After the research of trembling jewellery from the past centuries, I was delving into how to make the two pieces of metal both flexible and stable while shaking. For the connecting part, I gained valuable experience from a number of failed attempts: I tried to laser weld the spring and bell, but it broke easily after a little shaking because the contact point was too tiny, and the bonding of brass and steel was difficult. As the final structure, the concave surface of the bell is a contrast with the convex surface of the silver container. I casted my own screws, which clamped the spring like a tenon structure. In this situation, even if the bell on top are shaken hard, the spring would disperse the force, and there would be tiny pressure to damage the screws at the bottom.

(BDG) How has technology influenced your jewellery designs, particularly in relation to your exploration of sound and visual interplay? (YD)

In my opinion, the application of technology in design is to serve the function. As a designer who is more skilled in creating works manually, I was new to programming in software. The study was a journey where my perceptive thinking has transformed into a more rational and logical way. I applied Houdini to generate patterns by the rhythm and volume from auditory recordings and used the parametric feature of grasshopper within 3d modelling in Rhino to achieve an accurate translation of sound into vision. During the programming process, the principle of conversion involves differentiating the collected sound into various frequency bands, such as 600-800 hertz and 800-1000 hertz. These bands are then connected to the mechanism that determines the specific size and diameter of each band. The finer the division of the frequency bands, the more precise the resulting pattern's size and layer will be. I hope that through the process of turning the intangible into the tangible, I could get sufficient understanding of the meaning beyond the behavior of transformation.

(BDG) Sustainability is a key focus in your practice. How do you incorporate sustainable practices into your jewellery-making process, and what specific measures have you taken to address environmental concerns? (YD)

The sustainability of programming in the realm of jewellery design has the enduring potential. By harnessing the power of programming to generate patterns, we can ensure a consistent and sustainable method of production. This process is not only stable but also infinitely adaptable, as it allows for the seamless integration of various base patterns. This adaptability is key to fostering innovation, as it enables the creation of an everevolving array of aesthetic features that can captivate and resonate with a diverse audience. Addressing environmental concerns is of paramount importance in today by introducing elements that disrupt the monotony of traditional environmental settings, we can enliven the surroundings with the dynamic presence of sound and motion. This not only enhances the sensory experience but also contributes to a more vibrant and lively atmosphere. In the specific case of patination, a technique traditionally used to give metal surfaces a decorative finish, the adoption of natural materials over industrial chemicals represents a significant step towards eco-friendliness. By opting for substances like eggs, which are abundant and renewable, we avoid the use of harmful chemical oxidants that can lead to environmental pollution. This approach not only minimises the ecological footprint of

578

the jewellery-making process but also aligns with the growing demand for sustainable and eco-conscious products. (BDG) The “Harmony Collection” seems to explore the theme of harmony in both design and materials. Can you discuss the design elements and materials that contribute to the sense of harmony in these pieces? (YD)

Multiple bells of various sizes and shapes to produce a harmonious blend of sounds. The design of the large box provides ample space for the bells to resonate, creating echoes. The use of circular and triangular bells introduces a contrast in sound characteristics. The circular bells, in larger sizes, produce a combination of chords resembling Ab and Bb notes, evoking a sense of mystery and healing. In contrast, the triangular bells emit a more fragmented and indeterminate tone when struck. When combined, these bells, despite being made of the same material, create a fascinating sense of layer, with the base notes supporting the floating, rustling sounds above.

579

There is an interesting aspect to the design: after determining the position of the bells, I decided to create a window that serves as the 'sound hole' of the resonator and reveals some of the content inside. Originally it was a functional consideration, however, I unexpectedly found that this arrangement made the 'sound hole' resemble a smiling face, which added a touch of positive emotional connotation to the works. (BDG) The “Transformation” series is not for sale and focuses on more experimental pieces. What is the significance of these works within your overall practice, and how do they reflect your creative exploration? (YD)

In the mid-stage of the project‘s development, I created a set of works, Transformation, where I utilised programming to transform the music from my early collaboration with musicians into a brooch and bangle. The undulating sizes and varied heights of the wave-like shapes correspond to the positions of the titanium bells. I considered this series a meaningful exploration. However, due to the material and the screw structure made by direct casting, which could not support the strength needed for the pieces to continuously sway, they were prone to damage during wear, such as getting caught on clothing. As a result, I abandoned the idea of exposing the structure. This experience has provoked me to pay more attention to the functionality and practicality of the jewellery when designing.

(BDG) How do you visualise the interplay between sound and vision in your jewellery, and what sensory experiences are you aiming to evoke in your audience?

(YD)

For example, in the Shuffle collection, My initial inspiration came from the motion of drum brushes on the drumhead usually appearing in jazz music, where the drummer alternately brushes the drum surface in circular motion, producing a sound of crinkling plastic bags, releasing a laid-back feeling. The dotted patterns generated by Houdini are inlaid with gems, which sparkle as they rotate. The protruding planes inevitably remind me of a vinyl record player, providing a touch of retro sentiment. My works seek to highlight this sensory fusion, offering a fresh take on how auditory and visual elements can merge in contemporary jewellery. I aim to challenge traditional views and deepen our appreciation for the complex interactions between different senses. My designs are crafted to initiate a synesthetic dialogue, inviting an exploration of the rich tapestry of human sensory experience.

(BDG) What have been some of the biggest challenges in creating your jewellery collections, particularly in merging sound, vision, and traditional jewellery techniques? How have you overcome these challenges? (YD)

Deep within, I am an individual who cherishes the fusion of traditional aesthetics with innovation. Therefore, my challenge was how to add a sense of playfulness by enhancing the structural stability based on the mechanism that already exists. Consequently, the physical structures I have researched may evoke the image of the ‘Trembling jewellery’ from centuries past, yet they are crafted to be modular and interchangeable. The robustness of these structures, when combined with the strength of durable metals such as titanium, permits them to withstand the challenge of continuous shaking, a significant departure from the delicacy of traditional jewels. The concept of my overall practice is not only aesthetically pleasing but also imbued with a sense of playfulness. If the enjoyment of wearing jewellery is marred by the need for excessive care and caution, then the essence of its charm is lost. Furthermore, I aim to empower individuals who are not musicians to engage in the creative process of music-composing, thus democratising the experience of artistic expression.

(BDG) Given your interest in improvisation and the interplay of different disciplines, what future projects or directions are you considering? Are there any new concepts or materials you are excited to explore? (YD)

My creative process will remain deeply rooted in the sensory experiences that my environment provides. In the future, I am committed to embracing a diverse range of craftsmanship techniques, seeking to uncover the rich possibilities that

580

traditional arts offer when applied to modern design sensibilities. For instance, utilizing AI to achieve customization with personal features in jewelry and to create Op art visual effects for the interaction with the audience. I am keen on merging these time-honored skills with cuttingedge technologies, aiming to push the boundaries of what contemporary jewelry can be. This fusion of the old and the new is also about imbuing them with a narrative that speaks to our times.

581

YIRUI DENG IS A jewellery ar HER MA DEGREE IN RCA Jew BACHELOR DEGREE OF Go RMIT University IN MEL

rtist WHO HAS COMPLETED wellery and Metal IN LONDON, old and Silversmithing FROM LBOURNE, AUSTRALIA.

REVIEW

Yirui Deng’s jewellery practice is an innovative fusion of technology, music, and sustainability, redefining the boundaries of contemporary jewellery design. A graduate of the Royal College of Art (RCA) in London, Deng’s work goes beyond mere decoration, exploring sound and vision through meticulously crafted, interactive pieces. Her Improvisation series draws inspiration from jazz music, incorporating randomness and chance, while her use of natural patination methods reflects a commitment to sustainability. These techniques, like oxidising silver with eggs to achieve unique, unpredictable patterns, bring a playful spontaneity to her designs. Deng’s use of digital tools such as Houdini and Rhino’s Grasshopper to translate sound into visual patterns is a hallmark of her practice. By mapping the rhythm and volume of sound waves onto jewellery forms, she creates pieces that resonate on both visual and auditory levels. This approach is evident in her Solo Collection, where materials like titanium and silverplated brass are used not only for their aesthetic

584

4585

qualities but also for their acoustic properties. The bells in this collection produce distinct tones, making her jewellery an interactive experience for the wearer. Sustainability plays a significant role in Deng’s work. She favours eco-conscious processes, using natural materials in place of harmful chemicals, and creates adaptable designs that allow wearers to personalise their jewellery. This interaction, particularly in her Duo Collection, adds an intimate, playful layer to the pieces, fostering a deeper connection between the object and the wearer. Her experimental Transformation series, although not for sale, represents a key moment in her creative journey. It reflects her ongoing exploration of sound, movement, and form, while also acknowledging the challenges of balancing aesthetics with functionality. Deng’s dedication to refining her craft is clear, as she continues to push the boundaries of traditional jewellery-making, embracing both success and failure as part of the creative process. Looking to the future, Deng is excited about integrating AI and further exploring the fusion of traditional techniques with modern technologies. Her work is not just about crafting beautiful objects but about creating multisensory experiences that engage with both the intellect and the emotions. Yirui Deng’s jewellery invites us to rethink the role of adornment, offering a fresh perspective on how contemporary jewellery can interact with and enrich our sensory experiences.

YIYUAN BAI INNOVATIVE TEXTILES ARTIST CRAFTING biodegradable MATERIALS FROM herbal medicines, MERGING SUSTAINABILITY WITH TRADITIONAL healing TO CREATE FUNCTIONAL, eco-friendly DESIGNS.

ARTIST STATEMENT

In these three years, Yiyuan Bai participated in many interdisciplinary cooperation projects, including the team project " A Grain Of '' from the Southern University of Science and Technology, School of Design in Shenzhen, China; " The Breath of Life " from the Guangzhou Zoo and two projects " Catching Melting Ice " and " Marine Plastic Pollution " during her study at Royal College of Art. Meanwhile, her works exhibited in many galleries, museums and design weeks in 2024. The team project " A Grain Of '' exhibited at Shenzhen Design Week and her graduation work " SOLE " at the Royal College of Art exhibited at Shanghai Best Emerging Talent Festival, London Parallax Art Fair, London Design Festival and will be exhibited in the Louvre Museum in France and will be collected and exhibited by Tongqi Museum in Hunan, China. Besides, her work " SOLE " was published in the New Materials category of Green Trend Book 2024 in Germany. In recent years, her works have won awards at the Global HUA Design Supreme Gold Award, 2024 Netherlands ARC Design Silver Award, the 6th CADA Japan Concept Art Design Silver Award; the 6th Hong Kong New Contemporary Design Award, the G-CROSS Award 2024, UK, the 4th London Chinese Art Exchange Exhibition, the 6th EPACC Environmental Protection Art Creation Contest, USA; the 4th CADA Japan Concept Art Design Competition and at the 5th Hong Kong Contemporary Design Award. Besides, she has been shortlisted for the Hyundai Awards for Excellence in Sustainability & Creative Practice, UK and the nominee for the Green Concept Award, Germany.

598

8599

ARTWORK STATEMENT

剥落的痕迹瘙痒的痛楚无人可知残缺的外观胜似不完美却独一无二 The patterns of skin falling, the pain of itching is known to nobody. The scattered skin is imperfect yet sole. Herbal medicine with healing effects and recyclable biomaterials are research aspects that she has searched into. She creates bio-products such as gloves and packages derived from aromatic herbs - Pogostemon Cablin and Herba Eupatorii aquafaba ( liquid from cooked beans ), seaweed, flour, etc. According to the anti-fungal characteristic of herbal medicines and the herbal biomaterials she made, they are the effect of curing Tinea Manuum, which is a dermatophyte infection of one or both hands. 手之疗配以草药敷之触可达平缓之道闻可达安神之道弃其与水混之可抑菌 The prescription of Tinea Manuum can be combined with the application of Pogostemon Cablin, Herba Eupatoriican which have the effects of sedation by touching, healing effects of easing anxiety by smelling, mixed with warm water can have antibacterial effects. By applying the properties of Chinese herbal medicine itself and through continuous experiments, Yiyuan BAI applied herbal medicine to transform it from flat to three-dimensional and made it into bio-materials, which can be degradable, recycled, and have healing effects, and can be applied to the skin surface. The thin and smooth material can fit the skin well and make people feel comfortable. The material can be made into wearable accessories, such as gloves that can be removed from fingers and palms, so that people can choose what to wear by the part of the skin.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YB) - YIYUAN BAI

(BDG) Your work involves creating bio-materials from herbal medicines and natural sources. What inspired you to use these specific materials, and what were the main challenges you faced in developing them into functional bio-products? (YB)

Origin of the inspiration: Throughout my upbringing, as my aunt being a practitioner of Chinese herbal medicine, my family has always relied on the traditional way of herbal medicine to treat all sorts of illness, which allowed me to experience the magical attraction and allure of Chinese herbal medicine. During the process of my pursuit of my further studies, it has inspired me greatly to the constant experimenting of creating biodegradable and recyclable materials using natural substances or discarded items such as fruit and vegetable peels due to my growing passion in the application of bio-materials. Additionally, I have also come to realise that in the study of Chinese herbal medicine as part of the Chinese traditional culture, the majority of plant-based materials can exhibit various types of medical properties that can have potential medical benefits to humanity as a whole under the premise of sustainable development. Process of experiments: During the initial process of experimenting, I have attempted to utilise various types of fruit and vegetable peels to dye different types of the medical herbs. Besides, I tried to develop a type of relatively rigid material during the first version of the prototype to attempt to create various forms of hand accessories. Subsequently, in the consideration of the degree of aesthetics and comfort, I am experimenting to create softer and more lightweight materials. Main challenges: During the development process, the main challenges are the application of flexibility and durability. Since the primary medical effect would be treating hand eczema, therefore I need to ensure my products are able to adhere to the skin and are comfortable to wear.

(BDG) Your project “SOLE＿相愈” explores the healing properties of herbal medicines and bio-materials. How do these therapeutic qualities influence the design and functionality of your pieces, and how do you ensure they are effectively incorporated?

602

(YB)

The prescription of Tinea Manuum can be combined with the application of Pogostemon Cablin, Herba Eupatoriican which have the effects of sedation by touching, healing effects of easing anxiety by smelling, mixed with warm water can have antibacterial effects. In the initial process of selecting the ingredients of the herbal medicines, I opted for a combination of two aromatic ingredients of Pogostemon Cablin, Herba Eupatoriican these two types of herbal medicine to maximise the bacteria suppressing effect and antifungal properties. In the meantime, these two types of aromatic herbal medicine have the effects of easing anxiety and promoting calmness through their scent. Therefore, the currently being developed herbal biomaterials can be directly applied on the surface of the skin or immersed in warm or hot water. In the phase of conceptual design, I am attempting to design the package and gloves as the subsequent stage. As the fungal infection on the palms as the design prototype. Based on the distribution range of the fungal bacteria on the different areas of the hands including the interdigital spaces, palm, and palm's lateral sides. The gloves are designed as each finger part can be removed and installed at any time, which better enables users to wear corresponding gloves according to their own parts that have Tinea manus infection. The handle from the package is designed to match the width of the hand, for it is more suitable for people with Tinea manus and can achieve therapeutic effect when using the package.

2603

(BDG) Your work has been exhibited in prestigious venues such as the Louvre Museum and has received numerous awards. How has this recognition affected your practice, and what feedback from audiences and critics has been most meaningful to you? (YB)

Recently due to the event of the Paris Olympic games, the exhibition schedule of the Louvre has been tentatively postponed to September. Meantime, I am deeply honoured that my work has been included in the collection of the Tong Qi Chinese Herbal Medicine Museum in Hunan, China and it is a good chance for me to join the London Design Festival in your gallery! Having various opportunities and receiving awards, I have felt that the concept of my works and its future potential has been appreciated and recognized. At the same time, through the application of Chinese social media, I have discovered the vast amount of market demands and potentials, so I am currently preparing to start my business in China.

(BDG) The materials you use are biodegradable and recyclable. How do you address the environmental impact of your creations, and what measures do you take to ensure they contribute positively to sustainability? (YB)

In fact, the application of herbal medicine generates a significant amount of waste. Most of the herbal medicine ingredients are applied by adding a measured amount of water and boiling for a certain amount of time then the herbal liquid is poured into the bowl for consumption. To preserve the optimal medical effect, the remaining residue of the herbal medicines are generally to be discarded in which this practice leads to the generation of substantial herbal waste. Given the consideration of this concept, the herbal bio-material that I have developed eventually could be dissolved in water and subsequently decompose, thereby mitigating the issue of residual herbal waste. Fundamentally, in the selection of the materials, apart from the currently incorporated herbal medicine I have also included natural substances such as liquid from discarded beans, algae, and edible starches to develop the bio-materials. These natural ingredients align with principles of sustainable development of the environment.

(BDG) Given your success and innovative approach, what future directions are you exploring in bio-design? Are there new materials, technologies, or concepts you are excited to investigate? (YB)

Given the extensive experiments and trials with the herbal biomaterials over the past three years, I am more inclined to achieve these types of materials into more developed products and more suitable for market promotion. Yet I believe that further development and experiments are still needed, and I am hoping to seek more support from strategic partners to assist in this endeavour. Medical aspect: pharmacological experiments are needed as tests and to refine the data. Material aspect: Ensuring the durability of the material to improve the usage rate. Production aspect: Opting for mass production, controlling the range of price will allow patients to benefit more.

(BDG) What impact do you hope your work will have on the fields of sustainable design and textile innovation? How do you envision your practice evolving, and what are your long-term goals? (YB)

Regarding the development of herbal materials, this is a relatively new area of study for it not only combines the innovation of new material but it is also a new chapter in the study of Chinese medicine.

604

4605

I hope by continuous study I can deepen my understanding of the development and application of new material, aspiring to develop a wider range of wearable herbal product, accessories applications. Not only limited in the traditional formation of such as plasters and herbal pills but with the focus on the ideology of sustainable development, applying the outcome of the experiment from new materials. Furthermore, in order to evaluate their therapeutic effects for various conditions and corresponding herbs, I ultimately would like to select the most suitable wearable accessories for practical application.

HOW TO EXPLORE T life and

YIYUAN BAI HELD A POSTGRAD THE Royal College of Art IN LOND ON MAKING sustainable materia BEANS, SODIUM ALGINATES, TRE SOURCES. SHE APPLIED HER bio-de BIO-MATERIALS AND EXPLORED T HERBAL M

THE POSSIBILITIES IN nature?

DUATE DEGREE IN textiles FROM DON 2023, WHERE SHE FOCUSED als FROM HERBAL MEDICINES, EE LEAVES AND OTHER NATURAL esign AND CMF expertise TO CRAFT THE EFFECTS OF natural dyeing ON MEDICINES.

REVIEW

Yiyuan Bai’s artistic journey is an intricate intersection of sustainability, bio-design, and the ancient wisdom of Chinese medicine. Her standout project, SOLE＿相愈 , epitomises this unique synthesis, as she transforms herbal remedies - such as Pogostemon Cablin and Herba Eupatorii - into bio-materials with both healing and ecological benefits. These materials not only soothe skin conditions like Tinea Manuum but are also biodegradable, a testament to Yiyuan's commitment to sustainable practices. Yiyuan's creative process is deeply influenced by her personal connection to Chinese herbal medicine. This influence is evident in her exploration of biomaterials, where she incorporates natural substances like aquafaba and seaweed, reflecting a thoughtful approach to minimising waste and promoting environmentally friendly solutions. Her work speaks to a balance between traditional healing and modern sustainability, offering practical benefits while addressing critical environmental concerns.

612

Her artistic vision extends beyond functionality. Yiyuan’s works possess an understated elegance, their forms designed for intimate, tactile engagement. Her modular glove designs, for instance, allow the user to tailor the product to their specific needs - illustrating her attention to comfort and personalisation. Additionally, the aromatic qualities of her materials create a sensory experience that enhances the therapeutic qualities of her bio-products.

613

Yiyuan's achievements have not gone unnoticed; her work has been showcased at prestigious venues like the Royal College of Art and the Shanghai Best Emerging Talent Festival, and she has garnered numerous awards, including the Netherlands ARC Design Silver Award and the Green Trend Book’s recognition in Germany. These accolades validate her innovative approach, but Yiyuan remains committed to further refining her materials for greater durability and accessibility, ensuring that her creations are both functional and affordable. Her forward-thinking ethos is clear in her focus on sustainability and the potential for mass production. Yiyuan's vision for the future is to expand her biomaterial innovations into market-ready products, offering an alternative to conventional materials while addressing both medical and ecological concerns. Yiyuan Bai’s practice is an inspiring blend of artistic elegance, environmental ethics, and functional design. She represents a new wave of artists who are not only concerned with aesthetics but also with the profound impact of their work on society and the planet.

YUFENG PAN INNOVATING SUSTAINABLE slow fashion, THIS ARTIST FUSES anatomical AESTHETICS WITH ECO-FRIENDLY leather TO CREATE WEARABLE ART THAT challenges TRADITIONAL DESIGN BOUNDARIES.

ARTIST STATEMENT

As an interdisciplinary leather artist with a fashion background, I am dedicated to pioneering a new age of sustainable slow fashion through the tanning of eco-friendly leather and the creation of wearable sculptures. My journey began with a deep fascination for leather, a material deeply rooted in tradition and durability. By mastering natural tanning methods such as vegetable tanning and oil tanning, I significantly reduce the environmental impact of leather production, producing biodegradable and safer leathers that emphasize quality and longevity core principles of slow fashion. My work uniquely integrates anatomical aesthetics with fashion design, resulting in wearable sculptures that fluidly transition bet ween garments and standalone art pieces. These creations are not merely clothing but are transformative artworks that bring the wearer into an intimate experience with art and nature. By fusing the structure and complexity of the human body with sustainable leather, challenged conventional boundaries and promote a harmonious blend of fashion and art.The ultimate goal is to inspire a shift towards responsible and ethical fashion practices, addressing the pressing socio-cultural imperatives of our time. In an era marked by environmental degradation and cultural homogenization, my work advocates for a mindful approach to fashion, emphasizing the importance of sustainability, cultural heritage, and conscious consumption. By innovating with materials such as fish skins, which are both sustainable and aesthetically unique, the fashion industry can explore new creative possibilities and redefine traditional notions of luxury and identity.

620

The interdisciplinary approach to leather art and fashion not only contributes to the sustainable development of the fashion industry but also offers valuable insights and inspiration for other fields. Through material innovation and community engagement, I aim to promote a globally sustainable and culturally diverse future.

ARTWORK STATEMENT

0621 This piece crafted from eco-friendly, vegetable-tanned horse butt hide, it celebrates the unique texture and durability of the material. The intricate anatomical detailing highlights the complexity and beauty of the human form, seamlessly transforms between a garment, wearable soft sculpture, and real sculpture.By merging fashion design with fine art, this piece challenges traditional boundaries, offering versatility and innovation. It encourages sustainable practices by using naturally tanned leather and promotes a mindful approach to fashion and art. This work exemplifies the future of slow fashion, where durability, sustainability, and aesthetic beauty converge, allowing wearers and viewers to experience art in a deeply personal and transformative way, to redefine our understanding of art and utility.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YP) - YUFENG PAN

(BDG) Your work delves into the concept of identity and challenges stereotypical thinking in art and design. Can you discuss what initially drew you to explore these themes, and how they have shaped your creative journey? (YP)

I find it hard to keep up with innovative thinking all the time just as a fashion designer, so I try to explore more interdisciplinary fields to open up my mind and do more experiments, I start not to simply define what I can only do, I go to explore more things I can do and integrate them into my designs to form a unique system so that I can get to know myself better, and have a deeper understanding of my own cultural and historical contexts, and inspire innovation in the fields of art, science, technology, etc.

(BDG) As an advocate for sustainable leather tanning methods, what inspired you to focus on vegetable tanning, oil tanning, and the use of eco-friendly materials like fish skins? (YP)

In terms of material research, I realised that leather is actually a truly eco-friendly material, as around 300 million cows are slaughtered every year, and if the skins were not used, they would end up in landfill, wasting valuable land resources. The ancient method of tanning avoids the harmful chemicals of chemical tanning, making the leather not only more natural and safer, but also of high quality and durability, and over time the leather becomes softer and develops a unique lustre and texture.

(BDG) Your creations often transition between wearable garments and standalone art pieces. What challenges do you face in designing such versatile works, and how do you ensure they maintain their functionality and artistic integrity? (YP)

I need to consider what makes sense as a garment while maximising the presentation of my concepts, which often involves complex structural and pattern designs, and may involve more materials and processes, requiring more experimentation to find the optimal solution.

(BDG) The fusion of human anatomical aesthetics with fashion design is a unique aspect of your work. What is the significance of this approach, and how do you feel it enhances the relationship between the wearer and the artwork?

624

4625

(YP)

My mother was a doctor, which is what led to my interest in anatomy and psychology. Human beings have never stopped exploring their bodies, and this curiosity is innate. I also realised the complexity and diversity of the human body after studying muscular anatomy, which prompted me to think deeply about what kind of structure is really suitable for the human body, rather than what is unchanging, and this approach allows the designer to enhance the wearer's dynamic communication and interaction with the artwork.

(BDG) As a proponent of slow fashion, how do you define this movement, and what do you believe are the key elements needed to bring about a more responsible and ethical fashion industry? (YP)

I think slow fashion is really good enough fashion, designers need to take their work very seriously, to be hands-on, to be quiet and think about what we really need, not just to bring visual impact or tell a story without depth.

(BDG) Can you elaborate on your choice of materials, such as eco-friendly vegetable-tanned horse butt hide, and how these materials contribute to the overall narrative and aesthetic of your pieces? (YP)

My designs are usually driven by the material, as if I get the material and I know what to do next. I don't like to be sure of everything before I start, I am used to exploring breakthroughs in practice. This horse's rump skin has been tanned twice to preserve the texture of the veins on its surface, the scars on the skin, and even the mosquito bites.It's unrepeatable and random, and that's the most fascinating thing about it.I like the feeling of being close to nature, as they give me more inspirations and feedbacks.

I EXPLORED THE concept of id HIGHLIGHTING THE tendency SIMILAR CHARACTERISTICS, S OFTEN LEADS TO OVERLOOKING THIS stereotypical THINKING, I A CATEGORIES AND INSTEAD PRO ON OBJECTS, MAINTAINING THE AND IMPROVING VARIOUS LEATH TO CREATE A natural and environ DEVELOPING A NEW ER

dentity IN ART AND DESIGN, y TO CATEGORIZE WORKS BY SUCH AS MATERIALS, WHICH G THEIR diversity. TO CHALLENGE AIM TO STOP DEFINING RIGID OMOTE A MORE open perspective EIR possibilities. BY RESEARCHING HER TANNING METHODS, I STRIVE nmentally friendly APPROACH TO RA OF SLOW FASHION.

REVIEW

Yufeng Pan’s artistic practice is a striking blend of fashion, craftsmanship, and sustainability. With a background in fashion and a focus on traditional materials like leather, he challenges conventional design by reimagining the boundaries between wearable garments and art. His commitment to slow fashion, sustainability, and identity exploration positions him as a forward-thinking artist in a trend-driven industry. In works like FORM AND FLESH, Yufeng’s mastery of eco-friendly, vegetable-tanned leather speaks to his deep respect for traditional craftsmanship and environmentally responsible design. By highlighting the natural imperfections in materials like culatta, he adds authenticity to each piece, ensuring they remain unique and deeply connected to nature. This material-driven approach rejects the disposable nature of fast fashion, grounding his work in sustainability and craftsmanship.

630

0 631

What sets Yufeng’s work apart is his wearable sculptures, which blur the line between fashion and fine art. His incorporation of human anatomy, inspired by his mother’s medical background, fosters a dynamic interaction between the garment and body, creating an intimate dialogue between form and function. His structural complexity enhances both aesthetic and physical engagement, inviting wearers to experience his art on a deeper level. A passionate advocate for slow fashion, Yufeng’s approach extends beyond aesthetics to embrace intentionality, craftsmanship, and ethics. His pieces are meticulously crafted with a focus on quality and longevity, challenging consumers to move beyond fast fashion’s fleeting appeal. His use of eco-friendly materials, such as fish skins, further reflects his commitment to sustainable, thoughtful design. Yufeng navigates the space between tradition and innovation, art and utility, pushing the boundaries of what fashion can be. His interdisciplinary approach, grounded in cultural heritage and modern design, offers a fresh, expansive understanding of fashion’s role in our lives. Yufeng Pan’s work challenges us to rethink the way we view fashion and art. By embracing sustainability, craftsmanship, and a deeper connection to materials, he is shaping the future of slow fashion and offering a powerful critique of our consumption-driven world. His wearable sculptures stand as a testament to the potential for fashion to be both beautiful and meaningful, inviting us to engage with it on a more conscious, thoughtful level.

YUWEI QIAN EXPLORING THE intersection OF NATURE AND CRAFTSMANSHIP, THIS ARTIST TRANSFORMS DELICATE willow twigs INTO WEARABLE ART, BLENDING symbolism WITH CONTEMPORARY DESIGN.

ARTIST STATEMENT

As a design, my creative journey begins with exploring the boundless possibilities of wood. My latest project was inspired by the shapes of sawdust produced when sharpening a pencil. These sawdust shapes closely resemble wings made of delicate feathers. Upon delving into the symbolism of wings, I discovered that they not only determine flight characteristics but also relate to long-distance endurance and short-distance speed. I chose a wing design that reflects resilience and the need for brief rest periods, much like people needing short breaks to recharge after long periods of work before diving back in. In transforming this vision into an art piece, I meticulously carved branches to form intricate wing skeletons, carefully observing the varied lengths of feathers on each wing. I replaced traditional wooden structures with branches that have a fluffy surface, aiming to capture the ethereal essence of flight. The creation process culminated in the making of ear hooks. I soaked willow branches, bent them into shapes that fit the ears, and let them dry to ensure a comfortable and secure fit. By connecting these ear hooks to the wings and adorning them with delicate feathers, I hoped to evoke a sense of harmony and fluidity, akin to the graceful descent of falling feathers. The final artwork, designed as ear hooks, serves as a reminder of the importance of active listening and receptivity to information and advice. Just as sound is captured by the ears, only by embracing wisdom and guidance can one soar to greater heights and travel farther in life's journey.

636

ARTWORK STATEMENT

6637 This project started with exploring the possibilities of wood. The most impressive thing about wood is the shape of sawdust cut when sharpening a pencil. Putting these sawdust together, it looks like wings made of feathers. Different shapes of wings determine the speed and duration of flight. Some can fly long distances, while others can fly at high speeds over short distances. I chose a wing shape that can fly long distances and only needs a short break to continue flying, just like people get a short vacation after working for a long time, adjust their state, and continue working. Regarding the design of the wing part, the branches were initially carved into the skeleton of the wings and fixed to the top of the wings. After carefully observing the wings, it was found that the feathers on the same wing have many different lengths, and the feathers on the top layer are like fluff, so branches with fluff on the surface were used instead of the skeleton-shaped wood. Before making the ear hooks, soak the willow branches in water overnight, then fold them into a shape that fits the ears and dry them to set. Finally, glue one end to the wings and glue some feathers on the other end of the branches to make it echo the wings and look like feathers falling. The finished product is made into an ear hook because the ears are the place to capture sound information. Only by listening to more information and advice can you fly higher and farther.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YQ) - YUWEI QIAN

(BDG) Your work draws inspiration from the shape of sawdust when sharpening a pencil, likening it to delicate wings. Can you elaborate on how you made this connection and what initially drew you to explore this concept in your designs? (YQ)

I was struck by the intricate and delicate shape of sawdust when sharpening a pencil, and it reminded me of feathers. This small moment inspired a broader exploration of how these seemingly insignificant shapes could be transformed into something as powerful and symbolic as wings. The idea that they could be reimagined as a symbol of freedom and resilience was compelling and led me to explore this concept in my designs.

(BDG) Wings carry deep symbolism related to flight, endurance, and resilience. How do these elements reflect your personal or artistic philosophy, and how do you hope viewers interpret these symbols in your work? (YQ)

Wings symbolise flight, endurance, and resilience. In my work, I aim to convey the idea that, like wings, we have the ability to overcome challenges and persevere through long journeys. I see wings as a metaphor for the balance between effort and rest, just as a bird must rest after a long flight. Through my work, I hope viewers will see the wings not only as a physical form but also as a reminder of their own power and the importance of taking time to recharge their energy.

(BDG) You chose willow twigs and bark as your primary materials. What challenges did you encounter when working with these natural elements, and how did you ensure they were both functional and aesthetically pleasing in your jewellery pieces? (YQ)

Working with willow twigs and bark presents unique challenges, primarily due to their natural irregularities and fragility. Ensuring that these elements are both functional and retain their beauty requires a careful selection process. I had to find branches that were flexible enough to be shaped but strong enough to hold their shape. To meet these challenges, I soaked the willow branches to increase their flexibility.

640

(BDG) Your design process includes soaking and shaping willow branches for the ear hooks. Can you walk us through the detailed crafting process and the techniques you employed to create the final pieces? (YQ)

The willow branches are first soaked in water overnight to make them more flexible. Once softened, they are shaped into ear hooks by bending them around a mould that matches the contours of the ear. The branches are then allowed to dry so they can settle into their new shape. Next, I used tweezers to glue the feathershaped wood chips to the bark of the wing structure, following the arrangement of the feathers on the wing. Finally, I attached the branches to the wings, ensuring a seamless connection between the ear hooks and the wing structure.

(BDG) The final design serves as a metaphor for listening and receptivity to advice. How does this theme resonate with you personally, and why was it important to incorporate it into your artwork? (YQ)

641

The theme of listening and receptivity is very personal to me and reflects my belief in the importance of being open to new ideas and perspectives. In our fast-paced world, listening is often overlooked, but it is essential for personal growth and understanding. By incorporating this theme into my work, I wanted to create a visual reminder of the value of receptivity.

(BDG) Your artwork blurs the line between wearable jewellery and conceptual art. How do you balance form and function in your designs, ensuring that they are both expressive and wearable? (YQ)

In the "Wing" collection, there is a clear visual expression. However, due to the material, I spent time researching and experimenting with how to make it more secure on the ear, making the pieces as wearable and practical as possible.

(BDG) Your previous works explore the intersection of technology and traditional craftsmanship. How does this influence show up in your “Wing” collection, if at all? Do you see this collection as a continuation of that exploration, or a departure? (YQ)

This collection is more focused on reimagining and reinventing materials. The way I work with natural elements such as willow bark can be seen as my exploration of how to develop and innovate traditional craftsmanship in a contemporary context.

(BDG) You have a deep appreciation for traditional craftsmanship, as seen in your certifications and use of natural materials. How do you view the role of traditional techniques in contemporary jewellery design, especially in a digital age? (YQ)

I believe that traditional craftsmanship plays a vital role in contemporary jewellery design, especially in our digital age. While technology offers new possibilities, traditional techniques

provide a depth of skill and connection to materials that cannot be replicated digitally. In my work, I strive to honour these traditional methods while also pushing the boundaries of what they can achieve. By combining the old and the new, I offer a richer experience for both the maker and the wearer. (BDG) What kind of response or interaction do you hope to elicit from those who wear or view your “Wing” collection? How do you envision these pieces being experienced in both personal and public settings? (YQ)

I hope that those who wear or view the “Wing” collection will feel a connection to the themes of resilience, freedom, and balance. In personal settings, I envision these works as a reminder of the wearer’s own power and the importance of taking time to recharge. In public settings, I hope these works will spark discussions about the symbolism of wings and the beauty of natural materials.

(BDG) Given your experience and success with projects like “iPhone Unavailable” and “Wing,” what themes or materials are you interested in exploring next? How do you see your work evolving in the future? (YQ)

In the future, my creative themes will continue to be based on my personal thoughts and feelings, without limiting myself to specific materials. I aim to create works that express personal ideas and resonate with the audience, while ensuring the practicality of the products.

642

YUWEI QIAN, A GRADUATE OF Centra ARTS LONDON, IN Jewellery Design, IS P INTERSECTION OF TECHNOLOGY AN

HER COLLECTION "iPhone Unavailable" W THE Klimt 02 OFFICIAL WEBSITE AND W IN Bright New Gems 2023. ADDITIONAL Charged' WAS COLLECTED BY THE JUDG SHOW. YUWEI'S WORK ALSO MADE IT T Design Graduate Show IN COLLABORAT INTERNATIONAL APPEAL AND POTENTIA HER WORK TO ENGAGE WITH diverse a OF CREATIVE

IN 2021, YUWEI OBTAINED THE Interna APPRAISER CERTIFICATION, FOLLOWED IN 2023. THESE QUALIFICATIONS HAVE gemstones AND ENRICHED HER DESIGN PIECES THAT not only CAPTIVATE AE INTRINSIC VALUE

IN MARCH 2024, THE COLLECTION "IPH PARTICIPATE IN THE UK Jewellery Festiva PARTICIPATED IN L

al Saint Martins, UNIVERSITY OF THE PASSIONATE ABOUT EXPLORING THE ND TRADITIONAL CRAFTSMANSHIP.

WAS SELECTED TO BE SHOWCASED ON WAS NAMED AS AN OBSERVATION POINT LLY, THE BRACELET 'Low Battery & Full GER OF NOVA AT THE 2023 CSM DEGREE TO THE SHORTLIST OF THE 2023 Global TION WITH GUCCI, HIGHLIGHTING ITS AL. THESE EXPERIENCES HAVE ENABLED audiences AND EXPLORE NEW AVENUES EXPRESSION.

ational Gemological Institute (IGI) PEARL D BY THE IGI Gemologist CERTIFICATION E DEEPENED HER UNDERSTANDING OF N PROCESS, RESULTING IN JEWELLERY ESTHETICALLY BUT ALSO POSSESS E AND MEANING.

HONE UNAVAILABLE" WAS INVITED TO al 2024. IN MAY OF THE SAME YEAR, IT London Craft Week.

REVIEW

Yuwei Qian’s jewellery bridges traditional craftsmanship with contemporary design, blending conceptual richness with meticulous attention to detail. Her Wing collection, inspired by the delicate shapes of pencil sawdust, embodies themes of endurance, receptivity, and the natural world. The transformation of mundane forms into delicate, feather-like wings speaks to Yuwei’s ability to capture both the ephemeral and enduring, reflecting her fascination with resilience and metamorphosis. Using willow twigs and bark, Yuwei defies conventional jewellery-making by introducing fragile, irregular materials that challenge notions of function and wearability. Her process, soaking and bending willow to form ear hooks, highlights her dedication to preserving the organic integrity of her materials while ensuring comfort. This material choice deepens the connection between nature and design, as the wings symbolise not just flight but the balance between effort and rest.

648

649

Receptivity is a key theme in the Wing collection, where ear hooks act as metaphors for listening. This focus on attentiveness and openness in a fast-paced world brings a thoughtful depth to her pieces, positioning them as more than decorative objects but as symbols of mindfulness and growth. Yuwei’s expertise in traditional craftsmanship, enriched by her IGI certifications, enhances her artistic process. Her ability to innovate within these traditions is evident in Wing, as well as in her previous work, iPhone Unavailable, where she explored the intersection of technology and jewellery. This shift towards natural materials in Wing doesn’t stray from her focus on innovation but rather expands it, embracing the tactile and organic. Yuwei’s work blurs the line between functional jewellery and conceptual art, inviting audiences to engage with her creations on both a personal and intellectual level. Her ability to merge symbolism with practicality elevates her designs beyond mere adornment, making them statements of identity, endurance, and connection. As she continues to evolve as an artist, it will be fascinating to see how Yuwei pushes the boundaries of her craft, exploring new themes while maintaining the delicate balance between form, function, and meaning.

YUXIN LUO EXPLORING THE symbiosis BETWEEN nature and urban life, THIS TEXTILE DESIGNER TRANSFORMS lichen growth INTO SUSTAINABLE ART, BLENDING ECOLOGICAL INSIGHT WITH CREATIVE DESIGN.

ARTIST STATEMENT

Yuxin Luo is a textile designer focusing on bionic design and sustainable materials. With great interest in exploring different media and materials, Yuxin is trying to express her feelings and thoughts through multidisciplinary and multimedia design. During her study at Royal College of Art, Yuxin was strongly inspired and motivated by the conflict and blend of nature and human-made objects in city life. She believes that trying to understand nature’s messages can be a starting point or turning point for thinking more about sharing with nature.

654

ARTWORK STATEMENT

‘ The Invisible Symbiosis: Yellow in Grey ‘ ‘Symbiosis’ was originally derived from the mutualistic relationship between fungi and bacteria within lichens. ‘Yellow’ represents Xanthoria parietina, the main character in this project. ‘Grey’ represents cities, the ones who provide X. parietina with an opportunity to express more while growing.

655

The title' The Invisible Symbiosis: Yellow in Grey' refers not only to my first impressions of X. parietina growing on urban objects, but also represents the message that X. parietina convey through their unique colour in the city and the invisible relationship among X. parietina , human and the city. In cities, vehicles are the main cause of nitrogen pollution.When nitrogen pollution increases, unlike other lichens, Xanthoria parietina, as a nitrogen-loving species, will continue to grow and breed. Because of this property, it begins to act as a natural monitor of nitrogen pollution. But, do we really understand its language? While translating X. parietina’s properties under nitrogen pollution through textiles’ language, Yuxin hopes people could understand more about X. parietina's unique language, and this project also aims to lead people to think more about their living environment and relationship with nature under climate issues.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (YL) - YUXIN LUO

(BDG) Your work, “The Invisible Symbiosis: Yellow in Grey,” draws inspiration from the relationship between Xanthoria parietina and urban environments. How did you first become interested in this specific lichen, and what inspired you to use it as a central element in your design? (YL)

I have always been very interested in the subtle symbiotic relationship between humans and plants/nature, so when I first arrived in London, I focused more on those special plants and organisms that appear in human urban life, and thus I discovered Xanthoria parietina, a lichen with very bright colors and interesting structures. In subsequent research, I found that this lichen changes colors with the environment, and it also becomes more common in cities due to increased nitrogen pollution/car exhaust, which is very unusual and interesting. I think its existence and increase to a certain extent refutes the view that "more and more lichens in cities mean better air quality", and also reveals some new relationships between human cities and organisms, so it later became the origin and core element of my design.

660

(BDG) The title of your project reflects a deep connection between nature and urban life. Can you elaborate on how you conceptualised the relationship between “yellow” and “grey” in your work, and how these elements symbolise the interaction between the lichen and the city? (YL)

The yellow and gray in the concept actually come from the colors that appear in the growth process and environment of the lichen Xanthoria parietina. Yellow is the color that appears when the lichen grows vigorously; gray is the color that appears when the lichen dies, and it also metaphorically represents the color of the city. The yellow lichen is an "unusual" color that appears in the gray city due to air pollution. While gray not only symbolizes the city, it also reveals that excessive air pollution will also cause the lichen to die in a "gray" way.

(BDG) You use materials like Jesmonite, natural dye bath, and wood ash in your work. How do these materials enhance the message and aesthetic of your project, and what challenges did you face in integrating them into your design? (YL)

In the initial experiment, I actually tried a lot of bio-brick production and natural dyeing, but the overall experimental results were

relatively poor (high brittleness, unclear dyeing effect, difficult to capture details, etc.), so later on, according to the technician's advice, I used the relatively environmentally friendly material Jesmonite to extract more detailed textures. I also encountered many challenges in dyeing, because the pigments that come with Jesmonite are very artificial, but experiments have shown that using matching pigments can form faster, so in the dyeing step, I also tried different ratios to blend matching pigments with natural dyes, plant ash, etc., to increase the softness of the color and the texture of the finished material. (BDG) Your focus on sustainable materials is evident in your practice. How do you select and use materials in a way that aligns with your commitment to sustainability, and how do you ensure that your designs are both environmentally friendly and aesthetically compelling? (YL)

661

In the initial experiments and ideas, in order to comply with the sustainability of materials, I have always used natural dyes for dyes. In the process of using lichen dye, I also explored whether there would be any ethical issues in the picking and use of lichens (because the growth cycle of some lichens is very long). In terms of materials, in the early stage, more biodegradable materials such as bioplastics were used. In the later stage, for the sake of aesthetics, when the bio-brick experiment was not ideal, I would also try my best to ask technicians to use more environmentally friendly resin materials and try to modify the original chemical dyeing formula to make the color softer.

(BDG) Given your interest in bionic design and sustainable materials, what future projects or directions are you excited about exploring? Are there any new materials or concepts you are particularly interested in pursuing? (YL)

I am very much looking forward to the development of this project or related projects in terms of materials and viewing experience. In terms of materials, I hope to cooperate with other designers or scientists who are interested in related projects to realize new applications of related environmentally friendly materials. At the same time, regarding my idea of integrating real lichens and bricks through 3D printing technology to achieve symbiosis in the future development of this project, I also look forward to the opportunity to continue the experiment and advance the project to more practical applications. For the viewing experience, I also hope to combine the thinking and methods of other disciplines, combined with the way of digital media information visualization or interactive experience, to enhance the interaction between the audience and the work, which may bring many different new experiences.

(BDG) Your work reflects a blend of artistic expression and scientific observation. How do you navigate the intersection of these disciplines in your design process, and how do you balance scientific accuracy with artistic interpretation?

(YL)

During the exploration phase of this project, I did encounter many problems related to biology and materials science. So when I was conducting related experiments in the school laboratory in the early stage, I would often consult the laboratory technician: Is my idea reasonable? What kind of experiments and methods can I use to restore the growth changes of lichens as much as possible? In the later stage, I chose to contact the British Lichen Society and researchers from the Natural History Museum to find stronger scientific observation support. When I finally made the output plan, I also wrote a more detailed project plan to communicate with researchers from the Natural History Museum, and visited Xanthoria parietina lichen specimens spanning more than 100 years as a source of support for texture and color extraction.

662

YUXIN LUO（B.2000）IS A CURRENTLY BASED IN W BACKGROUND IN FASHIO ON THE sustainable develop SOCIETY AND FAS HER CREATIVE WORKS HA GLOBAL DESIGN GRADUAT AND ARTS THREAD AND HA (MAKING) MATERIAL PERC HANDICRAFT EXHIBITIO Leadhow! Sustaina

A Textiles Designer WHO IS WUHAN, CHINA. WITH A ON DESIGN, SHE FOCUSES pment AND MATERIALS OF SHION INDUSTRY. AVE BEEN SHORTLISTED IN TE SHOW 2023 WITH GUCCI AVE EXHIBITED IN INN ART CEPTION CONTEMPORARY ON AND 2023 Guangzhou able Art Exhibition.

REVIEW

Yuxin Luo’s The Invisible Symbiosis: Yellow in Grey provides a compelling examination of the interaction between nature and urbanisation through her innovative use of textiles and sustainable materials. The collection focuses on Xanthoria parietina, a lichen known for its ability to thrive in polluted environments. Luo employs this lichen as a central motif to symbolise the resilience and adaptation of nature amidst human-induced environmental challenges, contrasting the vibrant yellow of the lichen with the drab grey of city landscapes.

668

The conceptual depth of Luo’s work is evident in her choice of materials and their symbolic significance. By using Jesmonite, natural dyes, and wood ash, Luo not only enhances the aesthetic appeal of her pieces but also aligns with her commitment to sustainability. Her innovative approach to integrating these materials highlights her dedication to creating environmentally responsible art while exploring the intricate relationship between urban pollution and natural resilience. Luo’s focus on sustainable materials reflects her broader commitment to ecological design. Her use of environmentally friendly Jesmonite, in place of more

669

traditional resins, demonstrates a thoughtful approach to material selection. The challenges she faced in dyeing and texturing further underscore her effort to balance aesthetic beauty with environmental responsibility, ensuring that her designs are both visually striking and ethically sound. The intersection of bionic design and sustainability is where Luo’s work truly shines. Her interpretation of the lichen’s growth through textiles reveals a sophisticated understanding of both scientific and artistic principles. By collaborating with scientists and using historical lichen specimens for reference, Luo manages to blend rigorous research with creative expression, resulting in a collection that is both informed and evocative. Luo’s The Invisible Symbiosis serves as a poignant commentary on our relationship with the environment. The project invites viewers to reflect on the impact of urbanisation and consider the hidden yet profound connections between human activity and nature. Through her work, Luo offers a fresh perspective on how art can engage with and address pressing ecological issues. Looking ahead, Yuxin Luo’s future projects promise further exploration of sustainable and bionic design. Her ongoing commitment to blending art with science and her interest in new materials and interactive experiences suggest that her work will continue to push boundaries and offer new insights into the intersection of creativity and environmental stewardship.

ZHEYUAN LUO A MULTIDISCIPLINARY ARTIST WHO EXPLORES THE playful boundaries of design, BLENDING CREATIVITY AND CURIOSITY TO CHALLENGE traditional concepts of functionality.

ARTIST STATEMENT

You can call me Zheyuan or ZeeAnn, I am a crossdiscipline artist, and I am keen to explore the surrounding environment. I believe it is the nature of curiosity that drives me to experiment with art and design possibilities constantly. The exploration of unfamiliar areas and open-mindedness to different points of view constitute my opposition to single, fixed and closed design attitudes and support for the convergence of multiple interests. Turning the invisible into visible. Meanwhile, I believe that communication echoes. A good platform that generates connections, everyone can be an anchor point for the ebb and flow of ideas to connect and collaborate. I expect the word 'echo' stands for the way of connecting, as if it is a wave that spreads after the connection is shared, human and non-human beings influence, assimilate, produce, and continue to reverberate.

674

ARTWORK STATEMENT

675 Otherfunct aims to create a series of objects that jump out of the normal framework of practicality and usability. Inspired by Frandisco Studio’s brief: Uselessness, the project encourages people to see and think freely and fluidly about how objects are used and the boundaries of design in daily objects. Otherfunct aims to break the general impression of the object and its original function, namely the ‘proper way’ of using the object. All the original objects used in the project were randomly picked up, cleaned and combined by the designer on two random trips in London. The combinations that have a sense of functional contradiction are preserved and made into new objects to be delivered to the audience. In the same way as French artist Jacques Carelman’s Impossible Objects inspired interactive designer Don Norman to write down the famous The Design of Everyday Things, I hope this work can also experiment with the practicality of objects. The designer will slow down from the process of creating new objects, observe and touch these objects, and reflect on the relationship between objects and users, and the possibilities between objects. The viewer will also slow down in front of the objects to contrast and study how the objects will be used.

ARTIST INTERVIEW (BDG) - BLACKDOT GALLERY (ZL) - ZHEYUAN LUO

(BDG) You work across various dis ciplines, including visual communications, fine arts and experience design. How do these different fields inform and influence each other in your work? (ZL)

An interdisciplinary academic background often brings unexpected inspiration, providing me with a different perspective and greater patience in problem-solving. For me, fine art is a discipline that instils courage. Thanks to my studies in fine art, I frequently notice issues in the minutiae of daily life and am emboldened to challenge the status quo and question unjustifiable practices. Meanwhile, my background in visual communication has heightened my standards and patience in my work. I aspire to convey the intent of my creations with precision, dedicating myself to refining the final product in hopes of presenting it in its best possible form. Additionally, the theories of experience design have helped me focus on specific environments or contexts, enabling me to delve deeper into the possibilities, relationships, and interactions that exist between entities.

680

(BDG) You mention that curiosity drives your artistic practice. Can you share a specific instance where your curiosity led you to explore a new medium or concept, and how that impacted your work? (ZL)

Indeed, the "Otherfunct" project serves as an exemplary case, representing a journey fueled by curiosity - a venture with outcomes that were far from predictable. Previously, my work was largely confined to two-dimensional media, adhering to certain workflows. However, driven by curiosity on this occasion, I stepped out of my comfort zone, despite being unfamiliar with both the medium and the methods of production. Initially, the departure from my familiar environment left me with a sense of unease, but the world has a way of rewarding those who are courageous enough to pursue their curiosity. London, in particular, resembles a vast repository of unexpected finds, where one can often stumble upon surprising discarded items. The first such 'gift' I encountered was in a narrow alley in South London - a discarded white teapot, which later became known as the ‘Wheel-teapot' in this project.

In my initial vision, I intended to document this piece through photography. However, the moment I attempted to lift the teapot, I realized that certain qualities simply couldn’t be captured through images alone. Human perception is inherently multi-sensory; our understanding of objects is shaped by the integration of touch, sound, smell, and sight. These sensory perceptions influence not only how we interact with objects but also how we design them. When I touched the teapot, turned it in my hands, and felt its weight, my understanding of it became three-dimensional and tangible. Thus, I chose to engage directly with physical objects, establishing a connection and interaction that transcended mere visual representation. (BDG) “Otherfunct” challenges traditional notions of practicality and usability in objects. What inspired you to explore the concept of “uselessness,” and how do you hope audiences will respond to these unconventional designs? (ZL)

0 681

The exploration of the concept of uselessness began during a discussion at Frandisco Studio, shortly after we had completed the publication of the first issue of FolDer design magazine. At that time, we hadn't yet settled on a theme for the second issue. As a collective of artists and designers from diverse fields, our time together is often relaxed, filled with the exchange of interesting ideas and experiences. During one of our informal gatherings, where the atmosphere was light-hearted and filled with laughter, we started brainstorming for the next issue's theme. We quickly realized that everyone was keen on creating something playful, something that wasn’t bound by utility, seriousness, or a single standard of judgment. Thus, the theme of uselessness was born. Our aim was to approach this with a sense of ease and joy, free from the burdens of pressure or fatigue, allowing ourselves to enjoy the process and create designs that are fun and whimsical. We also hoped that when the audience encounters these works, they might smile - whether from amusement or simply the little absurdity in it.

(BDG) You draw inspiration from Jacques Carelman’s “Impossible Objects.” How do you see your work building on or diverging from his ideas, and what do you hope to add to the conversation about the functionality of design? (ZL)

Jacques Carelman was an imaginative designer, and in his work Impossible Objects, I can glimpse numerous designs that seem oddly logical. Many of the products in his sketches challenged the conventional understanding of everyday objects at the time, such as a toothbrush with two brushes. Different from me, the purpose behind these designs was to enhance usability. For example, the dual-headed toothbrush was intended to clean both sides of the teeth simultaneously. These unconventional ideas later went on to inspire pioneers in the field of experience

design, such as Don Norman. What truly captivates me is the ‘irrationality’ in design. Carelman’s creations brought me immense joy, largely due to their inherently amusing forms. These objects are so extraordinarily different that they draw me in completely. The idea of 'finding possibilities within the irrational' took root in my mind. Consequently, in the Otherfunct project, I chose to amplify this sense of ‘irrationality’ in my own designs. (BDG) Your project incorporates recyclable materials. How does sustainability factor into your design process, and what message do you hope to convey through your use of these materials? (ZL)

My rule is to make the best use of everything. This project requires me to deconstruct and reconstruct the combination of items, so in the process of exploration, I will inevitably destroy the original appearance of some items. I don't want an object that has been laboriously made whose only experience of use is to be destroyed, otherwise it would be a waste, and I want it to at least serve its intended function. When it goes from "useful" to "no longer useful," it naturally becomes the raw material for my work.

682

(BDG) The process of creating “Otherfunct” involved random selection and combination of objects. Can you describe how this process unfolded and what discoveries you made along the way? (ZL)

The process of collecting objects was intentionally random because I wanted it to surprise me as well. Without any specific plan, I collected materials for the project during randomly chosen routes. I categorized the relatively intact and recyclable items I found into three groups: 1) raw materials without a clear function (like stones or wood blocks); 2) objects with a clear and specific function (which were my main targets); and 3) objects with complex, multifunctional purposes (like electronic devices). I collected all the items that fit into the second category and then cleaned and sanitized them. That’s why I often say that London feels like a giant refresh loop for objects - I always find something interesting to pick up. Once I had enough items, I started arranging and combining them in different ways. At this stage, I paired each object with others, experimenting to find 'unexpected' combinations. I carried out hundreds of experiments and took nearly a thousand photos of different pairings. Every day, I spent at least an hour working with these objects, always hoping to discover an interesting combination. It was a process filled with anticipation and, honestly, a lot of fun.

2683

(BDG) Your work encourages both you and the viewer to slow down and reflect on the relationship between objects and their users. How do you envision this interaction taking place, and what do you hope viewers will take away from the experience? (ZL)

I generally don’t anticipate the audience’s reactions in advance, and for this project, I also refrain from giving any instructions on how to use the objects. The exploration of how to use them is actually a key part of the project, and the answers to that are intentionally left open-ended. A fun example of this is when I was filming the usage clips for Otherfunct, I didn’t give the model Qiaochu any prior instructions on how to interact with the objects. I simply placed the items in front of her. As a result, she used them in ways I hadn’t even imagined, sometimes in ways that were even more interesting than what I had envisioned.

(BDG) What new themes, materials, or technologies are you interested in exploring in your future projects? How do you see your work evolving in the next few years? (ZL)

I believe that future interactivity will be fluid, and the environment around us will not stop flowing. The ensuing relationship between people, between people and non-human beings, and even between products and objects may lead to many different models. Not just how they interact, but perhaps more a change in the density of physical and spiritual bonding between the two parties. There will be many things created, the way we use and the way we think will be many different places, Otherfunct project can be said to be an opportunity for me to think about the future. In the near future, I plan to continue to explore this direction with my friends at Frandisco Studio, and if there is an opportunity, this topic will be collected and published as the theme of the second issue of the magazine.

ZHEYUAN IS A MULTI-DISCI ENGAGED IN THE FIELD O fine arts, experience design A CURIOSITY IS THE NUMBER KEEN TO EXPLORE THE COM vision AND BELIEVES THAT ARE FLUID AND OPEN. ZH easily AND joyfully, BR EXPERIENCE TO

IPLINARY ARTIST ACTIVELY OF visual communications, AND creative programming. R ONE DRIVER. ZHEYUAN IS MBINATION OF concept AND T IDEAS AND TECHNIQUES HEYUAN LIKES TO DESIGN RINGING A PLEASANT O THE OUTPUT.

REVIEW

Zheyuan Luo’s project, "Otherfunct," presents an intriguing exploration of object utility and functionality through an interdisciplinary lens. Her work combines visual communications, fine arts, and experience design to challenge traditional notions of practicality. Zheyuan’s approach embodies a curiosity-driven exploration, where objects are liberated from their conventional uses, prompting viewers to reconsider their everyday interactions with these items.

686

T h e c o n c e pt b e h i n d " O t h e r f u n c t " e m e rg e s from Zheyuan’s engagement with the theme of "uselessness" as part of Frandisco Studio’s brief. By intentionally disrupting the practical expectations of objects, she invites a playful examination of their potential beyond their traditional roles. Her use of randomly sourced and recontextualised materials, including recyclable items, underscores a commitment to sustainability while fostering a dialogue about the lifecycle of objects. This process not only reflects Zheyuan’s creativity but also her environmental awareness, highlighting the transition from usefulness to artistic reinvention.

Zheyuan’s inspiration from Jacques Carelman’s "Impossible Objects" is evident in her work’s whimsical nature, though her focus diverges by emphasising the 'irrationality' in design rather than enhancing

6687

functionality. Where Carelman’s designs were often intended to provoke thought about practical usability, Zheyuan’s "Otherfunct" explores the joy and absurdity in objects that defy conventional purpose, reflecting a deeper fascination with the intersections of functionality and imagination. The artist's process of creating "Otherfunct" involved the random selection and combination of discarded objects, revealing a deliberate method of discovery through chance. This approach allowed Zheyuan to engage intimately with the materials, creating a tactile understanding that transcends visual representation. The resulting objects challenge viewers to engage with them in unexpected ways, fostering an interactive experience that encourages reflection on both the nature of the objects and the act of using them. Zheyuan’s curiosity-driven methodology has led to the development of "Otherfunct" as a platform for exploring the boundaries of design. By embracing a fluid approach to creativity, she demonstrates how interdisciplinary practices can enrich artistic outcomes. The project's emphasis on the sensory and experiential aspects of object interaction offers new dimensions to the understanding of design, encouraging both creators and audiences to engage with objects in novel ways. Zheyuan is eager to continue exploring themes of interactivity and materiality, with plans to further develop her ideas in collaboration with Frandisco Studio. Her future work promises to delve deeper into the evolving relationships between humans, objects, and environments, potentially reshaping how these interactions are perceived and experienced. Through her innovative approach, Zheyuan Luo is poised to make significant contributions to the discourse on design and functionality.

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.

BEHIND EVERY MASTERPIECE LIES A STORY