Boundless Boundaries, MA in Jewellery, Silversmithing and Related Products 2016

Boundless Boundaries MA in Jewellery, Silversmithing and Related Products School of Jewellery, Birmingham City University Postgraduate Show 02-15 September 2016 Waterhall Birmingham Museum & Art Gallery Chamberlain Square Birmingham, B3 3DH

Introduction Students on the MA in Jewellery, Silversmithing and Related Products explore a wide range of materials, techniques and processes, which are available to an artist or designer in our subject area. They extend what is possible to create with materials, apply new and unfamiliar technologies and skills, learn project planning techniques and strategic thinking to develop their individual design methodologies, their research enquiries and their ideas about how and where to position their work in an internationalised and professional world.

Through their creative practice, the students address aspects of the most vital issues in the contemporary applied arts field today, and by questioning what constitutes adornment and how decoration should be defined and executed, they develop their knowledge and understanding of the jewellery and silversmithing discipline, as well as developing their own professional studio methodologies. On this basis students produce work, which is motivated by identified design and/or art ideas, of which some relate to fine art or sculpture, fashion, architecture and textiles. These ideas are frequently informed by intellectual enquiries that reflect upon philosophy and critical theory. Considerations of sculptural form, of composition, material innovation,function and aesthetics are fundamental to our MA course philosophy and are enhanced by contemplating meaning, emotional investments and intellectual content.

The philosophy of the course is embedded within a structured project programme that requires students to address vocational and academic research in design by applying their developing abilities and interests to a wide range of issues and design questions. Design experiences include ideas generation focused through strategies for concept development, the analysis and soving of design problems, and reflection on the relationships between personal objectives, cultural values, market identities, prototyping techniques and new technologies. Students are required to address the existing and potential relationships within this sector, and are educated to recognise, identify, understand and operate within its diversity.

Students on the MA in Jewellery, Silversmithing and Related Products have undergone an intense process of reviewing and advancing their reflective and creative crafts practice and developed their distinct and inspiring artistic positions. At the beginning of the course ideas were explored and over the year of the programme these ideas were transformed, de-constructed, re-constructed and interpreted. Problem solving, together with intense material research, skill development, and of course questions of wearability and functionality have been addressed. Finally each maker generated a body of work that demonstrates integrity of artistic enquiry and sensitivity to materials and processes.

Professor Jivan Astfalck, PhD MA Course Director for Jewellery, Silversmithing and Related Products

Brooch: Plastic, SLS Nylon, Silver, Copper, Steel

Yawen Zhang I create work that is visually inspired by cyborgs, mechanical bodies and sci-fi trying to create mechanical parts of a body. I love to explore advanced equipment and technology in the laboratory especially when they are applied on humans. By using the above influences I have assembled pieces that display artificial organs inside plastic membranes.

Motivated by my inspiration I combine transparent effect with metallic structures to make my own fantasy body parts mixing the hardness and industrial quality of metal in combination with light and clear plastic to make a transition from human to robot. Everyone has a superhero in their heart.

Yawen.Zhang2@mail.bcu.ac.uk Instagram: zzzzzar

Ring: Brass, Polymer Clay

Yen-Chen Wang

My jewellery collection is inspired by a personal experience of an earthquake that happened on 21th September 1999 in Taiwan. It was the damage caused to the hundred thousand buildings including the house which my family lived in that informs the combinations of metal constructions, patterns and cracked concrete pieces.

These pieces tell the damage caused by natural disaster. Each fragmented piece show a different story and every buried broken piece has an unique memory.

Time will heal the wounds but time will not erase the memory. This is the reason why I attempt to make this collection of jewellery to memorise the victims and retell the moment when they faced the disaster but this was not the end of the world!

Yenchen.wang@mail.bcu.ac.uk http://www.bobwang1991.com

Shallow Bowl - Silver, Enamel, Copper & Iron

Charlotte Smith If it doesn’t hurt a little bit when you look at it, then it isn’t really beautiful. I need there to be something more, I want it to feel a little more raw, a little more savage, a little more painful.

The materials I predominantly use, enamel and silver, are traditionally stable.

If left alone they will be relatively unchanging, static for hundreds of years. In addition, there are long standing, accepted methods of using these materials, particularly enamel. Subverting these qualities and using enamel in a different way has allowed me to develop an aesthetic which is delicate, suggestive of change, with the possibility of breakage simultaneously holding the promise of its own beauty.

There can be beauty in that which is broken or changed over time. Exploring fragility, as a way to express beauty, has led me to use enamel in combination with metal powders as a way to create a glossy enamel surface with rust and patina slowly creeping over the surface over time. Their aesthetic is not stuck in place when removed from the heat of the kiln. Rather, one aesthetic moment is captured and will evolve throughout its lifetime.

www.charlottesmith.co.uk cesmith85@hotmail.co.uk

Fruit container: Copper, Steel Wire, Polymer Clay

Chenchen He ‘Tension, Function, Balance’ This work explores the tensions of form that have been built up through a dialogue of functionality and balance, creating a visually individualised expression of metalwork. Visual tension is created through the combination of steel wires, and the interweaving of many small metal components which are tenuously held in place.

‘Tension’ is the visual tension around the surface of the container, and it accentuates the impact of the joined metals.

‘Function’ is the aim of my work which is the creation of a perfectly functional fruit container.

‘Balance’ concerns the shape of the container and can be explored in relation to its ‘tension’ and ‘function’.

kate9111016@hotmail.com

Bracelet: Eggshell, Enamel

Du Juan As a designer who comes from Inner Mongolia—a province of China, Mongol culture is always the internal inspiration in my work. Culture itself mainly shows in two ways: one is movement ceremony, for example, the religious dance; the other is visual element such as patterns, symbolic colours, forms and sizes in jewellery or traditional clothing. What I am interested in is how to keep Mongol culture through a contemporary design method.

3-D sculptural is the main style of my work and there are five symbolic colours which come from Mongol culture expressed in my work. Also the Mongol patterns are designed in an abstract method. In order to explore an ancient feeling of culture, my main material is eggshell because it is very light and already has its own meaning about birth, protection and home. As the texture is very rough, people can get the heaviness, strength and the feeling of stone sculptures. Sound of drums are another aspect of my work because it is inspired by Mongol religion dance and instruments. This can be experienced when moving while wearing the piece.

In my opinion, culture is always shown in colour, form and patterns but the function sometimes can change as time passes. If the visual element can be designed in a fashionable way and the function is suitable for modern life then culture can be maintained.

cuckooookcucdj@gmail.com

Neck Sculpture:Acrylic, Cotton Thread

Davina Pogson I am intrigued by the trade-off between the words: practical, functional and wearable, in terms of fashion, jewellery and adornment.

My work interprets wearability not in terms of functionality but in terms of it’s relationship with the body.

The body is integral to my practice, I want it to be a visible part of my pieces and not just the veiled support, place to be hung from or encircled.

Using darts, seams and negative space to create shape, I approach acrylic like a textile. Adding pattern to create texture and give the acrylic a lace like quality that both shows and obscures.

With the use of light I can create shadow, extending the pieces and offer alternative ways to experience them.

Davina.Pogson@gmail.com

Necklaces: Clay, Copper, Hemp Cord, Wood

Shuang Feng

There are many different cultures, but there exists common threads through them all. This drives my work, so I explore archetypes through primitive aesthetics that transcend specific cultures and extend to a universal theme.

Natural features, including plants, skeletons, sacred stones, and archetypal symbols such as cave, spiral, crack and so on have inspired the appearance of my work. Stone-like plaster, copper, wood, and hemp cord are the main materials used in this collection. The combination of these materials, reminiscent of the prehistoric times, transformed my intention in a contemporary way.

The natural and primitive aesthetics of my work is evocative of amulets and talismans, and invites wearers to reflect and reconnect to their primal roots.

woflora@hotmail.com www.fengshuangflora.weebly.com

Shoulder Armour: Wool

Xiaoyi Chen ‘Soft to Hard’ ‘Clothes to Armour’ ‘Fashion to Jewellery’ I drew inspiration from my childhood memory that my grandmother knitted lovely sweaters for me. The aim of the design has been to exploit the qualities of the materials focusing on knitting yarns. ‘Soft to Hard’ just happened when I succeeded in transforming the soft yarns into hard pieces. It is also related to my grandmother’s knitting story which shows her love to me, warming me but also protecting me, delicate but strong! When the hard pieces were created on the soft sweaters, they looked like armours growing up from the clothes. The natural combination also showed the close and interesting relationship between the soft parts and hard parts. ‘Clothes to Armour’ shows further development from ‘Soft to Hard’.

‘Soft to Hard’ and ‘Clothes to Armour’ both show the contrast of two opposite sides and also a rebirth relationship. Something that used to be soft to warm the human body, is now hard and strong to protect!

Clothes and jewellery both have the closest relationship with the human body. They touch our bodies and we can also feel and communicate with them. Trying to challenge the boundary between fashion and jewellery, making people rethink ‘what can be jewellery?’ and ‘what is fashion?’ gives me a new place to challenge and question.

Xiaoyi.Chen@mail.bcu.ac.uk giselekerr614@gmail.com

Ring: PVA, Polystyrene Foam, Resin

Xin Qiao Plastic products are left to become solid waste after use, freely thrown away, difficult to degrade which causes serious pollution of the urban environment.

I saw the roadside white trash, thinking, can I put these things through innovation and make interesting jewellery to give the discarded things a new life?

Using this kind of material is a challenge for me, because this material can make the work look very cheap. I use light colour painted on them, draw lessons from geode cross-sections and make the material look richer. I use bright light, like the feeling of sunshine, using a 3D pen to connect the bubbles. I try all kinds of shapes to make the works light and to introduce rhythm.

My main inspiration for the colour and shape is the playground. I want to use the works to convey to the audience a pleasant feeling, as in a playground game, forgetting the worry, enjoying the fun of your childhood.

XinQiao1993@gmail.com

Brooch: Copper, Enamel

Jing Dong

In my work, I’m searching for the unexpected and seek a balance between creative exploration and design development.

This collection combines metal with enamel. These materials perform in various and unique ways, depending on the treatment. I am interested in researching the contrast and combination of organic textures and geometric structures. I wanted to investigate the limitations and possibilities between these two materials, what it means to me and to us. How it communicates to us, and how we communicate through it.

The processes which I use to make have been refined through numerous experimentations and it is the most valuable aspect of my collection.

My process is an investigation in this unknown space. Only by working with my hands and keeping my mind open can I find answers.

jingdong1221@gmail.com

Brooch: Stainless Steel

Zijun Liu

My collection considers both natural surroundings and architectural structures, which are referenced in my jewellery and its aesthetics. A reflective steel surface has been used to bring the natural environment and surroundings into the wearable jewellery object. Capitalizing on the character of the stainless steel to express the element of structure and the manmade environment.

Inspiration comes from modern architectural and sculptural forms, communicating the simplicity of the natural world and draws it in to be more closely experienced.

The works have been made for various parts of the body, and to display their own ever-changing unique forms by reflecting their surroundings like a mirror.

zijun1880@gmail.com Instagram: june_looo_design

Brooch: Bone China, Silver

Karen Lester “Life is like a train of moods, like a string of beads, and as we pass through them, they prove to be many-coloured lenses which paint the world their own hue...�

Ralph Waldo Emerson.

The fragility of impermanence is the notion that has informed my work. Each piece represents the fluidity of life and how relentless but subtle, invisible pressure is embedding its mark.

My work embraces both process and material, and consists of a multi-layered approach. Using a combination of textile and ceramic casting techniques, a skin is formed and then manipulated. Through external pressure and destruction a new aesthetic emerges, traces of the original skin entwined with the new.

Traditionally held concepts about the material, Bone China, allow me to exploit ideas of fragility and strength. The final outcome is dictated by heat from the kiln, resulting in each piece being a unique and individual wearable sculpture.

kslester@icloud.com

Earring: Plastic Tube, Polymer Clay

Keyi Yan Sea world is mysterious and fantastic, but today marine creatures are being subjected to pollution and rubbish. My work aims to explore the mysterious and strange aesthetic of polluted marine creatures.

The aim of my design has been to exploit the qualities of the materials focusing on plastic tube and polymer clay.

To make my work feel and look weird and alien-like, is the core of my design. I have been challenging the limits of the use of plastic tubing in terms of colour combination, form and shape, by developing my own method. Eyes attracted me the most when I saw the images of alien creatures, so they are important characteristics in my work. Furthermore, plastic tentacles play a vital role in my design; they give my jewellery a sense of movement and make them feel animated.

y_megan1007@yeah.net

Pendant: Silver, Acrylic, 3D-printing Nylon, Wire

Qian Wang My design is based on the research about gardens in the Western world and the Eastern world, focusing on the classic Versailles garden in France and the Suzhou garden in China.

The forms derive from studies of stained-glass windows, and the Suzhou garden windows. I worked with digital engineering and hand-craftsmanship techniques. I explore the relationships between garden landscape and the body through different ways to wear the pieces.

In terms of Chinese garden, when I visited Suzhou garden in China, I found an interesting visual experience which was that the landscape perspective was changing from window to window when I walked along. In China, this is called obstructive scenery which is a traditional way to design garden landscapes in order for visitors to view a series of carefully composed scenes, unrolling like a scroll of landscape paintings. As such, Chinese gardens elucidate Dao philosophy which balance the harmonious adjustment to the natural world.

This is different to my experience of visiting the gardens of Europe. As in the French garden, whewe the central axis, order, proportion and symmetry were the informing principles. All of these are to show the honor and power of royalty and the rich. jewelart88@outlook.com jewelart88.wordpress.com

Brooches: Leather, Sillver

Rie Makino I drew from my Japanese culture heritage in my jewellery design.

My aim for this collection was to create works which can age naturally and express the traditional Japanese aesthetic, ‘wabi-sabi’.

Traditionally, Japanese people respect objects and personal belongings but, this has often been forgotten in the contemporary world. This ancient tradition sees old and used objects and values the character and detail that emerges.

Leather has been used to create my works to express Japanese aesthetic. The leather has been dyed indigo and has tactile qualities. The colour `Japanese-blue’ becomes altered as it ages and develops character, texture and detail. The aging of the jewellery reflects the use and interaction of the wearer, in keeping with ‘wabi-sabi’ philosophy of the imperfect, hence making it more valuable.

Some of my works are transformable, similar to the Japanese method of Furoshiki. Furoshiki is a Japanese traditional wrapping cloth which is for various types of use in Japanese life, such as wrapping, as a mat, and as a towel. In a similar way, my jewellery is versatile and flexible in its individual shapes. rie.makino.jewellery@gmail.com http://rie-makino-jewellery.wix.com/rie-makino

Brooch: Brass, Copper, Steel Wire, Plastic Sheet

Yi Jen Chu

The scattering and movement of water from mechanised systems such as taps and washing machines has always been a source of fascination to me.

The enjoyment can be found in the movement of the objects and their interaction with the body. I explored this through showing objects rotating, opening, closing, and shutting as the body moves.

There are two collections distinguished by two different colour palettes .The first offers a colour combination of white, yellow, and black, promoting visual diversity and stimulation. The second use a mixture of blue, black and white acting as my own representation of the static state.

chuyijen19922@gmail.com http://chuyijen19922.wix.com/jewellery

Bangle: Acrylic, Stainless Steel

Simin Zhong My collection is inspired by geometric forms. I create structures using acrylic and metal wire, and create pieces that are fancy and light at the same time.

Abstract patterns derived from various hand positions. When worn the patterns are magnified and the body seen through this lens is distorted.

I always explore the relationship between human body and jewellery. I focus on the hand to develop this collection, because hands are the most mobile part of the body. It is the best way to let audiences interact with my pieces.

The project has let me to explore more creative and unique wearable options.

siminzhong04@gmail.com

Object: Copper Mesh, Brass

Object: Copper Mesh, Brass

Sikai He

Copper is a traditional material and the weaving process is a traditional working method. I intended to explore the potential of these qualities. My work represents the combination of fluidity with impactful features and how subtle alteration can change the order of value.

I repeat elements to give rhythm and power to my work and the copper mesh weaves demonstrate flexibility and beautiful reflections on the metal.

The weaving process demonstrates order and the time it takes to make, the scale and context are surprising, while the weight and texture are sensuous when people touch them.

hsk1230stark@gmail.com hsk1230.wixsite.com/stark

Rings: Copper, Nylon Thread, Stainless Steel Wire

Mingyu Yang The core concept of my design is to make my materials physically and emotionally light. Metal jewellery becomes as light as paper, almost being blown away by the wind. The works communicate with the body by flowing and suspending, and play with light and shadow. It merges perfectly with the transparent effect of the copper sheets, the linear motion of stainless steel wires, as well as the light movement and fluid colours of the nylon threads.

As a contemporary jewellery designer, exploring materiality is always the language in my work. The aim of my design has been to exploit the qualities of the materials focussing on copper, stainless steel wires, and dyed nylon threads.

All of my designs are one-off pieces and every part has been hand-made. I draw with materials that I use and design whilst making. Each piece of my design is a surprise for me. Every hole drilled, every joint made, and every line curved is the result of both critical thinking and risk taking, but most importantly, I put all my passion into it, to make it not only a jewellery object, but also a piece of art.

Mingyuy_jewellery@yeah.net

Earpiece: Brass, Polyethylene

Palat Jiraputtinan

Since antiquity, people have decorated themselves with materials they have found, such as flowers from their local surroundings, expressing not only their individuality but also cultural identity.

I have chosen the Thai garland for this project. It shows how people add value to materials creating new appearance through particular cultural skills.

From this point I interpreted transforming contemporary material, such as plastic, into precious objects. I investigated them through creating units, combining them into jewellery pieces.

My particular style of jewellery always presents the mildness and delicacy of Thai culture.

I apply sculpture techniques to make my structures hollow objects because it expresses lightness while allowing for scale. Also plenty of plastic flowers for decoration give a pretty feeling, which represents delight in nature.

palat.jiraputtinan@gamil.com

Necklace: Embroidery Wire, Acetate Sheet

Chi-Fen Weng My inspirations come from Buddhist cultures. I have researched temples, paintings and sculptures from ancient to modern. The main reason for my focus is that my family are Buddhist and I did a lot of religious activities in my childhood. The philosophy of Buddha has informed my work with the embroidery thread being complex throughout.

I use acetate sheet and thread as materials. Acetate sheets enhance patterns of embroidery. The transparent sheet can also create the layers of embroidery throughout the pieces. The colour used reflect both the Buddha symbols used in temples.

I created the unique patterns which cannot be repeated. I think that the patterns of Buddha are the symbols of beauty and also have power to make people calm. All of my works are one-offs and are specially customized, embroidered by machine and handmade elements that are not easy to repeat.

christina79919@gmail.com https://www.facebook.com/Christina.W.Jewellery

Brooch: Acrylic Paint, Copper, Stainless Steel

Xenia Walschikow

Paint to Jewellery The aim of my work is to extract details from traditional Russian decorative art and transform them into wearable contemporary art jewellery. In the history of decorative arts, painting objects was often deemed as a female craft and a peasant art. Yet without the decorative motifs, the objects have no identity. My work intends not only to preserve the beauty of a disappearing Russian craft but to re-establish my connection to the country of my birth.

In my exploration of traditional crafts, I discovered the folk art ‘Khokhloma’.

This unique painting technique from the 17th century was practised by women and reflected the Russian people’s love for nature and their quest for beauty.

The decorative detail of the brush stroke became the focus of my work. I want to embrace the traditional craft by transforming the brush strokes into wearable acrylic paint jewellery. Decorating the body with a Russian inspired craft, allows me to connect with my heritage and connect to my lost identity. xeniawalschikow@yahoo.com.au xeniawalschikow.wordpress.com

Pendant: Polymer Clay

Shuya Hu Since I was a child, I have been inspired by cartoons, and anime. This has led me to create my own stories by drawing and painting.

I have created elements of these stories into objects. Some of them are wearable dolls, others are related wearable objects.

The key word of my collection is ‘cute’, so I chose various light colours to decorate my objects to reflect the colours used in cartoons.

For me, cute is not only the appearance but is playful interaction.

hushuyano1@gmail.com

Body Piece: Nylon Fabric, Pigment

Yuying Chen

People can be infatuated and enamoured with the sky, they aspire to touch the clouds within their dreams. I always dream that clouds can be touched, and the ground can be seen from far away as I fly. I often escape when staring at the sky and manage to lose myself in a world of imagination whilst feeling more closely connected to the natural elements.

Inspired by observing the clouds I have represented their shapes. I could create the qualities of this in fabric, by using ‘ Shibori ’ techniques to colour the wearable clouds.

My work allows the viewer to escape and explore a dreamy connection to the clouds and almost float in the sky.

Yuying.Chen@mail.bcu.ac.uk.com www.facebook.com/yuying.chen.921

Ring: Silver, Copper, Steel Wire, Enamel, Resin

Zhiyue Shao “The light in the black forest” is the theme of the work, a total of three collections: “A darkness has descended on the forest” “Break through the darkness of the forest” “Under the light of the forest” The work is inspired by fairy tales full of evil forces in the black magic forest, the appearance of jewellery is inspired by branches and shapes of the roots, as well as the hidden depths of the forest such as rotten leaves and the shape of plants.

The human body acts as a carrier of the forest, the human body is the forest, jewels grow from the head to the feet show the whole process of the darkness into the light, jewellery and body unified as the forest.

Zhiyue.Shao@mail.bcu.ac.uk

Acknowledgements We would like to say a huge thank you to our families, partners, friends and loved ones. Over the course of our MA, your unconditional love and support has been invaluable.

In addition, we are grateful to all the staff at the outstanding School of Jewellery, a place where we are all proud to have been educated and nurtured. We would also like to thank Birmingham City University as an organisation for their part in our educational journey.

We would particularly like to personally thank: Jivan Astfalck Gaynor Andrews Bridie Lander David Clarke Nuala Clooney Francesca Antonello Farrah Al-Dujaili Paul Evans Alan Kirton

Karen Bartlett Abbie Williams Pete Croton Kelly Brookes Zoe Robertson Grace Page Rachael Colley Paul Yeomans Alan Smith

for all their help and support throughout our MA. We could not have done it without you!

Paul Heartwell Joe McCalla Bridgette Brown Rajpreet Dulay Pat Paintin Jennifer Cooper Lisa Shalk Michell Frinpony June Jewell

Thank you.

Over the course of our MA, we have each individually benefitted from the knowledge and experience of different organisations and individuals who have given their time to share their expertise with us.

We would like to thank: Hannah-May Almond Rodrigo Martin Acosta Ruth Ball Phil Barnes Jichang Chai Kuan-Chih, Chen Ying-Hsiu Chen Ching-Chih Sally Collins Jack Cunningham

John Grayson Charlotte Hughes-Martin Yoko Izawa Kathryn Marchbank Jijing Lai Yu-Pin, Lin Heng Lee Agnes Maksymiuk Miwha Oh Fran Onumah

Jo Pond Dorothea Pruhl Tamizan Savill Carina Shoshtary Mai Solorzano Laura Syvret Jessica Turrell Terhi Tolvanen Ching-Chih, Tseng Li-Chu Wu

All of whom have helped us in a myriad of ways, from answering our questions to lending specialist equipment to offering practical tuition and one-on-one support.

We are incredibly grateful to all of you!

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Photograph by Mengyao Wang

School of Jewellery Birmingham City University Vittoria St, Birmingham B1 3PA