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烨·AIP2020云展览之珠宝设计专业作品展

2020/06/15 09:32:50 673 400-999-7270

序言/Preface


往年的毕业展很多人看到珠宝组的作品都会一头雾水,甚至有直接的观众犀利地提出:你们这不是珠宝!。其实这是一个很好的现象,提出质疑才能让我们的学生有更多的机会去怀疑,去思考,自己做的是什么?如何与观众产生交流?如何回应质疑?
In the past graduation exhibitions, many people were confused when they saw the works of the jewelry group, and even there were audience who raised sharp questions like: Is this jewelry? In fact, however, this offers a quite valuable lesson. Only by being questioned can our students have more opportunities to doubt and think about the things like what am I doing? How to communicate with the audience? How to respond to queries?
因为历史的原因,珠宝在人们心中留下的总是会使用贵金属宝石,重视其材料价值以及社会地位价值的印象,而随着现代艺术的发展,珠宝也如同其他的艺术领域一样,越来越注重观念性,尝试着对传统价值的质疑与批判,于是在今天,当代珠宝放宽了自己的界限,不再限制自己的材料,而是更多的关注如何运用多元的工艺、材料、造型、色彩甚至是佩戴方式去表达艺术家的观念,去创造新的审美与价值。
Due to historical reasons, jewelry leaves an impression on people that it always uses precious metal and gemstones and this industry focuses on the economic value and social status represented by the materials. With the development of modern art, jewelry, like other artistic specialisms, pays more and more attention to conceptuality and tries to question and to critically think about traditional values. So today, contemporary jewelry relaxes its restrictions and no longer confine to materials, but concentrate more on how to use multiple crafts, materials, shapes, colors and even wearing methods to express the artist's concept and to create new aesthetics and value.
珠宝设计是一个强调动手的专业,2017级的珠宝专业毕业生只有3名,但却也产出了近20余件作品,所有作品皆为学生亲手所做。这些作品虽然在工艺上略显稚嫩,但中间经历的大量的调研、发展、实验等种种思考过程,所体现出的多元角度思考及提出的多种可能性皆为这个阶段所需,也是AIP的教学之重。也正因如此,他们几乎大满贯地拿到了所报院校的offer,实为可喜。
Jewelry design is handwork stressed. This year there are only three graduates in this specialism, but they have produced more than 20 works, all of which are handmade by students. Although these works are slightly immature in craftsmanship, the multiple angles of thinking reflected and the multiple possibilities presented by the thinking process during research, idea development, and experiment are exactly what are needed at this stage and are also the most important part of the teaching and learning in AIP. And this is why they have received the offers of almost all the colleges they applied, which is really gratifying.
与三位同学的朝夕相处转瞬即逝,阶段性的结束伴随着新征程的开始。未来也许还有许多的困难与质疑,但在AIP这三年里所学到的创作方法与思维习惯却也已内化在每个人的心里,能够帮助大家在面对困难时可以更加得心应手地应对,祝愿你们都能成为最好的自己。
Days spent with the three students is fleeting. The periodical ending is accompanied by the beginning of a new journey. There may be many difficulties and doubts in the future, but the creative methods and thinking habits learned in the past three years in AIP have also been internalized in your mind, which can help you deal with difficulties more easily. Wish you all to be your best self.

珠宝设计专业学生作品

01黄靖渃
《自作自受  Self-Defeating》

「胸针/戒指 Brooch/ring」

烨·AIP2020云展览之珠宝设计专业作品展

材料:轻粘土/玻璃纸/塑料扣/塑胶管
Light clay/cellophane/plastic buckle/ plastic pipe

【作品介绍】

在看了追珊瑚的纪录片后,我被珊瑚的形状以及大量死去的珊瑚震惊了,于是我开始调查。据有关研究发现,全球50%的珊瑚已经死亡,是因为全球变暖、废物和污水排放等因素所致,这些都是人类的行为。因此,我想用我的作品来呼吁人们保护环境,珍惜身边的美好事物。我的作品上有很多刺,佩戴此饰品会伤害到我们自己,这就像自欺欺人。随着人们破坏海洋环境的平衡,珊瑚逐渐死亡。佩戴者戴上饰品时,会有一条带有很多刺的线连接着他们的手。它代表着逐渐死亡的过程。

烨·AIP2020云展览之珠宝设计专业作品展

After watching the documentary chasing corals, I was shocked by the shape of corals and a large number of dead corals, so I began to investigate. It is found that 50% of the world’s coals have died, mainly due to global warming, waste and sewage discharge. It’s all human behavior. So I want to use my works to appeal to people to protect the environment and cherish the beautiful things around them. My work have many thorns that always hurt ourselves, it’s like self-defeating. Coral gradually died as people destroyed the balance of the marine environment. When worn by the wearer, the lines with redial thorns connect his/her  hands. It’s demonstrate the process of death gradually.

02王雅言
《侗  Dong》
材质:黄铜,纸
烨·AIP2020云展览之珠宝设计专业作品展
【作品介绍】
我这个作品的灵感来源于侗族,源于我在一次写生的过程中实地调研了当地的侗族文化。在侗族文化中,讲究宗族为大,血亲为先。这个方案主要想表达的是,侗族人的家庭以宗族关系为中心去发展。
第一个元素是侗寨的整体布局,我从侗寨的地图上提取出整体形象,然后发现侗寨处在四面环山的地方,中间有一条河流贯穿整个寨子。其中很重要的是,侗寨的鼓楼。我发现整个侗寨的发展都是围绕着五个鼓楼为中心,向外辐射状发展。最开始的时候,一个鼓楼代表着一个姓氏寨子的中心。每个姓氏的的寨子最开始都是从鼓楼开始建,后来几个姓氏的寨子就慢慢的合并在一起,变成了一个大的寨子,就是侗寨。鼓楼是他们所有人的生活中心,他们许多的活动都在鼓楼进行,形成了洞寨独有的向心型公共活动空间。
其次,我发现侗寨的人们有一种特别的佩戴品——折纸针线包。这种针线包的层叠结构,可以展开更多的空间,同时大空间与小空间的关系,很像宗族与家庭的关系。于是,我对针线包的折法进行了调研和发展,最终发展制作为可以拼接延展的方式,使得其更为3D和立体。也符合我想表达的关于家庭围绕着宗族去繁衍生息的概念,一个宗族也是由大大小小的家庭组合而成的,这也是中国传统的家庭观念,宗族为大,血亲为先。

最后,我的设计以使用折纸针线包的元素的方式代表侗族的家庭,成品的框架是提取了侗寨的整体布局。无论是家庭还是宗族,每个人之间都是有紧密的联系的,所以最终我选择以缠绕的形式穿戴在人的上半身来展现成品。

烨·AIP2020云展览之珠宝设计专业作品展

My first work was inspired by Dong Minority. I made a field research on Dong culture in the process of sketching. In the culture of Dong people, clan is the most important and blood relatives are the first. This project mainly depicts the families of Dong people and how they develop with clan relations as the center.
I extracted images from DongZhai (village stockade of Dong people) map, and then found DongZhai is in a place surrounded by mountains with a river running through the stockade, among which is a very important DongZhai drum tower. I found out that the development of the whole DongZhai revolve around five drum towers as the center, radiating outward. At the very beginning, a drum tower was the center of a castellated village. Later, several of the surnames of the stockade slowly merged together, into a large stockade, which is Dong. The drum tower is the life center of all of them, and many of their activities are carried out in the drum tower, forming the unique centripetal public activity space of the cave village.
Secondly, I found that Dong people have a special wear - origami sewing kit in cascade structure. This kind of sewing kit can be open to more space, which is large space and small space at the same time, much like the clan and family relationship. So I carried out a research on the folding methods of this sewing kit. As the result of this research, I developed on that extended and combined, which makes it more 3D, which also fits with my topic that family develop and thrive around the clan, also, a clan is a combination of large and small families. This is China's traditional family values, which puts the blood and clan first.
Finally, my design uses the elements of origami sewing bag to represent the families of Dong minority, and the frame of the finished product was an extraction from the overall layout of Dong minority. Whether it is a family or a clan, it is closely related to everyone, so I designed the wearing of the finished product on the upper body of people in the form of winding.

03吴秉澄
《Humid City》
材料:综合材料
烨·AIP2020云展览之珠宝设计专业作品展
【作品介绍】
这个作品的灵感来源于广州,这个城市所带给我的潮湿的印象。因为湿气会让城市许多地方布满锈迹,人们也因此常常会有种很沉重的感觉。我的成品是想表达一种潮湿的感觉,使用铜线材质去做氧化处理,并研究了城市中的锈迹所产生的原因、过程及各种形态。另一方面,苔藓是环境潮湿的一种表现,我将他们结合了起来, 从而有了这个设计。
This project is inspired by my impression of Guangzhou city which is very humid city. the humidity makes city rust everywhere, also make people heavy feeling. I want to express this wet feeling through my work, I used copper material, because I think copper has a feeling of rust, also i did the research of how and why the rust forms. On the other hand, moss is a symbol of wet place, i combined this two elements, then i have my design.

指导老师  张妍

烨·AIP2020云展览之珠宝设计专业作品展

■毕业于伯明翰城市大学珠宝学院
■毕业作品曾入选Talent 2013年德国慕尼黑当代首饰设计展,为当年中国大陆唯一入选者
■产品设计作品曾入选2013年伦敦设计周参展于英国V&A艺术设计博物馆