DBC国际设计师空间 | 金属与首饰艺术的多维乐章

新设计,是新锐前沿的创意,

展现未来国际珠宝设计风向标;

新生代,是精英的珠宝设计师,

汇聚时代发展的声音和力量;

新理念,是创新的空间交流模式,

搭建沟通和碰撞的桥梁。

    DBC国际设计师空间已入驻超过百位国际珠宝设计师和首饰艺术家,资历与创意纵贯大半个世纪,横跨30多个国家和地区。为了打破传统展览的空间限制,DBC与艺象万千国际网络展览馆全面合作,在全球超过50个合作网点和超过20家网络新闻媒体同步宣传,为会员设计师提供线上线下全面的展销服务。

    “新设计、新生代、新理念”DBC国际珠宝设计师作品展由红桥市场、长流当代美术馆、纽约牧风国际珠宝股份有限公司[NOOMAD INC]联合主办,长美艺术股份有限公司、北京爱微藏科技有限公司承办,十余家海内外艺术组织协办,联动北京国际设计周、中国国际珠宝展和艺象万千国际网络展览馆。作品设计风格具有当代性、国际性和多元化的特点,促成了东西方文化的交流与对话,无疑是一场珠宝设计盛宴。

    本栏目将持续推送入驻的优秀国际珠宝设计师和首饰艺术家作品,期待您的关注。

 01 

Andy Lowrie

美国

    擅于思考身体与建筑空间装饰的装饰关系;在制作过程中探索和体会材料的潜力;

Andy Lowrie is an artist thinking about adornment and decoration in relation to the body and architectural spaces. He makes sculptural and wearable objects, works on paper and paint based installations that disrupt existing sites. His practice began in Australia at the Queensland College of Art, Jewelry and Small Objects Studio, where he earned his Bachelor of Fine Art in 2011. He went on to co-found the contemporary jewelry studio, Bench, in 2012 before  relocating to the United States of America in 2016.

Andy is interested in contemporary expressions of craft that challenge hierarchies of material value and embrace a mindful exploitation of material and process. In acts of mark making, surface manipulation and erasure he explores the potential of process as metaphor. His work has been exhibited in Australia, China, Italy and North America and has been professionally recognized with awards from Brooklyn Metal Works in New York and My-Day By-Day Gallery in Rome. He is currently an MFA Candidate in the Craft/Material Studies department at Virginia Commonwealth University with an expected graduation date of May 2020.

– Statement –

As a world unto itself, the studio is a place of movement in much the same way as the world it exists inside of. It is a space where bodies move around, beside, into and through each other.  It contains the artists’ body, visiting and temporal bodies, material bodies and invisible bodies. Together and apart, they improvise an unending dance of production, performing in stops and starts, at changing paces, in action and reaction.

    工作室就像一个世界,有形的和无形的物质在之中不停运作——忙碌的艺术家、来往的参观者和不停流动的时间。表演一直在进行,人们不断地加入和离去,就像一场无休止的即兴舞剧,不断产生新的节奏,并作出行动和反应。

Cut, Bend #3 Brooch

胸针《裁剪与折叠 #3》

Brass, steel, enamel paint

黄铜、钢、釉质涂料

18.4 x 14.6 x 10.6cm, 102.8gm

As a place to begin, twisted scraps of paper are elevated from the studio floor to the bench, enacting a shift in definition from offcut to paper model. However, a beginning is a flawed description of process. This work is more suitably framed as a continuation, as it is derived    from previous making processes. With a new identity as paper models, the scraps are repositioned to describe the form another material will take. The unexpected paper form   dictates intention to hammer and brass. As paper, the forms contract and relax, whereas in brass, they are held in stasis. It is the decisive hands of the maker that influence how unyielding metal and impressionable paper will come together in response to the human body. The resultant forms are dressed in layers of color that hug tight to them like a skin and which are revealed in part by a cutting away.

    这一系列作品可以看作是传统工序的延续——从前,工匠用纸张定位金属的切割和塑形;但Andy的作品中,纸张被采用为材料的一部分,成为金属的皮肤,保留了美妙的层叠的颜色。

 

Cut, Bend #1 Brooch

胸针《裁剪与折叠 #1》

Brass, steel, enamel paint 

黄铜、钢、釉质涂料

9.5 x 9.8 x 2.8cm, 46.5gm

Cut, Bend is a series of brooches that is not about planning. It is work that drifts in unpredictable directions, fumbling over itself in search of a finality that it might never achieve. How am I to know when it is finished? Embedded in the making process is an embrace of the unfinished and a desire to see one body affecting another. Running parallel to each other, states of thinking, making and being hold permanence and impermanence together. These objects sympathise with our journey, as people, of negotiating life with each other. While the work has a strong material presence, it is really about gaining insight into the way we make ourselves.

    “Cut, Bend”这一系列胸针,抛却了严谨的规划,任由作品向不可预测的方向发展,摸索着寻找一个可能永远无法实现的最终目标。

    “我不知道它什么时候完成,但我享受制作的过程,拥抱未完成的状态,我的作品中保留了过程和结果。重要的不是物质存在,而是实现它的过程和方式。”

 02 

Miao He

中国

EDUCATION

M.F.A. Jewelry Design

SCAD- Savannah College of Art and Design. Savannah, GA, 2015-2019

B.A. Prpduct Design

BIFT – Beijing Institute of Fashion and Technology. Beijing, China. 2009-2013

EXHIBITION(2019)

American Craft Show, Baltimore, MD, USA, FEB 22-24

AUTOR Jewelry Fair, Bucharest, Romania, APR 20-2

Smithsonian Craft Show, Washinton, D. C. USA APR 25-28

Collectiva Meeting International Exhibition, Porto, Portugal, SEP 21-0CT3

Smithsonian Craft 2wear Show Washinton D.C. USA, OCT3-5

JOYA Art Jewellry objects, Barcelona, Spain, OCT 10-12

Philadephia Museum of Art Craft Show, Philadephia, PA, USA, Nov 8-10

“Paradox” M EA thesis Exhibition, Savannah, GA, USA. NOV 14-16

SCAD Jewelry Pop-up, New York, NY, USA, NOV 19-22

– Statement –

    “花开”系列胸针是我2017年的系列作品,灵感来源于之前的蒜皮珠宝。蒜皮作为厨余垃圾,通常被丢弃。但不妨碍它存在着独特的美感:轻薄,自然纵横的肌理,很像花瓣。这使我产生用蒜皮作为花瓣制作花朵的概念。然而蒜皮作为有机材料十分脆弱,不能作为珠宝形式永久存在。于是我用925银,通过锻造,去模仿蒜皮的厚度和自然肌理,才有了这系列“花开”纯银胸针。

This series of brooch is made by outside layer of garlic peel and sterling silver with the nitrocellulose enamel paint for coloring in the year of 2017. The inspiration is from my previous garlic set and uses natural material to show the unique beauty of the material itself. Garlic peel for me is fascinating because of its texture, thickness and organic look. Yet it is too fragile and it couldn’t be preserved long enough as a jewelry piece. Then I created a new collection of “garlic” pieces, and this brooch is part of that collection.

Bloom 03

12cm.12cm.6cm

Silver

    超薄的银花瓣是使用24ga厚度925银片制成。先将银片裁成较小的花瓣大小,多次动过压片机压薄。之后再用锤子分别锻造每一片花瓣,使每一片花瓣都具有自然的肌理,薄厚。花蕊部分,是纯银丝制成,之后再将每一片花瓣同花蕊焊接一体。然后将几片花瓣攒成一束小花瓣,整体焊接,最后一步将一束束小花瓣束焊接到底部。

The ultra-thin silver petals were constructed using a silver sheet of regular thickness. I put the first sheet through the roll mill many times until it reached the necessary thinness.  After that, each petal was forged separately by being cut in the required shape. The stamen part and petals were first soldered individually, then several were soldered together as a bunch. Finally, the bunch of petals was soldered to the base.

Bloom 02

16cm.15cm.7cm

Silver

    苗根据她的生活理念创作珠宝。她相信生活中的一切都会衰退:它受到时间的影响,并且会随着成长过程的一部分而改变和恶化。当事情不再原始时,所有腐朽的细节都留在表面上,并建立一种特殊的美学。

 Miao creates her jewelry based on her life philosophy. She believes that everything in the life decays: it is impacted by time and will change and deteriorate as part of the growing process. When things are no longer pristine, all the details of decay remain on the surface and build a special aesthetic. 

 03 

Taizen Wada

日本

– Statement –

    Taizen的职业生涯始于一家大型日本珍珠首饰公司,之后在东京成立了自己的工作室,设计和制作高端珠宝。

I am a Japanese artist who mainly makes jewellery works. My professional career started with a big Japanese pearl jewellery company. Then I established my own brand, had a studio showroom in the centre of Tokyo, and started to design, produce and sell mainly high-end jewellery.

    Taizen将剑饰与世界艺术史的精髓融入日本传统金属工艺,深入思考日本文化与工艺的关系;并于2017年进入皇家艺术学院深造,创作不局限于“珠宝”的作品。

On the other hand, I learned Japanese traditional metal craft techniques and made works. In addition, I began researching sword decoration by touching its history. That gave me the opportunity to study the history of art in the world and to think deeply about Japanese arts and crafts. Through this research, I understand that this also leads to the history of art in the world, and I entered the Royal College of Art in 2017 to create works as an artist that is not limited to jewellery. I have now mastered various expressions such as video, photos, Japanese calligraphy, painting, installation, etc., and reflected them in my work.

    “我希望有机会在制作过程中发现一种新的方法,而不是将部分制作成以前执行的设计。我想运用高超的技能、流程和技术,按照我的直觉(或内心眼光)来传达给别人。”

I would like to have an opportunity to discover a new approach during the process of making, rather than making the pieces to a previously executed design. And I would like to use great skills, processes, and techniques and act on my intuition (or inner vision) what I want to convey to others.

— 01 —  IROGANE Ring

silver, shakudo, mokume, black diamond, etc..

    IROGANE戒指是Taizen用金属画的画。框架中的每片金属都是手工制作的,Taizen将日本传统技艺与现代生产技术结合,表达他对传统技艺的敬意,也是他对新领域的挑战。是一件专注于工艺突破的作品。

IROGANE Ring is a painting an artist Taizen Wada draws with metal. Each metal in a frame is made by hand, which will make everyone fascinated. This technique is an advanced metal art technique that has been sticking since Wada started making jewellery. If it used only this technique, it would be considered to be ordinary traditional craftworks. However, Wada produces works with a totally different approach by using the jewellery production skill it has developed. This is strong, beautiful and elegant work with excellent union of Japan’s ancient and modern metal, refined and flowing details of a ring, and effective arrangement of the diamonds, which will give viewers thrill. It is the homage to the traditional technique transmitted from ancestors and the artist’s challenge to the new area where the craft is transformed into jewellery.

— 02 —  KOTONOHA Brooch

Brooch / german silver, laser engraving, Japanese hand engraving

In recent years I try to make a work with words and letter motifs using metal. I think a letter is the ultimate form of the physical expression reflecting one’s mind. I am interested in the design of the letter, which developed as a tool with the words that represent people’s feelings, and metal expression their presence. I have been using any possible technique in order to create jewellery with a letter for information and an emotional display.

    近年来,我试图用金属制作一个文字和字母图案的作品。我认为一个字母是反映一个人思想的物理表达的终极形式。我对这封信的设计很感兴趣,它发展为一种工具,用代表人们感情的词语来表达他们的存在。我一直在使用任何可能的技术,以创造珠宝与信的信息和情感显示。

In the Japanese language, its call “KOTONOHA” “KOTO” means “say” and “HA” means “leaves of the tree”. The Japanese kana (letters) and alphabet belong to a genre of the phonogram. However, these two letters developed a very different way. Letter shapes are architectural and have a strong constant regularity. In contrast, kana letters play like the flow of water lengthwise.

    在日语中,”KOTONOHA”的”KOTO”的意思是”说”;”HA”的意思是”树的叶子”。日本假名(字母)和字母属于声名的一种流派。然而,这两个字母的发展方式非常不同。字母形状是体系结构的,具有很强的常量规律性。相反,假名字母像流水一样长。

Small details and matte texture is only possible with laser printing. However, the result of hand engraving cannot achieve by laser printing. These are my just experiment. Alphabet and Japanese kana letters fuse in a contrasting element in the one world. This contrast of alphabet and kana letters, also between hand engraving and laser printing is what I would like to express in my work. 

只有激光打印才能同时实现微小的细节和哑光纹理。然而,手工雕刻的质感是激光打印无法实现的。这些只是我的实验。字母和日文假字母融合在一个世界中对比的元素。这种字母和假名字母的对比,也是手雕和激光打印之间的对比,是我想在我的作品中表达的。

— 03 —  The Infinity Black

Body Jewellery/ iron, Swarovski, magnet

I have been practicing Japanese metalsmithing techniques for over 20years. During my MA at the RCA, I have seen the ambiguity of the physical body and seen how it decays to the infinity. A heart that radiates infinite radiance, glass that is always fragile, iron with quietly decaying character. I believe material and the inherent story of its life should inform how techniques are applied and for what reason. ‘The Infinity Black’, is based on several pieces of rusty iron I found at the Thames riverside in London. These pieces are hard to change after being aged by time. I have used Japanese techniques to induce colour to the rust. In Japan, black means infinity, and to me, the infinity swallows iron, birthing out of nothing and to return to nothing. I wish to present the moment of disappearing, that is the beauty of infinity black.

    我练习日本金属匠技术已有20多年了。在RCA的硕士期间,我看到了身体模糊性,看到了它是如何衰减到无穷大的。一颗散发无限光芒的心,总是脆弱的玻璃,铁与悄无声息的衰败性格。我相信物质及其生活的内在故事应该说明技术是如何被应用的,以及原因是什么。”无限黑”,是基于几块生锈的铁,我在伦敦泰晤士河畔发现。这些碎片在老了一段时间后很难改变。我用日本的技术来诱导颜色生锈。在日本,黑色意味着无穷大,对我来说,无穷大吞下铁,从无到有,什么都不要回来。我想呈现消失的时刻,这就是无限黑色的美丽。

 04 

陈明远

Mingyuan Chen

中国

1992年生

2015年毕业于中央美术学院获学士学位。

2015年获中央美术学院毕业设计一等奖。

2015年千里之行——中央美术学院毕业生优秀作品展。

2016年日本东京艺术大学工艺课雕金(首饰)专攻第一研究室研究生修了。

2017年北京国际首饰艺术展。

2018年五感觉醒青年设计师作品邀请展。

2018年《珍物展-2018春》国际金属工艺首饰展。

2018年日本宝饰协会《JJA JEWELLERY DESIGN AWARDS 2018》东京展。

2018年日本山梨县首饰博物馆展。

2018年《冰与火的集淬——现代金工与玻璃艺术展》。

2019年珍物首饰艺术画廊签约艺术家。

– 设计说明 –

作品名称:《川口之光》

材料:银/镀金/钢

说明:川口是我在日本曾生活过的地方,我把留在脑海里川口夜晚的光感制作成首饰,既作为记录的形式存在,亦为呈现首饰在光线下的金属之美。

《川口之光 6》

《川口之光 4》

《川口之光 3》

 05 

Erik Blomqvist

瑞典

Dalarna – Sweden – 1989

Educatation

2017 – 2020 Khio, Art and Crafts, Metal and Jewellery art. 

2016 – 2017 Leksands folkhögskola, Metal/Silversmi thing.

Exhibitions(2019)

Herdet, Gallery Seilduken, Group exhibition 31 okt – 3 nov. Oslo, Norway

Athens Jewelry  week, Ilias  Lalaounis  Jewelry  Museum, 22-27  May. Athens, Greece.

Gallery  Format,  Materialized,  a jewellery  project  by metal  and jewellery students at the art and craft department, khio. Sigurd Bronger Studenter, 17 January – 10 mars. Oslo, Norway.

– Statement –

I work with jewellery, mostly rings and my preferred materials are steel and silver. In my steel works I use traditional blacksmithing techniques when I explore the qualities of the material, I want to capture the power of the material, I want the wearer to feel it. When I make a ring, I have an idea about a direction or a shape i want to achieve but i let the material show the way

    我主要制作戒指,我喜欢的材料是钢和银。在我的作品中,我采用了传统的金工工艺去探索金属的质感。我想捕捉金属的力量感,让佩戴者感受它。在我制作戒指的时候,关于造型我有一个大概的方向,但更多的是顺应材料自身的呈现效果。

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