DBC国际设计师空间 | 金属与首饰艺术的多维乐章
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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.
Cut, Bend #3 Brooch
Brass, steel, enamel paint
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.
Cut, Bend #1 Brooch
Brass, steel, enamel paint
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.
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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
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 –
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.
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.
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.
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– Statement –
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.
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.
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 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.
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.
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.
— 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.
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2018年日本宝饰协会《JJA JEWELLERY DESIGN AWARDS 2018》东京展。
– 设计说明 –
— 05 —
Dalarna – Sweden – 1989
2017 – 2020 Khio, Art and Crafts, Metal and Jewellery art.
2016 – 2017 Leksands folkhögskola, Metal/Silversmi thing.
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