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。
“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。
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。
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
Corrina Goutos
美国
毕业于萨凡纳艺术与设计学院（The Savannah College of Art and Design）艺术珠宝专业。2012亚特兰大珠宝展项链类第一名，2018年度艺术珠宝论坛艺术家奖全球五名决赛选手之一。曾参与费城艺术博物馆工艺展（The Philadelphia Museum of Art Craft Show）、史密森尼工艺展（Smithsonian Craft Show at National Building Museum）、慕尼黑珠宝周等世界知名展览。
座右铭：保持好奇，保持清醒
Exhibitions（2019）
– “Matter Matters” four-artist Contemporary Jewelry show, InThePendant Gallery, Porto, Portugal
– “I Don’t Want it in My Body” with visual artist Barbara Lüdde at Âme Nue in, Hamburg, Germany
– “Consolidation” with Jorge Manilla as part of Munich Jewelry Week at 84 GHz Raum Für Gestaltung and in 13 artists group show curated by Ilaria Ruggerio “Nuda Vita”
Statement · 设计阐述
Contemporary jewelry has never reacted to more stimulus at once. The age of social media and the internet are affecting the subject of our work, and the reach that it has.
当代首饰从未同时对如此多的刺激做出反应——社交媒体和互联网的时代正在影响着我们的工作主题，以及艺术品的影响范围。
The growing number of interested people in jewelry as well as the growing number of makers challenges us all to raise our standard. We continue to build on the rich craft traditions we were exposed to (often tied to our heritage) and we mix these with current social, political and other pressing matters affecting our generation.
越来越多的人对首饰感兴趣，同时，越来越多的设计师也在不断挑战和提高大众的审美标准。传统工艺与概念在传承的基础上不断与当代艺术结合，与当下的社会相关。
《 Kitchstick 》胸针
Materials: bone, obsolete lighter, decorative objects, industrial materials, paint, steel
材料:骨头，废弃打火机，装饰品，工业材料，油漆，钢铁
尺寸 / Size: 11 x 4 x 3 cm
The evolution of Jewelry is the integration of aesthetic and integrity; gone are the days of the purely decoratve object. Our generation builds on the successes and mistakes that came before us, to making responsible, thought provoking objects. We create objects that are both past, present and future; a truely contemporary consolidation of all that makes us, us.
当代艺术首饰的演变是审美与作品完整性的融合——在前人或成功或失败的经验之上，人们不再满足于纯粹的装饰性，追求更深层次的概念与内涵。设计师的创造不止继承传统，表达当下，更描绘未来。真正的“当代”是让每个人成为自己。
《 Hörmuschel 》胸针
Materials: shell, obsolete electronics, copper, powder-coating, steel
材料: 贝壳，废弃电子产品，铜，粉末涂层，钢
尺寸 / Size: 7 x 5 x 4 cm
These objects are both an extension of the maker, and later the wearer, as they infuse materials with value through experiences had with it. Together we combat throw-away culture with our sentimantal adherance to uniqueness, and the intimacy of art worn on the body.
这些物品既是制造者的延伸，也是佩戴者的延伸，他们通过经历赋予材料以价值。二者对独特性的感知和对首饰艺术的亲密接触共同构成了珍视消费品，拒绝“即用即丢”行为的独特文化。
Materials: old car rims and beer cans, acrylic cord
材料: 旧车圈，啤酒罐，塑料绳
尺寸 / Size: 16 x 12 x 1.5 cm
02
Eva Tesarik
奥地利
Eva Tesarik, 1957, Vienna, Austria.
Education:
1985 Doctor of Biology, University of Vienna/Austria
1992-1995 Goldsmithing apprenticeship, studied with E.J.Defner and Fritz Maierhofer
since 1995 founding member of the atelier STOSSimHIMMEL, Vienna(A)
Exhibition（Latest）
2019, The Legacy Award & Collection. The Ultimate Edition.
2019, Heart Failure in Munich.2018:
2018, SpringBling at STOSSIMHIMMEL.2017:
2017, Gioielli in Fermento 2017 Master Collection at JOYA 2017.
Statement · 设计阐述
For one year I was working in a genetic laboratory and so I got this inspiations for the serie “Laboratory”.
我在一个基因实验室工作了一年，因此我得到了这个“实验室”系列的灵感。
《 Laboratory 》Ring
戒指《实验室》
Silver, plexi and material from a genetic laboratory
材料：银，树脂和实验器材
尺寸 / Size：45mmx30mmx20mm
In this small cuvette life is growing, experimental are made and sometimes it is possible to change the genetic code .The experimental are going on and we have to think about this new humanmade evolution.
在这个小试管中，生命在成长，实验在进行，也许改变基因密码是可能的，我们必须思考这种人为的“进化”。
《 Bears are growing 》Ring
戒指《成长的熊》
silver, plexi and material from a genetic laboratory
材料：银，树脂和实验器材
45mmx30mmx20mm
Bears I let grow, because bears are so nice pets and everybody loves them, but what can happen in this cuvette? ………
我让熊长大，因为熊是很好的宠物，每个人都喜欢它们，但是在这个试管里会发生什么呢?……
03
Francine Schloeth
瑞士
滑动解锁艺术家履历
1961年出生于瑞士，自2002年起生活在布宜诺斯艾利斯，在布宜诺斯艾利斯、巴西、智利和瑞士举办研讨会和研讨会。
1986年在巴塞尔设计学院开展美术教学；
1990年开始研究日本漆工艺，2014年和2017年两次赴日本交流学习。
Exhibitions:
2016, Solo Exhibition Museum of Arts & Crafts, Santiago de Chile;
2017, Tincallab Porto (P); Museum of Arts & Crafts ITAMI, Japan.
Art Basel cities BA 2018
2019, «The eloquence of paper-jewelry» Galerie Caractère, CH; Galery Lalabeyou Madrid and Joya Barcelona, Spain; Portugal and NL.
Statement · 设计阐述
Contemporary jewelry as sculptures in small format: Minimal Art, geometry, nature and architecture are my inspiration. In my artistic work I like to envolve percepcions of spaces, intuition and drawing, balance; still trying to find a way to show it as a part of me. Design and Art as a field of fusion and experiment.
作为小型雕塑的当代珠宝——极简艺术、几何、自然和建筑是我的灵感来源。在我的艺术作品中，我喜欢赋予空间、直觉、绘画、平衡等感知力;还在试图找到一种方式来表现它是我的一部分。设计和艺术是一个融合和实验的领域。
The technique of Japanese lacquer gives me the possibility to intensify parts of an object/jewel, form contrasts, give life and expression and create reliefs and textures with colors or unicolored like shades of black or white.
日本漆工艺给了我强化物体/首饰部分的可能性，形成形式对比，赋予生命和表达，创造浮雕和纹理的颜色或黑色或白色的阴影。
Pendant “Pillow Compassion”
吊坠《慈悲枕头》
Materials: plaster, sterling silver, bronze, Japanese lacquer, metal powder
材料: 石膏，纯银，青铜，日本漆，金属粉
尺寸 / Size: 70 x 60 x 15 mm
This piece is part of a trilogy as an hommage to three romanesque sculptures with the meaning of compassion (Barmherzigkeit) – Gallus Portal, northern side of the cathedral, 1150/70 data in Basel, Switzerland
这件作品是向三个具有同情意义的罗马式雕塑(Barmherzigkeit)致敬的三部曲中的一部分——大教堂北侧的Gallus Portal, 位于瑞士巴塞尔1150/70
In this case when I saw this picture, my first reaction as a human being was normal ethics and moral – assistance.
这件作品描绘了当我看到这张照片时涌起的同情心与感动。
couple of Pendants «lost and found»
吊坠《得与失》
Materials: plaster, sterling silver, bronze, Japanese lacquer, metal powder
材料: 石膏，纯银，青铜，日本漆，金属粉
尺寸（分别为）/Size: 80 x 60 x 1 mm, 75 x 55 x 1 mm respectively
The couple of pendants are from a series named “Lost and found” – the pieces are the result of a large creative process of building and re-building … casting and re-casting, in search of form and expression. I wanted the piece to be changing all the time in details as a permanent transition and development.
这对吊坠来自《得与失》系列——这是一个工程浩大的、富有创造性的建造与重建过程的结果。铸造和再铸造，寻找形式和表现。我想让作品在细节上不断变化，不断进化和发展。
04
Jillian Moore
美国
Education
2008, MFA, Jewelry and Metal Arts Program, School of Art and Art History, University of Iowa, Iowa City, IA
2005, BFA, Metalsmithing and Jewelry Program, College of Fine Art and Communications, Western Illinois University, Macomb, IL
Exhibitions（2019）
2019 Munich Jewellery Week, “Polyphonous19: animal/vegetable/mineral”, solo exhibition as part of a series of exhibitions organized by the collective Polyphonous in various locations, Munich
“Contemporary History: Queer Narratives”, invitational/juried exhibition organized by Charlie Turchan, The Ivy House Gallery, Champaign, IL
Jewelry Edition V5, travelling group pop up organized by Laura Wood and Kat Cole
“Précieux !?”, curated by Lynne Speake from members of Precious Collective at Alliages, Lille, France
“Glossy”, JCK Las Vegas, Nv, Ombré Gallery, Cincinnati, OH, and New York Jewelry Week, New York, NY
“αβγ…”, ongoing travelling exhibition (“ABC…”) Athens Jewellery Week, Melanithros Art Space, Athens, Greece
“Crafting a Legacy”, invitational exhibition to celebrate 40th anniversary of the Metal Museum, Memphis, TN
Statement · 设计阐述
I’ve found myself in a strange place as an artist, having studied contemporary jewelry as well as sculpture, the objects I create are often considered too challenging as jewelry, but because I hold to a reasonable interpretation of wearability, they are thus rejected as pure sculpture.
作为一个同时研究当代首饰和雕塑的艺术家，我发现自己处在一个奇怪的境地：我创造的首饰总是被认为很有挑战性；但因为我坚持对可穿戴性进行合理解释，它们又没能成为纯粹的雕塑。
By blending organic forms with the intention of creating wearable objects that seem both familiar and uncanny, I borrow from the zoological and botanical world. I repurpose structures, systems, and textures, and filter them through abstraction.
我从动植物世界借鉴了有机形式和可穿戴物品的灵感，让它们看起来既熟悉又不可思议。我重用结构、系统和纹理，并通过抽象对它们进行过滤和加工。
“Raudaz” 吊坠
foam, composite and epoxy resin, found/altered plastics, polymer clay, paint, pigment, nylon, silicone-rubber,
材料：泡沫、复合树脂、环氧树脂、塑料/改性塑料、软陶、油漆、颜料、尼龙、硅橡胶
尺寸 / Size：23cm x 11cm x 10cm
More recently I’ve been playing with implausibility, looking for colors and patterns that would help further defy recognizability. I’m ruminating much more on transgression, and how the natural world can sometimes defy easy reduction and categorization. Coupled with the desire to amplify the ambiguity, peculiarity, and otherworldly qualities in my work, references to non-biological forms have become very interesting to me, and I find myself now exploring alien territory.
我寻找更具有辨识度的颜色和图案，思考越界创作，探究自然世界复杂而强大的创造力。我想要放大我作品中的模糊性、独特性和超脱尘世的特质，对非生物形式的引用对我来说非常有趣，我乐于探索这个陌生的领域。
“Fascinum” 吊坠
foam, composite and epoxy resin, polymer clay, paint, pigment, found/altered acrylic, polymer clay, nylon, silicone-rubber
材料：泡沫，复合材料，环氧树脂，软陶，油漆，颜料，丙烯酸，软陶，尼龙，硅橡胶
尺寸 / Size：28cm x 8cm x 6cm
This current body of work that is becoming animal/vegetable/mineral is much more overtly about defiance, and in particular, taking the form of objects that are exhuberantly, confrontationally weird.
这一系列正在变成动物/植物/矿物的作品采用了异常怪异的、冲突的物体形式，公开地表达了对传统首饰概念的挑战。
“Nugator” 胸针 / 墙饰
foam, composite and epoxy resin, found/altered plastics, paint, pigment, microbeads, copper, stainless steel
材料：泡沫，复合材料，环氧树脂，塑料，油漆，颜料，微珠，铜，不锈钢
尺寸 / Size：17cm x 18cm x 5cm
05
Moshe Gordon
以色列
Born 1949 in Ramle, Israel. Now Lives and Creates in Mitzpe-Ramon.
1979 – 1983 Founder and manager of the Glass Art School in Tel-Aviv
1988 – 1993 Co-founder of the Art boarding school in Mitzpe-Ramon
1993 – Today – Operating and creating as an independent artist
Statement · 设计阐述
In my youth, I drew and sculpted, using anything I could put my hands on: Fabrics, metals, plastics… anything and everything. In the ’80s I focused on glass art and since the early ’90s I deal mainly with paper, and lots of it: Folding, rolling and creasing.
年轻的时候，用我能触摸到的任何东西来画画和雕刻:布料、金属、塑料……80年代，我专注于玻璃艺术；90年代初，我开始研究纸张，并将其作为我的主要创作材料。
As we grow and become a digital society, books and encyclopedias are more and more done with and thrown out, unneeded. I take them back in, liberate them from the horror of becoming dead waste under pounding blades, and give them some extra life span, this time – as artworks.
随着数字时代的发展，厚重的纸质百科全书逐渐被淘汰。而我把它们收集回去，把它们从被碎纸机碾碎的恐惧中解放出来，并以艺术首饰的形式赋予它们新生。
胸针作品 1
I find my sources of inspiration mostly in John Cage and in the “Wabi-Sabi” approach, which speaks of the elegance of simplicity and the beauty of the imperfect, the incomplete and the ephemeral. It is the simple beauty of modest, simple things.
我的灵感主要来自约翰•凯奇(John Cage)和“侘寂”(Wabi-Sabi)的思想，后者讲述了简单的优雅，以及不完美、不完整和短暂的美。它是谦虚、简单的事物的简单之美。
胸针作品 2
The lapel pin jewels are made from papers that were originally of various art catalogs, such as: Sotheby’s, Christie’s and more. The brooches are coated with protective translucent layer of crystalline material, which ensures the jewelry for lengthy wear while enduring any weather conditions such as moisture and sun rays (UV). The brooches are worn using a magnet. I Hope to convey to the viewer (and the wearer) some unique, moving experience.
这些胸针是用来自各种艺术品目录的纸张制成的，如:苏富比、佳士得等。胸针上涂有水晶材料的半透明保护层，这使它们得以抵御潮湿和紫外线。胸针背面配有磁铁。我以此向观者与佩戴者传达独特的情怀。
胸针作品 3
06
BIN SHEHAB SAADAH
沙特阿拉伯
I’m a jewelry artist who was born in Saudi Arabia in 1994, growing up until now ,I always had problems identifying my identity and who I should be ,so I used art to describe myself and finding answers to my questions about identity and where I belong in this world.
After graduating from high school I studied biochemistry for a year at the King Abdul Aziz University in Jeddah but to seek my dreams I decided to move to Japan in 2014, I graduated from Hiko Mizuno college of jewelry in 2019 , currently I live in Saudi Arabia and I hope to help to increase contemporary art awareness especially contemporary jewelry in Saudi and the Arab world.
AWARDS & ACHIEVEMENTS
2018Hiko Mizuno College Graduate Student Representative Speech
2016Hiko Mizuno Jewelry Course Headmaster Choice Award
2015ISI Japanese Language School Excellence Award
EXHIBITION
jewellry//sculpture Exhibition / Vienna2019
Beijing International Jewelry Art Exhibition / China 2019
Artistar Jewelry Exhibition Fall Edition / Itay 2019
Society X Jewelry / Space Edge /Tokyo 2017
“世界の雑貨” General Goods Of The World Exhibition /Hole In The Wall / Tokyo 2018
” ⼆つの⼟” Two Lands /Conceal Gallery / Tokyo 2017
Statement · 设计阐述
When people ask me what my work is about, I can only answer “everything!” my works are my voice, a powerful interpretation of my deepest thought, hidden emotion, fears and interests, it comes from my daily life, and attempt to make sense of the world. Art for me is the way we exchange information about feelings and sometimes answers .
当人们问我，我的作品是关于什么的时候，我只能回答 “一切!” 我的作品就是我的声音，有力地诠释了我最深的思想、隐藏的情感、恐惧和兴趣，它来自于我的日常生活，试图去理解这个世界。对我来说，艺术是我表达感情和答案的方式。
From far away these pieces look like a big piece of gemstone but it is not! .at the first look, you can not spot the vinyl from the gemstone but when you take a look closer it gets more interesting.
《IN BETWEEN》系列作品从远处看像一大块石头，但它其实不是。乍一看，你无法分辨这一大块混合物，但当你仔细看时，就会发现有趣的内含物。
《 IN BETWEEN 》戒指
materials: vinyl, gemstone ,gold leaf ,acrylic color,brass
材料: 乙烯塑料，宝石，金箔，亚克力，黄铜
This work is a question about the true value of things, something as cheap as vinyl can look like something expensive as gemstone, and have the power to hold it .if we want to see the world as it is, we can’t rely on our physical senses. They are much too distorted by our conditioned beliefs. Instead, we can learn to see through our hearts.
这件作品探讨关于事物真正价值的问题，便宜的塑料经过加工可以看起来像宝石一样昂贵，并且可触碰。如果我们想看到真实的世界，就不能仅仅依靠表面的观感。浮于表面的观察往往被刻板印象扭曲和干扰。我们应该学会用心看透事物的本质。
