个人简介
EDUCATIONAL BACKGROUND
08/2018-05/2020 Pratt Institute (Major: Jewelry Design, GPA: 3.8/4.0) 08/2016-05/2018 Pratt Institute MWP (Major: Jewelry Design, GPA: 3.8/4.0) 01/2012-06/2016 Ross School (Senior High School, GPA: 3.8/4.0)
INTERNSHIP EXPERIENCE
Oscar de la Renta – VP Assistant 10/2018-12/2018
²Completed the design and concept maps of more than 200 pieces of jewelry for two quarters using PS and hand-drawing
²Helped VP of jewelry design research about the fashion trend of the season, retrieved more than 500 pieces of inspiration materials, sorted out thousands of quarterly finished product design drawings in the past few years, created many manual ornament samples, and made 20 inspiration boards for accessories of two quarters
Monlou – Intern 06/2018-07/2018
²Designed and rendered 7 sets of accessories for the company, including 2 pairs of earrings, 3 pendants, 1 ring, and 1 bracelet
EXHIBITIONS
2020 Pratt Shows: Design, Pratt Institute, Brooklyn, New York 2020 Pratt Jewelry BFA Show, Pratt Institute, Brooklyn, New York
2019 Mulan Show, NYC jewelry week event, 327 Canal Street, New York 2019 Pratt Junior Jewelry Show, Pratt Institute, Brooklyn, New York
2018 Pratt MWP Sophomore Show, Munson-Williams-Proctor Arts Institute, Utica, New York
2018 Pratt MWP Sophomore Individual Show, Pratt MWP College of Art and Design, Utica, New York 2017 Pratt MWP Freshman Show, Pratt MWP College of Art and Design, Utica, New York
SKILLS AND CERTIFICATES
Certificate Issued by FDNY. Torch Use in Manufacture of Jewelry 04/2019 Metalsmithing/Bench works: Piercing, soldering, texturing, raising, forging, die forming, chasing, scoring and
bending, fold forming, etching, engraving, riveting, loop-in-loop chain making, inlay, marriage metals, granulations, stone setting, electro-forming, vacuum-forming, laser welding
Casting: Lost-wax casting, water casting, cuttlefish casting, broom casting
Color on metal: Vitreous enamel, Cloisonné, Champlevé, Plique-à-jour, Bassi-Taille, Guilloché, eggshells, resin, colored pencils, powder-coating
Computer: Rhino, Photoshop, Word, Illustrator, Microsoft Office, Logic ProX, Laser cut, 3D printing
Arts: Jewelry rendering, oil, acrylic, watercolour, gouache, charcoal, silkscreen printing, intaglio
EXTRACURRICULAR ACTIVITIES
WJA Jewelry Night Out (New York Metro) Loupe Art Jewelry Gallery; Charon Kransen Art Daniel Brush: Cuffs and Necks Through the Eyes of a Connoisseur The Fabulous Destiny of Tavernier’s Diamonds Jewelry, The Body Transformed Heavenly Bodies: Fashion and the Catholic Imagination Blue Week forum at Pratt Institute HONORS AND AWARDS
International Merit-Based Scholarship ($48000) Fall 2018 – Spring 2020
International Merit-Based Scholarship ($16000) Fall 2016 – Spring 2018 Top Award, The June Herman Designer/Creator Scholarship ($5000) 06/2019
3rd Prize, 2019 Icon Brooch Competition ($200) 04/2019
3rd Prize, 2019 Junior Jewelry Awards ($250) 04/2019
珠宝最吸引我的地方之一是它的耐磨性;虽然珠宝和其他艺术形式一样，是一种艺术形式，但珠宝与绘画或雕塑的区别在于，后者的艺术品是作为独立的作品单独展示的，而珠宝则是最常佩戴的。这种佩戴行为赋予了珠宝特殊的属性，这就解释了同一件珠宝在不同的人佩戴时看起来会有什么不同。然而，与此同时，珠宝本身也作用于佩戴者，并改变佩戴者;因此，佩戴珠宝的人与艺术家保持着一种积极的、不断发展的关系。
One of the things that most fascinates me about jewelry is its wearability; though it is an art form like any other, what separates jewelry from, say, painting or sculpture, is that while the latter artworks are displayed independently as stand-alone pieces, jewelry is most often worn. This—the act of wearing—imbues the jewelry with special properties, which explains how the same piece of jewelry can look different when worn by different people. At the same time, however, the jewelry itself also acts upon and changes the wearer, too; thus, people wearing jewelry are engaged in an active, ever-evolving relationship with the artist.
作为一名珠宝设计师，我用手和工具操纵材料的过程，让我能够通过媒介讲述故事，传达我的感受。
As a jewelry designer, the process of manipulating materials with my hands and tools allows me to tell stories and communicate my feelings through the medium.
另一种看待它的方式是，珠宝制造是把一个抽象的概念具体化的过程。与珠宝设计师必须学习的技术密不可分的是技术本身的传承。这方面的珠宝设计让我觉得与过去的工匠有一种精神上的联系。与此同时，了解这一传统的重要性也给了我信心和力量来挑战我工作中的传统界限。
Another way of looking at it is that jewelry-making is the process of taking an abstract concept and specifying, crystallizing it. Inseparable from the techniques that jewelry designers must learn is the heritage of the techniques themselves. This aspect of jewelry design has allowed me to feel a spiritual link with the craftspeople of the past. At the same time, understanding the importance of this heritage has provided me the confidence and strength to challenge traditional boundaries in my work.
珠宝的触感一直是我的兴趣所在，因此在我的珠宝制作实践中，我非常重视材料。我喜欢探索不同材料的特性——它们的柔韧性、光泽、图案——并尝试替代材料。这让我开始对可持续珠宝进行研究。正是何塞•路易斯•费托里尼(Jose Luis Fettolini)的同名著作，促使我扪心自问，作为一名珠宝设计师，我是否意识到了自己的行为对环境和道德的影响。
The tactility of jewelry is something that has always engrossed me, and as a result, I place great emphasis on materials in my jewelry-making practice. I love exploring the attributes of different materials—their pliability, luster, patterns—and experimenting with alternative materials. This has led me to, among other things, conduct research on sustainable jewelry. It was Jose Luis Fettolini’s book of the same title that prompted me to ask myself if I was aware of the environmental and ethical impact of my activities as a jewelry designer.
在我开始这项研究之前，我对可持续珠宝的理解仅仅局限于使用某些环保材料，但是随着我对这个概念的进一步探索，我更加了解了珠宝设计师在选择材料时的责任。我开始问自己这些材料从何而来。它们是如何获得的?工人们负责收集被剥削的材料吗?这项研究极大地提高了我对工作中所使用材料的各个方面的认识水平。
Before I started this research, my understanding of sustainable jewelry was limited to simply using certain environmentally friendly materials, but as I explored the concept further, I learned more about the responsibility that jewelry designers have in selecting materials. I started asking myself where certain materials came from. And how were they acquired? Were the laborers responsible for gathering the material exploited? This research greatly enhanced my level of awareness of all aspects of the materials I use in my work.
珠宝另一个吸引我注意的元素是珠宝作为艺术的可能性，相反，艺术作为珠宝的可能性。在我的研究论文“The Autonomy of Jewelry”中，我探讨了不佩戴而是展示的珠宝的价值与欣赏，以及Alexander Calder等艺术家的作品在创新可佩戴艺术品上的价值与欣赏。
Another element of jewelry that attracts my attention is the possibilities of jewelry as art and, conversely, of art as jewelry. In my research paper “The Autonomy of Jewelry”, I explored the value and appreciation of jewelry that is not worn, but displayed, as well as the works of artists like Alexander Calder in innovating wearable art pieces.
最近，我有机会参观了纽约艺术交易商克兰森(Chron Kransen)的藏品，我对他在那次参观中告诉我的许多事情产生了深刻的共鸣。他提到艺术家拥有自己独特的声音是多么重要，让这种声音在他们的艺术中闪耀。因此，在研究生阶段，除了加强自己的技能，探索珠宝在不同文化背景下的作用，我还想付出相当大的努力，进一步完善自己的声音。正如克伦告诉我的那样，一个艺术家所面临的所有挑战实际上都只是一种考验，看看他们是否足够相信自己的远见卓识，并将其贯彻到底——而我愿意尽一切努力，将我的远见卓识带到生活中，无论是在研究生院还是以后。
Recently, I had the opportunity to tour the collection of the New York art dealer Chron Kransen, and I resonated deeply with many of the things he told me on that visit. He mentioned how important it is for an artist to have their own unique voice, and to let that voice shine through in their art. Thus, in graduate school, aside from strengthening my skills and exploring the role of jewelry in the context of different cultures, I also want to expend considerable efforts further refining my voice. As Chron also told me, all of the challenges an artist faces are really just tests to see if they believe in their vision enough to see it through—and I’m willing to do everything it takes to bring my vision to life, in graduate school and beyond.
作品和设计说明
Icon Project- The Sliding Jigsaw Brooch
Material: Sterling silver, 3D printed resin, blue topaz, peridot, tiger eye, pearl, garnet, green onyx, pink cubic zirconia, rose quartz, lapis lazuli.
Brooch box: Birch plywood, laser cut acrylic, black wood stain
The Sliding Jigsaw Brooch was inspired by the Chinese folk art puzzle game Klotski. It was invented by a British man named John Harold Fleming, and became popular in China.
The Sliding Jigsaw represents joyous moments I shared with my little sister playing together. This piece allows the wearer to slide the surface elements along channels. The wearer discovers an unexpected stone with each move of the tiles. The piece allows the wearer to coordinate the stones to match outfits and mood. I created the box to contain the brooch using the geomorphic elements seen on each tile in the brooch as a decorative element on the lid.
Diadem Project – The Little Mermaid
Material: Sterling silver, reticulation silver, enamel, Kum-Boo gold, pearls
The diadem was inspired by a Hans Andersen Fairy Tale, The Little Mermaid. This piece is a reimagining of the last scene of the story in which the Little Mermaid sacrifices herself and dissolves into seafoam. The wire construction represents the undulating sea and the rough waves. The gold foil emphasizes the Little Mermaid’s luminous and ethereal spirit. I desire that we can all embody part of the character’s immortal soul by living in such a way that we do not abandon our original, unique voice or our pursuit of dreams, and that we do not drift with the current.
Sustainable Project “A Brilliant Cut”
Material: Recycled Sterling Silver, Petri Glass Dish, Ferrofluid, Resin
This project required students to make a piece of contemporary jewellery that is considered sustainable and inspired by their senior thesis works. The concept of my thesis collection is to breed a unique living “stone” with people’s body movements. I want to mimic textures of different semi- precious stones by creating different patterns of ferrofluid using different magnetic forces and kinetic mechanisms.
Understanding and considering the possibilities of sustainability was central to the success of the work. Within this brooch, I am questioning myself, “Am I aware of the environmental and ethical impact produced by my activity.” I came to understand that my thesis work needs to go through a process of profound research and experimentation, so I transformed the wasted materials from my activity into an out of the ordinary body ornament. I created a brilliant diamond cut pattern behind the brooch to imply that the value of sustainability is equally as the value of a real diamond.
