DBC国际设计师空间 | 层叠构造中的动态与形式感

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 —

Adriana Del Duca

委内瑞拉

Exhibitions

• Collective exhibition – Dynamic Circuits – Wunderkammern Project, Milan, 27 May / 13 June 2019

• Collective exhibition – Rossini Gallery, Milan 9 – 2 April 2019

• Collective exhibition – Galerie Caractère Neuchâtel – Switzerland 23 March – 27 April 2019

• Collective exhibition – Lalabeyou Gallery contemporary jewelery Madrid – Spain 30 May – 3 July 2019

• Collective exhibition Context Gallery, San Cugat- Barcelona 2 – 31 October 2019

• Collective exhibition Beeld & Aambeeld, Enschede – Holland, 17 November – 28 December 2019

• Personal exhibition – Porto Collectiva Gallery – Portugal (May, June, July 2019)

• Joya Barcelona – Disseny Hub – October 2019

• Collective exhibition – Venice Jewelry Week – 3 October – 3 November 2019

• Bacht Store exhibition / curated by the AA Collected gallery – Vienna 12 September – 30 November 2019

• Creativity Oggetti, via Carlo Alberto, 40 / f Turin

Awards

• Envision Arts ONYX, honorable mention

• Redefine the 2018 jewel Biwoux Museum Award of Casalmaggiore.

• Collective Collective Meeting Award 2019, third place.

• Porto Joya 2019 selection award

– Statement · 设计说明 –

Adriana Del Duca, Italian-Venezuelan, was born in Caracas in 1969 where she grew up in a flourishing cultural period. The metropolis offered innumerable experiences in the artistic and sculptural field allowing citizens to merge with an environment full of contemporary works.

Adriana Del Duca，意大利裔委内瑞拉人，1969年出生于Caracas，成长于文化繁荣时期。大都会在艺术和雕塑领域提供了无数的经验，让市民融入一个充满当代作品的环境。

The artistic ferment is constant, art is for everyone and above all it fascinates students. After attending the degree course in Communication Sciences at the Catholic University of Caracas, she moved to Italy and attended the Paolo Grassi school in Milan where she graduated in Dramaturgy.

艺术的激情是永恒的，艺术是为每个人服务的，最重要的是，它让学生着迷。在加拉加斯天主教大学(Catholic University of Caracas)获得传播学学位后，她搬到了意大利，并在米兰的保罗•格拉希学院(Paolo Grassi school)学习戏剧艺术。

In 1995 he moved to Naples where he devoted himself to theater and writing and at the same time collaborated with a goldsmith company in which he absorbed the creative processes aimed at the production of non-traditional jewelry. The admiration for Mexican jewels of the 30s and 40s allows her to channel her creative potential in a definitive way into a single artistic path: contemporary jewelery. So in 2014, Genos brand was born and she became its designers.

1995年，她搬到那不勒斯，致力于戏剧和写作，同时与一家金匠公司合作，在那里她吸收了旨在生产非传统珠宝的创意过程。对30年代和40年代墨西哥珠宝的崇拜使她能够以一种明确的方式把她的创作潜力引导到一条单一的艺术道路上:当代珠宝。2014年，Genos品牌诞生，她成为了设计师。

She is currently engaged in the study of sections, non-Euclidean geometric shapes and programmed art applied to jewelry. Is with Transparencia that a real path of experimentation and research begins with plexiglass and metals. In this study we can perceive refinement, originality and optical effects. Following this process, he decides to transpose some of his concepts onto Kinetic Paper, a collection of pressed cardboard jewelry where space, emptiness and movement are fundamental concepts.

她最近的研究是关于截面、非欧几里得几何形状和程序化艺术在珠宝领域的应用。在透明度（Transparencia）这个实验中，她的研究从有机玻璃和金属开始，我们可以感知精致、创意和视觉效果。在这个过程中，他决定把他的一些概念应用到 Kinetic Paper上，这是一套压制过的硬纸板首饰，其中空间（space）、空虚（emptiness）和运动（movement）是基本的概念。

1\《透明度（TRANSPARENCIA）》系列

——持续运动的形状

（shape in constant movement）

《OVO》necklace

Transparencia is a collection that moves from research into the behavior of the characteristic forms of the materials used. The line is made of Plexiglas and metals such as steel, copper, bronze, silver and brass.

Transparencia 是一个从研究转向探究所使用材料的特征形式的行为的系列，由有机玻璃和金属，如钢，铜，青铜，银和黄铜制成。

The creations are inspired by some concepts related to opart and kinetic art as the set of assembled forms is offered in countless versions depending on how you look at it.

创作灵感来自于一些与opart和动感艺术（kinetic art）相关的概念，这一系列的形式有无数个版本，这取决于你如何看待它。

《Future Fluo》necklace

Through the shiny surfaces of metals, the effects reflect the image of what is next, like a mirror, creating a further tangible volume only with the eye. The transparency of the Plexiglas allows to glimpse the reverberation of the shapes side by side and characterized by a perimeter not always “reassuring” or recognizable, but rather shapes whose paths change direction in an incisive way.

闪亮的金属表面像一面镜子，会反射出下一个物体的图像，在视觉上创造出更清晰可见的体量；有机玻璃的透明度让我们可以一瞥并排形状的混响，以周长为特征，并不总是“令人安心”或可识别，而是一块块排列在一条以锐利的方式改变方向的路径上的形状；

It is also thanks to these accents that a sequential set-up is created, giving once again the vision of a volume that can be approached thanks to the look rather than the touch. The movement factor helps to further accentuate the concept of instability in the overall shape of the jewel. A double effect arises because the movement is given not only by the wearer but also by the observer. In this way, it gives a value of inconstancy to the forms, therefore bodies in constant change.

由于这样的特性，一个连续的装置被创造出来，再一次给人一种体量的视觉。运动因素有助于进一步强调珠宝整体形状不稳定的概念，具有不仅由穿戴者决定，而且由观察者决定的双重效果。通过不断变化的身体动态，给形式赋予一种不稳定的价值。

2\《硬纸板（KINETIC PAPER）》系列

《Arise》necklace

This series of jewels exploits some of the aspects experimented through the Transparencia technique, that is, both movement and space. The fundamental assembly method allows to perceive what is constant, steady, on mutable surfaces, that is in movement.

这一系列的作品利用了一些与Transparencia 系列共同的方面，即运动和空间。基本的装配方法使我们能够感知什么是恒定的、稳定的、在变化的表面上的、在运动中的。

This creative process starts from the adoption of non-color, black and / or white but recently I begin to introduce the colour. It’s also a study about empty and full spaces. Another aspect that emerges from this research is the programming of its design. It is one of the principles that has characterized optical art, or programmed art. I intend to further develop this principle on jewelry design.

“这个创作过程从采用无色彩倾向的黑白色开始，但最近我开始加入彩色。它也是一个关于空间的空和满研究。这项研究的另一个方面的意义在于是其设计程序。它是光学艺术或程序艺术的特征之一。我打算在我的首饰设计中进一步开拓这样的设计原则。”

— 02 —

Jamila Wallentin

德国

EDUCATION

2018_DNSEP, Master, HEAR, object-art and contemporary jewellery, jury’s congratulations and first prize for the Master Thesis.

2016-2018_HEAR Strasbourg and ADBK Art Academy Nürnberg (Klasse für Freie Kunst/Gold-und Silberschmieden).

2014-2016_ DNAP, Bachelor, HEAR, Haute école des arts du Rhin.

2013-2014_Archeology and History of art, university, Strasbourg.

2009-2011_ BTS, Technical diploma in fashion and textile design, Marseille.

2006-2009_ Applied arts A-level, Nancy.

EXIBITIONS

Cobalt, association Le Tube, Strasbourg (upcoming)

JOYA fair Barcelona

Ateliers ouverts, Accélérateur de particule, Strasbourg.

Matière à réflexion, à 11 STEENS, SaintGilles, Bruxelles.

Collectible fair, Vanderborght building, Bruxelles.

Talente, Handwerkmesse à Munich.

– Statement · 设计说明 –

« Objects born, not made »

《物体是天生的，不是制造出来的》

Where does form come from?

I question the origin of shapes and I observe the gradual emergence of artefacts.

“ 形式从何而来?

我探寻形状的起源，观察人工制品的发展过程。”

“To read making longitudinally, as a confluence of forces and materials, rather than laterally, as a transposition from image to object, is to regard it as such a form-generating —or morphogenetic— process. This is to soften any distinction we might draw between organism and artefact. For if organisms grow, so too do artefacts. And if artefacts are made, so too are organisms.”

—— Faire Anthropologie, archéologie, Art et Architecture, Tim Ingold, p.61

“从纵向地把“制造”理解为力和材料的汇合，把它看作是这样一个产生形式或形成形态的过程，而不是从图像到物体的转换。这是为了弱化我们对有机体与人工制品的区别看待。因为如果生物体生长，那么人工制品也会生长。如果人工制品是制造出来的，那么生物也是。”

——艺术家Tim Ingold在他的著作《Faire Anthropologie》这样写道。

《Incision》brooch

胸针《切口》

Cotton, polyester, glue, steel wire

棉、聚酯纤维、胶水、钢丝

13x4x2 cm

The archetypal form of the brooches is directly linked to the technique. The form emerges on a rotating axe, it progressivly grows. The opening is to undersand the hearth of things. The layers are witnesses of choices, time, rythme, tempo and gestures. I keep the mystery of the second half. I like the evidence between shapes and function, when I decided to open the bow shaped winding, it intantly transformed into a necklace, it was born to be worn.

胸针的原型形式与该技术直接相关。整个形态在一个旋转台上逐渐成长起来，再被切开。这些层次是选择、时间、节奏和手势的见证。我保留另一半神秘感。Jamila倾向于在形状与功能之间创造直接的联系，这决定了她的作品拥有显而易见的可佩戴性。

《Stratiforme》necklace

项链

Cotton, polyester, silk, elastic, oxidised silver

棉，聚酯纤维，丝绸，弹性橡胶，氧化银

34×21,5×2,5 cm

《Strate》bracelet

手镯

Cotton, wool, polyester, glue

棉，羊毛，聚酯纤维，胶水

11x11x1,5 cm

— 03 —

Jess Tolbert

美国

EDUCATION

2013University of Illinois, Urbana-Champaign – Master of Fine Arts: Jewelry and Metal, Magna Cum Laude, Avery Fellowship

2009Texas State University, San Marcos – Bachelor of Fine Arts: Jewelry and Metal, Magna Cum Laude

EXIBITIONS（2019）

Brooklyn Metal Works, Brooklyn, NY

Building on the Body108 Contemporary, Tulsa, OK

Not-So-Lone-Star Studios: A Gathering of Texas Makers

Stanlee & Gerald Rubin Center for the Visual Arts, El Paso, TX

AWARDS (2017-2019)

2019The Rachelle Thiewes Endowment, University of Texas at El Paso

2018Honorable Mention, Craft Forms 2018, Wayne Art Center, Wayne, PA – Juror: Perry A. Price

The Elizabeth R. Raphael Founder’s Prize, Finalist, Society for Contemporary Craft, Pittsburgh, PA Artist Incubator Program Grant, Museum & Cultural Affairs Department, El Paso, TX

2017The Rachelle Thiewes Endowment, University of Texas at El Paso

– Statement · 设计说明 –

« Greater-Than »

Woven Brooch

fused steel staples, steel, 14K gold pin wire

100 mm x 100 mm x 20 mm

My current practice explores the use of industrially made products to create jewelry that has the duality of being both manufactured and handcrafted. Certain objects hold utilitarian functions in our everyday lives and serve as a means to an end; however, once they are reimagined as raw material and manipulated by a skilled hand, a transformation takes place. This shift fuses the functional and decorative, as well as memory with imagination. Reconsidering the commonplace objects of everyday life and mass production as jewelry creates an intimate link to our relationship with labor and the built environment.

“我目前的实践探索使用工业制造的产品来创造具有制造和手工制作的双重性首饰。某些物品在我们的日常生活中具有功利性功能，是达到目的的手段;然而，一旦它们被重新想象为原材料，并通过熟练的操作手段，就能创造转变。这种转变融合了功能和装饰，记忆与想象力。重新思考日常生活和大规模生产中常见的物品，作为首饰，我们与劳动和建筑环境的关系建立了密切的联系。”

Large Rectangle Link

fused steel staples

700 mm

A humble staple is often overlooked, simply used to bind pages together, or to post a flyer to a lamppost; its purpose does not often extend beyond what it was intended for. I am drawn to its recognizable form and to the rhythm of its use.

一个不起眼的订书钉往往被忽视，只是用来将页面绑定在一起，或张贴传单到灯柱；其用途往往不超出其目的。而设计师Jess Tolbert被具有识别性的形式和它的使用节奏吸引。

Through repetitive actions of layering, patterning, and systemically constructing, I replicate the pace of mass production, but not its protocols. With infinite possibilities, I reflect upon the unknown makers and their process to create a product that is now my raw material. Capturing labor in the form of jewelry speaks to the associated value typically assigned to such formats. Jewelry is an inherently social form of art, representing wealth, status, and membership, yet also individuality and identity. It is the identity of the maker and wearer that I aim to highlight.

通过分层、模式化和系统构造的重复操作，Jess复制了大规模生产的步伐，而不是其协议。她反思工业制造商的生产过程与无限的可能性，将已有的工业产品作为首饰创作的原材料。首饰是一种固有的社会艺术形式，代表财富、地位和成员身份，但也代表个性和身份。Jess的目标是强调制造者和佩戴者的身份。

Link Collar Necklace

fused steel staples

560 mm

In terms of process and materials, I focus on mass-produced products as my raw material. The staple becomes my singular component, one part of a whole. I mirco-weld, or fuse, them together one element at a time. I use the inherent form of the staple to create different patterns, ultimately creating my own ‘sheet’ of material with which I can treat as I would other sheets of metal. I fabricate and hollow construct with this ‘raw material’, creating unique constructions with infinite possibilities.

在工艺和材料方面，Jess专注于以批量生产的产品作为原材料。以订书钉作为元素，进行焊接，或熔断，组合为新的整体。Jess使用订书针的固有形式来创建不同的图案，最终创建她自己的“新”材料——一种新的“金属片”，创造具有无限可能性的独特镂空构造。

— 04 —

田伟玲

中国

田伟玲，女，生于山东、梁山。

教育背景：2005年毕业于中国地质大学（北京），首饰设计专业；2008年于山东工艺美术学院攻读硕士学位、研究生学历；2006年南京艺术学院进修金属专业；2018年上海大学美术学院访问学者。

– 设计说明 –

作品 “润物”取材于富有生命的枝条，展现出生机勃勃、欣欣向荣的生命体。

作品名称：润物

作品尺寸：16cm（长） ×12cm（宽） ×6cm（高）

作品材料：银

作品名称：花语

作品尺寸：18cm（长） ×18cm（宽） ×2.5cm（高）

作品材料：银、布

作品 “花语”以废旧的牛仔裤和银为材料，作品的成型主要以花形布片按照一定的排列顺序制作而成。作品的组合有严格的顺序，尺寸有严格的刻度，在这一组合规律下作品达到完整统一。此件作品重在体现:尺寸如分寸，合为 “美”、收为 “俏”。

— 05 —

EMPAR JUANES

西班牙

Education

July 2019, Graduate B.A. Design. Maastricht Academy of Fine Arts and Design (Maastricht, Netherlands).

Summer Semester 2018, Exchange Student in Hochschule Trier campus Idar-Oberstein (Germany). Erasmus Program.

July 2015, Graduate M.A. Architecture. Escola Tècnica Superior Arquitectura de València. Universitat Politècnica de València (Spain).

Summer Semester 2015, Exchange Student in Architecture School Tsinghua University in Beijing (China)

Scholar year 2012-2013, Exchange Student RWTH Aachen (Germany).

Exhibitions(2019)

Graduation expo. Maastricht Academy of Fine Arts and Design.

Marzee Graduation Show 2019. Gallerie Marzee. Nijmegen. Netherlands

Talents in the House. Museum of Bags. Amsterdam. Netherlands

Refine. Organized by Embracing Exchange. Dutch Design Week. Eindhoven, Netherlands.

Opening Intro Marzee. Amsterdam. New jewelry gallery established by Galerie Marzee supporting young artists.

– Statement · 设计说明 –

《TENSED》

《紧张的》

Empar Juanes has no desire to fall off a cliff, but she enjoys balancing on the edge. This is how she approaches her jewellery, constantly testing the limits of the material. Her work in stone is about resistance, tension and fragility where risk-taking is es- sential. In order to live fully, Juanes says we must have the courage to be vulnerable. Studying the matter of our personal space and opening a strong, direct, word-less dialogue between the wearer and the observer, “Tensed” is a tribute both to fragility and to life.

Empar Juanes喜欢在边缘保持平衡。她的创作理念就是不断测试材料的极限。她的石雕作品是关于抵抗力、紧张和脆弱，但其中冒险是无关紧要的。Juanes表示，为了充分生活，我们必须有勇气变得脆弱。研究我们的个人空间问题，在佩戴者与观察者之间展开一场有力、直接、无文字的对话，这一系列作品是对脆弱和生命的致敬。

《Tensed 2》 Brooch

胸针《紧张 2号》

Agate, silver, stainless steel

玛瑙，银，不锈钢

90x65x52mm

Can a stone be flexible? .

I discovered stone can be slightly flexible, depending on the stone internal structure and geometry. This unexpected characte- ristic of stone’s materiality fascinated me. I set the stone playing with the tension of the metal, visualazing this risky but exciting phenomenon.

The natural stone pattern, as it would be a second skin with its freckles, the space in between the wearer and the piece and in between the wearer and the viewer, with its fragile aura materializes the concept of personal space and it’s vulnerability in an abstract and minimalistic way.

“ 石头可以是灵活的吗？

我发现石头在一定意义上可以是灵活，取决于石头的内部结构和几何形状。这种出人意料的材料特性使我着迷。我在石头与金属之间设置张力，这个视觉上的危险现象令人兴奋。

天然的石头图案，就像皮肤上的雀斑；在佩戴者与观众之间，半透明的薄片之间创造的空间实现个人空间的概念，它的脆弱性表现在一种抽象和极简形式中。”

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