DBC国际设计师空间 | 纤维艺术编织质感的当代实验

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 —

Brooke Marks-Swanson

美国

Education

2003Master of Fine Arts, School of Art and Design, University of Illinois, Urbana-Champaign, Illinois 2000Bachelor of Fine Arts, School of Fine Arts, Indiana University, Bloomington, Indiana

1999Indiana University, Bloomington, Indiana – Study Abroad Program, Florence, Italy

Selected Juried and Invitational Exhibitions

2019

Art Palm Beach, represented by Galerie Noel Guyomarch, Montreal, Canada

Front of the House/Back of the House, Heidi Lowe Gallery, Rehoboth Beach, DE

“UNTAMED” Contemporary Art Jewelry, Gallery Route One, Pt. Reyes Station, CA

6X – Mistaken For Strangers, Athens Jewelry Week, Taf_Gallery, Athens, Greece

LOOT 2019 – Museum of Art and Design, NYC

2018

“Something Wild This Way Comes”, Facere Gallery, Seattle, WA

Un (WORN), Ornament and Object Gallery, Adorned Spaces, SNAG, Portland, OR KNIT – FORM – FUSE, Pistachios Jewelry Gallery, Chicago, IL

SOFA Chicago, represented by Galerie Noel Guyomarch, Montreal, Canada I.M.A.G.I.N.E Peace Now, Craft Alliance, St.Louis, MO

I.M.A.G.I.N.E Peace Now, Radius Gallery, Santa Cruz, CA

– Statement · 设计说明 –

Created to shield us from the environment, knitting quickly became a form of expression and a universal language. Connecting stitch to stitch, I seek to understand the human condition. Discordant transitions suggest strength, confidence, and power, while novel color combinations reflect visceral feelings of seasonal change, uncertainty, and even hope.

为了保护我们免受环境的伤害，编织很快成为一种表达方式和一种通用语言。把缝线连在一起，我试图了解人类的状况。不协调的过渡暗示着力量、自信和权力，而新奇的色彩组合则反映了季节变化、不确定和希望的本能感受。

《Broad Views + Inherent Elements》Collar

《宽视图 + 固有元素》项圈

Knit leather, oxidized silver, vintage glass cabochon

针织皮革，氧化银，古董玻璃珠

28 cm across

Through the tactile intimacy of my textile jewelry, I affirm our primal need to connect to the land. As my awareness evolves, my obligation to connect persists.

通过我的纺织首饰的触觉亲密感，我肯定了我们与大地联系的基本需求。随着自我意识的发展，我与自然联系的义务感日益坚定。

《Dual Form》Collar

《双重形式》项圈

Knit leather, suede, oxidized silver, brass, fresh water pearl

针织皮革，绒面革，氧化银，黄铜，淡水珍珠

28cm across

Searching for serenity, I am drawn to natural events mirroring human condition: calm, violent, refreshing, opaque, tepid, and tranquil. Subtle colors, variegated terrain, clusters of metal- all reveal fantastical landscapes and uncharted waters. Contemporary amulets emerge.

在寻找宁静的过程中，我却被反映人类状况的自然事件所吸引——平静的、暴力的、清新的、模糊的、温吞的和平静的。微妙的色彩，五颜六色的地形，一簇簇的金属——所有这些都展现了奇幻的风景和未知的水域。当代护身符由此出现了。

《Tracings》Collar

《踪迹》项圈

Knit leather, oxidized silver, fiber, fresh water pearl

针织皮革，氧化银，纤维，淡水珍珠

26cm across

— 02 —

Floor Mommersteeg

荷兰

Education

Gerrit Rietveld Academy, Amsterdam

Vakschool Schoonhoven, goldsmith, Schoonhoven

Exhibitions (2017-2019)

2019

Handwerkmesse 2019, Galerie Ra, Munich, Dld

KunstRai 2019, Amsterdam, NL

Collectiva Meeting 2019, Porto, Pt

Shining on the stage, Dutch Spirit, Shanghai, Ch

2018

Handwerkmesse 2018, Galerie Ra, Munich, Dld

European jewellery exhibition, Liverpool, UK

HOW Art Museum and Tongji University

TRIPLE PARADE International Contemporary Jewellery Biennial, Shanhai, Ch

2017

Object Rotterdam, Galerie Ra, Rotterdam, NL

Handwerkmesse 2017, Galerie Ra, Munich, Dld

Galerie Slavik, Summerfestival, Vienna, Aut

KunstRai 2017, Amsterdam, NL

2017 Beijing International Jewelry Exhibition, Beijing, Ch

– Statement · 设计说明 –

左：项链《生长》；右：胸针《太阳》

My work feature nylon thread and I transform this straightforward material into intricate, flamboyant pieces. I am fascinated by the processes involved in making a new creation.

我的作品以尼龙线为主要材料，我把这种简单的材料变成复杂的，华丽的作品。我对创造新事物的过程很着迷。

The structures I make become monumental, it is like letting the material ‘grow’ to their final shape. Although the material will always give the idea the work to be fragile, it is very strong.

尼龙线通过编织拥有不朽的结构，就像让材料“生长”到它们的最终形状。虽然尼龙线总是给人以脆弱的感觉，但经过编织的作品变得非常坚固。

— 03 —

Melis Agabigum

美国

EDUCATION

2016University of Wisconsin-Milwaukee, Peck School of the Arts, Milwaukee, WI, Master of Fine Arts Intermedia

2013University of Michigan Stamps School of Art & Design, Ann Arbor, MI BFA Art & Design, Summa Cum Laude

2009Eastern Michigan University Honours College, Ypsilanti, MI

Fine Art and English Literature

EXHIBITIONS（2019-2020）

2020

6X: Mistaken for Strangers 117 Gallery, Ann Arbor, MI

micro/MACRO: Collaborative Exhibition of Midwest Metals Programs, Ivy Technical Institute Gallery, Bloomington, IN

2019

6X: Mistaken for Strangers: NYCJW’19 208 Bowery, Manhattan, NY

Get It On!: The UltraModern Necklace SOIL Gallery, Seattle, WA Jewelry and Anatomy Tincal Lab, Porto, Portugal CONTROLS/CTRL+S: Art Jewelry Night Budapest, Hungary Collectiva Meeting ’19 Collectiva Gallery, Porto, Portugal

Cluster Crafts Jewelry Edition The Old Truman Brewery, London, England

Intersecting Spaces: Athens Jewelry Week Central Exhibition Benaki Museum, Athens, Greece

6X: Mistaken for Strangers: AJW’19 TAF Art Space, Athens, Greece

Waterloo Arts Juried Exhibition Waterloo Arts, Cleveland, OH SCHMUCK / SCHMOCK Northcity 4 Gallery, Melbourne, Australia You Can’t Touch a Ghost Galleri 2987, Detroit, MI

Sneak Peek, Part II: A Look at Private Art Collections Union Art Gallery, Milwaukee, WI

Articulating Craft Nazareth College, Rochester, NY

METALS 2019: Michigan Silversmiths Guild WSU Gallery, Detroit, MI

AWARDS & HONOURS（2015-2017）

2017Grand Prize “Best in Show” REMIX 117 Gallery, Ann Arbor, MI

2016Grand Prize Horror Vacui Juried Show Ann Arbor, MI

20152nd Place Award Michigan Fine Arts Competition (MFAC) Birmingham, MI Fredrick Layton Fellowship Award UW-Milwaukee, Milwaukee, WI Chancellors Graduate Student Award UW-Milwaukee, Milwaukee, WI

– Statement · 设计说明 –

«When…»

Touch and interaction are an inherent outcome in jewelry. I use ‘desire of touch’ as the basis for creating the work in my series “When…”

触摸和互动是珠宝固有的结果。我用“触摸的欲望”作为创作我的系列作品“当……”的基础。

《When You Were My Home》Bracelet

《当你是我的归宿》手镯

11.5 x 14.6 x 7.2 (CM)

Copper, Enamel, Waxed Cotton

铜，釉，浸蜡的棉线

With each piece, I try and find a balance between material and concept. My works are driven by personal experience and the search for semblance in my connections to others. I move the enamel into a place of fragility, calcification, and unsettlement. Through over firing enamels to the point of black, green, and blue oxidation, or under firing enamel till it is barely fused onto the surface like a sugared texture, I challenge the notion of traditional craft and the idea of beauty with familiarity.

对于每一件作品，我都试图在材料和概念之间找到一个平衡。我的作品是由个人经验和在与他人的联系中寻找相似之处所驱动的。我把珐琅质移到一个脆弱、钙化和不稳定的地方，挑战传统工艺所熟悉的关于美丽的概念。我烧制珐琅到黑色、绿色和蓝色氧化的程度，或者烧制到它几乎像糖果一样融合到表面。

《When I Found Myself Again》Necklace

项链《当我重新找到自我》

13.5 x 42.7 x 5 (CM)

Copper, 14K Gold, Enamel, Waxed Cotton, Powdercoat, Silicone Rubber

铜， 14K 黄金，釉，浸蜡的棉线，粉衣，硅橡胶

The ‘warmth’ of a woven structure, contrasted with surface that evokes unease, invites the viewer to more closely interact with the pieces. The closeness, contrasted with the coldness of moving enamel to a state of over firing or under firing is what I believe brings in this sensation of beauty to my work. I see beauty in all the darkness of the taboo subjects I imbue in my jewelry. There is coldness through colour and texture; sensual textile chaining or silicone rubber that draws from bodily experience; visual balance and unease (but in a pleasant way) in repetition and structure.

与粗糙的表面形成对比的是，编织结构的“温暖”让观众与作品更紧密地互动。这种亲密感，与将珐琅质过度烧制或不烧制时的冰冷形成对比，是我认为给我的作品带来美的感觉的原因。我在我的珠宝中所灌输的禁忌主题的黑暗中看到了美。有通过颜色和质地感受到的寒冷；由身体经验对于织物与橡胶的触感记忆；视觉上的重复和结构表现的平衡或不安(但以一种愉快的方式)。

These dichotomies drive my concepts which embrace the less than beautiful aspects of being— feelings of self doubt, lust, desire, confusion, baggage, emotional distance, and vulnerability. As the pieces are worn and displayed over time, they transform, crack, and are altered through their fragility and wear. This evolution of the pieces over time betrays the materials through their vulnerability. Ultimately, I believe that this is where beauty manifests in a physical product. Beauty is where desire has become a sublimation of our soul’s perception of material, content, aesthetic, and connection.

这些对立与矛盾驱使我去接受那些不那么美好的存在——自我怀疑、欲望、欲望、困惑、包袱、情感距离和脆弱。随着时间的推移，这些碎片被磨损和展示，它们会变形、开裂，并通过它们的脆弱和磨损而被改变。随着时间的推移，这些碎片的进化暴露了材料的脆弱性。最终，我相信这就是美在实体产品中体现的地方。美是欲望成为我们灵魂对物质、内容、审美和联系的感知的升华。

《When You Brought It Back to Life》Necklace

项链《当你给予它重生》

15.2 x 9 x 41 (CM)

Copper, Enamel, Waxed Cotton, Silicone Rubber

铜、釉、浸蜡的棉线、硅橡胶

— 04 —

Joana Santos

葡萄牙

Joana Santos was born in 1986 in the city of Oporto, Portugal.

1986年出生于葡萄牙；

Being an architect, she was missing the manual work that is more intimate and she was looking forward to a more challenging creation.

作为一名设计师，她着迷于亲密的手工制作过程，并不断创造更有挑战性的作品；

Curious about jewellery form a long time, it was in 2013 that she finally begun the learning and discovery path.

她对珠宝拥有很长一段时间的好奇和向往，终于在2013年开始学习和创作；

Joana’s work reveals the knowledge and experience from the past with the influence of geometry, by the use of straight lines, plans and simple volumes.

Joana的作品通过使用直线、平面和简单的体量，体现了她过去的几何学知识和经验对她的影响；

– Statement · 设计说明 –

«knit»

Geometric structure that operates at different levels. Each of its turns form a network, which represents a platform for interaction and communication between elements. This fabric, composed of horizontal and vertical axes, assists in the alignment of cities in the composition of textual elements, in the connection of social relationships. Its strength is in the possibility of doing and undoing, in creating empty spaces, openings and porosities, which reveal and transform into new identities.

Joana的作品表现了一个在不同级别运行的几何结构。每个转折都形成了一个网络，它代表元素之间交互和通信的平台。这种结构由水平轴和垂直轴组成，象征社会关系要素的构成与协调关系。它的力量在于创造和撤销，创造空白空间、开口和孔隙，这些空间揭示并转化为新的特征。

The whole technical process of knit parts is developed by the networks that structure all the work. Parts that do not involve the use of metal, manual work, are developed as the crofts of Portuguese rugs such as the Beiriz Rug. Its origin is in the tradition of tapestry and introduces the technique of the Turkish knot, where images are formed by thousands of knots made manually. For the transformation of the metal parts, the liquid wax technique that involves these same nets is used and then sent to the foundry.

针织零件的整个技术过程以网格为基础。不涉及使用金属的零件，全手工制作。以葡萄牙地毯的编织碎片，如the Beiriz Rug为原型。它起源于一种土耳其的传统绳结技术，其中的图像是由数千个结手工制作的。Joana用金属表现了这种编织结构，用蜡制作这样的网格，然后铸造成型。

— 05 —

Gabriela Nirino

阿根廷

EDUCATION

I have two degrees, one in Linguistic and the other in Textile Design (Argentina)；I am a Professor of Textile Design and researcher at FADU-UBA and at UNLa

Other textiles studies: Workshops on Jacquard and textiles techniques at Fondazione Lisio (Italy), Center for Contemporary Textiles (Canada) and Kawashima School (Japan)

Jewellry studies: Fabiana Gadano’s jewelry workshop (BsAs)；Jewellry Education Complex (Bs As)

Textile Exhibitions (several editions):

Cultural Center of Cooperation, Tapestry Biennial, CAAT Minitextile Exhibition, Free Composition, José Hernández Museum Textile Art Exhibition, Languages, AMATERAS Paper Art Exhibition, National Embroidery Salon, Paper in textile art, Spiral Textile, Fiber Fusion, Textile Mail Art, Expo Art + 40, National Visual Arts Exhibition, International Tapestry Project, National Textile Exhibition, Fiberart International, Biennial of RE Art

Prizes: poetry prize at CAAT Jewellry Textile Exhibition, 1st prize painting exhibition with textile intervention, 1st prize National Symbol Exhibition, 1st Prize acquisition National Exhibition of Visual Arts 2012, Mention at Minitextiles Tokyo Gallery, 1st prize shared Designer’s Day Bs As Design, mention in Kalpakian contest of Carpet Design.

Jewelry exhibitions (group)

“Wearin Change” NOD, I and II Latin American Biennial of Contemporary Jewelry, We: self-portrait of 55 contemporary jewels, Travesías, National Foundation of the Arts Handicrafts Competition 2017, CAAT Textile Jewelry Exhibition, Women, SAMPLE: subset of cases of a statistical population Argentina, Tema Pendiente (recicled jewellry), Desire.

– Statement · 设计说明 –

«Busket to hold …»

Art Jewellery is a way to resist. I resist despair making things with a meaning. Create a meaning is a poweful weapon, because having a meaning is having a hope.

艺术首饰是一种抵抗的方式。我抵制绝望，使事情有意义。创造意义是一种有力的武器，因为有意义就是有希望。

《Basket to hold your courage》Pendant

吊坠《承载你的勇气的篮子》

Corn husk, nylon and hemp thread and remnant of guitar wood

玉米壳，尼龙线，麻线，吉他木的残骸

Size: 6 cm high, 5 cm wide and 3,5 cm deep.

You can carry that meaning with you, in you, you can give it to other people, you can do it with other people. In Contemporary Jewellery you can give value to humble and forgoten materials. That is important to me, because I live in a reality where a quarter of the population is under the poverty line and every resource is valuable.

你可以佩戴它，让这个意义随时伴随你，也可以把它赠送给别人，甚至可以和其他人一起创造。对我而言，当代首饰的一个重要的意义，就是可以为价值低微的被忘却的材料赋予意义。因为在现实生活中，四分之一的人口生活在贫困线以下，每一项资源都应该是宝贵的。

《Basket to hold your hope》Pendant

吊坠《承载你希望的篮子》

Corn husk, nylon and hemp thread

玉米壳，尼龙和麻线

Size: 3,5 cm high, 7 cm wide and 2,5 cm deep.

I have woven small baskets with stripes of corn husk (“chala”, from quechua language). I separated fibers from the leaves and I strip of the excess with the nails to obtain a very thin thread. Corn is a founding crop in America. The chala appears as an element of Latin American resistance. It is an apparent waste, which invisible protects the earth and generates energy when it is thrown in the field.In this sense, it is assimilated to mute populations for history: indigenous, women, poor.

我用玉米壳编织小篮子（”chala”，来自quechua语）。从叶子上分离出纤维，剥去多余的纤维，获得非常细的线。玉米壳本身是一种废弃物，但它被抛到田野中时产生能量，在无形中保护着地球。从这个意义上，这些纤细的材质与历史和人口融为一体，它们象征着例如土著、妇女、穷人这样的弱势群体。