DBC国际设计师空间 | 传统工艺与材料的当代演绎

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 —

Christine Cook

新西兰

Education

2006 Bachelor of Applied Arts_Visual – Northtec, NZ

1991 Diploma Textile Design – Northtec, NZ

Exhibitions（2019-2020）

2020 Solo Show, Kina Gallery, New Plymouth, April/May

2020 The Strength of Jewellery, Galeria Context, Barcelona, Spain, Feb/March

2019 The Laboratorium, Hangar Gallery, Whangarei

2019 The Strength of Jewellery, Galeria Lalabeyou, Madrid, Spain, coinciding with the VIII International Biennial of Contemporary Textile Art of WTA

2019The Strength of Textile Jewellery, Tincal Lab, Porto, Portugal

2019Emerging Artist Awards, Upstairs Gallery, Titirangi, Auckland

2019The Strength of Textile Jewellery, Galerie Caractere, Neuchatel, Switzerland

2019The Strength of Textile Jewellery, Galeria La Galeller, Seville, Spain

2019Adorn, Megan Dickinson Gallery, Whangarei

Awards

2006 Academic Excellence for highest overall mark

2019 Finalist, Emerging Artist Award, Upstairs Gallery, Auckland, NZ

– Statement · 设计说明 –

Christine Cook is a New Zealand based artist whose creative practice investigates the role and value of traditional craft practices within contemporary jewellery making. Driven by an ongoing interest in the marginalization and devaluation of domestic arts and the history of body adornment, Christine uses traditional craft methods to explore ideas around value, gender and domesticity.

Christine Cook 是一位新西兰艺术家，她的创作实践探索了传统工艺在当代珠宝制作中的角色和价值。在对传统艺术边缘化和持续贬值的现状的担忧，以及对身体装饰的历史的持续兴趣的双重推动下，Christine 使用传统的工艺方法探索有关价值、性别和家园的概念。

《Meissner’s Corpuscles》

Waxed embossed tiepolo prints, wood, oxidised copper, rubber, paint.

材料：蜡浮雕印花，木材，氧化铜，橡胶，油漆

W36cm x L36cm displayed flat.

W18cm x L58cm on body.

尺寸：平放时36cm*36cm；佩戴时18cm*58cm

Unearthing the value and power hidden within mundane & hobbyist materials, she eliminates any precious ideas about jewellery as status object. Texture is pivotal in Christine’s work, acknowledging that touch is as valued as sight, and exploring how meaning and memories are created from our tactile experiences. Work is informed by an ongoing enquiry into the significant value of the physical art experience within the modern art gallery context and the white cube theory.

她在平凡业余爱好者可接触的材料中发掘隐藏的价值和力量，消除了首饰关于地位或对象的限制门槛。纹理在Christine的作品中至关重要，她认为触觉和视觉一样有价值，并探索如何从我们的触觉体验中创造意义和记忆。作品以对现代艺术画廊背景和白立方理论中物理艺术体验的重要价值的持续调查为灵感来源。

《Meissner’s Corpuscles》

Waxed embossed tiepolo prints, wood, oxidised copper, rubber, paint.

材料：蜡浮雕印花，木材，氧化铜，橡胶，油漆

W36cm x L36cm displayed flat.

W18cm x L58cm on body.

尺寸：平放时36cm*36cm；佩戴时18cm*58cm

By looking into the past and embracing traditional techniques alongside current technologies, we can explore the interactions of old & new to take contemporary jewellery to greater levels. In this work Christine uses a traditional intaglio press together with digital technology to create intricately embossed printed beads.

通过将传统技术与现代技术的结合，我们可以探索传统与现代的相互作用，从而使当代首饰的内涵更上一层。在这项作品中，Christine使用传统的印版印刷机和数字技术来制作错综复杂的浮雕印刷珠子。

In our increasingly digitalised world, peoples lives have become disengaged from touch. This work combines techniques of past and present to celebrate and invite touch, the altered surfaces allow for a direct sensory experience.

在我们日益数字化的世界里，人们的生活中缺少直接的触觉体验。这项作品通过结合传统与当代的技术改变表面肌理，随时欢迎和邀请观者体验久违的触觉愉悦。

— 02 —

Yiqiao zhou

周逸乔

中国

个人简介：

毕业于北京工业大学工艺美术系

日本京都市立艺术大学大学院研究科漆工

近年展览：

2018 京都 KCUA画廊

2019 会津町中艺术展

2019 上海亚洲漆艺交流项目展

2018 京都有志展

2019 北京国际当代首饰艺术鉴赏分享展

– Statement · 设计说明 –

《足器》

尺寸：170*130*90mm

表现清代缠足的主题。对于“缠足”，现代人视为陋习，但当时引起了审美潮流。宴席上女子用小脚传递酒樽，以此为乐，男性把玩，甚至作为婚姻的标准。脱胎漆器上绘制了这些戏谑的场景，取名为“足器”，望观者警惕那些可爱的、迷人的“器皿”其实是禁锢我们脚步的。

— 03 —

Mia Kwon

韩国

Born in Seoul (South Korea), Mia Kwon lives and works in Berlin. She received a degree in Ceramic Craft from the Department of Architecture and Design of Kookmin-University in Seoul. She deepened her knowledge of porcelain-making studying at the Burg Giebichenstein University of Arts & Design in Halle (Germany) and then obtained a Master’s degree from FHP University of Applied Science in Potsdam (Germany). She currently works as a jewelry artist, participating in exhibitions and is represented by various galleries internationally.

EXHIBITIONS & AWARDS（2019）

GLOSSY, during NYJW2019, Ombré Gallery, NYC, USA

Gogoisme.2, Amaranto Joies, Barcelona, Spain

2nd Prize, Collectiva Meeting Award 2019, Porto, Portugal

GLOSSY, Ombré Gallery, The Plumb Club Pavilion, JCK Las Vegas, USA

9th Gioielli in Fermento – Premio Torre Fornello, Italy

– Statement · 设计说明 –

《Klarheit #05》Brooch

Mont Blanc porcelain, pigment, silver, steel, glass beads, thread

材料：万宝龙陶瓷，颜料，银，钢，玻璃珠，线

尺寸 / Size：7.5 x 5.5 x 2 cm

The origin of my creative process, was the desire to change the way people see porcelain jewelry, by creating beautiful and surprising fashion objects. While I am using some established techniques like slip casting, I mix them in new ways, sewing the very light elements together for the larger dynamic pieces, as well as polishing them intensely to give them a super slick surface. I also combine them with my metal smith abilities and add new techniques, like the layered casting, to create the unique color patterns.

我的创作初衷起源于渴望改变人们看瓷器首饰的方式。我以新的方式使用既定的传统技术，试图创造美丽的、令人惊讶的时尚首饰。例如使用铸造成型的方式将更轻的材料组合成更大的动态件，并通过抛光创造光滑的表面。同时，我将瓷器与金属结合，使用分层铸造的方法，创造独特的色彩呈现。

— 04 —

Jing Jiang

中国

EDUCATION

2016 / 2019BA in Jewellery Design – Central Saint Martins – London

2015 / 2016Foundation in Jewellery Design – Central Saint Martins – London

AWARDS & EXHIBITIONS(2019)

– Graduation Collection: Weighting Feathers

– Central Saint Martins Museum – Permanent Collection

– New York City Jewellery Week – “Mulan” Exhibition, Soho, New York

– Handmade Chelsea: The Contemporary Craft and Design Fair, Chelsea Old Town, London

– London Design Festival: Designing in Turbulent Times Exhibition, the Lethaby Gallery, London

Theo Fennel Price – Best Technical Achievement

Annoushka Graduate Award – Outstanding Design

The Worshipful Company of Tin Plate Workers Alias

Wire Workers of London – Excellence in Metal Work Price

LVMH Green Trail Award – Shortlisted

Autor Award – Shortlisted

Swarovski Foundation Scholarship Recipient 2019

“Beautiful Darkness” Exhibition, Sanlitun Soho, Beijing

Make Your Mark Awards – Shortlisted, the Goldsmith’s Hall

– Statement · 设计说明 –

— Weighting Feathers —

Being born and raised in Italy, following years of study in China and the UK, she has developed a unique perception of art and life by embracing the diversity of the Western and Asian cultures. Her graduate collection “Weighting Feathers” has been awarded the Theo Fennel Prize for “Best Technical Achievement”; the Annoushka Graduate Award for ‘Outstanding Design’’; and the “Excellence in Metal Work Prize 2019” from the Worshipful company of Tinplate Workers.

来自伦敦的中国珠宝艺术家Jing Jiang在意大利出生和长大，在中国和英国学习多年，通过接受西方和亚洲文化的多样性，形成了对艺术和生活的独特见解。她的毕业作品《Weighting Feathers》获得了Theo Fennel Prize的“最佳技术成就奖”; Annoushka毕业生“优秀设计奖”; 以及备受尊敬的Tinplate Workers颁发的“2019年金属制品卓越奖”。

This collection is a thorough exploration of the complex traditional technique of Tian Tsui, which utilizes kingfisher feathers as inlay for fine art objects and adornments, and the beauty of feather itself. Using physical sense as the medium, I tried to sculpt my designs so as to bring together the refinement of traditional Chinese craftsmanship and the minimal aesthetics of western modernism.

系列作品对点翠复杂的传统工艺进行了深入的探索，将翠鸟羽毛镶嵌在精美的艺术品和装饰物上，展现羽毛本身的美。以物理感官为媒介，我尝试将我的设计造型，将中国传统工艺的精致与西方现代主义的极简美学相结合。

The delicate bird feathers – from various birds rather than kingfisher – play visual tricks, confounding our expectations. It’s not about what we see at first glance: something more is waiting to be discovered. Every piece is intended to arouse people’s curiosity towards the material, questioning: what is it that I am looking at? In this collection, the feather is also acting as a metaphor to the declining world of fine craftsmenship, where beauty is often unnoticed and undervalued. But I believe that eventually, soft delicacy will transform into mightiness.

精致的鸟类羽毛——来自不同的鸟类而不是翠鸟——玩着视觉把戏，混淆着我们的预期。这与我们第一眼看到的东西无关——还有更多的东西等着我们去发现。每一件作品都旨在引起人们对材料的好奇心，质疑:我在看什么?在这个系列中，羽毛也象征着精致工艺的没落世界，在那里美常常被忽视和低估。但我相信，最终，柔软的美会变成强烈的震撼。

In addition to the technique investigation, this project is also developing a new approach towards sustainability. The store in which I bought the feathers from, the Feather Factory, have been sourcing the material from farms and kitchens. The poultry feathers they use would ordinarily be treated as a waste product and therefore thrown away without use. By replacing the endangered kingfisher’s feathers to discarded goose and turkey feathers, I am trying to develop the traditional Tian Tsui technique in a more sustainable contemporary way.

除了技术调查，该项目也正在开发一种新的可持续发展的方法。我购买羽毛材料的那家羽毛工厂一直在从农场和厨房采购材料。他们使用的家禽羽毛通常会被当作废物处理，因此不用就扔掉了。通过将濒危的翠鸟羽毛替换成废弃的鹅和火鸡羽毛，我试图以一种更可持续的当代方式来发展传统的点翠技法。

— 05 —

Anna Zeibig

西班牙

Education

2019-2020Simultaneous Art School, Jeweler masterclass, Budapest

2018-2019Simultaneous Art School, Jeweler class, Budapest

2018, 2019Agustina Ros Barcelona Glass Studio, Barcelona

2017 – 2018Lalabeyou and Studiosquina jewelry schools in Madrid

2016 – 2017Budai Art School, Jeweler class, Budapest

2003 – 2006Interior Design and Ephemeral Architecture, Escuela de Arte de Sevilla, Spain

Exhibitions（2019）

Jewellery Sculpture exhibition, AA Collected, Vienna

Controls/CTRL+S, Art Jewelry Night of BDPST, Budapest

Transforming Materiality, Eleni Marneri Galerie, Athens

Cluster Crafts Jewellery Edition, London

The Posing Jewel, Creativity Oggetti, Torino

NAU II., Atelier Mourao, Rio de Janeiro, Brasil

NAU, Galeria Alice Floriano, Porto Alegre, Brasil

Artistar Jewels 2019, Milan

Awards

Founders Team’s Award on Art Jewellery Night of Budapest 2019 Cesarini Sforza Award on Artistar Jewels 2019, Milan

– Statement · 设计说明 –

Journey white

25 x 12 cm when closed. Opened: 51 cm long

— Journey —

Journey black

33 x 13 cm when closed. Opened: 75 cm long

Journey bw

45 x 17 cm when closed. Opened: 130 cm long

The universe is evolving, stars are evolving, planets are forming, Earth is changing, continents are moving, mountains are sinking, humans are growing, communities are forming. Does a person know what the next move of a fellow human 8000 miles away will be? Does a gecko know what a butterfly just outside its eyesight is up to? Of course not. Yet we are all connected, interdependent and share a unique ever changing communal experience. Raw materials, self expression and the creative process existed thousands of years ago, yesterday, today, tomorrow and thousands of years into the future. Jewellery is not a set of trends and not an evolving discipline or subject matter. It is the natural culmination of raw materials, self expression and the creative process inevitably dispersed in both space and time uplifting the human experience. Whatever happens next and after that will merely be the next unavoidable step in our Journey.

宇宙在进化，恒星在进化，行星在形成，地球在变化，大陆在移动，山脉在下沉，人类在成长，社区在形成。一个人知道8000英里之外的人类下一步会怎么做吗?壁虎知道蝴蝶在做什么吗?当然不是。然而，我们都是联系在一起的，相互依赖的，并且分享一种独特的、不断变化的公共体验。原材料、自我表现和创作过程存在于几千年前、昨天、今天、明天和几千年后的未来。当代首饰不是一套趋势，也不是一个不断发展的学科或主题。它是原材料、自我表达和创造过程的自然顶点，不可避免地分散在空间和时间中提升人类体验。无论接下来和之后发生什么，都只是我们旅程中不可避免的下一个步骤。

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