DBC国际设计师空间 | 当代首饰中诗意生长的自然之灵

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 —

Nicole Schuster

德国

Education2004-2008 diploma (jewellery&objects), Pforzheim University, Pforzheim, Germany

2001-2004 goldsmith, State college for Glass&Jewellery, Kaufbeuren-Neugablonz, Germany

Exhibitions（2019）

“Aliens?”(MJW), Nicole Schuster & Sébastien Carré, Munich, Germany

“Natures Architects”, Gill Wing, London, GB

Beijing International Jewelry Art Exhibition, Beijing, China

“Wechselspiel”, Pforzheim Gallery, Germany

“Collectiva Meeting”, Iconic Parade, Porto, Portugal

“LIE.E.S”, French Institute, Barcelona, Spain

“Glanzstücke”, Galerie für Kunst und Handwerk, BKV Munich, Germany

“Hallertauer Künstler”, City Gallery, Pfaffenhofen, Germany

“LIE.E.S”, Galerie Art´Course, Strasbourg, France

“Holownia”, Old City Hall, Legnica, Poland

“A Flor de Pell”, Mistral Gallery, Barcelona, Spain

“Heart Failure”, Alliages in Lille, France, Munich, Germany (MJW), Athens, Greece (AJW)

“BKV presentation”, BKV-Areal at IHM (MJW), Munich, Germany

– Statement · 设计说明 –

Ethics and economy certainly are a central subject in this time, in material choice and expression. I use only recycled or renewable raw materials for my work, but have been using until now also plastics, that have been made for me and that potentially could survive me in time, to make a point of the contrast of sustainability. In contrary I have used those colourful plastics for elements that symbolize a thriving nature, which is the true element that should outlast all of us, not the other way around.

在物质选择和表现上，伦理和经济无疑是这个时代的中心主题。在我的作品中，我只使用可回收或可再生的原材料，但到目前为止，我也一直使用塑料，它们都曾为我而被创造，并且有可能在我死后继续存在，以形成可持续性的对比。因此，我用那些彩色的塑料来象征欣欣向荣的大自然，自然之宏伟正对应着这些元素的耐久性。

My occasional use of new technology to create certain shapes and sizes, materials and colours is strictly by not forgetting about the values of traditional crafts, complementing each other to achieve new goals. I believe that mastering a craft is gaining more importance again in this artificial and fast moving times.

我偶尔使用新技术来创造特定的形状和尺寸、材料和颜色，这严格意义上是对传统工艺价值的补充，以实现新的目标。我相信，在这个制造业快速发展的时代，掌握一门手艺正变得越来越重要。

Bracelet《Before Dawn》手镯《黎明之前》

925 silver partly oxidised, aluminium, dyed nylon, dyed acrylic photopolymer, acrylic paint, lacquer.

材质：925银（部分氧化），铝，染色尼龙绳，染色丙烯酸光敏聚合物，丙烯酸涂料，清漆。

尺寸/SIze：7.6×7.5×2.9cm

Concerned about the impact of human behaviour on planet earth, future prognosis and the substancial importance of an intact nature for all life, my work reflects on survival and power in a man made world, based on two opposites: rational construction and the natural world.

我的作品关注人类行为对地球的影响，表达我对未来的预测，强调一个完整的自然对所有生命物种的重要性。作品的设计理念基于人造世界和自然世界的对立面，表达了我对人造世界中的物种生命力的反思。

Ring《Parasites》戒指《寄生虫》

925 silver ruthenium plated

材质：925银镀钌

尺寸/Size：3.1×2.9×4.9cm

I aim to analyse various moments of the interaction between two elements, that lie between integration, adaption and suppression.

我意在分析两个要素之间的相互作用的各种时刻，即融合、适应和抑制之间的相互作用。

Necklace《The Persistent》项链《持久的》

925 silver oxidised, dyed acrylic photopolymer, gold pigment, lacquer.

材质：925氧化银，染色丙烯酸光聚合物，金颜料，漆

尺寸/Size：28x7x4cm

These works are about change, loss and transition, about being persistent to strive again and about a last chance of growing out of an impossible place to evolve – or disappear forever. It is a journey from the beginning of a life to the triumph of the other: a give and take.

这些作品探讨关于生命在自然中的改变、损失和过渡，关于坚持和再次奋斗，以及从不可能发展的地方成长出来的最后机会——或者永远消失。这是一段从人生开始到终点的旅程：关于自然与生命的给予与接受。

— 02 —

Lena Lindahl

瑞典

EducationMaster of Fine Arts in jewellery art and silversmithing HDK

The university of Gothenburg 98

Stenebyschool, silversmithing, DalsLånged

Gotlandartschool, painting, sculpture, graphic, Visby Gotland

Riddarfjärdskolan Stockholm

Exhibitions（2019）

– Apor, Galleri Lerverk Gothenburg，solo exhibition

– Alliages, Espace Solidor, Cagnes sur Mer

– Silver, Legnica Jewellery Festival

– Låt oss presentera, Konsthantverkarna Stockholm

– Heart Failure, Alliages Lille 2018, Munich jewellery week

– Athen Jewellery Week

– Lalabeyou Madrid

Awards

The Alliages Leagacy Award 2019

Award of Polish Jewellery, Legnica International Jewellery Competition 2013

Sweden Jewellery Award -09, Swedish Goldsmith association

– Statement · 设计说明 –

— Oil & Coal —

I went for a walk around my island. A calm sea and cliffs with traces of winterstorm.

Rockweed and Styrofoam have been washed high up on land where the blackthorn is dressed with seaweed and stripes of plastic.

Lonely shoes have travelled far.

我在岛上散步。平静的大海和悬崖，有冬天风暴的痕迹。

岩草和发泡胶被冲到岸上，黑刺李被装饰着海藻和塑料条纹。

孤独的鞋子已经走了很远。

I pick up a small black blot, hard and soft at the same time. It is solidified oil.

Once it was living organisms in the sea.

Some of what is living in this same sea today will eventually turn in to oil in future.

It is a slow process, far to slow for its consumers.

我拿起一块小黑球，它又硬又软。它是凝固的石油。

它曾是生活在海洋里的生物。

今天生活在同一海域的生物将来都会变成石油。

这是一个缓慢的过程，对消费者来说远远不够。

My eye catches a half burned piece of wood. It makes me think of how we once started our first camping fire 125 000 years ago and how we just kept on firing.

It will be hot, hot like inside a greenhouse.

半块烧焦的木头吸引了我的目光。这让我想起12.5万年前的人类第一次露营时燃起的篝火，以及我们如何让它持续燃烧。

天气会很热，就像在温室里一样热。

So far Homo sapiens is a story of success, much due to our cleverness and to our unique ability to cooperate and to communicate. I wonder, will we be able to get us out of the greenhouse?

到目前为止，智人的历史创造了一个成功的故事，这在很大程度上归功于我们的智慧和独特的合作交流的能力。但我担忧，我们能熬过温室效应发酵后的地球吗？

Brooches《Oil & Coal》胸针《石油》和《焦炭》

etched silver, wood, oil, sapphire, and tourmaline

材料：蚀刻银、木头、沥青、蓝宝石、碧玺

I carry on. I climb over ancient granite rocks, over tiny wrinkles on the surface of earth, and I gaze out over the old sea.

In my pocket I have a small piece of burned wood and a piece of solidified oil.

继续前进。我翻过古老的花岗岩，翻过地球表面细小的皱纹，凝视着古老的大海。

我的口袋里有一小块烧焦的木头和一块凝固的油。

— 03 —

陈丹莹

中国

个人简介1994年出生浙江宁波，现居上海

2012-2016年，文学学士，浙江传媒学院，戏剧影视美术设计（人物形象设计），中国

2016-2019年，艺术硕士，上海大学上海美术学院，艺术设计（首饰），中国

2019年至今，上海大学上海美术学院城市公共艺术研究博士生在读，中国

获奖与参展

2019年《身体源的记忆》地域性作品参展日本“天空艺术节”项目

2019年《纪念居》系列参加2019“年·鉴”-首饰展

2019年《一叶系列》入“年·鉴”-首饰展-广州站

2018年驻地创作及展览于重庆第二届乡村复归“原乡无声新民有艺”国际现场艺术节

2018年《“新”环境》系列入首届全国工艺美术大展

2018年《爱在杭州》短片电影创作拍摄，并于2019年纽约展映

2018年‘浙江莫干山再行动’驻地创作及展示

2018年“年鉴”2018上海美术学院首饰金工工作室年度作品展

2017年《“新”环境》入“年·鉴”-2017上海大学美术学院展师生年度展

2015年《共生》获国际艺术设计大赛（互艺奖）主题作品优秀奖

2015年“紫金奖”文化创意设计大赛民间工艺与时装紫金奖创意设计奖

2014年‘我的手艺大学生设计大赛’市集组珠宝首饰类金奖

– Statement · 设计说明 –

《一叶》系列延续着对环境的观察，“一叶”取自《列子·说符》：“使天地之生物，三年成一叶，则物之有叶者寡矣。”常有观察大地与之互动的习惯，拾物引发思考。借家乡自然土壤中常出现的贝壳一物比作这一叶，在这一个个以自然贝壳拓印出人造贝壳的过程轨道中，自然贝壳上原本携带的信息慢慢消失着，他们的身份变得模糊。

《一叶》系列#1 《One Leaf》#1 necklace

材料：自然贝壳，石膏，银、易拉罐铝自制螺铆零件，橡胶管

Materials: Natural shell, gypsum, silver, cans aluminum homemade screw rivet parts，rubber tube

尺寸/Size：500 X200 X15mm

《一叶》系列#2 《One Leaf》#2 necklace

材料：自然贝壳，石膏，银、易拉罐铝自制螺铆零件，橡胶管

Materials: Natural shell, gypsum, silver, cans aluminum homemade screw rivet parts, rubber tube

尺寸/Size：300 X250 X20mm

— 04 —

INES REYNOSO

乌拉圭

INES REYNOSO was born in Montevideo, Uruguay.After a Graphic Designer degree at ORT Technology Institute in 2001, she moved to Chile to attend her studies in jewelry and other techniques such as Japanese lacquer and casting in cuttlefish, Mokume Gane and Keum Boo, stone setting, wax micro modeling, vitreous enamel, jewelry mechanisms, antiques granulation techniques, porcelain, filigree and lost-wax casting, with various international renowned artists.

Ines commenced a new project in 2009 called “Contemporary School of Jewelry Raggo, Correa and Reynoso”

In 2013 she set up her own jewelry and metals studio called IRO Studio. Inés continues teaching and organizing workshops with jewelers such as Rafael Alvarez (Argentina), Carolina Gimeno (Chile-Sweden) and Mia Maljojoki (Finland) with the idea of offering her students and colleagues training experiences with foreign artists.

She is actively participating in exhibitions, nationally and internationally, as a jewelry artist.

– Statement · 设计说明 –

I make the invisible visible. Human-induced climate change, which many of us choose to ignore, threatens the survival of every species on Earth. Highlighting this aspect of human life could help to mend the broken connections, or restore the lost understandings, that have put us on a collision course with our own home planet.

我的作品使隐形的东西可视化。我们许多人选择忽略人类引起的气候变化，然而它威胁着地球上每个物种的生存。强调人类生活的这一方面可以帮助修补中断的联系，或恢复失去的理解，这些联系使我们与我们自己的星球产生联系。

Artists have the capacity to shape climate communications, solutions and engagement. We can use our unique skill sets to heal communities, tackle complex challenges and even create innovative answers.

艺术家的能力在于通过作品倡导大众关注气候问题，从而引发沟通，倡导寻找解决方案。艺术家以这样独特的方式治愈大众与环境，应对复杂的挑战，甚至创造新的答案。

I´ve worked with materials collected from nature: wood, honeycomb, Japanese lacquer (from the sap of a tree) and eggshell.

这些作品全部由自然材料制成：木材、蜂窝、大漆和蛋壳。

（局部）

（胸针）

（项链）

— 05 —

Jamie Kroeger

加拿大

Exhibitions（2019）Disrupt, Craft Council of British Columbia Gallery, Vancouver, British Columbia, Canada (upcoming)

Julutstilling, Kunstnerforbundet, Oslo, Norway (upcoming)

The Democracy of Jewellery, Alberta Craft Council Gallery, Edmonton, Alberta, Canada (upcoming)

New Vernacular, NYC Jewelry Week, New York , USA

What is and What’s to Come, ATB Art Vault Gallery, Calgary, Alberta, Canada

8|8, Portabel, Oslo, Norway

Marzee International Graduate Show, Galerie Marzee, Nijmegen, Netherlands

Beijing International Jewelry Exhibition, Beijing, China

Ek-Kinesis, Athens Jewellery Week, Athens, Greece

Brooch|Broach, The Craig Gallery, Dartmouth, Nova Scotia, Canada

Coming of Age, Chicago, USA

A Better Past is Still Possible, Oslo, Norway

Material Matters, Galleri Format, Oslo, Norway

Jamie Kroeger曾是一名环境科学工作人员，任职于加拿大公园管理局和冰川国家公园。2015年，她参加了Glasgow艺术学院金工与首饰设计流动性交流项目，2017年作为优秀毕业生毕业于加拿大Alberta 艺术设计学院，2019年取得媒介和物质基础艺术硕士。现在她在Alberta艺术大学工艺学院担任珠宝金工和新媒体艺术老师。Jamie拥有挪威工艺美术协会、北美金匠协会(SNAG)和阿尔伯塔工艺委员会Alberta Craft Council会员。主要在挪威、加拿大和美国参加艺术展览。

– Statement · 设计说明 –

— Lost and Found 系列 —

Lost and Found relates to the love/hate relationships that exist between humans and the outdoors: those that include harsh conditions, uncertainty and overcoming challenges. A relationship with nature takes time and patience, appreciating the repetitive and trusting the intuitive. Through these simple acts, one grows and evolves as a human being, facing/overcoming fear and finding strength in figuring out the unknowns.

失物招领系列与人类和户外环境的爱恨关系有关：包括恶劣的环境、不确定性和需要克服的挑战。与自然的关系需要时间和耐心，欣赏重复和相信直觉。通过这些简单的行为，一个人会成长和演变，面对和克服恐惧，在发现未知中寻找力量。

In this project, material and process become a tangible means of portraying these moments and often act as a metaphor for conditions such as emotion, change and balance/imbalance. The traditional practice of embroidery, one of careful and obedient precision is challenged when executed by random imprecision on durable materials, such as steel mesh. The larger scale of these rings make the wearable feel more like tools or implements use to get a job done.

在系列作品中，材料和过程成为描绘这些时刻的有形手段，并经常作为情感、变化和平衡与不平衡等条件的隐喻。传统刺绣与铁质戒托的结合构成一种质感上的挑战，被放大的尺寸让这些戒指看起来更像是劳作的工具。

And through the colour and finish, they manifest a sense of time, of wear and tear (of evolution or maybe even de- evolution). A career in the outdoors, falling trees, fighting fires, rescuing people and riding horses in the backcountry has the potential to change a human, for better or worse. Like the rings, the feminine combines with the hard exterior of time and experience, sometimes making it difficult to remember why she loved the mountains in the first place.

在颜色和质感上，我试图让作品呈现出一种时间感，磨损感。户外的职业生涯中，我在乡下砍树，救火，救人，骑马，这些活动会改变一个人，有好有坏。就像这些戒指，刺绣代表女性的精致和细腻，坚硬的戒托是时间和经历对一个人的打磨，有时我也很难想起，最开始是什么使我向往山林。

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