
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。
“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。
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。
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

关欣
XiniaGuan
中国
Education
M.F.A. in Jewelry, Savannah College of Art and Design (SCAD), Savannah, GA, USA
B.A. in Literature and Economics, Inner Mongolia University (IMU), Inner Mongolia, China
Exhibitions(latest)
2020, Broken Beauty Exhibition, Alliages/ Schmuck Munich Jewelry Week, France/Germany.
2019, SCAD’S NYC Jewelry Week Pop-Up, NYC, USA.
2019, Mulan. New Age Chinese Art Jewelry Exhibition at 2019 New York Jewelry Week, NYC, USA.
2019, The 43nd Annual Philadelphia Museum of Art Contemporary Craft Show, Philadelphia, USA.
EXHIBITION(2019)
BODY CONTROL, De Kerk powered by Museum Arnhem, Arnhem
ENJOIA’T Awards 2019, Barcelona
XII Florence Biennale 2019, Florence
NUDA VITA, Artesania Catalunya Carrer dels Banys Nous, Joya Barcelona
Marzee International Graduate Show 2019, Galerie Marzee, Nijmegen Précieux !?, Alliages, Lille
Non-Stick Nostalgia: Y2K Retrofuturism in Contemporary Jewelry, MAD | Museum of Arts and Design, New York
NUDA VITA The practice of collective and political body, ABC Westside Galerie, Munich
NUDE JADE, A-galerii, Tallinn
Precious?, Column Bakehouse Gallery, UK
Ek-kinesis, Ilias Lalaounis Jewelry Museum, Athens Jewelry Week
Précieux !?, Alliages, Lille
Statement · 设计阐述
My work is rooted in process. Soaking myself in the slowest time, broadest rhythm, in the moment, in every breath. Focus and patience have become a practice and a meditation. From the simplest observations in nature to detailed measuring of intricate forms, I find geometry, patterns and form everywhere in the world around me. Together they built the natural beauty I have known since childhood.
我的设计根植于过程。我把自己沉浸于最慢的时间,最宽广的节奏中,在当下,在每一次呼吸。专注和耐心已经成为一种练习和冥想。从最简单的自然观察到对复杂形式的细致测量,我发现几何、模式和形式在我周围的世界无处不在。它们一起创造了我从小就知道的自然美景。



《Capture I》胸针
Sterling Silver, Stainless Steel(pin), Black patina
材料:纯银,不锈钢(针),黑色古铜色
尺寸 / Size:7.5cm*7.6cm*2.1cm
I am fascinated by contrast and unity, organization and repetition. Like myself, all start from a point of origin and ride with a circle overlapping another circle, paths cross –sometimes separate. I stretch, fold myself everywhere, never stopping.
对比与统一、组织与重复让我着迷。和我一样,所有的人都从一个原点出发,骑着一个圆,重叠着另一个圆,路径交叉——有时分开。伸展,折叠自己,无处不在,永不停歇。
Through the endless process, it always starts from a circle and ends at another one. I consider these elements as real form, but also as different stages in life. From the daily practice, from zero to one — The accumulation and consumption of each day has turned into a new perspective, a new way of thinking.
尽管过程无穷无尽,但它总是从一个圆圈开始,又在另一个圆圈结束。我把这些元素当作真正的形式,也是人生的不同阶段。从日常的实践,从零到一——每天的积累和消费已经变成了一种新的视角,一种新的思维方式。



《Capture II》胸针
Sterling Silver, Dioptase, Stainless Steel(pin)
材料:纯银、绿铜矿、不锈钢(针)
尺寸 / Size:12.5cm*9cm* 2.7cm
Handmade has its own temperature. It can be a record, a story that extended over time. It opens up a conversation between the work and myself. From my working process, each line I cut became a full circle, each circle became a full pattern. Folding all these pattern in to my form. And after all, the forms all related to my cutting line at beginning. In this sense, I enhance myself to my pattern.
手工制作的都有自己的温度。它可以是一个记录,一个随着时间延长的故事。它开启了我和作品之间的对话。在我的工作过程中,我切割的每一条线都变成了一个完整的圆,每一个圆都变成了一个完整的图案。把这些图案折成我的样子。毕竟,这些形式都和最初的那些切割线有关。在这种意义上,我增强了自己的模式。
《Capture II》胸针
Sterling Silver, Dioptase, Stainless Steel(pin)
材料:纯银、绿铜矿、不锈钢(针)
尺寸 / Size:12.5cm*9cm* 2.7cm
By deconstruct the pattern, I found my seed, my flower, my fruit, my tree. I respect the inheritance and expression of absolute traditional craftsmanship, and I am also very interested in new technologies. In this visual age, I would like to try more different expressions in the future. Geometricize traditional religious symbols, then recombine them, put them in 3d and contemporary contexts.
通过解构这些图案,我找到了我的种子,我的花朵,我的果实,我的树。我尊重绝对传统工艺的传承和表达,也对新技术非常感兴趣。在这个视觉时代,我想在未来尝试更多不同的表达方式。将传统的宗教符号几何化,然后重新组合,将其置于3d和当代语境中。
《G.VIII》胸针
24k Gold Plated Sterling Silver
材料:纯银镀24K金
尺寸 / Size:6cm*8cm*2.5 cm
Hopefully, my design would bring such pristine lifestyle again into public eye so that people will be identified with the traditional culture and show more reverence for nature. I believe that the ethnic culture would give me sufficient inspiration for creation and the negligence it suffers at present will provide me with a larger career development space and constant motivation.
我希望我的设计能将这种质朴的生活方式再次带入公众的视野,让人们对传统文化产生认同感,对自然产生更多的尊重。我相信民族文化会给我足够的创作灵感,它目前所遭受的忽视会给我更大的职业发展空间和不断的动力。
02

Gimena Caram
阿根廷
Gimena Caram 1978
She entered the world of jewelry at the age of 22 in Argentina, when she decided to abandon the studies of Psychology. It is at this moment that the discovers his passion for this trade and decides to dedicate himself fully to it. In 2007 she moved to Spain, and interested in new forms of artistic expression, she began her studies at the Official School of Goldsmiths and Jewelers in Madrid. By obtaining the degree and motivated by the desire to continue learning he decides to move to complete his studies studying by studying artistic jewelry in Barcelona, at the Massana School.
She currently works in her own jeweler studio in Madrid and agrees her work with learning new techniques and different ways of expressing.
Statement · 设计阐述
CEREMONIES is the result of the interpretation of different ethnicities throughout the world and the related to them: rites, beliefs and customs. The pieces are inspired by ritual objects, which with the movement of the body during the dance cause the intertwining of the elements that make it, producing a noise that serves to set the rhythm.
《仪式》系列的灵感来源于世界上不同种族及仪式上的道具,它们记载着礼仪,信仰和习俗。这些道具在舞蹈过程中,随着身体的运动,产生交叉与碰撞,形成一种有节奏的音乐。
Necklace “Ritual I”
项链《仪式 1》
sterling silver oxidized
材料:纯银,氧化处理
My work is cyclical, recurring, where fire is the protagonist and the material plays a very important role as it is part of my inspiration and becomes a challenge to express myself. My pieces usually have strength and character, but at the same time they are fragile and sensitive. The elements with which the pieces make up speak in singular, but group it is where they come to life and communicate the message and it will finally be the observer who deciphers and interprets the pieces subjectively.
作品使用循环与重复的简单元素,这是我灵感的重要标志,也是我对自我表现形式的一次挑战。我的作品中表达了力量与个性,同时也是脆弱和敏感的。零碎的元件构成了一种独特的表现形式,它们通过组合在一起来传达信息,并为观者保留主观解读的空间。
Bracelet “RAIN”
手镯《雨》
sterling silver oxidized
材料:纯银,氧化处理
《 Bears are growing 》Ring
戒指《成长的熊》
silver, plexi and material from a genetic laboratory
材料:银,树脂和实验器材
45mmx30mmx20mm
03
Zihan Yang
中国
EDUCATION
-Jewelry, Master of Fine Arts, Savannah College of Art and Design (SCAD), Savannah, GA, United States
-Industrial Design, Bachelor of Arts, Northwestern Polytechnical University (NWPU), Xi’an, China
EXHIBITIONS(2019)
-Philadelphia Museum of Art Craft Show,Pennsylvania Convention Center,Philadelphia, PA
-Enjoia’t Awards 2019, Disseny Hub Barcelona, Spain
-2019 JOYA Barcelona Art jewellry & Objects, Disseny Hub, Spain
-Abysm, M.F.A. Thesis Solo Exhibition, Gallery of Sulfur Studios, Savannah, GA
-The 37th Annual Smithsonian Craft Show, National Building Museum, Washington, DC
-2019 Earring Galore Exhibition, Heidi Lowe Gallery, Rehoboth Beach, DE
– SNAG Chicago (Elephant Room Gallery, May) / New York City Jewelry Week( November)
– 2019 American Craft Show,Baltimore Convention Center, Baltimore, MD
HONORS
-2018 12th Annual IDA Awards, Silver Place, Accessory /Jewelry Student Category, Los Angeles, CA
-2018 Women’s Jewelry Association Scholarship, New York, NY
-2018 SCAD Jewelry Department Endowed Scholarship, Savannah, GA
Statement · 设计阐述
The beauty of being human is not only facing the dark side of this inner world but more importantly how to bravely restrain and lock this darkness in the abyss.
人类的美,不仅仅在于面对这个内心世界的黑暗面,更重要的是如何勇敢地将黑暗禁锢在深渊中。
Yang’s work is driven by personal psychology and a fascination with the subconscious. She focuses on personal reflections and definitions of the darkness of human nature by using small repetitive components. Her studio practice expresses the complex and dark side of our nature tempered by the beauty of using desires to restrain and balance human desire.
杨的作品受到个人心理和对潜意识的迷恋的驱动。她专注于个人的反思和对人性黑暗的定义,使用重复的元素,表达人性中复杂和阴暗面的调和,用欲望来抑制和平衡人类欲望的美。

《D.H. II》
Sterling Silver
材料:纯银
“The process of making echoes the process of self-examination. We can never fully know ourselves without constant reflection; When we think we must restrain the darkness of human nature, it becomes a kind of desire too, but it seems more positive. “
制作的过程与自我反省的过程相呼应。没有不断的反思,我们永远无法完全了解自己;当我们认为我们必须限制人性的黑暗时,它也成为一种欲望,但它似乎更积极。

《D.H. III》
Sterling Silver
材料:纯银

《D.H. V》
Sterling Silver, 18k Yellow Gold
材料:纯银、18K黄金
04
Estela saez
西班牙
Exhibitions
2020
“Maybe Days” solo Exhibition, Rob Koudijs, Amsterdam (NL) “Site Effects” Handerwerk Gallery, Munich (DE)
“Site Effects” SNAG Conferences, Philadelphia (USA) “The Pearls of Cleopatra”, Munich (DE)
2019
“Design Miami” , Ornamentum, Miami (USA)
“Silent Roads & Desert Nights”, JORC, Barcelona (SP) “Brazil Jewellery Weekend”, Casa de Pedra, Sao Paolo (BRA) “Kushari”, solo exhibition Ornamentum, Hudson (USA)
“A room on it’s own”, Munich (DE)
“21 grams” Handerwerk Gallery, Munich (DE)
“21 grams” BeCraft Gallery, Mons (B)
设计师,策展人,CIB国际商业银行工艺品开发外部顾问,联合国教科文组织手工艺发展专家、CAC(开罗艺术家集体)高级顾问。曾在德国、荷兰、南非、墨西哥、美国和埃及旅居和工作。在克兰布鲁克艺术学院Cranbrook Academy of Art、安特卫普皇家艺术学院Antwerp, Royal Academy of Arts、开罗大学等发表20多场演讲。在世界各地任教和参展。
Statement · 设计阐述
Text by Jordi Mitjà, Visual Artist, Barcelona
(评论文本来自西班牙视觉艺术家Jordi Mitja)
I would personally define Estela Saez art as atomized jewellery, -almost tortured- that explains, first of all, a very distant place, and then the shape, that supports the idea of modernity linked to nomadism. Estela is an indefatigable traveler. This may help you understand the material’s own condition, which is not a jewel, but a place itself.
我个人将Estela Saez的艺术定义为原子化的首饰,几乎是扭曲的。这解释为,首先,她的作品展现了一个陌生的空间,然后是它的形状,它支持了现代性与游牧主义相联系的观点。Estela是一个不知疲倦的旅行者。这可以帮助你了解材料本身的状况,它不是首饰,而是一个空间本身。
“L-M” pendant
吊坠《L-M》
oxidized silver
材料:氧化银
尺寸 / Size:19x9x11cm
The objects proposed are metal towns, primitives, distant, that hide fragile things in a constant process, fugitives. Her own way to make it happen is to say the least, peculiar, given the treatment she makes to the material, its proportions and the impossible reproducibility of each object.
这些作品展现了遥远的、原始的金属城镇,隐藏着逃亡者的脆弱情绪。Estela实现这一切的方式是独特的——对材料、比例的精准把控和每件物品不可能再现的处理方式。
“Quilla” pendant
吊坠《Quilla》
oxidized silver
材料:氧化银
尺寸 / Size:10x20x12cm
From that ensemble, I am fascinated by the sculptures, made with silver, the patinas, almost pictorial, relegates the material to stateless condition. She abuses the noble condition from materials such as gold and silver, and brings them closer to scrap iron or rusty wire.
我被这些用银制的雕塑迷住了,即使布满锈迹的状态使材料几乎无法辨认。Estela另辟蹊径地将金、银等“高贵”的材料以接近废铁的状态被展现为作品。
Although she uses expensive raw material, her work does not renounce to the postulates from the “povera” artist. That is at least fascinating. Her atomized filigrees, rusted or laminated do not renounce from the truly value of that nobility, and from their portable jewels function.
虽然使用了昂贵的原料,她的作品没有脱离“概念派”艺术家的设定。这至少是迷人的。经过锈蚀或层压处理的金银首饰并没有改变它本身的高贵价值,也没有脱离其可佩戴首饰的功能。

“Solitut” brooch
胸针《Solitut》
oxidized silver
材料:氧化银
尺寸 / Size:15x15x8cm
I wait and wish that Estela never forgets that her work is an small tribute to a place and a land, her pieces can be worn in a body, her objects can be sustained with hands, but in the end, and that is her greatness, her jewels are universal.
Estela的作品是对一个地方和土地的一种小小的敬意,她的作品是可佩戴的,便于保存的。这就是她的高明之处,她的作品蕴含着普世的概念。
05
Hansel Tai
戴毓辰
中国
1994年出生于中国四川
教育经历:
2012 – 2016,中央美术学院,艺术珠宝系,师从滕飞教授;
2018,阿姆斯特丹Gerrit Rietveld Academie,Sonja Baumel;
2016 – 2019,爱沙尼亚Estonian艺术学院,Tanel Veenre;
AWARDS
2019 MISUI AWARD 2019, Barcelona, SP
2019 ENJOIA’T Awards Second Finalist, Barcelona, SP
2019 Cum Laude of graduation, Estonian Academy of Arts, EE
2018 Amberif Design Award – Finalist, Gdansk, PL
2016 Top Young 2016 – Finalist, Ubi Gallery, Beijing, CN
2016 The Second Prize of Graduation, CAFA, Beijing, CN
EXHIBITION(2019)
BODY CONTROL, De Kerk powered by Museum Arnhem, Arnhem
ENJOIA’T Awards 2019, Barcelona
XII Florence Biennale 2019, Florence
NUDA VITA, Artesania Catalunya Carrer dels Banys Nous, Joya Barcelona
Marzee International Graduate Show 2019, Galerie Marzee, Nijmegen Précieux !?, Alliages, Lille
Non-Stick Nostalgia: Y2K Retrofuturism in Contemporary Jewelry, MAD | Museum of Arts and Design, New York
NUDA VITA The practice of collective and political body, ABC Westside Galerie, Munich
NUDE JADE, A-galerii, Tallinn
Precious?, Column Bakehouse Gallery, UK
Ek-kinesis, Ilias Lalaounis Jewelry Museum, Athens Jewelry Week
Précieux !?, Alliages, Lille
Statement · 设计阐述
Soul Mating is a deep dive into desire and nature. The works focus on the ambiguity intertwined within those two aspects.
Soul Mating系列是一种对欲望和自然的深入探索。作品关注的是这两个方面的模糊性。
The erotic forms of the work served as a self-conscious confession. Beyond imitating nature, shapes are formed with intricated machines and long hours of hand carving, movements were sealed within each curves.
作品形式上的情爱元素是一种自觉的忏悔。除了自然的模仿,作品的形状是由复杂的机器和长时间的手工雕刻而成的,每个曲线中都蕴含着动态。

《 Soul Mating I 》
Soul Mating champions unfiltered sensation of desires and mutation, as well as a deep mutual sensitivity among souls.
Soul Mating崇尚欲望和变异的不受过滤的感觉,以及灵魂之间深刻的敏感互动。

《 Soul Mating II 》
As playful and ambiguous vessel for soul and desire, the final works presents an alternative version of hybrid erotism.
作为灵魂和欲望的有趣而模糊的容器,最后的作品呈现了欲望的独特表达。

《 Soul Mating III 》
06

Marina Iwagami
岩上 満里奈
日本
1990年出生于日本东京,东京艺术大学金属工艺研究生。
Exhibitions
2019 東京藝術大学卒業修了展(東京藝術大学美術館)
2018 9 Marvelous Jewelry Collection IV(ギャラリーおかりや、銀座)
2017 東京藝術大学卒業修了展(東京都美術館)
Award
2019 東京藝術大学 修了作品 買上
2018 第30回公募2018日本ジュエリー展 奨励賞
2016 第29回公募2016日本ジュエリー展 奨励賞
2015 第12回全国金銀創作展 東京都中小企業中央会会長賞
Statement · 设计阐述
Growth is something that lasts forever and accumulates. Even if a failure is mixed, it is accumulated including it.The form of this work is an image of continuity and eternity. I hope that the history of jewelry is the same.
成长是一种永恒的、不断积累的东西。即使是一次失败的尝试,也是一种积累。这幅作品的形式是一种连续性和永恒的形象。我认为首饰的历史进程也是这样发展的。
There is also an innovative part in me.It was to leave the thread connecting the parts together and use it as an element to excite the work. There are a lot of things that can improve the completeness of the work by removing the seams, showing the connection part without processing gave me a pleasure that opened my mind and interacted with the viewer.
这一系列作品的创新之处在于,保留线段的连接处,并把它作为一个元素使作品更加灵动。有很多方法可以去除接缝来提高作品的完整性,但没有加工的连接部分给了我一种开阔思路和与观众互动的乐趣。
Creative is the act of expanding social norms. I would like to propose ideas about people’s way of thinking and spirituality using jewelry as an expression medium.
创造就是一种扩大社会规范的行为。我以此提出关于首饰在表达媒介的思维方式创新观点。





