当代首饰的可持续发展 | 陈素雨 Suyu Chen「艺术访谈」
欢迎来到木牙Make Unique Young Arts，让我们来解刨当代首饰的不同形式，材料的可能性，以及可延展方向！
Materials are substances from which humans can make useful components, devices, or objects. The development of materials marks the progress of society. For example, the widespread use of stone tools is called the Stone Age, and so is the Bronze Age and the Iron Age. Materials and information and energy have been called the three pillars of modern civilization. –– Fascinating Material, Wikipedia
As we continue to move at a fast pace, there is always a voice that tells us to "slow down, slow down." And this voice leads us to feel, experience, breathe, repeat. And then we go foward to the future. This voice could be a major we study, a direction we explore, something we love, or a "ring".
We invited Suyu Chen join Muya to discuss the exploration, evolution and continuous development of contemporary jewelry from the perspectives of materials, perception, repetition and experiment.
Suyu Chen, born in Guangzhou, graduated from Guangzhou Academy of Fine Arts with a bachelor's degree and from the Department of Metalworking and Jewelry of Rochester Institute of Technology with a master's degree, currently lives and works in Rochester and Guangzhou. Her work has been exhibited at Barcelona Joya, New York Jewelry Week, Baltimore Jewelry Center and Beijing Jewelry Week.I enjoy the repetition, and they train me as well as using craft and materials.
Through composing jewelry works related to forms and marks, I explore relationships between practices and rituals, artificial objects, and their interconnection. Similarities among traditional art-making processes, industrial production, and art training I received, which all required massive and repetitive actions, led my interests towards experimental practices of combining artificial objects.
It is a game between objects and myself - by keeping using the same artifact as a basic module, variation and transformation of forms have no end; All feeling and thinking will reveal on the surface subtly through layered painting and sanding with honest mistake and imperfection. My work aims to change the viewer’s perception of objects and materials through observation.
➤ 木牙MUYA: 素⾬对于当代⾸饰的理解是什么？想要通过这⼀种形式体现什么？
What is Suyu's understanding of contemporary jewelry? What do you want to embody through this form?
Contemporary jewelry is a form of artistic expression between craft and pure art, and the carrier is generally the human body. I hope to make some souvenirs by hands to commemorate life and relationship. The high interaction between jewelry and people determines that it is a special object. It can express its attitude through wearing loudly, and it can also be silently treasured and wrapped up with some emotions.
➤ 木牙MUYA:当代⾸饰这⼀专业在国内是⾮常冷⻔的专业，素⾬是如何向⼤家解释⾃⼰的专业的？对于⾃⼰的 就业⽅向是如何考虑的呢？可能就职于哪些职业呢？
The specialty of contemporary jewelry is very unpopular in China. How does Suyu explain his specialty to everyone? How do you consider your own employment direction? What occupations might you work for?
It is more intuitive to show images or even real objects directly, sometimes using a false stereotype to tell the people around me that what I make is exaggerated and may not be able to wear out. I'm currently teaching jewelry electives at school. Sounds great. Actually I'm out of work in minutes.
Having a classmate join a design company, work on Bench Jeweler, or create your own brand, can be both a lot of freedom and a lot of instability. Whether you're continuing your education or trying to buy and sell, supporting yourself with jewelry is ideal, but making a career that has nothing to do with jewelry is also perfectly fine.
How does Suyu use his works to show his understanding of different materials? With the development of the times, more and more man-made new materials are coming out immediately. Has Suyu ever thought about choosing some of these materials to make new works?
When it comes to new materials and technologies, the first thing that comes to mind is 3D printing with increasing precision and digital sculpture software with more freedom to operate. One of the reasons why 3D printing has not been used as the main creative material is that I do not like sketching. For me, the process from modeling to printing is more like a backward process, which is to decide the image first and then build the image by the structure, which is contrary to my creative habit.
Of course, this is probably not fine art a little knowledge of the embodiment, still hope to catch up with the pace of science and technology one day. He also realized the anxiety that would always accompany the endless supply of materials and craftsmanship, the fear that he would become a conservative with no progress at all. If there are any new handmade materials on the market, especially sculpture clay, adhesives and pigments, please feel free to contact me for review.
Among all the works of Suyu, which work or project is my favorite? Please briefly talk about the inspiration and creation process of this work/project?
The most recent series of "Winter Learning" was created in early September, when the outbreak resumed. In Rochester, just south of Lake Ontario in upstate New York, the snow lasted from November to April, and it was often cloudy and depressing. Writing a paper itself is an amateur psychoanalysis event, tired of the emphasis on narrative academic training, want to paint like to relax to explore something. This series is a simple summary of the snow encrusts: pebbles, branches, bushes, cars, houses, flower POTS, benches, the long snow unifies the colors and rounded corners of nature and man-made objects. The material comes from the plastic pipe left over from the graduation project.
Suyu's works are presented as hand-held, worn, surrounded and so on. In the process of Suyu's creation and research, what is the relationship and mutual feeling between materials and human body?
Morphologically, I understand jewelry as a closed loop: it is itself a closed loop, such as rings, necklaces and belts; Or it could create a closed loop, such as a hairpin in a bun, or a cloak with a brooch in ancient Greece. Therefore, making a "circle" is always the starting point and end point in the creation, and how to wear it or even whether to wear it is decided during the production or even after the end. In addition, the visual stimulation sent out by the material is also very important. This kind of stimulation is not necessarily strong, but can be soothing and curious. It can trigger people's desire to observe, touch or even smell at any time. At the same time, I have a little obsession with the weight of materials. People's perception of weight is a delicate thing. I feel a sense of loss if the object is much lighter or heavier than I think it is, so I try to add or subtract weight in my work to achieve what I think is a balance between the look and the physical.
In terms of material distribution, there are many grades of "high grade materials" and "low grade materials". From a professional point of view, how does Suyu view such a concept of material grading?
Advanced materials and low materials are a relative and fluid concept, when a material is no longer rare, it is classified as "low". For the creator, this proposition does not exist. All materials should be equal and meaningful in the hands of the author, without distinction between high and low. They can be the artist's personal belongings, such as family photo albums or heirlooms. It can be the garbage that appears next to your feet when you are lucky.
How does Suyu view herself and the audience's right to interpret her works? If the audience's interpretation deviates from the original intention of her production, should the meaning of her works be based on herself or the audience?
The audience should have the right of their own interpretation, sometimes the audience can see the place that the author is not aware of, sometimes the audience's opinion is not important to the author. When I am a spectator, what I enjoy is the emotional change brought about by watching, which inevitably includes the misunderstanding caused by different personal experiences. Therefore, as a creator, he cannot ask the audience to empathize with him, and when the work is finished, it is often difficult to distinguish its original intention.
Suyu studied at an art school in China for your bachelor's degree and then studied abroad. In Suyu's opinion, how do you view the diverse art education experience? Or, can you share with us some interesting creative experiences under the influence of different cultures?
Whether at home or abroad, it is a matter of fate to meet the right colleges and tutors. As an introvert, it's easy to drain your excitement and enthusiasm in an unfamiliar environment. It's painful to find a quick balance between life and study. Through the communication with classmates and teachers from different backgrounds, I got a lot of inspiration on creation and diet. I found that everyone's works are closely related to their lifestyle. It is important for me to try a different life.
“不要着急” / Don't be nervous.
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