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Interview with Isabella Liu

Interview  /  Artists
Published: 26.08.2014
Interview with Isabella Liu.
Author:
Klimt02
Edited by:
Klimt02
Edited at:
Barcelona
Isabella Liu. Piece: Mending - Shoulder Brooch In a Big Ceramic Pottery, 2014. Ceramic, gold plated metal. 21.6 x 3 x 6 cm. Object and jewellery. Isabella Liu
Piece: Mending - Shoulder Brooch In a Big Ceramic Pottery, 2014
Ceramic, gold plated metal
21.6 x 3 x 6 cm
Object and jewellery
© By the author. Read Klimt02.net Copyright.

Intro
My collection ‘Mending’ is inspired by the traditional oriental art of Kingtsugi and my design philosophy, it has strong, sophisticated and simple aesthetics. But such a personal and oriental influenced work has a wide range of supportive audiences across nations & ages.
Do you think that jewellery is being standardized? What is there of local and universal in your artistic work?
I
t depends. Although jewellery artists are keeping pushing boundaries, trying to make their work out of standardizing. I think jewellery somehow influenced by the artist’s individual experiences, background, local living culture, lifestyle etc. Therefore, if we say that jewellery its being standardizing personally, yes; Locally somehow, yes. However, It doesn’t matter that a good piece of jewellery influenced by what sort of trends, the impact of a good piece of work always across spaces, time, nations, it can naturally touch people’s the deep of their heart. For example, As an Chinese bored jewellery artist, my work somehow influenced by my background and my personal experiences. My collection ‘Mending’ inspired by traditional oriental art of Kingtsugi and my design philosophy, it has strong sophisticated and simple aesthetic. But such a personal and oriental influenced work has a wide range of supportive audiences across nations, ages.

What do you expect when exposing your work to the public (for example with an exhibition)?
When my work expose to public, at an exhibition for instance, They might don’t fully understanding what I am trying to express yet, but I aim to create an emotional response in both the wearer and the viewer of my conceptual work, let them understand the basic tone of the emotions or the concept, and gain public’s respects and appreciations towards my work. Therefore, I love to engage public with my work as much as I can. In my ‘Mending’ Collection for example, the work is meant to invite audiences to fully engage with the concept (audiences open the ceramic, and then bring the jewellery back to ceramics, etc). All these engagements and corporations help to express my work and my concept impressively fulfilling.

Are other areas besides the jewellery, present in your work?
Yes. Cause I am trying to push the boundaries of jewellery and object. My ‘Mending’ collection for example, can be presented as jewellery and object: when a wearer wants to open the ceramic, and making the gold crack intimating his/her body, it is a piece of jewellery. If the wearer bring the gold crack back to ceramic, which helps to mend the broken pottery, it is intended to be a piece of sultpure, putting on table top, appcreitaed as a whole.

The last work, book, film, city that has moved me was...
The last work moved me was Alberto Giacometti’s sculpture ‘The Walking Man’ I visited at UNESCO in Paris. There are so many previous art work in UNESCO, but when I saw Giacometti’s rough, eroded, heavily worked surfaces of the sculpture in the fresh, it overwhelmingly moved me. A classic piece of artwork doesn’t need much explanation, my response towards his sculpture across the spaces, nations, and time. It brought me to his background of the World War Two, and his lonely but rough emotions.

A place, space, country whose creativity surprises me...
I love travelling, and exploring surprises of different spaces, countries. Lots of places left their most beautiful marks on my memories. The Pinakothek der Moderne Munich is one of them. As one of the greatest museums in the world, the modern architecture encompasses the national collection of modern and contemporary Arts, the National Collection of Works on Paper, the National Museum for Design and Applied Arts Collection and the Munich Technical University's Museum of Architecture, is considered by curators and critics to be one of the leading museums of modern and contemporary art in Europe. The most advanced and classic creativities in Europe have been explored sophistically in front of public, which amazed me so much.

Is there any designer, jeweller, artist, you appreciate a lot?
I appreciate a lot about the Netherland jewellery pioneers Gijs Bakker and Ruudt Peters. Their works are not only focusing on their life, but also the whole society and the whole universe, they are keeping pushing the boundaries of jewellery, objects, installations, art performances etc. Their works are beyond pieces of jewellery, more like presences of these Masters’ philosophy.

What piece or work has given you the most satisfaction?
‘Mending’ Collections have given me the most satisfaction. Starting from the day I doing research and then conducting large amount of experimentations, I have investigated as much as I can to explore the best approaches to express my concept, and the deep spiritual status of my work. It brings my passion, my design philosophy, and my spiritual thoughts into life. Besides, I gained so many positive feedbacks from public, which has been encouraging me a lot. So I do feel that ‘Mending’ collection is my most satisfaction so far.

Do you read Jewellery Magazines? What is your source to get information?
Yes, I read jewellery Magazine quite often, like Current Obsession Magazine. Apart from reading jewellery magazines, there are so many brilliant sources to get information; Surfing Internet can be very useful, Klimt02 is my favourite online jewellery information sources, which updated me actively. Visiting exhibitions and talking with designers can be very inspiring, I normally watch and visit as much as exhibitions to enlarge my horizons and keep myself updated about current trends.

Do you discuss your work with other jewellery artists or any other person?
Yes, I like to discuss my work with other jewellery artists, or designers in different fields, even people from various backgrounds. I think it’s important to understand people’s thoughts about my work, getting valuable feedbacks and advices. As a designer and maker, my work for me is personal and proactive, while audiences’ responses are more rational and passive. Therefore, publics’ opinions are like a piece of mirror for me to evaluate myself, which helps me grow wisely. But of course, I have my own independent thinking and evaluations about people’s opinions.

What is your first thought when you hear the word Future?, What do you expect for?
‘Future’ is predictable; it can be leading to positive or negative. In my opinion, I expect ‘Future’ represents a sort of hope, which back to simplicity,authenticity, innocence and nature. Cause nowadays so much complex and pressure driving people living far away from the core value of their life. I think people should explore the question of who they are, and where they come from, getting rid of the shadowiness and back to the very end point of purity and innocence.
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