China Academy of Art. BA and MA Degree Show 2021

Exhibition / NewTalentsByKlimt02 中文版-ChineseVersion / 01 Jun 2021 - 16 Jun 2021

Published: 29.06.2021

West Lake Museum

: 89 Nanshan Rd
Hangzhou
CHINA

: Website China Academy of Art

Mail:: depcc163.com; Wangzhcaa.edu.cn

Phone:: +86 571 872 003 32

Management:: Zhenghong Wang

China Academy of Art. BA and MA Degree Show 2021.

Brooch: Vacant Space by Xi Huang.Pure silver.. 2021.From series: Vacant Space
. Rafting on the lake, in a vacant, tranquil, and blank space. Illustrate the relationship between the void or real space and the material “I” by the weaving of “void” and internal transition of entities..

Brooch: Vacant Space by Xi Huang.Pure silver.. 2021.From series: Vacant Space

Object: Vacant Space by Xi Huang.Pure silver.. 2021.From series: Vacant Space

Brooch: Nuclear by Xuxi Huang.925 silver, gold plated brass, silver leaf.. 2021.9.8 x 4.5 x 2 cm.From series: Nuclear
. The inspiration of the works comes from personal feelings. In interpersonal communication, they are used to covering up their true emotions and ideas, showing a consistent attitude with the surrounding on the surface. In order to get along with others, they lose themselves and hide their true self..

Necklace: Nuclear by Xuxi Huang.925 silver, gold leaf.. 2021.From series: Nuclear

Necklace: Nuclear by Xuxi Huang.925 silver, gold leaf.. 2021.From series: NuclearOn body..

Vessel: Continue the past of Qinhuai by Qingyu Zhang.Silver.. 2021
. Contemporary metal utensils no longer stick to the traditional modeling structure but pay more attention to the spiritual connotation of utensils. The author chooses silver as the traditional metal material and uses the weaving technique of textile art to make the contemporary metal utensils and Qinhuai lantern cross-border combination. The overall shape is solid on the outside and empty on the inside and transparent on the outside. From a distance, it looks like a utensil. From a close view, the "s" shaped pattern and the lotus on both sides are like the shadow of stagnant water. The "s" shaped curve refers to the curved and continuous Qinhuai River, and the lotus on the left and right refers to the Qinhuai lantern color handed down from generation to generation, which is the transmission of humanistic spirit in the inheritance. It is an orderly combination of traditional culture and contemporary art to carry out the implication of "reunion and beauty, harmony and happiness" of the lotus lamp in the river lamp..

Object: Lightheartedness I by Kefan Luo.Silver, plastic, zircon, rice paper, wool.. 2021.10 x 5 x 7 cm.Photo by: Jialin Fu.From series: Spin and run without any careUnique piece
.
. Recalling my childhood, I grew up under the indoctrination of my parents' traditional ideas and the strict and abusive education method. In this process, toys played a significant role. Among them, the windmill was my most sincere playmate, a window to vent my pressure and a friend to represent my faith. The rotation of the windmill gave me the purest and happiest feedback just because of the simple inhalation and exhalation. The ubiquitous windmills rotated in the wind without any care, which was not only my childhood memories but also full of my yearning for freedom and dreams..

Ring: Lightheartedness VI by Kefan Luo.Silver, plastic, rice paper.. 2021.25 x 10 x 10 cm.Photo by: Jialin Fu.From series: Spin and run without any careUnique piece.

Piece: Thought about grasshopper by Liping Wang.Silver, plastic, fiber.
. The author starts from the three senses of human beings - vision, touch, and hearing, takes the singing insect and the insect cage as the source of inspiration, and uses metal weaving technology combined with fiber, plastic, and other materials for artistic creation to express the author's respect for the excellent traditional Chinese culture and yearning for the traditional way of life., . 2021.From series: Thought about grasshopper

Piece: Jue by Xue Wang.Silver.. 2021.10 x 10 x 5 cm.Photo by: Qianyi Chen.From series: Jue
. The author takes the circular elements and shape of the jade ring as the carrier, combines the contemporary jewelry design concept with the metal weaving technology, and extends the jade ring culture, which is closely connected with the ancient people's worship and life, to the present day. The author hopes to expand the possibility of the form of the jade Jue in contemporary jewelry art..

Ring: Mirror by Qianyi Chen.Silver, copper, enamel, acrylic, textile rope, magnet.. 2021
. one of the identities of the bronze mirror is the gift, which is given different meanings according to the different objects. I use enamel technology to present the color and pattern of bronze mirrors, and combine with the contemporary jewelry language to present the custom of giving mirrors..

Necklace: Lustrous and Dazzling by Hanxiao Tao.Sliver, polymethyl methacrylate.. 2021.4 x 4 x 40 cm.From series: Lustrous and Dazzling
. the author makes a concrete and patterned design of the flow track of light. So that the wearer can observe the light around him through the optical jewelry, and have a wonderful interaction with the light. Taking the light spot as the prototype, we use the feeling of light spot overlapping, different sizes, and scattered. Light and shadow are accompanied by each other. When light is projected onto the body through jewelry, it forms a shadow. These shadows are also part of the jewelry..

Set: Fit & Engram by Ling Zhou.Pure silver, red sandalwood, frozen jade.. 2021.From series: Fit & EngramBrooch, ring, teaware.
.
. This is a multifunctional jewel that represents a brooch, a ring, and tea wares. These components can exist alone or in combination. First of all, the original wedge function was designed at the connection between the ring and teacups; so, when people rotate the teacup, the wedge function could stable it at the ring. Secondly, the brooch can clamp tea coasters. The tweezer on the back of the brooch not only a pin but also a tea clip. These silver seal characters on coasters mean virtue. And vessels are shaped by finger pinching and deformation, fingerprint marks as decorative elements, want to convey the idea of harmony between things and me in tea culture..

Necklace: Ambition by Tianwei Hong.Silver, wax, enamel.. 2021.15 x 15 x 5 cm.From series: Ambition
. A cold and sunny bay in autumn, with countless peaks and mountains near and far. I went up the mountain to look at the wild water, and suddenly I saw the green hills under the water. Inspired by traditional Chinese ink and wash elements, the author uses wax and other comprehensive materials to create a series of works of "Wang Wang". Another form of expression of ink and wash landscape, while wearing it, it is more intimate with people, realizing a deeper dialogue between man and nature..

Vessel: Scarifice by Tongle Ding.Sterling silver, red copper.. 2021.10 x 10 x 15 cm
. most of the drinking vessels in Shang Dynasty were used on ceremonial occasions. Due to the need of sacrificial activities, sacrificial drinking vessels came into being. The technique of metal folding is chosen in the creation. Because this technique can only be folded in a specific way, the effect after folding is regular and orderly. The author thinks that this is similar to a sense of restraint expressed by the ritual function of drinking vessels in the Shang Dynasty. Therefore, the author finally borrows the modeling elements of Jue in drinking utensils, supplemented by contemporary metal folding techniques, and wants to reproduce the drinking utensils of Shang Dynasty in a new form..

Brooch: Sweet Dreams by Jinhan Hu.Copper, silk, glass, dream.. 2021.5 x 10 x 10 cm
. Inspiration comes from daydreams in spring, some unrealistic ideas, the illusion of the waking moment. Nourish a little creature in a fantasy, and may it give you a dream in the end..

Xi Huang
Brooch: Vacant Space, 2021
Pure silver.
From series: Vacant Space

Rafting on the lake, in a vacant, tranquil, and blank space. Illustrate the relationship between the void or real space and the material “I” by the weaving of “void” and internal transition of entities.
© By the author. Read Klimt02.net Copyright.

Xi Huang
Brooch: Vacant Space, 2021
Pure silver.
From series: Vacant Space
© By the author. Read Klimt02.net Copyright.

Xi Huang
Object: Vacant Space, 2021
Pure silver.
From series: Vacant Space
© By the author. Read Klimt02.net Copyright.

Xuxi Huang
Brooch: Nuclear, 2021
925 silver, gold plated brass, silver leaf.
9.8 x 4.5 x 2 cm
From series: Nuclear

The inspiration of the works comes from personal feelings. In interpersonal communication, they are used to covering up their true emotions and ideas, showing a consistent attitude with the surrounding on the surface. In order to get along with others, they lose themselves and hide their true self.
© By the author. Read Klimt02.net Copyright.

Xuxi Huang
Necklace: Nuclear, 2021
925 silver, gold leaf.
From series: Nuclear
© By the author. Read Klimt02.net Copyright.

Xuxi Huang
Necklace: Nuclear, 2021
925 silver, gold leaf.
From series: Nuclear

On body.

Qingyu Zhang
Vessel: Continue the past of Qinhuai, 2021
Silver.

Contemporary metal utensils no longer stick to the traditional modeling structure but pay more attention to the spiritual connotation of utensils. The author chooses silver as the traditional metal material and uses the weaving technique of textile art to make the contemporary metal utensils and Qinhuai lantern cross-border combination. The overall shape is solid on the outside and empty on the inside and transparent on the outside. From a distance, it looks like a utensil. From a close view, the "s" shaped pattern and the lotus on both sides are like the shadow of stagnant water. The "s" shaped curve refers to the curved and continuous Qinhuai River, and the lotus on the left and right refers to the Qinhuai lantern color handed down from generation to generation, which is the transmission of humanistic spirit in the inheritance. It is an orderly combination of traditional culture and contemporary art to carry out the implication of "reunion and beauty, harmony and happiness" of the lotus lamp in the river lamp.
© By the author. Read Klimt02.net Copyright.

Kefan Luo
Object: Lightheartedness I, 2021
Silver, plastic, zircon, rice paper, wool.
10 x 5 x 7 cm
Photo by: Jialin Fu
From series: Spin and run without any care
Unique piece

Recalling my childhood, I grew up under the indoctrination of my parents' traditional ideas and the strict and abusive education method. In this process, toys played a significant role. Among them, the windmill was my most sincere playmate, a window to vent my pressure and a friend to represent my faith. The rotation of the windmill gave me the purest and happiest feedback just because of the simple inhalation and exhalation. The ubiquitous windmills rotated in the wind without any care, which was not only my childhood memories but also full of my yearning for freedom and dreams.
© By the author. Read Klimt02.net Copyright.

Kefan Luo
Ring: Lightheartedness VI, 2021
Silver, plastic, rice paper.
25 x 10 x 10 cm
Photo by: Jialin Fu
From series: Spin and run without any care
Unique piece
© By the author. Read Klimt02.net Copyright.

Liping Wang
Piece: Thought about grasshopper, 2021
Silver, plastic, fiber.

The author starts from the three senses of human beings - vision, touch, and hearing, takes the singing insect and the insect cage as the source of inspiration, and uses metal weaving technology combined with fiber, plastic, and other materials for artistic creation to express the author's respect for the excellent traditional Chinese culture and yearning for the traditional way of life.
From series: Thought about grasshopper
© By the author. Read Klimt02.net Copyright.

Xue Wang
Piece: Jue, 2021
Silver.
10 x 10 x 5 cm
Photo by: Qianyi Chen
From series: Jue

The author takes the circular elements and shape of the jade ring as the carrier, combines the contemporary jewelry design concept with the metal weaving technology, and extends the jade ring culture, which is closely connected with the ancient people's worship and life, to the present day. The author hopes to expand the possibility of the form of the jade Jue in contemporary jewelry art.
© By the author. Read Klimt02.net Copyright.

Qianyi Chen
Ring: Mirror, 2021
Silver, copper, enamel, acrylic, textile rope, magnet.

one of the identities of the bronze mirror is the gift, which is given different meanings according to the different objects. I use enamel technology to present the color and pattern of bronze mirrors, and combine with the contemporary jewelry language to present the custom of giving mirrors.
© By the author. Read Klimt02.net Copyright.

Hanxiao Tao
Necklace: Lustrous and Dazzling, 2021
Sliver, polymethyl methacrylate.
4 x 4 x 40 cm
From series: Lustrous and Dazzling

the author makes a concrete and patterned design of the flow track of light. So that the wearer can observe the light around him through the optical jewelry, and have a wonderful interaction with the light. Taking the light spot as the prototype, we use the feeling of light spot overlapping, different sizes, and scattered. Light and shadow are accompanied by each other. When light is projected onto the body through jewelry, it forms a shadow. These shadows are also part of the jewelry.
© By the author. Read Klimt02.net Copyright.

Ling Zhou
Set: Fit & Engram, 2021
Pure silver, red sandalwood, frozen jade.
From series: Fit & Engram

Brooch, ring, teaware.

This is a multifunctional jewel that represents a brooch, a ring, and tea wares. These components can exist alone or in combination. First of all, the original wedge function was designed at the connection between the ring and teacups; so, when people rotate the teacup, the wedge function could stable it at the ring. Secondly, the brooch can clamp tea coasters. The tweezer on the back of the brooch not only a pin but also a tea clip. These silver seal characters on coasters mean virtue. And vessels are shaped by finger pinching and deformation, fingerprint marks as decorative elements, want to convey the idea of harmony between things and me in tea culture.
© By the author. Read Klimt02.net Copyright.

Tianwei Hong
Necklace: Ambition, 2021
Silver, wax, enamel.
15 x 15 x 5 cm
From series: Ambition

A cold and sunny bay in autumn, with countless peaks and mountains near and far. I went up the mountain to look at the wild water, and suddenly I saw the green hills under the water. Inspired by traditional Chinese ink and wash elements, the author uses wax and other comprehensive materials to create a series of works of "Wang Wang". Another form of expression of ink and wash landscape, while wearing it, it is more intimate with people, realizing a deeper dialogue between man and nature.
© By the author. Read Klimt02.net Copyright.

Tongle Ding
Vessel: Scarifice, 2021
Sterling silver, red copper.
10 x 10 x 15 cm

most of the drinking vessels in Shang Dynasty were used on ceremonial occasions. Due to the need of sacrificial activities, sacrificial drinking vessels came into being. The technique of metal folding is chosen in the creation. Because this technique can only be folded in a specific way, the effect after folding is regular and orderly. The author thinks that this is similar to a sense of restraint expressed by the ritual function of drinking vessels in the Shang Dynasty. Therefore, the author finally borrows the modeling elements of Jue in drinking utensils, supplemented by contemporary metal folding techniques, and wants to reproduce the drinking utensils of Shang Dynasty in a new form.
© By the author. Read Klimt02.net Copyright.

Jinhan Hu
Brooch: Sweet Dreams, 2021
Copper, silk, glass, dream.
5 x 10 x 10 cm

Inspiration comes from daydreams in spring, some unrealistic ideas, the illusion of the waking moment. Nourish a little creature in a fantasy, and may it give you a dream in the end.
© By the author. Read Klimt02.net Copyright.

"Cause, Craft, and Art" is the theme of this year's degree show at China Academy of Art. It's a further reflection of the theme of last year and it covers the genes, materials, technique, thoughts as well as other elements of the art of handcraft, showing the outstanding ideas and experimental measures of the college's professional innovation and development.

中文版 - Chinese version

2021年手工艺术学院毕业展的主题“因·手·艺”是对上一届主题“观·手·艺”的进一步思考和拓展。“观”是有目的、有视角地细致察看辨析，也指对事物的观望与审视，引申为对事理的距离性观看。“因”字意涵丰富多元，蕴含辩证的哲学思维，其涵义不止于缘故、承袭和缘由等语意。从词语本源意义的角度而言，“因·手·艺”不仅仅是对手工艺单一维度的观看，而是围绕其场域与位面的多维洞析，也是聚焦手工艺术时间点位脉系的解构性认知。从历史点位与专业本体的视角来看，“因·手·艺”涵盖手工艺术的基因、材料、技艺、思维等诸方面的要素，展现了学院专业创新发展，聚焦复合型卓越人才培养的前导思想和实验举措，凸显着专业育人的目标和定位。人类文明的传承与发展，源于思维认识的升级与拓展。历史源流中的手工劳作之物，通常都凝聚着先民集体的智慧，承载着超越时代的睿智与慧识，同时蕴含一种思想的革新。这种新思想的萌发，闪动着人对新事物思辨的感知力。感知是认知新事物的基础，掺杂着社会发展迭代更新的源态问题。
/ 周武（节选）

总策划：周武、李玉普、汪正虹
展览团队：陶瓷艺术系戴雨享、吴昊、李增龙、彭倩
工艺美术系冯晓娜、韩熙、郭小燕、周潇、段燕俪、章晴方、简锦斯

黄曦《空境·舟》系列、《空境·湖》系列
创作理念：泛舟湖上，空无、空寂、空净的空间。用“虚”的编织和内部转折的实体表现澄净的虚实空间和物我的关系

黄煦茜《核》系列
创作理念：作品的灵感来源于个人感受，在人际交往中，习惯掩饰自己内心的真实情绪与想法，表面呈现出与周围一致的态度，为了合群迷失了自我，把真实的自己隐藏起来。

张清誉《秦淮续》
创作理念：当代金属器皿不再拘泥于传统的造型结构，更加注重器物的精神内涵。笔者选取了银这种传统的金属材料，运用纺织艺术的编织手法，使得当代金属器皿与秦淮灯彩跨界结合。整体造型外实内虚，内外通透，远观形似器物，近观 “S”形纹路及两侧荷花如滞水之影，其中“S”形曲线代指弯曲绵延的秦淮河，左右的荷花代指千年间代代传承的秦淮灯彩，传承中人文精神的传递。贯彻荷花灯在河灯中“团圆和美，和谐美满”的寓意，是传统文化与当代艺术的有序结合。

罗科帆《无忧无虑》
创作理念：我是在父母打骂式的教育下成长的，他们自私的爱无时无刻不把我束缚着，玩具是我宣泄情绪和压力的窗口，而风车是我唯一最真挚和忠诚的玩伴，它只因简单的一呼一吹，便给予了我不尽的快乐。风车在空中无忧无虑地旋转，包含着我对自由的向往，和美好生活的渴望。

陈浅怡《镜•鉴》
创作理念：铜镜其中的一个身份是馈赠品，根据赠送的对象不同被人们赋予了不同含义。我运用珐琅工艺来呈现铜镜色彩、纹样，并结合当代首饰语言来呈现曾经的赠镜风俗。

王莉平《虫想系列》
创作理念：作者从人类三大感官—— 视觉、触觉、听觉出发，以鸣虫蝈蝈及蝈蝈虫笼为灵感来源，运用金属编织工艺并结合纤维、塑料等材料进行艺术创作，表达作家对中国优秀传统文化的致敬和对传统生活方式的向往。

王雪《玦》
创作理念：作者以玉玦的圆形元素与造型为载体，运用金属编织工艺结合当代首饰设计理念，将与古人的祭祀与生活紧密相连的玉玦文化延伸至了当代，拓展了玉玦形式在当代首饰艺术中的可能性。

洪天玮《野望》
创作理念：一片秋色冷晴湾，无数峰峦远近间。闲上山来看野水，忽于水底见青山。作者以中国传统水墨元素为灵感，运用蜡等综合材料创作了《野望》系列作品。水墨山水的另一种表现形式，在佩戴的同时和人之间的联系更亲密，实现了更深层的人与自然的对话。

陶含笑《光怪陆离》
创作理念：作者将光的流转轨迹进行具象化、图案化设计。使佩戴者通过光学首饰观察到身边的光，与光进行奇妙的交流互动。以光斑为原型，沿用光斑层层叠叠、大小不一、错落有致的感觉。光影相伴而生，有光就有影。当光通过首饰投射到身上时，就会形成影。这些影也是首饰的一部分。

丁同乐《牺牲》系列
创作理念：商代的饮酒器大多用于仪式性的场合，由于祭祀活动需要，祭祀酒器应运而生。创作中选择了金属折叠的技法，由于该技法只能用特定的折叠方式来折叠成型，因此折叠后的效果是有规律有秩序的，作者认为这和商代饮酒器的仪式功能所表达的一种约束感有相似之处。因此作者最终借饮酒器中爵的造型元素，并辅以当代的金属折叠技法，想以新的形式重现商代的饮酒器。

胡锦函《美梦》
创作理念：灵感来源于春日里的白日梦，一些不切实际念头，清醒时刻的幻象。滋养于幻境中的小小生灵，愿它终将赐予你一席美梦。

周玲《契·印》
创作理念：这是一款银制多功能首饰，既是胸针和戒指，也是一组茶器，戒指可旋转，卡住茶杯，倒放时为小茶则，胸针可卡住杯垫，也可单独佩戴，背面设计了一款可取茶夹，茶杯为紫光檀木料，镶银工艺，茶垫为石料，镶嵌银篆字为茶德，器皿以手指捏拿形变为形，指纹印为痕，作为装饰元素，意在传递茶文化中的物我和谐相融理念。

Artist list

Qianyi Chen, Weijia Deng, Tongle Ding, Tianwei Hong, Jinhan Hu, Xi Huang, Xuxi Huang, Zhiyi Jia, Kefan Luo, Hanxiao Tao, Liping Wang, Xue Wang, Xiaoyuan Ye, Feng Yuwei, Qingyu Zhang, Yu Zhao, Ling Zhou, Jiahong Zhu

The theme "Cause, Craft, and Art" of the 2021 graduation exhibition of the Institute of Arts and crafts is a further reflection and expansion of the previous theme of "View, Hand, and Art". "View" refers to the careful observation and analysis with purpose and perspective, and also refers to the observation and examination of things, which extends to the distant view of reason. "The meaning of the word: Yin (Cause)" is rich and diverse, which contains dialectical philosophical thinking, and its meaning is more than cause, inheritance, and reason. From the perspective of the original meaning of words, "Cause, Craft, and Art" is not only a single-dimensional view of handicraft, but also a multi-dimensional analysis of its field and plane, and a deconstructive cognition focusing on the time point and vein of handicraft. From the perspective of historical point and professional noumenon, "Cause, Craft, and Art" covers the genes, materials, skills, thinking and other elements of the art of craft, shows the leading ideas and experimental measures of the college's professional innovation and development, focusing on the cultivation of compound excellent talents, and highlights the goal and orientation of professional education. The inheritance and development of human civilization stem from the upgrading and expansion of thinking. The manual labor in the historical origin usually condenses the collective wisdom of the ancestors, carries the wisdom and wisdom beyond the times, and contains a kind of ideological innovation. The germination of this new idea, flashing people's speculative perception of new things. Perception is the basis of cognition of new things, mixed with the source state problem of social development iterative update.
/ Wu Zhou (excerpt)

Chief Planner: Wu Zhou,Yupu Li,Zhenghong Wang
Exhibition team: Yuxiang Dai,Hao Wu, Zenglong Li, Qian Peng of ceramic art department
Department of Arts and crafts: Xiaona Feng, Xi Han, Xiaoyan Guo, Xiao Zhou, Yanli Duan, Qingfang Zhang, Jinsi Jian.

West Lake Museum

: 89 Nanshan Rd
Hangzhou
CHINA

: Website China Academy of Art

Mail:: depcc163.com; Wangzhcaa.edu.cn

Phone:: +86 571 872 003 32

Management:: Zhenghong Wang

China Academy of Art. BA and MA Degree Show 2021

中文版 - Chinese version

Artist list

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