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China Academy of Art. BA and MA Degree Show 2021

Exhibition  /  NewTalentsByKlimt02  /  01 Jun 2021  -  16 Jun 2021
Published: 29.06.2021
West Lake Museum
Management:
Zhenghong Wang
.

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Intro
"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.

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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.

 
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.. 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.
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Xi Huang. Brooch: Vacant Space, 2021. Pure silver.. From series: Vacant Space. Xi Huang
Brooch: Vacant Space, 2021
Pure silver.
From series: Vacant Space
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Xi Huang. Object: Vacant Space, 2021. Pure silver.. From series: Vacant Space. Xi Huang
Object: Vacant Space, 2021
Pure silver.
From series: Vacant Space
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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.. 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.
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Xuxi Huang. Necklace: Nuclear, 2021. 925 silver, gold leaf.. From series: Nuclear. Xuxi Huang
Necklace: Nuclear, 2021
925 silver, gold leaf.
From series: Nuclear
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Xuxi Huang. Necklace: Nuclear, 2021. 925 silver, gold leaf.. From series: Nuclear. On body.. Xuxi Huang
Necklace: Nuclear, 2021
925 silver, gold leaf.
From series: Nuclear

On body.

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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.. 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.
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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.. 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.
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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. 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
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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. 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
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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.. 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.
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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.. 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.
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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.. 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.
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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.. 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.
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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.. 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.. 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.
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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.. 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.
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