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China Academy of Art. Degree Show 2022

Exhibition  /  NewTalentsByKlimt02  /  01 Jun 2022  -  12 Jun 2022
Published: 09.06.2022
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Intro
"Art depends on the hand". Under the theme of "Reading Craft", 21 undergraduates and 6 postgraduates present their jewellery and craft work in Zhejiang West Lake Gallery.

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Artist list

Jialin Chen, Yizhou Chen, Chao Deng, Haixin Huang, Yiyao Huang, Seryeong Jang, Yuchan Jin, Danying Li, Zilong Lin, Peiyu Liu, Yufei Liu, Yuying Mao, Fangyi Miao, Fan Pan, Yixin Qian, Jingwen Tan, Xueru Wang, Boyang Weng, Luqi Xu, Miao Yao, Yao Yao, Yili Yao, Bo Zeng, Na Zhang, Xinyue Zhang, Minghui Zhou, Aiyun Zou
In today's industrial age, digital age, and even the metaverse age, handicraft has become the bearer of the "hand" method of human civilization, constantly writing hymns to non-mechanical replicable physical life. The handicraft artist not only bears the back image of human craftsmanship in the past ten thousand years, but also shoulders the practice of the concept of integration of life, education and art. "Art depends on the hand" is an explicit statement: the hand is the universe, the hand is the art, the hand is the life, and the hand is the life. It calls on our young handicraft artists to use their hands as a medium to cut into the scene of life and capture the splendor of civilization and the diversity of life. Play the resonance of individual perception and all things of the times.
/ Zhenghong Wang


Undergraduate tutors:
Zhenghong Wang, Xiao Zhou, Xianou Ni, Yanli Duan

Postgraduate tutors:
Zhenghong Wang, Xiao Zhou
 
Yao Yao. Necklace: Virtual and Reality, 2022. Silver, copper, stainless steel.. 40 x 30 x 5 cm. Photo by: Zongquan Ling. 
. Line images weave the virtual world in the network, composite materials weave the real world in life, and the weaving permeates every aspect. The lines woven into the jewelry change from virtual to solid, and the complete construction process from line to space symbolizes the fusion of the entire world in the intersection of virtual and real.. Yao Yao
Necklace: Virtual and Reality, 2022
Silver, copper, stainless steel.
40 x 30 x 5 cm
Photo by: Zongquan Ling

Line images weave the virtual world in the network, composite materials weave the real world in life, and the weaving permeates every aspect. The lines woven into the jewelry change from virtual to solid, and the complete construction process from line to space symbolizes the fusion of the entire world in the intersection of virtual and real.

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Yao Yao. Necklace: Virtual and Reality, 2022. Silver, copper, acrylic, stainless steel.. 30 x 30 x 5 cm. Photo by: Zongquan Ling. Yao Yao
Necklace: Virtual and Reality, 2022
Silver, copper, acrylic, stainless steel.
30 x 30 x 5 cm
Photo by: Zongquan Ling
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Yizhou Chen. Brooch: The Tribe Leader Youchao, 2022. Bamboo, silver.. Photo by: Zongquan Ling, Yuyun Hu. Yizhou Chen
Brooch: The Tribe Leader Youchao, 2022
Bamboo, silver.
Photo by: Zongquan Ling, Yuyun Hu
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Yizhou Chen. Brooch: The Tribe Leader Youchao, 2022. Bamboo, silver.. 10 x 7.5 x 5 cm. Photo by: Zongquan Ling, Yuyun Hu. 
. When looking at the nesting behavior of animals in nature from the perspective of “instinctive behavior”, I found that, just like the art of bamboo weaving developed from instinctive human behavior, “nest” symbolizes a sense of security for every living individual, who gains something from each other in communication with the outside world, so as to continue to thrive. When one is on a hard ride, he’s often confused about the meaning of wandering and his destination. Even though he has gained nothing at all despite seeing magnificent mountains and rivers, lakes and seas, and the vast plains, when he comes home like a tired bird returning to its nest, he may still feel contented and that his journey was worthwhile.. Yizhou Chen
Brooch: The Tribe Leader Youchao, 2022
Bamboo, silver.
10 x 7.5 x 5 cm
Photo by: Zongquan Ling, Yuyun Hu

When looking at the nesting behavior of animals in nature from the perspective of “instinctive behavior”, I found that, just like the art of bamboo weaving developed from instinctive human behavior, “nest” symbolizes a sense of security for every living individual, who gains something from each other in communication with the outside world, so as to continue to thrive. When one is on a hard ride, he’s often confused about the meaning of wandering and his destination. Even though he has gained nothing at all despite seeing magnificent mountains and rivers, lakes and seas, and the vast plains, when he comes home like a tired bird returning to its nest, he may still feel contented and that his journey was worthwhile.

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Yuchan Jin. Object: Huoxi #1, 2022. Wax, aluminium alloy, cat hair.. 25 x 25 x 7 cm. Photo by: Zongquan Ling. 
. Huo ——the flame of candle, Xi——the past of wax. The work is about candle and wax. It integrates the traditional cultural significance of "candle" into wax and shows in the form of a lidded-cup which is used to drink tea.. Yuchan Jin
Object: Huoxi #1, 2022
Wax, aluminium alloy, cat hair.
25 x 25 x 7 cm
Photo by: Zongquan Ling

Huo ——the flame of candle, Xi——the past of wax. The work is about candle and wax. It integrates the traditional cultural significance of "candle" into wax and shows in the form of a lidded-cup which is used to drink tea.

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Yuchan Jin. Piece: Huoxi #2, 2022. Wax, aluminum alloy, cat hair.. 15 x 15 x 17 cm. Yuchan Jin
Piece: Huoxi #2, 2022
Wax, aluminum alloy, cat hair.
15 x 15 x 17 cm
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Luqi Xu. Brooch: Broken Jade, 2022. Silver, resin.. 5.7 x 8.5 x 1 cm. Photo by: Zongquan Ling. 
. 缮 (Shan) means to repair. Broken bracelets need to be reunited, and intimacy relationships need to be reshaped. The traditional square, circle, window, semi-circle and other shapes are used as the combined frame of this series of necklaces, and the gradient jade green resin is interspersed among them.. Luqi Xu
Brooch: Broken Jade, 2022
Silver, resin.
5.7 x 8.5 x 1 cm
Photo by: Zongquan Ling

缮 (Shan) means to repair. Broken bracelets need to be reunited, and intimacy relationships need to be reshaped. The traditional square, circle, window, semi-circle and other shapes are used as the combined frame of this series of necklaces, and the gradient jade green resin is interspersed among them.

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Xueru Wang. Brooch: Repost this koi - From moon, 2022. Peach wood, 925 silver.. 5.9 x 9.5 x 7.8 cm. Photo by: Zongquan Ling. 
. The traditional Chinese culture has a unique symbolic meaning of peach wood, which is in line with the concept of blessing behind the jewelry. I see peach wood as the carrier of the concept of blessing, and integrate contemporary art and modern lifestyle into the traditional material, breaking the original form of peach wood, extracting fingerprints instead of wood grain, and using "koi" as the inspiration for the design. Each piece is based on an auspicious idiom related to fish, and under the influence of multiple blessing factors, contemporary jewelry with the concept of blessing is created. . Xueru Wang
Brooch: Repost this koi - From moon, 2022
Peach wood, 925 silver.
5.9 x 9.5 x 7.8 cm
Photo by: Zongquan Ling

The traditional Chinese culture has a unique symbolic meaning of peach wood, which is in line with the concept of blessing behind the jewelry. I see peach wood as the carrier of the concept of blessing, and integrate contemporary art and modern lifestyle into the traditional material, breaking the original form of peach wood, extracting fingerprints instead of wood grain, and using "koi" as the inspiration for the design. Each piece is based on an auspicious idiom related to fish, and under the influence of multiple blessing factors, contemporary jewelry with the concept of blessing is created.

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Xueru Wang. Necklace: Repost this koi,In the water, 2022. Peach wood, 925 silver, red rope.. 55 x 9.6 x 6.5 cm. Photo by: Zongquan Ling. Xueru Wang
Necklace: Repost this koi,In the water, 2022
Peach wood, 925 silver, red rope.
55 x 9.6 x 6.5 cm
Photo by: Zongquan Ling
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Aiyun Zou. Brooch: Paper tenon 8, 2022. Paper, resin, silver.. 30 x 35 x 72 cm. Photo by: Aiyun Zou. Brooches, rings. 
. 
. It originated from the disassembly form of traditional Chinese woodwork -- dovetail tenon structure. The unique characteristics of concave and convex disassembly are used to show the change of jewelry form of "disassembly" and "combination". Through the symbiotic relationship of dovetail tenon structure, the created shapes cooperate and complement each other. Each stroke, either as a brooch or as a ring, can be combined to form a variety of patterns. Combined with the Yin and Yang philosophy of dovetail tenon in the composition of materials; The combination of dovetail tenon form and paper layer texture; Combining dovetail tenon and concave convex combination with jewelry space structure, the concept expression of literati feelings in contemporary art jewelry.. Aiyun Zou
Brooch: Paper tenon 8, 2022
Paper, resin, silver.
30 x 35 x 72 cm
Photo by: Aiyun Zou
Brooches, rings.

It originated from the disassembly form of traditional Chinese woodwork -- dovetail tenon structure. The unique characteristics of concave and convex disassembly are used to show the change of jewelry form of "disassembly" and "combination". Through the symbiotic relationship of dovetail tenon structure, the created shapes cooperate and complement each other. Each stroke, either as a brooch or as a ring, can be combined to form a variety of patterns. Combined with the Yin and Yang philosophy of dovetail tenon in the composition of materials; The combination of dovetail tenon form and paper layer texture; Combining dovetail tenon and concave convex combination with jewelry space structure, the concept expression of literati feelings in contemporary art jewelry.

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Aiyun Zou. Ring: Paper tenon 9, 2022. Paper, resin, silver.. 35 x 45 x 50 cm. Photo by: Aiyun Zou. Ring, earrings. . Aiyun Zou
Ring: Paper tenon 9, 2022
Paper, resin, silver.
35 x 45 x 50 cm
Photo by: Aiyun Zou
Ring, earrings.

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Deng Chao. Necklace: Mirage, 2022. Bronze, enamel, silver, fluorescent stone.. 31 x 23 x 1 cm. Photo by: Zongquan Ling. 
. Record the beautiful scenery seen in the military career: the beautiful scenery of long-distance ships is only an external illusion, and it is slowly eroding the people and things in it. The author lived on the ship for two years and saw many beautiful scenes, but there were some problems in his body, but it was still a very memorable time.. Deng Chao
Necklace: Mirage, 2022
Bronze, enamel, silver, fluorescent stone.
31 x 23 x 1 cm
Photo by: Zongquan Ling

Record the beautiful scenery seen in the military career: the beautiful scenery of long-distance ships is only an external illusion, and it is slowly eroding the people and things in it. The author lived on the ship for two years and saw many beautiful scenes, but there were some problems in his body, but it was still a very memorable time.

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Bo Zeng. Object: Be subjected to, 2022. 925 silver, 26kt yellow gold (gold plated), silica gel.. 70 x 30 cm. Photo by: Zongquan Ling. 
. Under the authoritative discourse, the harm of the subject to the object breeds beautiful flowers. . Bo Zeng
Object: Be subjected to, 2022
925 silver, 26kt yellow gold (gold plated), silica gel.
70 x 30 cm
Photo by: Zongquan Ling

Under the authoritative discourse, the harm of the subject to the object breeds beautiful flowers.

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Yiyao Huang. Vessel: Untitled, 2022. 925 silver, 36kt yellow gold (gold plated).. 25 x 15 x 10 cm. Photo by: Zongquan Ling. 
. The contemporary utensils designed and made with the tang Dynasty wine vessel high foot cup as the inspiration are to consider the relationship between ancient civilization and future development in the current social environment. The author has left an inevitable mark on his works through pure handwork, which is the trace of life and the most touching part of handicraft. . Yiyao Huang
Vessel: Untitled, 2022
925 silver, 36kt yellow gold (gold plated).
25 x 15 x 10 cm
Photo by: Zongquan Ling

The contemporary utensils designed and made with the tang Dynasty wine vessel high foot cup as the inspiration are to consider the relationship between ancient civilization and future development in the current social environment. The author has left an inevitable mark on his works through pure handwork, which is the trace of life and the most touching part of handicraft.

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Yili Yao. Brooch: A Patchwork Childhood, 2022. 925 silver, jade, wax string, acrylic.. Photo by: Zongquan Ling. 
. Growing up in a boarding school has left me with a fragmented sense of childhood memories, a conflict between the prescribed time and space, and the curiosity and imagination of the world. Through my work, I want to interpret and reflect on this unique childhood imprint.. Yili Yao
Brooch: A Patchwork Childhood, 2022
925 silver, jade, wax string, acrylic.
Photo by: Zongquan Ling

Growing up in a boarding school has left me with a fragmented sense of childhood memories, a conflict between the prescribed time and space, and the curiosity and imagination of the world. Through my work, I want to interpret and reflect on this unique childhood imprint.

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Seryeong Jang. Head Piece: Golden series of Silla, 2022. 925 silver, 18kt yellow gold (gold plated).. 30 x 30 cm. Photo by: Zongquan Ling. 
. Based on the characteristics of Silla's gold crown, this work is based on the motif of Silla's gold crown, which was used as a funeral mask. The work is worn as a head accessory, and the metal chain is attached to the eye to cover the eyes, showing the effect of tears.The patterns used in masks and rings are redrawn and applied according to the characteristics of Silla's gold crown.. Seryeong Jang
Head Piece: Golden series of Silla, 2022
925 silver, 18kt yellow gold (gold plated).
30 x 30 cm
Photo by: Zongquan Ling

Based on the characteristics of Silla's gold crown, this work is based on the motif of Silla's gold crown, which was used as a funeral mask. The work is worn as a head accessory, and the metal chain is attached to the eye to cover the eyes, showing the effect of tears.The patterns used in masks and rings are redrawn and applied according to the characteristics of Silla's gold crown.

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Danying Li. Necklace: Memory I, 2022. Acrylic, silver.. 95 x 55 x 10 cm. Photo by: Zongquan Ling. 
. The inspiration of this group of works comes from the many emotions that the author's parents were touched when they left their hometown and worked outside when they started from scratch during the 20 years when their children grew up. My parents started their career slowly and experienced many ups and downs. Because of my poor family, I can only stay in my hometown as a left behind child to study. Those who do not give up the separation, the wasted career, the emotion on the shoulders of adults is like the ripples of a pond on a summer night. It seems peaceful, but it is lonely. The design form uses the flowing liquid form for reference to express the bumpy memories like water flowing into rivers, and these emotions are also buried in the long river of memory.. Danying Li
Necklace: Memory I, 2022
Acrylic, silver.
95 x 55 x 10 cm
Photo by: Zongquan Ling

The inspiration of this group of works comes from the many emotions that the author's parents were touched when they left their hometown and worked outside when they started from scratch during the 20 years when their children grew up. My parents started their career slowly and experienced many ups and downs. Because of my poor family, I can only stay in my hometown as a left behind child to study. Those who do not give up the separation, the wasted career, the emotion on the shoulders of adults is like the ripples of a pond on a summer night. It seems peaceful, but it is lonely. The design form uses the flowing liquid form for reference to express the bumpy memories like water flowing into rivers, and these emotions are also buried in the long river of memory.

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Zilong Lin. Necklace: Vocalization, 2022. 925 silver, 38kt yellow gold (gold plated).. 102 x 3 x 1.2 cm. Photo by: Zongquan Ling. 
. This work takes "sound" as the jewelry material. The viewer can insert flowers into the jewelry, and the jewelry can make a sound, delivering the "sound" that the viewer wants to express. As more and more flowers are inserted, the "sound" becomes more and more powerful.. Zilong Lin
Necklace: Vocalization, 2022
925 silver, 38kt yellow gold (gold plated).
102 x 3 x 1.2 cm
Photo by: Zongquan Ling

This work takes "sound" as the jewelry material. The viewer can insert flowers into the jewelry, and the jewelry can make a sound, delivering the "sound" that the viewer wants to express. As more and more flowers are inserted, the "sound" becomes more and more powerful.
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Peiyu Liu. Brooch: Self-remembering, 2022. Brass, eraser, light solid resin, cloth, wire.. 10 x 10 x 2 cm. Photo by: Zongquan Ling. 
. With carved characters, combined with metal and composite materials, the memories of childhood communication with mother are recounted.. Peiyu Liu
Brooch: Self-remembering, 2022
Brass, eraser, light solid resin, cloth, wire.
10 x 10 x 2 cm
Photo by: Zongquan Ling

With carved characters, combined with metal and composite materials, the memories of childhood communication with mother are recounted.
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Na Zhang. Necklace: The Lotus - All Creatures Born, 2022. Silver, acrylic, bronze.. 70 x 50 cm. Photo by: Zongquan Ling. 
. I used the lotus flower motif of the Dunhuang algae as the inspiration for this creation, and combined the modern material of Plexiglas with metal weaving to bring the traditional motif into a contemporary design.. Na Zhang
Necklace: The Lotus - All Creatures Born, 2022
Silver, acrylic, bronze.
70 x 50 cm
Photo by: Zongquan Ling

I used the lotus flower motif of the Dunhuang algae as the inspiration for this creation, and combined the modern material of Plexiglas with metal weaving to bring the traditional motif into a contemporary design.

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Yuying Mao. Piece: Daphne, 2022. 925 silver, 28kt yellow gold (gold plated).. 13 x 13 x 17 cm. Photo by: Zongquan Ling. 
. Inspiration comes from the ancient Greek myth that Daphne is transformed into a laurel tree. The comparison between flocking and metal is used to express the bound body and mind.
. 
. Armlets. . Yuying Mao
Piece: Daphne, 2022
925 silver, 28kt yellow gold (gold plated).
13 x 13 x 17 cm
Photo by: Zongquan Ling

Inspiration comes from the ancient Greek myth that Daphne is transformed into a laurel tree. The comparison between flocking and metal is used to express the bound body and mind.

Armlets.

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Xinyue Zhang. Brooch: Ripple, 2022. Sterling silver, 999 silver wire, steel needle.. 15 x 7.5 x  6 cm. Photo by: Zongquan Ling. 
. Creation originated from the author's preference for self-healing by observing the water surface and touching water waves when he encountering difficulties in his life. Metal weaving is a healing process, which organises, thinks and soothes his heart in the process of repeated editing.. Xinyue Zhang
Brooch: Ripple, 2022
Sterling silver, 999 silver wire, steel needle.
15 x 7.5 x 6 cm
Photo by: Zongquan Ling

Creation originated from the author's preference for self-healing by observing the water surface and touching water waves when he encountering difficulties in his life. Metal weaving is a healing process, which organises, thinks and soothes his heart in the process of repeated editing.

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Jialin Chen. Necklace: Cut 1, 2022. Stainless steel, aluminum, spray paint.. 38 x 38 x 8 cm. Photo by: Zongquan Ling. 
. Scars are marks on the body that record painful experiences. Stinging shocks, striking wounds, and future stimulus-generalizing responses to sharp objects.
. The reason why I chose the theme of scars is that in the twenty-three years of my life, scars always seem to surround me, big and small wounds never stop. What I bring to myself, what others do to me, what I do to others. While scars become the fetters of people and society, they never stop triggering self-examination. Pain, stimulation and compensation constantly shape themselves into stronger and stronger. The skin has undergone the tempering of wind and frost, and people's thoughts and souls continue to grow.. Jialin Chen
Necklace: Cut 1, 2022
Stainless steel, aluminum, spray paint.
38 x 38 x 8 cm
Photo by: Zongquan Ling

Scars are marks on the body that record painful experiences. Stinging shocks, striking wounds, and future stimulus-generalizing responses to sharp objects.
The reason why I chose the theme of scars is that in the twenty-three years of my life, scars always seem to surround me, big and small wounds never stop. What I bring to myself, what others do to me, what I do to others. While scars become the fetters of people and society, they never stop triggering self-examination. Pain, stimulation and compensation constantly shape themselves into stronger and stronger. The skin has undergone the tempering of wind and frost, and people's thoughts and souls continue to grow.

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Fan Pan. Earrings: Shan.Hai, 2022. Rawhide, silver thread, acrylic.. 24 x 16 x 20 cm. Photo by: Zongquan Ling. 
. Art crosses the mountains and the sea, and the artist is unique. At the time of the Shanhaijing, man revered nature, and man and nature were originally one. At that time, the five elements were the gods, and the mountains and the sea could be crossed, and they were the artisan gods between the mountains and the sea, each guarding one side of the mountains and the sea. I have extracted the elements of the five divine elements from the Shan Hai Jing and introduced them into the creation of jewellery using raw cowhide and silver, taking it from a flat ancient text to a three-dimensional piece of jewellery, thus expressing the fusion of traditional Chinese culture with contemporary jewellery.. Fan Pan
Earrings: Shan.Hai, 2022
Rawhide, silver thread, acrylic.
24 x 16 x 20 cm
Photo by: Zongquan Ling

Art crosses the mountains and the sea, and the artist is unique. At the time of the Shanhaijing, man revered nature, and man and nature were originally one. At that time, the five elements were the gods, and the mountains and the sea could be crossed, and they were the artisan gods between the mountains and the sea, each guarding one side of the mountains and the sea. I have extracted the elements of the five divine elements from the Shan Hai Jing and introduced them into the creation of jewellery using raw cowhide and silver, taking it from a flat ancient text to a three-dimensional piece of jewellery, thus expressing the fusion of traditional Chinese culture with contemporary jewellery.
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Minghui Zhou. Brooch: The Order under disorder, 2022. 925 silver, waxed thread, acrylic, frosted cellophane.. 54 x 7.2 x 5.8 cm. Photo by: Zongquan Ling. 
. Inspired by images of cemeteries in Rio, Brazil during the epidemic, the public space is disordered, and in this disorder there seems to be a sense of order. Blue depicts the colour of the epidemic, but blue is pure, vast and calm, hoping that it will heal us in our distress.. Minghui Zhou
Brooch: The Order under disorder, 2022
925 silver, waxed thread, acrylic, frosted cellophane.
54 x 7.2 x 5.8 cm
Photo by: Zongquan Ling

Inspired by images of cemeteries in Rio, Brazil during the epidemic, the public space is disordered, and in this disorder there seems to be a sense of order. Blue depicts the colour of the epidemic, but blue is pure, vast and calm, hoping that it will heal us in our distress.

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Miao Yao. Brooch: Please show your health code, 2022. 925 silver, 40kt yellow gold (gold plated).. 15 x 10 x 10 cm. Photo by: Zongquan Ling. 
. If the process of nucleic acid detection is a shot of medicine, and there is no need to test again after the shot, what would it be like? For this I used elements of syringes and epoxy to express various injection types.. Miao Yao
Brooch: Please show your health code, 2022
925 silver, 40kt yellow gold (gold plated).
15 x 10 x 10 cm
Photo by: Zongquan Ling

If the process of nucleic acid detection is a shot of medicine, and there is no need to test again after the shot, what would it be like? For this I used elements of syringes and epoxy to express various injection types.

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