Cranbrook Academy of Art. Degree Show 2019
Published: 26.07.2019
cranbrook.eduPiece: Expert from Expert of a Bathroom, 2019
Brass, aluminium, powder coating, plexiglass, yarn, plastic o-ring, ball chain, silicone, ceramic tile.
91.4 x 76.2 x 30.5 cm
Photo by: Carlson Productions
From series: Expert of a Bathroom
Necklace and objects.
© By the author. Read Klimt02.net Copyright.
Cranbrook Academy of Art Graduation Exhibition showcases the work of 65 Master in Fine Arts and Master in Architecture students from various disciplines.
The work of the students from the Metalsmithing Department is the result of two years of thorough exploration through making, driven from curiosity and supported by an evolving understanding of materials and our shared experience with objects.
Artist list
Tatum Gentry, Yilun Lyu, Natalia Sarrazin
Tatum Gentry
My work focuses on the body and its relationship to objects, how we position ourselves around the things we collect, and what those objects tell others about us. Jewelry is the objects that we carry with us every day. In my necklaces I use the cultural signifiers of my adolescence, the things we would adorn ourselves with to “fit in”. Those “objects” that we carried and the jewelry that we wear mean something to us. Through my work, I am trying to discover what that meaning is.
Sex. Kink. Phallic. Obscene. These themes surface in my work and are always accompanied by the notion of innocence. I make soft implications of impure thoughts, to implicate the viewer. This, in turn, adds a sense of ownership to the jewelry when worn. My work harnesses the confusion of sex, innocence, the obscene and the clean. Bringing the viewer or wearer back to a time of adolescence, a time when you question everything. Ultimately compelling you to think about the objects you live with and why.
Yilun Lyu
Challenging the conception of preciousness and wearability, my jewelry pieces are proclaimed as odd occurrence on the body, which brings together the irrelevance and the compellingly repulsive bodily symbols - skin, hair, pore, lump, female regions, etc. Taking clues from everyday objects, I introduce assemblages which I have an intimate association with but might be experienced as an absurd or phobic confrontation to the viewers/wearers in order to provocate disgust or other kinds and levels of synaesthetic responses. My composition entertains the impression of “jewelry collages”, as is conceived as a collision of incongruous materials and functionalities. I believe in and make use of the instinct of divergent materials and the agon within the pairings.
I create my own palette by dyeing the fabrics into uneven meaty color in the representation of the leaking and bruised female body. Stitching and stuffing are the major ways through which I construct and connect forms, and to communicate, to interrogate the objectified spirituality underneath the skin. Centering femininity and the mimicking of that as the motif during the making, my work not only deals with aspects of my personal melancholy as a female but also touches upon critiques concerning the historically suppressed female identity and the ridiculed feminine ideals under social designation nowadays.
Natalia Sarrazin
As I am confronted with my empty bench and its fullness of possibilities -and to escape my temptation to escape this confrontation-, I create fake narratives that serve as guides during uncertain beginnings, I wait for the process to take over until they are not needed anymore and I can let go. My job is to recognize the moment when the materials turn into an object that exceeds itself.
I steal forms from the objects around me by performing repetitive actions: pressing, peeling, knotting and layering, then, I repeat again. Repetition of processes and shapes. I peel off layers of wax to press them against a metal surface that at the same time has been pressed against an object to capture its silhouette. An abstracted version of an abstracted thing, the impression something has left on me and the memory of something else.
As I am making I am arranging these objects into compositions, looking for something that communicates without explaining and that can exist in a constant process of becoming.
I Doing and undoing, turning them inside out. Something that I can’t point out but resonates.
Yao Xiao
When I see you again, I would make tea for you and recall our memory of my childhood under the sunshine. When I see you again, I would be in the mountain that you mentioned and sleep in that dream of your story. When I see you again, I would stroll with you around the world and save more memory together bit by bit…
My work focuses on the body and its relationship to objects, how we position ourselves around the things we collect, and what those objects tell others about us. Jewelry is the objects that we carry with us every day. In my necklaces I use the cultural signifiers of my adolescence, the things we would adorn ourselves with to “fit in”. Those “objects” that we carried and the jewelry that we wear mean something to us. Through my work, I am trying to discover what that meaning is.
Sex. Kink. Phallic. Obscene. These themes surface in my work and are always accompanied by the notion of innocence. I make soft implications of impure thoughts, to implicate the viewer. This, in turn, adds a sense of ownership to the jewelry when worn. My work harnesses the confusion of sex, innocence, the obscene and the clean. Bringing the viewer or wearer back to a time of adolescence, a time when you question everything. Ultimately compelling you to think about the objects you live with and why.
Yilun Lyu
Challenging the conception of preciousness and wearability, my jewelry pieces are proclaimed as odd occurrence on the body, which brings together the irrelevance and the compellingly repulsive bodily symbols - skin, hair, pore, lump, female regions, etc. Taking clues from everyday objects, I introduce assemblages which I have an intimate association with but might be experienced as an absurd or phobic confrontation to the viewers/wearers in order to provocate disgust or other kinds and levels of synaesthetic responses. My composition entertains the impression of “jewelry collages”, as is conceived as a collision of incongruous materials and functionalities. I believe in and make use of the instinct of divergent materials and the agon within the pairings.
I create my own palette by dyeing the fabrics into uneven meaty color in the representation of the leaking and bruised female body. Stitching and stuffing are the major ways through which I construct and connect forms, and to communicate, to interrogate the objectified spirituality underneath the skin. Centering femininity and the mimicking of that as the motif during the making, my work not only deals with aspects of my personal melancholy as a female but also touches upon critiques concerning the historically suppressed female identity and the ridiculed feminine ideals under social designation nowadays.
Natalia Sarrazin
As I am confronted with my empty bench and its fullness of possibilities -and to escape my temptation to escape this confrontation-, I create fake narratives that serve as guides during uncertain beginnings, I wait for the process to take over until they are not needed anymore and I can let go. My job is to recognize the moment when the materials turn into an object that exceeds itself.
I steal forms from the objects around me by performing repetitive actions: pressing, peeling, knotting and layering, then, I repeat again. Repetition of processes and shapes. I peel off layers of wax to press them against a metal surface that at the same time has been pressed against an object to capture its silhouette. An abstracted version of an abstracted thing, the impression something has left on me and the memory of something else.
As I am making I am arranging these objects into compositions, looking for something that communicates without explaining and that can exist in a constant process of becoming.
I Doing and undoing, turning them inside out. Something that I can’t point out but resonates.
Yao Xiao
When I see you again, I would make tea for you and recall our memory of my childhood under the sunshine. When I see you again, I would be in the mountain that you mentioned and sleep in that dream of your story. When I see you again, I would stroll with you around the world and save more memory together bit by bit…
Piece: Expert from Expert of a Bathroom, 2019
18k gold plated lead, 14k gold nose ring, thread, my sister's wisdom teeth, ball chain, brass, powder coating, lead, CZ, yarn, ceramic tile.
Photo by: Carlson Productions
From series: Expert of a Bathroom
Necklace and objects.
© By the author. Read Klimt02.net Copyright.
Necklace: Dog Tags with Sock, 2019
Brass, aluminium, powder coating, yarn, plexiglass, plastic o-ring, 18k gold plated ball chain.
122 x 61 x 670.6 cm
Photo by: Tatum Gentry
From series: Expert of a Bathroom
© By the author. Read Klimt02.net Copyright.
Installation: Cindy, 2019
Copper, silicone, fiber filling, wood.
114 x 165 x 38 cm
© By the author. Read Klimt02.net Copyright.
Installation: Cindy, 2019
Copper, silicone, fiber filling, wood.
114 x 165 x 38 cm
Detail view.
© By the author. Read Klimt02.net Copyright.
Necklace: Barren with Eggs, 2018
Nylon, wood; cotton, bean, felt, thread.
4 x 9 x 43 cm
From series: Barren with Eggs
© By the author. Read Klimt02.net Copyright.
Brooch: Fairly Decent, 2018
Silicone, false eyelashes, plastic, steel.
30 x 20 x 2.5 cm
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2019
Bees wax, sterling silver, steel.
7 x 0.6 x 9 cm
Photo by: Natalia Sarrazin
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2019
Silver alloy, steel, silicone, thread.
Photo by: Natalia Sarrazin
© By the author. Read Klimt02.net Copyright.
Installation: Sobremesa, 2019
Steel, wax, silicone, copper and silver alloy, wax, hem.
122 x 91 x 76.2 cm
Photo by: Natalia Sarrazin
From series: Sobremesa
© By the author. Read Klimt02.net Copyright.
Brooch: Trace Back, 2019
Teabags, thread, steel.
17.8 x 8.9 x 2.9 cm
© By the author. Read Klimt02.net Copyright.
Brooch: Trace Back, 2019
Teabag, thread, ash, red cotton fabric, steel.
12.1 x 3.8 cm
© By the author. Read Klimt02.net Copyright.
Necklace: Trace Back, 2019
Teabags, thread, copper.
44.5 x 12.7 cm
© By the author. Read Klimt02.net Copyright.
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