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Moss Mark by Yi Zhao

Exhibition  /  中文版-ChineseVersion  /  22 Jun 2019  -  07 Jul 2019
Published: 17.06.2019
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Intro
My first acquaintance with Yi Zhao's jewelry works was through some pictures sent over by one of my friends. Those pictures were of very common quality but still could not conceal the glamour exhibited by the exquisite designs across the mobile screen. The initial impression it gave me was “they are charming", so I immediately decided to visit this jewelry artist.

Artist list

Yi Zhao
Our encounter happened at Yi Zhao’s workplace --- Beijing Institute of Fashion Technology. She wore a necklace of her own design in front of her chest. The little pendant, which should have been worn for a long time, was well blended with her entire temperament. She didn’t give me any sense of distance and began to talk to me naturally. I felt like being together with a teacher from the studio of my own university, familiar and comfortable. She took out her designs in recent years and laid them out on a big table one by one. I was touched by those gorgeous jewelries immediately. Sometimes as a viewer, we may not understand the underlying meaning behind a work, but when we see it and touch it, we can easily perceive the call of certain emotions and fall captivated by the charm of this creation. Yi Zhao’s jewelries are definitely such works.

As a mother of two young girls, Yi Zhao spent most of her time out of teaching to accompany her children. For the remaining time, she spared to jewelry design. She has made these scattered but precious time fragments into a great abundance of metal pieces and painted wooden blocks. Connecting them together would be able to outline the trajectory of her life in recent years. We all feel that it is time to host an exhibition to unveil these elegant works to the public.

The exhibition this time is entitled Moss Mark, that is, the mark of moss blooming.

In 2016, Yi Zhao had a contact with the Chinese lacquer technique by chance. Her earlier works were mainly based on metalworking, and she was not really proficient in the use of colors. She said that it was quite difficult to control the color of paint, because the paint could breathe, and only if both the temperature and humidity were appropriate, it might show you some colors. You had to pay it loyalty and patience for months and even years in exchange to see its best appearance. The characteristic of the slowness of lacquer coincides with her own quality, so she began experimenting on the lacquer technique ever since then, and her works gradually exhibited the traces of colors. She likes to use black wood as the base of design and attaches it with lacquer after molding. She deliberately chooses old materials and applies coarse processing techniques for creation, so that the texture of lacquer does not appear dazzling or over smooth. She is fond of this kind of gentle and calm look very much, as the timeworn appearance conveys a special sense of memory:
Sometimes, I am occupied by memories of my childhood drifting in the sea; sometimes, I am occupied by the cabinets and chairs that had been moldy and used for many years in my old house. The trace left over after the original appearance faded out is the best proof of the connection between objects and me. This coincides with the reason why I spent so much time to polish them --- to elucidate the weather-beaten look of the time.
Sometimes, I would think that these jewelries might always have this "old" look, because they were never "new" from the beginning. But also because of wearing, they are constantly nurtured by human’s life and acquiring some new senses of beauty and affection, so that the painted colors become long-lasting.

/ Yi Zhao

Between 2016 and 2017, Zhao Yi created 11 pieces of lacquer ebony necklaces. Then in 2018, she designed another 20 pairs of lacquer ebony earrings. Throughout these three years, she had been deeply obsessed with lacquer for its unique experience in color and creation and unlimited possibilities between paint and wood. In the process of surface coloring, she could observe the whole course from solidification, discoloring, grinding to brightening step by step, and eventually witness the formation of a final work that can be worn, that can satisfy both of her inner spiritual and outer decoration needs. She said this was perfect practice.

The kernel of my daily life seems to be raising jewelry and raising children. The coexistence of these two life forms has made me fully occupied. For my own sake, the attempt to find a balance between them has taught me to be uncompromising and decisive. Every kind of dedication and feedback behind this balance is different. All I can do is to act each of my life roles and love both of them with my best effort.
/
Yi Zhao

In this era, material consumption has become easier and faster, and once an object is bought, it may evolve into a sort of spiritual nourishment. Through display, inheritance, giving, use and play, people’s emotions are gradually attached to these objects. As time goes by, durable things will carry a lot of stories and memories, and leave over traces of life at the same time. If an object is alive, it must have a lot of words to tell you, and this is what jewelry resembles --- a weather-beaten companion by your side.

I always hope that my jewelries have more words to tell. They should not simply respond to the context of the present, but also try to find the right owners in the past and in the future. For me, I often fantasize about how they will look like when Qingche and Tonger wear them one day in the future.
/ Yi Zhao

Since entering the university in 1995, Zhao Yi has been in contact with jewelry for over two decades. From a learner to a teacher, until marrying with another jewelry creator, her whole life has been bonded with jewelry. When her little daughter Tonger was only two years old, she had already known to remind her mother to wear jewelry before going out, don’t forget to wear jewelry... How impressed! It seems that jewelry has become an indispensable part for the girls in this family to see the world.

I am sincerely honored to have the opportunity to invite Yi Zhao to participate in The Small Jewelry Exhibition. If my memory is right, she should be the artist delivering the largest number of exhibits so far. In addition to the quantity, every piece of her works, from necklaces to earrings, is so unique with completely different eye-catching details. The smart processing techniques used in the designs can perfectly reflect the solid design foundation of the artist. I am sorry that I can't present all the jewelry works in this preview. We welcome you to appreciate more exciting jewelries at the exhibition.



中文版,Chiense Version:

第一次看到赵祎老师的首饰作品是通过朋友发来的几张照片,图像拍得很一般,但是依然难掩那几件首饰隔着手机屏幕传达过来的吸引力,当时心里的感觉是:“它们蛮迷人的”,于是决定要去拜访这位首饰艺术家。

和赵老师见面约在她工作的地点:北京服装学院。 她的胸前挂着自己做的一条项链,小小的吊坠应该已经戴了很久,与整个人的气息融为一体。初次见面竟完全没有距离感,自然地聊起天,很像是跟大学里自己工作室的老师在一块儿,熟悉自在。看着她拿出近几年创作的作品,一件一件摊开来铺在大桌子上,便被眼前这些首饰打动了。有时候作为观者,我们可能还并不了解一件作品背后的意义,但是当你看到它,触摸它的时候,似乎很容易就能感受到某种情感的召唤,以及作品本身散发的魅力,自然地喜欢上它。赵祎的首饰,就是这样的作品。

作为一位养育着两个小女儿的母亲,除了学校的教学工作之外,她几乎把大部分的时间给了孩子们,余下挤出的空闲,就留给自己做首饰。于是这些零碎又珍贵的时间,变作了林林总总形状各异的金属件和上了大漆的木块,把它们精巧地连结在一起,便是她这几年生活的轨迹。我们彼此都觉得,是时侯要做一个展览,让这些作品解开封印,和大家见见面了。

2016年赵祎接触到大漆工艺,之前她的作品以金工为主,并不擅长在创作中使用颜色。她说,漆色并不好控制,它是会呼吸的,温度和湿度都合适才会给你一点颜色,你要付给它忠诚和耐心作为交换,数月甚至数年之后,它才可能显出最好看的面貌。大漆慢热的秉性刚好和她本人相近,于是她开始了对大漆的实验与磨合,作品中渐渐有了斑斓的痕迹。她用黑木做底,成型之后附上大漆再磨显,故意选了有“旧”意的材料用了一些毛躁的处理,这样做出的大漆质地不耀眼也不光洁,她喜欢它们温和沉静的样子,似乎看起来有一点陈旧,这样的质感很有记忆的味道:
“有时我心里装着的是自己孩童时在大海里飘荡的回忆,有时又是那些老家里发霉和经用多年的柜子桌椅,容华褪去后留下的痕迹是物我联系的最好证明,就像我用掉许多时间去打磨它们,为的是看清时间那一脸饱经风霜的模样。
有时候我会想,这些首饰也许会一直是这个“老”样子,因为它们从一开始就没有那么“新”了。又因为佩戴的关系,人的生命不断在养护它们,不断赋予它们新的美感和爱意,使那些漆色保持金身不坏,历久弥新。”

2016-2017年,赵祎花了两年时间制作了11条大漆乌木项链,2018年又用一年的时间制作了20对大漆乌木的耳饰,三年来她执迷于大漆所带给她的色感和创作体验,以及漆与木之间的多种可能性。在表面施彩的过程中看着它固化、变色、磨显、推光,过程一步一步累计推进,最终凝聚成一件作品,可以供她日常佩戴,满足每日内在精神和外在装饰之须,她说,这是一次堪称完美的修行。

“我每天的生活似乎都是在养育首饰和养育孩子,与这两种生命的共处真是让人忙到脚不沾地啊。于我自身而言,在这种共处之间找到平衡,使我学会了不妥协,有决断,这背后的每一种付出与回馈都是不同的,我所能做的就是当好其中的每一个人生角色,爱好其中的每一种生命。”

在这个时代,物质消费变得愈加容易和迅捷,一件物品归入囊中之后,有时会演变成一种精神的滋养。通过展示、传承、馈赠、使用与把玩,将人的情感维系在物品上,慢慢的,耐久的物件便承载了很多故事,也留下了很多用迹。如果物件是有生命的,那它一定有许多话想要和你讲,像是一位饱经风霜的同伴,首饰便是这种类型的物件。

“我一直希望自己的首饰有更绵长的话可以说,它不应只应和当下的语境,也可以在过去和未来找到恰当的主人。而我则会常常幻想清澈和彤尔多年后佩戴它们的样子。”

从1995年入大学的门,赵祎接触首饰已有二十多年了,从学首饰到教首饰,再到嫁给同是首饰创作者的另一半,她的一切已经与首饰骨肉相连,难以剔除。小女儿彤尔两岁时在妈妈出门前竟也会奶声奶气地提醒:“出门记得要戴首饰呀......”这觉悟高的,看来首饰已经成为这家子女孩们看世界的一部分了。

很荣幸能有机会邀请赵祎老师参与到“小的首饰展”中,如果没记错,这应该是目前参展作品数量最多的一位作者。除了数量,大到项链,小到耳饰,都几乎完全不同,每一件作品都有非常耐看的细节,巧妙的处理尽显扎实的功底。很抱歉无法将每一件作品都呈现在展览的预告里,更多精彩的首饰作品,欢迎到展览现场观看。

 

Opening

22nd of June, Saturday, 3 pm.
Yi Zhao. Brooch: 21 Gram, 2018. Fabric, lacquer, silver.. 20 ×3 × 2.6 cm. Yi Zhao
Brooch: 21 Gram, 2018
Fabric, lacquer, silver.
20 ×3 × 2.6 cm
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Yi Zhao. Necklace: Rippling, 2016-2017. Ebony, lacquer, silver.. Yi Zhao
Necklace: Rippling, 2016-2017
Ebony, lacquer, silver.
© By the author. Read Klimt02.net Copyright.
Yi Zhao. Necklace: Rippling, 2016-2017. Ebony, lacquer, silver.. Yi Zhao
Necklace: Rippling, 2016-2017
Ebony, lacquer, silver.
© By the author. Read Klimt02.net Copyright.
Yi Zhao. Necklace: Rippling, 2016-2017. Ebony, lacquer, silver.. Yi Zhao
Necklace: Rippling, 2016-2017
Ebony, lacquer, silver.
© By the author. Read Klimt02.net Copyright.
Yi Zhao. Earrings: Rippling, 2018. Ebony, lacquer, silver.. Yi Zhao
Earrings: Rippling, 2018
Ebony, lacquer, silver.
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Yi Zhao. Earrings: Rippling, 2018. Ebony, lacquer, silver.. On body.. Yi Zhao
Earrings: Rippling, 2018
Ebony, lacquer, silver.

On body.

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Yi Zhao. Earrings: Rippling, 2018. Ebony, lacquer, silver.. Yi Zhao
Earrings: Rippling, 2018
Ebony, lacquer, silver.
© By the author. Read Klimt02.net Copyright.
Yi Zhao. Earrings: Rippling, 2018. Ebony, lacquer, silver.. On body.. Yi Zhao
Earrings: Rippling, 2018
Ebony, lacquer, silver.

On body.

© By the author. Read Klimt02.net Copyright.
Yi Zhao. Necklace: Rippling, 2016-2017. Ebony, lacquer, silver.. Yi Zhao
Necklace: Rippling, 2016-2017
Ebony, lacquer, silver.
© By the author. Read Klimt02.net Copyright.
Yi Zhao. Necklace: Rippling, 2016-2017. Ebony, lacquer, silver.. Yi Zhao
Necklace: Rippling, 2016-2017
Ebony, lacquer, silver.
© By the author. Read Klimt02.net Copyright.
Yi Zhao. Necklace: For my daughter, 2018. Ebony, lacquer, raden, nylon.. Yi Zhao
Necklace: For my daughter, 2018
Ebony, lacquer, raden, nylon.
© By the author. Read Klimt02.net Copyright.
Yi Zhao. Necklace: For my daughter, 2018. Ebony, lacquer, raden, nylon.. On body.. Yi Zhao
Necklace: For my daughter, 2018
Ebony, lacquer, raden, nylon.

On body.

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Yi Zhao. Head Piece: For my daughters, 2018. Ebony, lacquer, pearl, silver, leather.. Yi Zhao
Head Piece: For my daughters, 2018
Ebony, lacquer, pearl, silver, leather.
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Working process..
Working process.

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Working process..
Working process.

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Yi Zhao at the bench..
Yi Zhao at the bench.

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Yi Zhao. Necklace: Rippling, 2016 - 2017. Ebony, lacquer, silver.. Yi Zhao
Necklace: Rippling, 2016 - 2017
Ebony, lacquer, silver.
© By the author. Read Klimt02.net Copyright.
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