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Setting By Zixin Wei

Exhibition  /  15 Nov 2020  -  25 Nov 2020
Published: 12.11.2020
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Intro
A part of the works to be exhibited this time was designed for the space of The Closer Gallery itself, and these works are “set” in the space. After Zixin decided on the exhibition direction, she found that creating for a space that can be directly externalized was more exciting and satisfying than creating for a person or an exhibition event. At this point of time, the concept of “setting” has been enlarged and presented in a larger pattern. Perhaps the so-called functionality of jewelry has temporarily become “invisible”, but its real function is to “expand” the more intriguing interaction between jewelry, space and people.
/ Liang Xiao

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Artist list

Zixin Wei
The last Solo of The Small Jewelry Exhibition comes from a young jewelry artist --- Wei Zixin.
 
“Setting” seems to be a very safe topic for a jewelry exhibition, and in fact, we had agreed on the exhibition topic and time as early as one year ago. Zixin’s initial idea was to expand her design concept starting from a technique and craft that is commonly used in jewelry design and manufacturing, i.e., to dismember “setting” and transform the subtle details in the craft into the exhibition subject. There would be many words to say and many contents to explore. Moreover, Zixin has comprehensive research experience and thinking about “setting”, and therefore, everything about this exhibition was expected to be smooth.

But as a matter of fact, the progress of preparing exhibition works this time is very “frustrating”. It is not “smooth” at all, and even deviated a lot from the original idea. I have witnessed Zixin’s drastic overthrow and reconstruction of her works for many times in the entire creation process. As the exhibition time approached, she was still not willing to stop her reconstruction. Upon no more than two months before the planned exhibition time, she almost opened up a brand-new creation idea.

As far as I can see, Zixin’s works have always carried the power of “throwing out a minnow to catch a whale”. Everyone has their own creation state, while Zixin is a very determined artist who is used to hide in a corner and work silently. She does not need to talk and communicate too much, as her mind is always firm. Therefore, during the regular exchanges about her exhibition, our conversations were usually a few words only, but that was enough for us to understand each other. Her thoughts turned sharply from time to time. Each time after our discussion, her works would be undergoing significant or even complete changes. I think she had made up her mind to fight till the end, leaving no room for herself. But to be frank, as the exhibition organizer, I never had any suspicion or worry about her, but only trust and expectation.

A part of the works to be exhibited this time was designed for the space of “The Closer Gallery” itself, and these works are “set” in the space. After Zixin decided on the exhibition direction, she found that creating for a space that can be directly externalized was more exciting and satisfying than creating for a person or an exhibition event. At this point of time, the concept of “setting” has been enlarged and presented in a larger pattern. Perhaps the so-called functionality of jewelry has temporarily become “invisible”, but its real function is to “expand” the more intriguing interaction between jewelry, space and people.

The other part of the works was originated from the inspiration of “setting”, or from the emotional experience of a female perspective. These works demonstrate the sensitive and intelligent creative talents of a female jewelry artist from multi-dimensions.

When I saw the effort Zixin put and the result she got at each stage, as well as the give-up or start-again she decided from time to time, I knew that it was all because of the dissatisfaction stemmed from her inner heart. She was not satisfied with being conservative and handy in her expression. I once asked her whether she would give up all the things she did before. She said: “I will drive directly onto the highway from the fork road in front of me, and it is difficult for me to look back. At this point of time, it may seem dangerous and panic, but a new idea can never be achieved overnight. All the useless effort before was to prepare for the outcome of these two months. Now, I’m ready to race, and it feels great to be able to do so.”

Certainly, I would like to say that “The Small Jewelry Exhibition” is honored to be her co-driver, and there is no reason not to accompany her on the race.

Many wonderful works have not yet been presented here. Please come to our exhibition site to appreciate them with your own eyes.

/ Xiao Liang


Work Descriptions:
Beware of Peephole
This work is the first idea formed on the basis of the exhibition space of The Closer Gallery. The Closer Gallery has a large bright floor-to-ceiling window, through which the pedestrians outside can see clearly what is happening in the gallery, giving them the most intuitive understanding about the space. This process is the communication between the outside and the inside, and the floor-to-ceiling window undoubtedly makes the communication simple and straightforward. The pedestrians only need to turn their heads by 90 degrees to complete the communication within 10 seconds. Those who have an interest can simply push the door open and come in, and those who are not interested will just pass by. Zixin’s idea is to make such a communication process not so easy. People outside have to climb up the steps in front of the window, find a peephole that is suitable for their height on the curtain and then lean forward so as to peep inward. In exchange for this process is a short pause of “your” gaze, while the peephole acts as the opening of a setting --- your gaze is “set” in that short pause like a gem.

White Moonlight and Cinnabar Mole is just Cinnabar Mole
In Zhang Ailing’s words, white moonlight and white rice grains, cinnabar mole and mosquito blood are all used to symbolize love --- the crux that makes life beautiful or unbearable. After becoming a mother, Zixin has no longer seen love as a frame for defining the meaning of life. She has been gradually learned to experience and understand the complexity of the overlap between different emotions. What white moonlight and cinnabar mole touch her the most is the visual accuracy of these two images --- one is a bright and full circle and the other one is a tiny red dot. White moonlight is always in a distance, while cinnabar mole is a feel of pain. In Chinese culture, these two images often carry some longing feelings.
 
 
Zixin Wei. Installation: Beware of Peephole, 2020. Brass, roller blind.. Zixin Wei
Installation: Beware of Peephole, 2020
Brass, roller blind.
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Zixin Wei. Brooch: Beware of Peephole, 2020. Brass.. Part of the installation Beware of Peephole.. Zixin Wei
Brooch: Beware of Peephole, 2020
Brass.
Part of the installation Beware of Peephole.

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Zixin Wei. Necklace: Mind the Steps, 2020. Mother of pearls, wood, silver.. The Closer Gallery has very steep steps leading from the first floor to the second floor. These steps are like a passage that connects two different spaces. The sign “Mind the steps” is pasted on every step. “Mind the steps” is also a calling for “excellence to be continued”.. Zixin Wei
Necklace: Mind the Steps, 2020
Mother of pearls, wood, silver.

The Closer Gallery has very steep steps leading from the first floor to the second floor. These steps are like a passage that connects two different spaces. The sign “Mind the steps” is pasted on every step. “Mind the steps” is also a calling for “excellence to be continued”.

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Zixin Wei. Necklace: Mind the Steps, 2020. Mother of pearls, wood, silver.. Details.. Zixin Wei
Necklace: Mind the Steps, 2020
Mother of pearls, wood, silver.

Details.

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Zixin Wei. Object: White Moonlight, 2020. Paper, silver, ring.. Never hanker for the white moonlight that we can only appreciate from a distance. Once it came down to earth, it would only become the “window paper to be punctured”.. Zixin Wei
Object: White Moonlight, 2020
Paper, silver, ring.

Never hanker for the white moonlight that we can only appreciate from a distance. Once it came down to earth, it would only become the “window paper to be punctured”.

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Zixin Wei. Object: Cinnabar Mole is just Cinnabar Mole, 2020. Wood, cinnabar.. This work is an imitation of a cinnabar mole, a tiny red dot, simple and crude. This red dot has the power of throwing out a minnow to catch a whale. It is not a simple red dot, as below it is the pain of tingling from a needle.. Zixin Wei
Object: Cinnabar Mole is just Cinnabar Mole, 2020
Wood, cinnabar.

This work is an imitation of a cinnabar mole, a tiny red dot, simple and crude. This red dot has the power of throwing out a minnow to catch a whale. It is not a simple red dot, as below it is the pain of tingling from a needle.

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Zixin Wei. Necklace: Scotch Tape and Jade, 2020. Jade, scotch tape.. The connection between these two objects comes from intuition. When Zixin looked for scotch tape in an accidental chance, she found that the tape was mixed with a jade ring in front of her. Thus, she thought that these two objects must be able to produce a kind of chemical reaction. Scotch tape and jade are so different from each other: one is a precious gem that takes 100 million years to form, while the other one is just a low-cost disposable material by industrial production; one wraps a profound history of 100 million years, while the other one only absorbs the dust, hairs, and air around it at a particular moment.. Zixin Wei
Necklace: Scotch Tape and Jade, 2020
Jade, scotch tape.

The connection between these two objects comes from intuition. When Zixin looked for scotch tape in an accidental chance, she found that the tape was mixed with a jade ring in front of her. Thus, she thought that these two objects must be able to produce a kind of chemical reaction. Scotch tape and jade are so different from each other: one is a precious gem that takes 100 million years to form, while the other one is just a low-cost disposable material by industrial production; one wraps a profound history of 100 million years, while the other one only absorbs the dust, hairs, and air around it at a particular moment.

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Zixin Wei. Object: No Smoking, No Jewelry, 2020. Cigarette, ruby, zircon, paper.. In many cases, a cigarette, when it is held in a hand, is both a kind of decoration and disguise, just like jewelry. The gem hidden in shredded tobacco is no longer safe from the moment the cigarette is lit. Eventually at a certain moment, it will drop off with the ashes, leaving the smoker only a short-lived surprise.. Zixin Wei
Object: No Smoking, No Jewelry, 2020
Cigarette, ruby, zircon, paper.

In many cases, a cigarette, when it is held in a hand, is both a kind of decoration and disguise, just like jewelry. The gem hidden in shredded tobacco is no longer safe from the moment the cigarette is lit. Eventually at a certain moment, it will drop off with the ashes, leaving the smoker only a short-lived surprise.

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Zixin Wei. Object: No Smoking, No Jewelry, 2020. Cigarette, ruby, zircon, paper.. Alternative view.. Zixin Wei
Object: No Smoking, No Jewelry, 2020
Cigarette, ruby, zircon, paper.

Alternative view.

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Zixin Wei. Object: No Smoking, No Jewelry, 2020. Cigarette, ruby, zircon, paper.. Alternative view.. Zixin Wei
Object: No Smoking, No Jewelry, 2020
Cigarette, ruby, zircon, paper.

Alternative view.

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