Sheffield Institute of Arts Degree Show 2015

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Sophie Adderley
Ring: Friday, 2015
Brass, leather
50 x 20 x 5 cm
'One Week'  Seven rings:  my personal response to each day of the week, expressed through weight, movement, material and sound. By using jewellery as the platform for this collection’s narrative, it begins to challenge what an individual may perceive to be jewellery, and provoke discussion about how each person may see a week from a completely different perspective.
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Yangui Cai
Bracelet: Untitled, 2015
Silver, embroidery thread
15 x 3 x 3 cm
Architecture, mathematical structures, geometry and wonder of light are all themes that have inspired my work. I like used non-traditional materials such as acrylic, thread as the materials, combined industrial and organic design elements worked with materials use of modern technology such as laser cutting make jewellery. The design using laser cutting technology and the combination of traditional arts and crafts keep the material itself beautiful qualities.
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Elizabeth Crawford
Neckpiece: Untitled, 2015
Silver, enamel
25 x 20 cm
Inspired by the unique complexity and irregularity of our natural environment, I create exploratory pieces that express natures’ uncontrollability through a variety of manmade, controlled processes. My work also explores the contrast of controlled geometric shapes and uncontrollable, complex, random cast forms. This creates a unique aesthetic balance that makes each piece highly distinctive and individual.
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Alexandra Defina
Vessel: Untitled, 2015
Silver
12 x 8 x 8 cm
All families have their instabilities but fundamentally love and supporting each other is what makes them work as a unit. This collection of drinking vessels are made for a celebration, they express my feelings of the importance of spending time with family.  The vessels are all alterations of the same spun form to convey the common core within the diversity of a family. The collection is intended to start a conversation by questioning the function of the objects because of their instabilities, the objects only function fully when supported by the hand of the user.
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Elizabeth Handforth
Object: Wishing, 2015
Gilding metal
12 x 12 x 4 cm
This work expresses a love for the fluidity of metal. Sheet, hand formed sheet and pressed formed sheet are combined in the pieces. The metals’ inherent qualities are enhanced by a simplicity of form and construction.
Press forming, a technique associated with uniformity and mass production, has taken over my imagination. By playing with the tools, the metal is encouraged to flow in particular planes, into and over details, and to assume different surface textures. Methods include the use of deliberately mis-fitting dies and concentrating the power of the press onto specific areas. Consequently, each piece is unique.
No attempt to conceal the method of production is made – these tell-tale signs are its narrative. The edge is as important as the centre and all is embraced within a burnished frame.
These pieces are an attempt to get closer to an understanding of the behaviour and the beauty of metal.
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Chenchen He
Brooch: Social Groups, 2015
Silver, enamel paint, gold leaf
6 x 5 x 5 cm
Recording my life in the UK, this collection is about the relationships of my classmates. Since we live in the same city, but the views for us are different like the relationships; city is the link to combine all the relationships. In the works those small guys which symbolize us describing our relationships and live in the city. Our feels of the city are different so I made different forms of the city basic on the emotions. Some of them are feels happy and looks colorful; some of them are feels lonely, looks black and white.
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Giles Kozdon
Sculpture: Untitled, 2015
Acrylic, thread
30 x 30 x 30 cm
Bell's palsy is a form of facial paralysis resulting from a dysfunction of the cranial nerve VII (the facial nerve) causing an inability to control facial muscles on the affected side. Suffering from this I have had the pleasure of recovering from Bells twice in my life. Using this as a starting point I wanted to show how a simple line could be manipulated into a complex shape, the same way as atoms, DNA and the body’s nervous system can be manipulated in human being and how the misplacing of just one part can have catastrophic consequences.
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Yiran Li
Ring: Untitled, 2015
Silver
7 x 7 cm
Like a pupa (a nobody), after the accumulation of capacity, struggle and suffering, grow up to a beautiful butterfly (somebody). I make an abstract of the series which is more like a pupa to butterfly evolutionary history. It is also a chance to communicate with myself that what may happen during lifetime.
Pearl and lace are on behalf of weak but wonderful life. They may be careful to caress, or trapped in a cage, or break the constraint to get free. But after suffering experiences, there is always chance to bloom brilliant lustre. That is kind of our life in real life.
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Henrietta Mapplebeck
Head Piece: Untitled, 2015
Cooper, silk
50 x 20 x 20 cm
I have always based my jewellery on a multi varied theme, drawing ideas and inspiration from a proliferation of non-associated concepts. Fashion has continued to be a passion of mine, I am particularity intrigued how it continually mutates through the ages. Seasons of the year and their interface with nature through its diverse structures, colours and textures are a never ending source of inspiration. My headdresses are a reflection on nature whilst also combining the functionality of metal wire creating a unique symmetry and a fashion statement. Using developing modern materials blended with traditional allows an unrestricted creative platform to expand my thoughts and designs into areas I have not yet explored.
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Emily Morris
Brooch: Untitled, 2015
Silver, enamel
10 x5 x 3 cm
I am inspired by narrative, and unconventional work as well as the world around me.
My current work is inspired by Lichen as people can view them as being either ugly or beautiful. The narrative of my collection is to test what we define as ugly or beautiful as I want people to see that there is beauty in the most unlikely of places; which I hope that viewers can see within my current collection.
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Rhys Pollard
Neckpiece: Void, 2015
Steel
28 x 20 x 10 cm
A foundation of the human condition is exploration. For decades mankind has taken to studying the cosmos, learning of our place within the universe. And yet, this does not wholly affect how we go about our lives. Drawing upon memento mori and the constellations, Void is an attempt to amend this through means of fear of our own significance (or lack of it thereof). Upon adornment of the neck piece, the head is lifted and the wearer is forced to extend their gaze to the stars, reminding them of humanity’s little value to the rest of the universe.
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Victoria Radcliffe
Object: A Subliminal Mind, 2015
Gilding metal, stone, leather, wood
An object of sentiment can be anything; it is human nature to collect and preserve, to take the owner back to a moment in time they share with no-one but themselves. Moments like these are the real luxuries of life - not materialistic desires.
Rock climbing is an exclusive way to interact with nature - the experience of living in the moment, re-energising and re-connecting with yourself. Each placement of hand and foot has to be carefully thought out, being completely absorbed in the movement. Time is a luxury that is sorely lacked in today's busy society. This collection of vessels has been designed to allow the user to be reminded of one of these idyllic moments and drawn away from everyday subliminal acts.
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Emily Rhoden
Ring: Untitled, 2015
Silver, steel, feather
10 x 8 x 2 cm
Challenging conventional ideas of taste; what is initially perceived of an object and its underlying personality. Through a considered making process attention to detail and crafting what would have been seen as tat becomes precious. No pressure, enjoy the obscure.
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Anousha Tavakoli
Neckpiece: Untitled, 2015
Silver
30 x 20 x 2 cm
With a geometric centre, this collection focuses on using facets to catch and reflect light. The contrasting and irregular textures add depth and detail to the simple and defined shapes. Moving joints allow the pieces to be adapted to an individual’s choice meaning no two pieces are the same, each one different. This provides a constant fascination as the pieces and wearer reveal themselves.
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Xiaoyao Wu
Brooch: Grafting Vitality, 2015
Silver, pearl, polystyrene, flocking
10 x 10 x 5 cm
The pieces in my final project represent the concept of ‘Vitality’. Natural elements are always my inspiration. I think my pieces are not only decoration, they have vitality. When you study them, you may feel as if they grow. When you wear them, you may feel they seem to absorb oxygen and energy around your body and convert it be nutrients.
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Bijun Zheng
Brooch: Antelope Canyon, 2015
Resin, pigment, silver
10 x 6 x 4 cm
This jewellery collection is all about the images I have created in response to my adoration of Antelope Canyon. The feelings keep guiding me, influencing my creating and making processes. I ask myself if I travel there what I will see. Who I might I meet and what will this place bring me? These feeling all make me excited and I can't wait to be there. I wish my jewellery collection could take me to this place, though touching the tactile qualities I dream of the canyon. I wish I could wear my pieces to Antelope Canyon.
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