Back

Touch. Outcomes of comprehensive material course by YDMD studio

Exhibition  /  OnlineOnly  /  01 Apr 2022  -  30 Apr 2022
Published: 11.04.2022
Shichen Du. Object: Another Guy, 2021. Silver 925, plastic.. By adding a metal human body in the matrix to replace one of the original comb tooth, the work presents a new object with similar shape but different essence in the neat matrix. The order of arrangement and the contrast of abrupt individuals suggest the conflict between collective consciousness and individual will.. Shichen Du
Object: Another Guy, 2021
Silver 925, plastic.
By adding a metal human body in the matrix to replace one of the original comb tooth, the work presents a new object with similar shape but different essence in the neat matrix. The order of arrangement and the contrast of abrupt individuals suggest the conflict between collective consciousness and individual will.
© By the author. Read Klimt02.net Copyright.

Intro
A group of jewellery and objects are presented which are created by graduate students and third-year undergraduate students as the outcomes of the workshop taught by YDMD studio organized by the Nanjing University of the Arts in 2021.

Artist list

Shichen Du, Hao Gu, Xiayu Ji, Yuyun Li, Jiuyang Liu, Tianyi Tang, Andi Tian, Aiqing Wang, Hongye Wang, Qijun Wang, Zhihan Wang, Jiaheng Wu, Haofei Xiang, Wanning Yang, Lubing Yu, Jingnan Zhang, Yuhan Zhang, Liu Zhao, Zhangyan Zheng, Shuyue Zhou, Meilin Zhu
Course overview
Touch and touch -- a two-way drive.
Marshall McLuhan put forward the familiar view that "media is information". The "media" here refers to the "extension of people". Therefore, handicrafts are naturally included in it. This inspires us to not only pay attention to the "content" expressed by handicraft artists, but also explore the positive effect of media on ideas - that is, we need to carry meaning with media in the current digital information age. This meaning also includes why this medium carries meaning. Then, our practical behaviour is essential to treat all phenomena of the media (or the nature of potential phenomena: physical, chemical, social, cultural...) equally, and connect these properties with the extension of the theme (the generation of ideas). To put it another way, this process is more like growing countless "tentacles" through observation and research from the two endpoints of media and theme (or research direction, which can also be extended from the media). We use critical thinking as a way to "touch" one or more tentacles at both ends to achieve the completion of the work.
Then, this comprehensive material course of TOUCH, through the combination of theory and practice, aims to enable students to consciously transform comprehensive materials into visual language, contribute significance to conceptual narration, and understand the self-driven characteristics and creative mechanism of contemporary handicrafts (one of them). The final work will be presented in the form of jewellery, utensils or objects.

Teaching purpose
  • Through creative practice to cultivate students' sensitivity to comprehensive materials (including ready-made products) and experimental ability;
  • Enable students to understand the self-driven characteristics and creative mechanism of contemporary handicrafts;
  • Cultivate students' process-oriented creative methods (including research, brainstorming, concept generation, design development, experiment, and production);
  • Cultivate students' critical thinking ability;
  • Cultivate students' ability to define and solve problems;
  • Cultivate students' ability to explain and display works.
Yuyun Li. Object: What's in the Heart?, 2021. Black walnut, brass.. The starting point of the work is to explore the "birdcage effect" -- "when you accidentally acquire a birdcage, a few days later, you will buy another bird for the cage."
. This is a jewelry box with a necklace missing. When the necklace in the box disappears, do you look at the groove in the jewelry box that used to fit it perfectly, and wonder where the necklace has gone instead of staying in the box? Does your desire drive you to seek its trail?
. At this moment, when you calm down, carefully think about its whereabouts, will the first time to imagine the appearance of this necklace, to help you carry out the following search? In the process of constructing the necklace, you look at the shape of the heart and the chain connecting the heart in the box, and then imagine what kind of material it should be. Gold? Diamond? Plastic? Gems?
. When the form of the jewelry is controlled, it leaves the audience to think about the possibility of variables. "A thousand Hamlets for a thousand audiences." To show the diversity of contemporary jewelry achievements.
.  . Yuyun Li
Object: What's in the Heart?, 2021
Black walnut, brass.
The starting point of the work is to explore the "birdcage effect" -- "when you accidentally acquire a birdcage, a few days later, you will buy another bird for the cage."
This is a jewelry box with a necklace missing. When the necklace in the box disappears, do you look at the groove in the jewelry box that used to fit it perfectly, and wonder where the necklace has gone instead of staying in the box? Does your desire drive you to seek its trail?
At this moment, when you calm down, carefully think about its whereabouts, will the first time to imagine the appearance of this necklace, to help you carry out the following search? In the process of constructing the necklace, you look at the shape of the heart and the chain connecting the heart in the box, and then imagine what kind of material it should be. Gold? Diamond? Plastic? Gems?
When the form of the jewelry is controlled, it leaves the audience to think about the possibility of variables. "A thousand Hamlets for a thousand audiences." To show the diversity of contemporary jewelry achievements.

 
© By the author. Read Klimt02.net Copyright.
Jiuyang Liu. Object: An 85-meter-long copper wire, 2021. Copper, silver.. By borrowing from a clay molding method, a metal wire surrounds the object. Using the ductility and elasticity of metal itself, metal objects can reach the form that traditional pottery cannot form. The three different bottle forming methods are the orderly thinking of the linear structure arrangement of metal, and the response to the traditional handmade way of creation.. Jiuyang Liu
Object: An 85-meter-long copper wire, 2021
Copper, silver.
By borrowing from a clay molding method, a metal wire surrounds the object. Using the ductility and elasticity of metal itself, metal objects can reach the form that traditional pottery cannot form. The three different bottle forming methods are the orderly thinking of the linear structure arrangement of metal, and the response to the traditional handmade way of creation.
© By the author. Read Klimt02.net Copyright.
Shuyue Zhou. Vessel: A tale of two cities I, 2021. Silver, hot plate, steel, moss, soil.. A complete mirror steel, a section of the city map and silver vessels containing moss build a miniature landscape in which people, city and urban greening accommodate each other. The cross sections of the three vessels are consistent with the shapes of the corresponding locations on the map. The city is the place of life. In the modern city with high-rise buildings, urban greening not only purifies the air, but also purifies the hurried and dull hearts of people in the city. The relationship between a group of utensils and the urban section reflects the spatial spirit of cities and people. The work presents the macro world of "people and cities embedded in each other" from a still life perspective.. Shuyue Zhou
Vessel: A tale of two cities I, 2021
Silver, hot plate, steel, moss, soil.
A complete mirror steel, a section of the city map and silver vessels containing moss build a miniature landscape in which people, city and urban greening accommodate each other. The cross sections of the three vessels are consistent with the shapes of the corresponding locations on the map. The city is the place of life. In the modern city with high-rise buildings, urban greening not only purifies the air, but also purifies the hurried and dull hearts of people in the city. The relationship between a group of utensils and the urban section reflects the spatial spirit of cities and people. The work presents the macro world of "people and cities embedded in each other" from a still life perspective.
© By the author. Read Klimt02.net Copyright.
Tianyi Tang. Wall piece: The trace of water II, 2021. Copper, brass, silver, acrylic.
.  . As the continuity of "The trace of water I", "The trace of water II", as a flower device, adopts a stronger contrast in form. The interior uses fabric Mosaic technology to create patterns of mottled ancient walls, and the exterior uses mirrored brass panels. The two are visually connected by etched holloweouts, and at the same time, fixed by the acrylic spatial structure. The work creates a space where "new and old" communicate and generates a narrative through its use.. Tianyi Tang
Wall piece: The trace of water II, 2021
Copper, brass, silver, acrylic.
 
As the continuity of "The trace of water I", "The trace of water II", as a flower device, adopts a stronger contrast in form. The interior uses fabric Mosaic technology to create patterns of mottled ancient walls, and the exterior uses mirrored brass panels. The two are visually connected by etched holloweouts, and at the same time, fixed by the acrylic spatial structure. The work creates a space where "new and old" communicate and generates a narrative through its use.
© By the author. Read Klimt02.net Copyright.
Qijun Wang. Object: A pair of white gloves, 2021. Silver, resin, brass, gloves, candles. . White gloves have always represented majesty and sanctity, so they have become a standard for important occasions, a symbol of ritual regardless of the speed of time or the twists of space. Gold, silver and bronze are presented to nature. Every gesture and step is a kind of sacred handover, and the craftsmanship transmits the temperature of manual work. The connection between metal and white gloves is endless, and the interaction between transmission is the embodiment of value, but also the delicate relationship between people and people and things. Reverence for the material is the sanctity and respect that comes with white gloves.
. The combination of white gloves and metal is chosen in this work. The candlelight burns in the dim light. The transparent luster of silver and the ratio of white gloves elements are more in line with modern people's aesthetic feelings. The candlestick is used as the medium to construct the particularity of the white gloves. The candlestick at the fingertips is at the highest point, showing an upward trend, which shows respect for metal materials. By burning, the candle directly expresses the materiality of society, and as the wax drops, it finally returns to the fingertip on the white glove, achieving harmony in another form.
.  . Qijun Wang
Object: A pair of white gloves, 2021
Silver, resin, brass, gloves, candles. 
White gloves have always represented majesty and sanctity, so they have become a standard for important occasions, a symbol of ritual regardless of the speed of time or the twists of space. Gold, silver and bronze are presented to nature. Every gesture and step is a kind of sacred handover, and the craftsmanship transmits the temperature of manual work. The connection between metal and white gloves is endless, and the interaction between transmission is the embodiment of value, but also the delicate relationship between people and people and things. Reverence for the material is the sanctity and respect that comes with white gloves.
The combination of white gloves and metal is chosen in this work. The candlelight burns in the dim light. The transparent luster of silver and the ratio of white gloves elements are more in line with modern people's aesthetic feelings. The candlestick is used as the medium to construct the particularity of the white gloves. The candlestick at the fingertips is at the highest point, showing an upward trend, which shows respect for metal materials. By burning, the candle directly expresses the materiality of society, and as the wax drops, it finally returns to the fingertip on the white glove, achieving harmony in another form.

 
© By the author. Read Klimt02.net Copyright.
Jiaheng Wu. Vessel: Gentle and Soft, 2022. Silver, copper, acrylic.. A group of metal utensils are about utensils. The fibers are obtained from hats, scarves, sweaters, socks and trousers, which are wound and formed to echo the metal forging process. Utensils harvest temperature from fiber, just as the body relies on clothing for warmth. The visual and tactile characteristics of fiber form a mild contrast with the materials of traditional artifacts, and use its tactile and visual language to break through the boundaries of metal creations. Thus, it presents the transmission of creator's temperature and spiritual world hidden in the noumenon attribute of handicraft.. Jiaheng Wu
Vessel: Gentle and Soft, 2022
Silver, copper, acrylic.
A group of metal utensils are about utensils. The fibers are obtained from hats, scarves, sweaters, socks and trousers, which are wound and formed to echo the metal forging process. Utensils harvest temperature from fiber, just as the body relies on clothing for warmth. The visual and tactile characteristics of fiber form a mild contrast with the materials of traditional artifacts, and use its tactile and visual language to break through the boundaries of metal creations. Thus, it presents the transmission of creator's temperature and spiritual world hidden in the noumenon attribute of handicraft.
© By the author. Read Klimt02.net Copyright.
Lubing Yu. Necklace: One line with many words, 2021. Silver, watercolor pen, stainless steel.. The work is a necklace composed of a silver body and a divergent watercolor pen. With the wearer's daily behavior, the necklace pendant will leave a mark on the clothes. People can guess the wearer's behavior and experience according to the mark. From the contact mode between jewelry and body, one line and many words explores its function of "abstract recording" in life.. Lubing Yu
Necklace: One line with many words, 2021
Silver, watercolor pen, stainless steel.
The work is a necklace composed of a silver body and a divergent watercolor pen. With the wearer's daily behavior, the necklace pendant will leave a mark on the clothes. People can guess the wearer's behavior and experience according to the mark. From the contact mode between jewelry and body, one line and many words explores its function of "abstract recording" in life.
© By the author. Read Klimt02.net Copyright.
Lin Zhao. Neckpiece: Photoreception, 2021. Laser, red copper, mirror, acrylic ball.
.  . The necklace work "photoreception" is connected with a piece of red copper bar, and the mirror is bonded. The end copper bar frame is put into an acrylic ball. After turning on the laser in the dark environment, you can see the necklace composed of laser. The work attempts to explore the relationship between light and man.. Lin Zhao
Neckpiece: Photoreception, 2021
Laser, red copper, mirror, acrylic ball.
 
The necklace work "photoreception" is connected with a piece of red copper bar, and the mirror is bonded. The end copper bar frame is put into an acrylic ball. After turning on the laser in the dark environment, you can see the necklace composed of laser. The work attempts to explore the relationship between light and man.
© By the author. Read Klimt02.net Copyright.
Zhangyan Zheng. Piece: Flowing Poetic Realm No.1, 2021. Silver, pearl, glass, cork.. "Flowing Poetic Realm No. 1" is a piece of facial jewellery made from a small glass container containing pearls and a linear structure made of silver. The pearls 'drip out' with gravity as the hands turn the sides of the jewellery. The ' lacrimal groove ' becomes more pronounced with time and age and causes anxiety about the appearance of the face, with some people opting to remove it through medical procedures. The work uses a light-hearted, interactive atmosphere and the metaphorical nature of pearls to emphasise the precious experiences and stories that tear troughs hold.. Zhangyan Zheng
Piece: Flowing Poetic Realm No.1, 2021
Silver, pearl, glass, cork.
"Flowing Poetic Realm No. 1" is a piece of facial jewellery made from a small glass container containing pearls and a linear structure made of silver. The pearls 'drip out' with gravity as the hands turn the sides of the jewellery. The ' lacrimal groove ' becomes more pronounced with time and age and causes anxiety about the appearance of the face, with some people opting to remove it through medical procedures. The work uses a light-hearted, interactive atmosphere and the metaphorical nature of pearls to emphasise the precious experiences and stories that tear troughs hold.
© By the author. Read Klimt02.net Copyright.
Aiqing Wang. Set: The light towers, 2021. Lamp, inductor, wire, copper, magnet.. Towers of Light is a set of jewelry made of magnetic induction lamps. The light is hidden inside the garment, and when a "metal rod" is waved above it, the light in turn diffuses from inside the garment. "Implicative" is one of the unique aesthetics of Chinese traditional art. Therefore, the work hopes to present the aesthetic characteristics of traditional cultural values in an interactive and participatory way through the current technical language.. Aiqing Wang
Set: The light towers, 2021
Lamp, inductor, wire, copper, magnet.
Towers of Light is a set of jewelry made of magnetic induction lamps. The light is hidden inside the garment, and when a "metal rod" is waved above it, the light in turn diffuses from inside the garment. "Implicative" is one of the unique aesthetics of Chinese traditional art. Therefore, the work hopes to present the aesthetic characteristics of traditional cultural values in an interactive and participatory way through the current technical language.
© By the author. Read Klimt02.net Copyright.
Appreciate APPRECIATE