Xin Liu. Pforzheim University School of Design. Selected Graduate 2019
Published: 11.09.2019
Xin Liu
- Edited by:
- Klimt02
- Edited at:
- Barcelona
- Edited on:
- 2019
Object: Untitled, 2019
935 silver.
10.8 x 19 x 22.2 cm
Photo by: Petra Jaschke
© By the author. Read Klimt02.net Copyright.
Xin Liu has developed a technique that while inspired by the layering process of 3D printing, wholly celebrates handcraft. Through the painstaking connection of small individual elements, his forms grow organically in layers that create overlapping volumes, shapes within shapes and envelope gems within their structure. The transparency of the forms coupled with the almost pointillistic impression of the accumulating small elements lend the pieces a visual ephemeralness, while achieving physical robustness. They exude an enchantment that draws us in and astounds on every level of perception.
/ Professor Christine Lüdeke
Pforzheim University. School of Design.
3D-HAND
Digital manufacturing is widely spread in all industries. It has not only changed the way we work but has also influenced the way we think. CAD, computer-aided design, and 3D printing technology, these technologies enable the making of different kinds of complex non-linear artworks, which in some cases, make us reconsider the value of traditional craftsmanship in modern society. New technologies do not only offer us solutions for building complicated three-dimensional designs, but it also give us a new perspective to rethink handmade jewellery in finding more values and possibilities of it. After all, traditional craftsmanship can also make complex three-dimensional forms like a computer does.
These four objects are the result of a new, manual design method, which combines the principle of the additive fabrication process of a 3D printer with traditional craftsmanship. Thinking about manual work in the context of our digital age is at the heart of the development process. By imitating the additive process of 3D printing, I made complicated three-dimensional metal work with my hands. It makes it possible now to create a perfect structure that cannot be solely made by traditional hand-making techniques nor by 3D printing. The aim is to develop a new design language between manual and digital.
Handcraft production is the kind of work that we make things directly with our hands. In this process, our hands interact with the material directly, and in this interaction, we unconsciously use our knowledge and experiences, which are stored in our mind. Thus, handmade jewellery is not only about design and craft, it is a process which we unconsciously transfer our knowledge and emotion into the object. The feeling we got from touching the material will be transmitted to the object. While for a machine, even though they can do whatever we ask them to do, it will be in a mechanical way, because they have no soul.
The idea is realized by continuously constructing new soldering layers onto the plaster. Construction of the form develops while making, and is thus under creative control. Unlike a 3D printer, our hands can make amendments and changes at any time during the development of the structure, can constantly develop the shape in a flexible way, and can make sure the structure matches its basic elements. By using different interdependent fabrication methods and various small elements, I try to incorporate the tangible and abstract space into my work in search of imparting depth. Finally, after the plaster is removed, we will get to see a handmade work that looks like a 3D printing product, but somehow different.
Name of graduation student: Xin Liu.
Name of the guiding teacher: Christine Lüdeke, Minjie Yü.
More work and contact:
Email: liuxintian@outlook.com
Instagram: xinliuart
Website: xinliuobject.com
Find out more about the courses at Pforzheim University. School of Design.
3D-HAND
Digital manufacturing is widely spread in all industries. It has not only changed the way we work but has also influenced the way we think. CAD, computer-aided design, and 3D printing technology, these technologies enable the making of different kinds of complex non-linear artworks, which in some cases, make us reconsider the value of traditional craftsmanship in modern society. New technologies do not only offer us solutions for building complicated three-dimensional designs, but it also give us a new perspective to rethink handmade jewellery in finding more values and possibilities of it. After all, traditional craftsmanship can also make complex three-dimensional forms like a computer does.
These four objects are the result of a new, manual design method, which combines the principle of the additive fabrication process of a 3D printer with traditional craftsmanship. Thinking about manual work in the context of our digital age is at the heart of the development process. By imitating the additive process of 3D printing, I made complicated three-dimensional metal work with my hands. It makes it possible now to create a perfect structure that cannot be solely made by traditional hand-making techniques nor by 3D printing. The aim is to develop a new design language between manual and digital.
Handcraft production is the kind of work that we make things directly with our hands. In this process, our hands interact with the material directly, and in this interaction, we unconsciously use our knowledge and experiences, which are stored in our mind. Thus, handmade jewellery is not only about design and craft, it is a process which we unconsciously transfer our knowledge and emotion into the object. The feeling we got from touching the material will be transmitted to the object. While for a machine, even though they can do whatever we ask them to do, it will be in a mechanical way, because they have no soul.
The idea is realized by continuously constructing new soldering layers onto the plaster. Construction of the form develops while making, and is thus under creative control. Unlike a 3D printer, our hands can make amendments and changes at any time during the development of the structure, can constantly develop the shape in a flexible way, and can make sure the structure matches its basic elements. By using different interdependent fabrication methods and various small elements, I try to incorporate the tangible and abstract space into my work in search of imparting depth. Finally, after the plaster is removed, we will get to see a handmade work that looks like a 3D printing product, but somehow different.
Name of graduation student: Xin Liu.
Name of the guiding teacher: Christine Lüdeke, Minjie Yü.
More work and contact:
Email: liuxintian@outlook.com
Instagram: xinliuart
Website: xinliuobject.com
Find out more about the courses at Pforzheim University. School of Design.
Object: Untitled, 2019
935 silver.
10.8 x 19 x 22.2 cm
Photo by: Petra Jaschke
Detail view.
© By the author. Read Klimt02.net Copyright.
Object: Untitled, 2019
Blackened 925 silver, zirconia.
9.2 x 8.5 x 38.8 cm
Photo by: Petra Jaschke
© By the author. Read Klimt02.net Copyright.
Object: Untitled, 2019
Blackened 925 silver, zirconia.
9.2 x 8.5 x 38.8 cm
Photo by: Petra Jaschke
Detail view.
© By the author. Read Klimt02.net Copyright.
Object: Untitled, 2019
Chain links in bronze, silver plumb bob.
14.8 x 16.8 x 25.5 cm
Photo by: Petra Jaschke
© By the author. Read Klimt02.net Copyright.
Object: Untitled, 2019
Chain links in bronze, silver plumb bob.
14.8 x 16.8 x 25.5 cm
Photo by: Petra Jaschke
Detail view.
© By the author. Read Klimt02.net Copyright.
Object: Untitled, 2019
Chain links in bronze, silver plumb bob.
14.8 x 16.8 x 25.5 cm
Photo by: Petra Jaschke
Detail view.
© By the author. Read Klimt02.net Copyright.
Object: Untitled, 2019
Coppered and blackened brass.
19 x 17.8 x 14.9 cm
Photo by: Petra Jaschke
© By the author. Read Klimt02.net Copyright.
Object: Untitled, 2019
Coppered and blackened brass.
19 x 17.8 x 14.9 cm
Photo by: Petra Jaschke
Alternative view.
© By the author. Read Klimt02.net Copyright.
Xin Liu
- Edited by:
- Klimt02
- Edited at:
- Barcelona
- Edited on:
- 2019
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