Back
HDK_OpenCall_PositionforProfessor.

Yu-Fang Chi: School of Art, RMIT University. Selected Graduate 2018

Published: 21.10.2018
Yu-Fang Chi Yu-Fang Chi
Author:
RMIT University School of Art
Edited by:
Klimt02
Edited at:
Barcelona
Edited on:
2018
.

© By the author. Read Klimt02.net Copyright.

Intro
Yu-Fang Chi is a Taiwan-born jewellery artist, in 2014, she moved to Melbourne as a research candidate in the School of Art. During her Doctor of Philosophy (PhD) research degree, Yu Fang engaged intensive material based practices, artistic research and curatorial projects to deftly investigate the role of femininity in jewellery and its cultural connotations specific to Taiwan. Through a practice-led methodology, the research focused on how jewellery could embody and incorporate ‘femininity’. These findings offer new perspectives and contribute to an emerging narrative of gender study in Asian art jewellery. Yu-Fang works across different facets of jewellery practice and collaborates with diverse artistic fields. Her recent curatorial project assembles jewellery narratives with the potential to bring subjective encounters into wider social assignations.
/ Dr. Kirsten Haydon, Studio Leader Gold & Silversmithing & Supervisor of projects for PhD, MFA.
School of Art, RMIT University, Melbourne, Australia.


Weaving from the Margin engages practice-led research through the making of jewellery and objects to investigate materials, forms and narratives that can convey femininity as an aesthetic attribute and social characteristic. The project methodology is both Heuristic Enquiry and practice-led. It follows a cyclical process of self-investigation as a female artist through studio practice and reflection. The research process entails experimentation in the creation of jewellery and objects. Through this process of experimentation and reflection, I am able to refine the concepts and address the research questions that are driving my project. This process of inquiry through making responds to the non-linear writing processes of Écriture féminine (women’s writing), which privileges cyclical writing and situates experience before language.

Contemporary jewellery is an emerging field in Taiwan. The research examines the current situation of the field in Asia and locates my jewellery practice within that field. It also considers my marginal identity as a Taiwanese jeweller within a broader international discourse. The outcomes of this research are articulated through a series of jewellery and objects, which engage and investigate the concept.

Through my works, the aim of the research is to construct a ‘feminine subjectivity’ by developing a fluid, sharing platform between the ‘creating body’ and the ‘wearing body’. This is a method that situates the role of the body in the making and the reading of the work on the body. Through the investigation, experimentation, manufacture and installation of jewellery objects, this research offers new perspectives of engaging, viewing and interpreting the potential for femininity in jewellery and objects.

This project presents a way of interrogating the relationship between the experience of being and the experience of jewellery making and practice. Through my two curatorial projects, Inner Crease and Tacit Recollection, I
 fulfill and verify my findings and contribute to contemporary jewellery practice. The physical experiences of two curatorial projects become a compelling demonstration to expand my artistic perspective of how I explore femininity in contemporary jewellery, in particular, the practice of addressing how to enquire, test, examine, adjust and provide an alternative understanding of it.
/ Yu-Fang Chi


More work and contacts:
Website: Yu-Fang Chi
Instagram: Yu-Fang Chi

Find out more about the courses at: School of Art, RMIT University
 
Yu-Fang Chi. Hand Piece: The Nerve Ending IV-Congeal, 2014-2015. Fine silver.. 20 x 20 x 15 cm. Photo by: Chenlin Wu. Yu-Fang Chi
Hand Piece: The Nerve Ending IV-Congeal, 2014-2015
Fine silver.
20 x 20 x 15 cm
Photo by: Chenlin Wu
© By the author. Read Klimt02.net Copyright.
Yu-Fang Chi. Pendant: Sensory Crease, 2015-2016. Fine silver.. 40 x 10 x 6 cm. Photo by: Chenglin Wu. Yu-Fang Chi
Pendant: Sensory Crease, 2015-2016
Fine silver.
40 x 10 x 6 cm
Photo by: Chenglin Wu
© By the author. Read Klimt02.net Copyright.
Yu-Fang Chi. Pendant: Inner Crease, 2018. Copper, metallic car paint, thread, steel wire.. 9 x 5 x 46 cm. Photo by: Chenglin Wu. Yu-Fang Chi
Pendant: Inner Crease, 2018
Copper, metallic car paint, thread, steel wire.
9 x 5 x 46 cm
Photo by: Chenglin Wu
© By the author. Read Klimt02.net Copyright.
Yu-Fang Chi. Brooch: Inner Crease, 2018. Copper, metallic car paint, thread, steel wire, crocheting, electroforming, painting.. 9 x 5 x 6 cm each. Photo by: Chenglin Wu. Yu-Fang Chi
Brooch: Inner Crease, 2018
Copper, metallic car paint, thread, steel wire, crocheting, electroforming, painting.
9 x 5 x 6 cm each
Photo by: Chenglin Wu
© By the author. Read Klimt02.net Copyright.
Yu-Fang Chi. Object: Inner Crease, 2017. Copper, metallic car paint, thread, steel wire, crocheting, electroforming, painting.. 28 x 28 x 15 cm. Photo by: Chenglin Wu. Yu-Fang Chi
Object: Inner Crease, 2017
Copper, metallic car paint, thread, steel wire, crocheting, electroforming, painting.
28 x 28 x 15 cm
Photo by: Chenglin Wu
© By the author. Read Klimt02.net Copyright.
Appreciate APPRECIATE