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How should the physicality of contemporary jewellery be perpetuated? Interview with Jieyi Sun by Klimt02

Interview  /  Artists
Published: 09.08.2021
Jieyi Sun Jieyi Sun
Author:
Klimt02
Edited by:
Klimt02
Edited at:
Barcelona
Edited on:
2021
Jieyi Sun. Set: System - Awakening. No.0-No. 30 (30 brooches), 2019. Black TPU 94A, black TPU 98 A, 18k rose gold, 18k yellow gold, 14k yellow gold, stainless steel, silver, hair.. 9 x 9 x 0.5 cm. Piece No.13. Jieyi Sun
Set: System - Awakening. No.0-No. 30 (30 brooches), 2019
Black TPU 94A, black TPU 98 A, 18k rose gold, 18k yellow gold, 14k yellow gold, stainless steel, silver, hair.
9 x 9 x 0.5 cm

Piece No.13

© By the author. Read Klimt02.net Copyright.

Intro
The future of art and contemporary jewellery is the thing I often think about, how contemporary jewellery can adapt in such a virtual digital environment, growing positively with the influence of the digital age.
Tell us about your background. What were your first influences to be creative and become an artist and what has drawn you to contemporary jewellery?
I chose this profession in 2007 when it was my first year of undergraduate study. The reason for this is that I took participate in a lecture by Professor Teng Fei (CAFA) who is the pioneer of contemporary jewellery in China, and she had studied Fine Art (Frei Kunst) in Berlin, Germany. Her contemporary jewellery works moved me so much as there are full of private emotions within the works. It made me very surprised that the art could be acting in this way, since my pre-foundation course was very mechanical.
I started drawing practice and basic art training at the age of 10. In fact, the study of Chinese calligraphy art began even earlier at 8 years old. Although the study journey was a long term, I have always worked along with it mechanically by rigid teaching. So, contemporary jewellery as an opener opened my dusty heart and I have finally recognized the golden meaning of art. During my studies in Europe (2012-2020), I found that there seemed to be no way to leave this art practice. Without contemporary jewellery in my life, I would feel like an empty shell with no anchor for my soul.
I often feel that contemporary jewellery is my armor. As I grew up and faced the complexities of society, I had many doubts, dissatisfaction and pain. Some would heal themselves through religion, some through their feelings with close people, some would choose to run away and continue to wallow in their pain, but I was lucky enough to have my own 'armor' in front of me to heal myself. Sometimes I would stand in front of it (armor) and sing songs bravely.


What are your general thoughts on the contemporary jewellery world, (education, market, development...), where do you see chances and where are dead ends?
The future of art and contemporary jewellery is the thing I often think about, how contemporary jewellery can adapt in such a virtual digital environment, growing positively with the influence of the digital age. Ever since 2020, our lives have undergone tremendous changes due to the pandemic, while working through online virtual communities is gradually replacing natural workplace scenes. How should the physicality of contemporary jewellery be perpetuated? My Ph.D. research is also related to this perspective. I am considering and researching how to transform "physicality"。
 

Thinking about your career, what role do technology and the digital play in your artistic development & communication?
I think that technology, or digital technology, is a popular form of expression at this moment, as a language, and the language is a carrier. Nowadays, digital devices as tools are almost covering our lives, and I was joking with a colleague not so long ago that there might be a new genre of art called 'hyper-technologysim". We had already lived through a time when 'physicality' had been sought after. For me, I don't want to live in the past. On the other hand, it is difficult to judge the times, which have progressed for very complex social reasons, for individuals it's hard to stop the time changing. Still, it has to be pointed out that's survival of the fittest. If we manage this language without being controlled by it, I will be highly concerned about within my future artistic work.


How has your work changed over the past few years and what are you excited about these days?
Over the years, my way of creating art has become more transparent and more straightforward. In the beginning, I created entirely intuitively, and I did experimentations whatever came to mind. This creation method had its advantages — I was always very passionate to do some improvisation. Still, I also felt that I was often drifting or floating, lacking logic and continuous in-depth research. From my diploma graduation in 2019 until my recent work jewellery diary in lockdown in 2020, I have gradually developed my style, a constant narrative of work that is constantly growing, without a start or an end, accompanying my understanding of the world and my self-healing. I have found a theoretical methodology that suits me and a nourishing soil on which I hope that my artistic ideas will take root and grow into an upright tree as a reliable narrator.
 
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