If you see my works in the past years, they are actually non-regional and boundless. Molly Wang interviewed by Klimt02

What's local and universal in your artistic work?
To be honest, I never think about whether something is local or universal. As I’m living in a highly globalized country, impacted by different stuff surround me, originally from different countries in many ways. My love for art and design starts from Bauhaus design. I was obsessed with the art of Minimalism, Cubism, Abstractionism, as well as the application of them. As modern art is being used everywhere around the world, the original local stuff became universal, this situation happens similarly in many other areas like culture, technology, environment, etc. So, I really not care about the difference between local and universal. If you see my works in the past years, they are actually non-regional and boundless.


What do you expect when you show your work to the public (for example, with an exhibition)?
When I was younger, to be exhibited in a gallery or museum was the best dream. It means my work is accepted in a professional way. However, as time went by, what I care about more is how can I present my work to more audience, not necessary are insiders. When I was working in a technology company, most of the peers knew so less about art which looks useless for them. Most people went to galleries and museums were people studying or working around the art area. It’s a shame but reality not only in China but also in many other countries. As my experience in jewellery developed more, the ambition to promote art & design by making jewellery related products to more outsiders is growing. It’s really tough to achieve so, but it is possible. Now, I keep posting my work as well as other fabulous art & design works on WeChat, trying to make people see them online with no cost. In the future, I hope to collaborate with brands to celebrate art.


How important is the handmade for you in your development? What role does technics and technology play in your development?
I’m so obsessed with making something from the raw material since I started making jewellery. It’s just magic for me. I nearly don’t use ready-to-use objects to make my work. Metal, silicone, Jesmonite, wax, wood are all my favourite materials which I can shape them to whatever I want by hands. However, technics are also important in the process of creating especially when I’m making samples. For instance, when I was developing the diversity of the metal shapes in Rhizome Collection, I found it was too slow and boring to raising the copper discos to basic cup shapes all by hands. Then I asked the technician for help to do spanning. It was so helpful to use machines in this developing stage.


When you start making a new piece what is your process? How much of it is a pre-formulated plan and how much do you let the material spontaneity lead you?
When I was making the Rhizome Collection, I basically start with raising a copper or silver disc without planning the final shape by sketch or even in my mind. I tried to challenge myself to think through making, making through the piece growing and found out what it would be after making at that time. The only general idea about the final shape is that it should be round which also fits the visual language of my work.


Are there any other areas besides the jewels present in your work?
I prefer to identify my works as wearable sculpture or objects rather than jewellery. Because of the experience of being an interior decoration design manager, I pay attention to the function of every single product in a hotel, is it necessary to be there.  When designing my own pieces, I try to make them more functional, not only be jewellery when wearing but also be small sculpture or containers when not wearing.


How important is wearability in contemporary jewellery? And in your pieces?
In my opinion,  wearability is important in jewellery at any time.  The definition of wearability for me is any way to connect with the human body, not only hanging around neck/ finger/ wrist/waist, pinning on clothes, but also holding on hand, binding on body, etc. Because of the wearability, contemporary jewellery definitely gets an intimate relationship with people which is different from any other kind of contemporary art.  And this is the best carrier for me to present the themes I want to express related to people.


What/who is the biggest influence in your career?
When I went to Munich Jewellery Week this March, I spoke to some jewellery artists about how can they make a living by making art jewellery which mostly confused me. All the answers I got were they still can’t support themselves to be a full-time artist by making art jewellery. But the situation wouldn’t stop them. After the trip, I spent a long time to think about my future career choice. Now I’m surer about my truely passion for art jewellery and trying to balance my time to develop new work.


Which piece or job gave you more satisfaction?
Actually, the developing progress of Rhizome and Body Nonverbal Communication series satisfied me a lot rather than the products. During the progress, I tried to solid my own visual language and design methodology, and the products are just the results of the progress.


What is your source to get information?
Basically, I got loads of information chips everyday by social media especially Instagram, Youtube and WeChat, and if I want to get deeper and systematic knowledge, I’ll find books and documentary about the information.


Considering the experiences, you have had over the years - if you could go back and give yourself a piece of advice for the start-up phase, what would that be?
Don’t stay at home being in the comfort zone, go out to explore the world you want to get in, find the professional people to get advice.


Can you describe your personality in 3 words, describe your work in 3 words.
My personality: passionate, empathy, open-mind.
My work: abstract, sculptural, contemporary.