What If Our Waste Had to Be Worn Before It Could Be Thrown Away? Yajie Hu in Conversation with Rachael Colley

Rachael: Hello Yajie! I’d love to hear about your current research and the creative journey that's led you to this point. How has your practice developed and evolved? Where is your current research focus?
 
Yajie: Thank you, Rachael. Since 2022, my jewellery practice has experienced a significant shift. Many may know me for my brooch collection Tangible Colour (Figure 1), which gained attention after being selected for Talente 2018 during Munich Jewellery Week (Figure 2). It later received several awards, including Preziosa Young 2019 in Florence and the Porto Joia Award at Collectiva 2019. People often remember it for its striking colours and intriguing textures, and it is a collection I still value deeply for sure. The pieces were made using PVC sheets and acrylic paint. PVC was selected for its lightweight, and acrylic paint was chosen not only for its visual qualities but also as a tangible material. However, I started to reflect on the sustainability of such materials. I remember our conversation during your workshop as part of the Jewellery for Life exhibition in 2022, where we discussed your exploration of bioplastics and food waste. That really inspired me.
Figure 2. Brooch collection “Tangible Colour” displayed at Talente 2018 during the Munich Jewellery Week.
Photo by Yajie Hu, 2018


Reflecting on the environmental impact of plastics, I began researching their long-term effects. While plastic is affordable and functional, its non-biodegradable nature poses major environmental challenges. This awareness pushed me to rethink my practice with a focus on sustainability, seeking materials that are environmentally responsible, resource-efficient, and creatively reusable. Paper soon stood out as a sustainable alternative. I noticed how much paper waste comes from daily life, such as shopping bags, packaging, boxes, and began experimenting with pulped paper waste. My recent brooches (Figure 3) are made from recycled paper mixed with cornflour. This process not only reduces waste but also explores the creative potential of discarded materials, challenging traditional ideas of value and permanence in adornment.



Figure 3. Brooch collection “More Than Just Sustainability”, Yajie Hu, 2023. Materials: Recycled paper, corn flour, brass and recycled silver.
Photo by Yajie Hu, 2024.


Rachael: Thank you, it's great to hear about the new developments around sustainability in your work and your use of waste materials. Paper has such a rich history in both its production and use, how does this inform your practice? Where do you source your paper waste? Is it from your own personal waste streams, or from local companies? 
 
Yajie: When I decided to integrate sustainability into my practice, I became more aware of everything around me, especially in my daily life. I noticed that I ended up with a lot of paper waste every time I went grocery shopping, and that caught my attention. I thought it might be worth exploring whether paper had more interesting potential, not just as a material, but also as a way to recycle waste.

All the paper I used comes from my own recycled waste. Using paper as a material for making jewellery is not uncommon, as many artists have explored its potential, including Nel Linssen and Attai Chen. In contrast, my material experiments aim to transform paper beyond its familiar characteristics, seeking to highlight alternative material qualities and aesthetic possibilities.

With my new collection (Figure 4), I noticed that the audience often tried to guess what materials I had used, but no one guessed correctly. Some thought the pieces were made from natural minerals, others assumed plastics, and so on. I was pleased by this, as I intentionally wanted to create a contrast between the perceived material and the actual materials used. Many were especially surprised to discover that the pieces were made from recycled paper and corn flour.



Figure 4. One piece from collection “More Than Just Sustainability”, Yajie Hu, 2023. Materials: recycled paper, corn flour, brass, and recycled silver.
Photo by Yajie Hu, 2024.


Rachael: I'm really interested to hear about your design methods, perhaps especially approaches such as circular design and 'cradle to cradle', which support us to consider the end-point as a considered starting point for the design process. What is the potential lifeline for the works you are creating? When and where are they intended to be worn, and by whom? Are they intended to be recycled back into paper production at the end of their jewellery life? Could they potentially be discarded in another way, re-entering life cycles and nourishing their environment? 
 
Yajie: This is a very interesting question. I hope my pieces can be both meaningful and sustainable throughout their life cycle. They are designed to be worn anytime and can be enjoyed by anyone. I especially think they will appeal to those interested in sustainability and jewellery that challenges traditional material expectations. While I do not believe they can be recycled directly back into paper production, since I use a mix of paper and corn flour rather than pure paper, it would be ideal if, when no longer needed, they could be discarded in a natural environment where they can biodegrade safely.


Rachael: I'm intrigued by the sense of a landscape that the form and choice of colour evoke, of land and sea. Other than the material transformation, what's been the inspiration that's supported the development of your work?

Yajie: This collection centres on the theme of sustainability and was guided by material experimentation. There were elements I could control, such as the colours I selected, but others I could not, like how the colours flowed and settled. The unpredictable patterns that emerged were something I value as they reflect the randomness found in nature.
Before making the collection, I researched the environmental impact of plastic and became more aware of the paper waste I personally generated after grocery shopping, from packaging and receipts to wrapping. The same applies to plastic, which is used extensively in daily life.
Compared to plastic, paper offers several advantages. It comes from a renewable resource, is generally more sustainable, and can be recycled multiple times. However, not all paper waste is recycled and discarded properly. Globally, over 400 million tonnes of paper are produced each year, and it is estimated that around 26% of landfill waste is paper.
In this context, the brooch becomes more than just a piece of jewellery. It serves as a reminder of the role that the waste we generate contributes to in the environmental crisis. It invites the viewer to consider: What if our waste had to be worn before it could be thrown away?


Rachael: Thank you, Yajie. It’s interesting to hear the story behind this collection. I notice that your new collection, as with your previous ones, predominantly features brooches. Is the choice of brooch as a wearable artefact particularly significant for you?
 
Yajie: Thank you, Rachael. I’m glad you picked up on that. Indeed, I have a strong personal preference for creating brooches over other forms of jewellery. In fact, all of my collections so far have focused exclusively on brooches. The main reason is that I believe brooches offer minimal limitations in creation, as they are not constrained by the size and comfort requirements of other types of jewellery, such as bracelets, rings, or earrings. This gives me the freedom to experiment with unconventional materials, shapes, and textures. I think this flexibility encourages innovation and creativity in my practice. Actually, I aim for my jewellery to be worn on the body while also being appreciated as art objects. Additionally, brooches are inherently unisex, making them suitable for individuals of any gender. Another aspect I value is that, unlike other types of jewellery that are worn in fixed locations, brooches can be styled in various ways, on lapels, scarves, hats, or even bags, offering multiple possibilities for personal expression.


Rachael: Thank you, Yajie. I'm keen to hear about your future career aspirations, both for yourself and for this new collection of work. Where are you aiming to showcase and exhibit your jewellery? Is there a particular audience you're aiming to reach? Where do you see yourself in 5 years' time?
 
Yajie: This collection is just the start of my current practice in incorporating sustainability into jewellery making, not the end point. I plan to continue exploring this combination of materials to see if I can create other forms, perhaps similar to the characteristics of my previous collection, “Tangible Colour”, as I like the intriguing texture created by the smaller layers of acrylic paint. I hope to find a way to combine these elements. I don’t think I am targeting a particular audience, but rather those who share similar values or who can resonate with the expression of materials and colours.

For my future, I hope to continue making jewellery and exploring new creative experiments that combine innovation with environmental responsibility. I also look forward to collaborating more broadly with artists, galleries, and organisations, which will help me grow and deepen my involvement in the creative community. Additionally, I aim to contribute not only to creative practice but also to academic research, expanding my knowledge in both areas.


Rachael: Thank you so much for taking the time to reflect on these questions Yajie, I'm really grateful to have had this opportunity to learn more about your practice and exciting new work!
 
Yajie: Thank you, Rachael, for your kind words and for the thoughtful questions. It was a pleasure to discuss my practice and recent work. I really appreciated the opportunity!

 

About the Interviewee

Yajie Hu is a jewellery artist from China, currently based in the UK, where she is pursuing a PhD. She completed a BA in Art and Design at Anhui Normal University and an MA in Jewellery, Silversmithing and Related Products at Birmingham City University. Her work has been exhibited internationally, including at TALENTE 2018 in Munich, New York Jewelry Week, and Florence Jewellery Week. She has received several international awards, including the Preziosa Young competition in Florence, the Porto Joia Award at Collectiva Meeting in Porto, and was a finalist in the 10th edition of the Arte y Joya International Award in Barcelona. Her work is featured in “Chinese Contemporary Jewelry Design” by Bifei Cao.
 

About the author

Rachael Colley is a Sheffield based artist and senior lecturer in jewellery and metalwork at Sheffield Hallam University. She gained a BA (Hons) in 3D design, specialising in jewellery and silversmithing, at Loughborough University in 2007 and went on to obtain an MA in goldsmithing, silversmithing, metalwork and jewellery from the Royal College of Art in 2010. Rachael thinks through materials, producing cutlery, jewellery and sculpture which are explored in experimental dining events, exhibitions, installations and visual art projects. Pieces from her Sha-green jewellery series are held in the permanent collections of the Museum of Arts and Crafts Itami, Japan and Le Arti Orafe, Florence, Italy.