The transition from student to professional artist can be challenging, as commercial viability isn’t always a focus in academic programs. Xinchen Li interviewed by Klimt02.

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 originally studied computer science in China, but my artistic journey truly began when I moved to the United States. I became deeply captivated by the potential of materials and the act of making, which led me to study metalsmithing and jewelry design.

When I was little, my parents worked in a different city, and I often missed my mother. In those moments, I would put on her clothes and jewelry as a way to feel close to her. That experience made jewelry an inherently intimate and emotional form for me—one that carries memory, connection, and love. This deeply personal relationship with jewelry naturally drew me to contemporary jewelry, where concept and material innovation go beyond adornment, turning objects into narratives.


How important is networking for you in your professional practice and what are your preferred tools for this?
Networking is essential in contemporary jewellery and the broader art world. Since I currently live in the U.S., I’m not always aware of exhibition opportunities in Europe or Asia, so networking helps me stay informed about potential shows, residencies, and competitions. It also allows me to learn from other artists' career trajectories, which provides valuable guidance for my own path.


What are your general thoughts on the contemporary jewellery world, (education, market, development...), where do you see chances and where are dead ends?
Contemporary jewelry exists in a unique space between fine art, design, and craftsmanship, yet it often struggles with visibility outside of specialized circles. While it has a strong academic foundation, it remains relatively niche.

Many emerging artists struggle to sustain a career after graduation—myself included. The transition from student to professional artist can be challenging, as commercial viability isn’t always a focus in academic programs. 

The market is evolving, with more collectors and institutions showing interest in contemporary jewelry, but access to these opportunities remains limited. I see potential in interdisciplinary collaborations, digital platforms, and curatorial initiatives that position contemporary jewelry within a broader art and design context. The challenge is bridging the experimental nature of contemporary jewelry with wider audiences while maintaining its conceptual depth.


Xinchen Li. Sculpture: The Sewing Machine, 2023.
PLA. 45 x 40 x 100 cm


Thinking about your career, what role do technology and the digital play in your artistic development & communication?
Technology has played an integral role in my artistic development. My background in computer science has influenced my approach to jewellery design, particularly through the use of 3D printing and digital fabrication. I have experimented with unconventional tools, such as a 3D printing pen, to create jewellery and installation pieces that blur the boundaries between craft and digital technology.


How has your work changed over the past few years and what are you excited about these days?
My work has evolved from small-scale jewelry to immersive installations that explore memory, nostalgia, and identity. In recent years, I’ve focused on large-scale recreations of familiar objects while working on jewelries.

Lately, I’ve been thinking about how to merge my large-scale installation work with my jewelry practice. The contrast in scale is striking, yet I see many possibilities in bridging the two. I’m excited by the challenge of finding connections between these different formats and how they can coexist conceptually and materially in my practice.