Hsinyu Candy Chu
Jeweller
Published: 22.05.2017
- Mail:
- Hsinyucandychu
gmail.com
Necklace: Balance 2, 2016
Silver, steel porcelain, Arduino Gemma, Neopixel LED Ring.
7.6 x 38 x 6.4 cm
© By the author. Read Klimt02.net Copyright.
Necklace: Balance 3, 2016
Silver, plique-a-jour, plastic, Arduino Gemma, Neopixel LED ring.
7.6 x 30.5 x 17.8 cm
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Brooch: Black within White, 2016
Silver, enamel.
7.6 x 13 x 5 cm
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Brooch: Transition, 2016
Silver, enamel.
7.6 x 13 x 8.3 cm
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Ring: Black and White, 2016
Sliver, enamel.
10.2 x 8.9 x 1.9 cm
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Ring: Black and White, 2016
Sliver, enamel.
10.2 x 8.9 x 1.9 cm
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Necklace: Balance 1, 2015
Silver, copper, porcelain, plastic, rubber, Arduino Gemma, Neopixel LED ring.
10 x 38 x 6.4 cm
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Brooch: Inside Out, 2015
Copper, silver, bi-metal, 14ka gold, cubic zirconia, quartz, spinel.
33 x 21.6 x 4.5 cm
On model
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Necklace: Ring and Necklace, 2015
Mokume-gane, silver, copper, brass, nickel silver, aluminum, enamel paint.
19.6 x 26.7 x 7.6 cm
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Necklace: Northern Solstice-3, 2015
Acrylic, vinyl, steel.
43 x 51 x 14 cm
On model
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Necklace: Northern Solstice-1, 2015
Acrylic, vinyl, steel.
23 x 35.5 x 8.9 cm
On model
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Necklace: Northern Solstice-2, 2015
Acrylic, vinyl, steel.
23 x 23 x 8.8 cm
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Bracelet: Northern Solstice-5, 2015
Acrylic, vinyl.
15.3 x 17 x 9.5 cm
On model
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Necklace: Northern Solstice-4, 2015
Acrylic, vinyl, steel.
43.2 x 45.7 x 14 cm
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Necklace: Contrast, Complement, Cycles, 2015
Silver, 18ka gold, ebony, porcelain.
6.4 x 27 x 4.5 cm
On model
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Brooch: Shatter, 2014
Bronze, silver, copper.
12.7 x 15.2 x 14 cm
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Hsinyu Candy Chu is running her jewelry studio JC Art & Design in San Francisco. She is also currently working for the Judaica jewelry artist, Aimee Golant and Alice Roche Jewelry. In the Spring 2009, she came to San Francisco to attend university and received her BFA Fashion Design and MFA Jewelry and Metal Arts at Academy of Art University. In her jewelry, she widely incorporates the elements of circular shapes, contrast colors and repetitive patterns, which resemble a Chinese theme: Yin-Yang.
Statement
Growing up, my father immersed me in the ancient Chinese concepts of Yi-Ching (or The Book of Changes). He analyzes its classical theories and applies it in Fung Shui. He emphasizes the five natural elements (wood, fire, earth, gold, water) as he adjusts differences in magnetic fields to achieve balance and harmony.Having been exposed to such ideas, I am becoming increasingly interested in the idea of complementarity, of Yin-Yang. I believe that opposites are important as they help us to both see and allow us balance. The same is true of human moods; we can’t conceive happiness without sadness, and vice versa. Also, one emotion can bleed into the next and transform seamlessly. For instance, we understand and see light precisely because darkness also exists. In life, we are led to seek harmony among a series of opposing forces.
Interconnectivity of the universe and all beings can be representative of the Yin and Yang theory. If the symbol can be interpreted as the universe then all that is within the universe has both light and shadow sides. Light and shadow are two different energies that represent the diversity of elements. They are opposites, but also complements. Light overtakes shadow and shadow can overtake light. In other words, we can find light within shadow and shadow within light. We cannot separate them. The two different energies maintain balance and harmony.
In order to reflect this concept in my graduate thesis, I strive to design jewelry that conveys light and shadow as opposites and as complementary forces also to explore cycles, movement and balance. I design my jewelry as pairs and represented as binaries. My goal is to create experimental and elaborate wearable forms that move beyond the more typical earrings, necklace and bracelets. My pieces exemplify organic forms but are also composed of geometric, repetitive shapes. The circular shapes and repetitive domes symbolize cycles, union and the complementarity of the two elements. I have also incorporated other techniques in my recent work such as Suminagashi, a Japanese paper marbling technique, which involves floating color inks on the surface of water and resulting in circular rings and patterns. When I first discovered Suminagashi I was amazed and intrigued by the marbled patterns and the washed out effects on paper. Consequently I chose to use this technique with paper-thin porcelain. The intricate swirling patterns and circular rings symbolize cycles and the constant impact of one object upon another. Within these pieces there is no sense of opposites or imbalance. As part of my concept and process I also affixed a LED light behind a diffuser. The light that travels through the translucent porcelain emphasizes the contrast between the black and white pigments.
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