Qian Wang
Jeweller
Published: 24.05.2019
outlook.comNecklace: Untitled, 2019
Italian pasta with natural added pigments, sliver, fabric chain.
13.5 x 5 x 4.6 cm
Photo by: Qian Wang
From series: I am not cooking pasta, I am doing jewellery
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2019
Italian pasta with natural added pigments, silver.
11 x 5 x 4.5 cm
Photo by: Qian Wang
From series: I am not cooking pasta, I am doing jewellery
© By the author. Read Klimt02.net Copyright.
Necklace: Untitled, 2018
Italian pasta with natural added pigments, silver.
8 x 8 x 5 cm
Photo by: Qian Wang
From series: I am not cooking pasta, I am doing jewellery
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2018
Italian pasta with natural added pigments, silver.
16 x 7 x 5 cm
Photo by: Qian Wang
From series: I’m not cooking pasta, I’m doing jewellery.
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2018
Italian pasta with natural added pigments, silver.
Photo by: Qian Wang
From series: I’m not cooking pasta, I’m doing jewellery
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2018
Italian pasta with natural added pigments, silver.
6 x 6 x 4.8 cm
Photo by: Qian Wang
From series: I’m not cooking pasta, I’m doing jewellery
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2018
Italian pasta with natural added pigments, silver.
6 x 6 x 4.8 cm
Photo by: Qian Wang
From series: I’m not cooking pasta, I’m doing jewellery
Back view.
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2018
Italian pasta with natural added pigments, silver.
6 x 7 x 3 cm
Photo by: Qian Wang
From series: I am not cooking pasta, I am doing jewellery
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2018
Italian pasta with natural added pigments, silver.
8 x 4.5 x 4.5 cm
Photo by: Qian Wang
From series: I’m not cooking pasta, I’m doing jewellery
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2018
Italian pasta with natural added pigments, silver.
10 x 6 x 3 cm
From series: I am not cooking pasta, I am doing jewellery
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2018
Italian pasta with natural added pigments, silver.
6 x 8 x 3 cm
Photo by: Qian Wang
From series: I am not cooking pasta, I am doing jewellery
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2018
Italian pasta with natural added pigments, silver.
10 x 8 x 5 cm
Photo by: Qian Wang
From series: I am not cooking pasta, I am doing jewellery
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2017
Acrylic board, polypropylene sheet, nylon, copper, steel, silver plating.
12 x 10 x 2.8 cm
Photo by: Qian Wang
From series: Obstructive Scenery
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2017
Acrylic board, polypropylene sheet, nylon, copper, steel, silver plating.
12 x 10 x 2.8 cm
Photo by: Qian Wang
From series: Obstructive Scenery
© By the author. Read Klimt02.net Copyright.
Necklace: Untitled, 2016
Acrylic board, nylon, brass tube.
50 x 15 x 6 cm
Photo by: Qian Wang
From series: Obstructive Scenery
© By the author. Read Klimt02.net Copyright.
Necklace: Untitled, 2016
Acrylic board, brass tube.
30 x 18 x 12 cm
Photo by: Qian Wang
From series: Obstructive Scenery
© By the author. Read Klimt02.net Copyright.
Necklace: Untitled, 2016
Acrylic board, polypropylene sheet, nylon, brass tube.
26 x 26 x 17 cm
Photo by: Qian Wang
From series: Obstructive Scenery
© By the author. Read Klimt02.net Copyright.
Necklace: Untitled, 2016
Acrylic board, polypropylene sheet, nylon.
30 x 28 x 8 cm
Photo by: Qian Wang
From series: Obstructive Scenery
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2016
Acrylic board, polypropylene sheet, nylon, silver, steel, silver plating.
7.8 x 9 x 2.8 cm
Photo by: Qian Wang
From series: Obstructive Scenery
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2016
Acrylic board, polypropylene sheet, nylon, silver, steel, silver plating.
9.5 x 9.5 x 2.8 cm
Photo by: Qian Wang
From series: Obstructive Scenery
© By the author. Read Klimt02.net Copyright.
I was born in a design and metalsmith family, and genius in using technology critically and creating new features of different materials by showing new visual splendor. Meanwhile, multidisciplinary education that is contemporary jewellery in Birmingham and Artist Residence in Florence to create a unique and comprehensive system of global jewellery applied knowledge.
Statement
I’m not cooking pasta, I’m doing jewellery, 2018.Pasta, with all kinds of its shapes, has captured my attention. Actually, I don't like cooking very much, despite this is a traditionally female activity... So I hope to use a critical way to explain my intentions, that is reshape, redefine the activity of cooking.
Thinking about what binds the woman to cultural definitions, I reflect also on craftsmanship, connected to the female. I patiently weaving spaghetti, using symbols that refer to women's world, such as the form of the nest, that translates the position of woman in the family.
But I manage to exalt the qualities of the female world as a whole. I celebrate the woman in all her shapes. In fact, there is no aggressiveness, shouted protest, in my jewellery: the pieces are charged with a female sensibility.
As a jeweller, I experiment with the elasticity of pasta and with the possible combinations of spaghetti, cooked and intertwined as fabric. The combined structure is firm not easy to broken. I colour pasta diving it in a mix of dye powder and pure pigment, playing with soft chromaticisms that change from one hue to another one with great delicacy.
So I choose the pasta and, it is true, I cook it, but to transform it into bright jewels coated by acrylic, that denies their edibility and present them as colourful and elegant brooches.
/ Qian Wang
Obstructive Scenery, 2016 - 2017.
My design is based on the research about gardens in the Western world and the Eastern world, focusing on the classic Versailles garden in France and the Suzhou garden in China.
The forms derive from studies of stained-glass windows, and the Suzhou garden windows. I worked with digital engineering and hand-craftsmanship technique. I explore the relationships between garden landscape with the body through different ways to wear the pieces.
In terms of Chinese garden, when I visited Suzhou garden in China, I found an interesting visual experience which was that the landscape perspective was changing from window to window when I walked along. In China, this is called obstructive scenery which is a traditional way to design garden landscapes in order for visitors to view a series of carefully composed scenes, unrolling like a scroll of landscape paintings. As such, Chinese gardens elucidate Dao philosophy which balances the harmonious adjustment to the natural world.
This is different from my experience or visiting the gardens of Europe. As in the French garden, where the central axis, order, proportion and symmetry were the informing principles. All of these are to show the honor and power of royalty and the rich.
/ Qian Wang
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