New Klimt02 Member
She gets gravitated by design methods like sensing, storytelling, use of actions, materials to comport matters moving towards social-politics, culture and traditions.
Ray Zheng
Jeweller
Published: 03.05.2021
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gmail.comPiece: Untitled, 2021
Glass beads, thread, tin foil.
8.6 x 3 x 1.2 cm, 1.5 x 2 x 2.5 cm
© By the author. Read Klimt02.net Copyright.
Piece: op(‘pantomimus’), 2021
Jesmonite, magnet, light.
18.2 x 12.5 x 5 cm
Face wear. Unique piece.
© By the author. Read Klimt02.net Copyright.
Necklace: Eccentrics Championship, 2019
Copper, acrylic resin, walnut wood.
8.6 x 38 x 4 cm
From series: Eccentrics Championship
© By the author. Read Klimt02.net Copyright.
Brooch: Eccentrics Championship, 2019
Copper, acrylic resin, walnut wood.
8 x 9 x 4 cm
From series: Eccentrics Championship
© By the author. Read Klimt02.net Copyright.
Brooch: Eccentrics Championship, 2019
Copper, acrylic resin, walnut wood.
8 x 9 x 4 cm
From series: Eccentrics Championship
© By the author. Read Klimt02.net Copyright.
Ring: Villain’s Plots 01, 2019
Copper.
11 x 6 x 2.5 cm
From series: Villain’s Plots
© By the author. Read Klimt02.net Copyright.
Brooch: Villain’s Plots 02, 2019
Copper, pearl, lacquer.
19 x 13 x 3.4 cm
From series: Villain's Plots
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Brooch: Villain’s Plots 03, 2019
Copper, pearl, foam, paint.
19 x 13 x 3.4 cm
From series: Villain’s Plots
© By the author. Read Klimt02.net Copyright.
Bracelet: Villain’s Plots 05, 2019
Copper, glass.
7.6 x 6 x 3 cm
From series: Villain’s Plots
© By the author. Read Klimt02.net Copyright.
Bracelet: Villain’s Plots 06, 2019
Copper, glass.
7.6 x 7 x 3 cm
From series: Villain’s Plots
© By the author. Read Klimt02.net Copyright.
Bracelet: Villain’s Plots 07, 2019
Copper, glass.
7.6 x 15 x 3 cm
From series: Villain’s Plots
© By the author. Read Klimt02.net Copyright.
Piece: 10-01, 2018
Copper, glass.
13 x 20 x 16 cm
From series: 10-01
Face wear.
© By the author. Read Klimt02.net Copyright.
Ray Zheng is a jeweller and researcher based in London, born in 1997 in Urumqi, China. Completed BA at Beijing Institute of Fashion Technology of Jewelry Design and came to Goldsmiths, University of London in 2019. She understands jewellery as a formulating object for body/individual expression that questions value, obsessions, needs and survival. She gets gravitated by design methods like sensing, storytelling, use of actions, materials to comport matters moving towards social-politics, culture and traditions, looking for more possibilities through thinking and making.
Statement
I was making jewellery as my previous practices to answer how I can wear jewellery and how to convey my story through this media. Series of work translate the behaviours into interacting or rewarding jewellery to comfort the sensitivity that exposes us to nervousness.When jumping out of its literal meaning, I started to consider jewellery as a verb and use different methods to document why we wear accessories to understand our surroundings better. This "combination of absolute freedom and rigorous commitment" - is another kind of "thread" that loops your body as an external presentation of fashion that conveys various social contents.
Whether it is casual jewels, random objects that we put on our fingers, wedding rings, digital adornments, etc., objects' performance demonstrates a series of actions, deposits stories, and commences conversations that reflect material value, gender, post-industrial culture.
CV 
News!
New Klimt02 Member
She gets gravitated by design methods like sensing, storytelling, use of actions, materials to comport matters moving towards social-politics, culture and traditions.
She gets gravitated by design methods like sensing, storytelling, use of actions, materials to comport matters moving towards social-politics, culture and traditions.
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Ray Zheng
London, United Kingdom -
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Charlotte, United States
