Shaoxiong Fu
Jeweller
Published: 24.02.2020
163.comVessel: The Sea in the South Ⅳ, 2019
Brass, ebony.
25 x 7 x 18 cm
From series: The Carefree Excursion
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Vessel: The Sea in the South Ⅰ, 2018
Tin, ebony.
48 x 22 x 12 cm
From series: The Carefree Excursion
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Vessel: The Sea in the South Ⅱ, 2018
Tin, ebony.
56 x 17 x 11 cm
From series: The Carefree Excursion
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Vessel: The Sea in the South Ⅲ, 2018
Tin, ebony.
27 x 9 x 33 cm
From series: The Carefree Excursion
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Vessel: Kun Ⅲ, 2018
Tin, ebony.
56 x 7 x 23 cm
From series: The Carefree Excursion
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Vessel: Kun Ⅰ, 2017
Tin, ebony.
25 x 18 x 12 cm
From series: The Carefree Excursion
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Vessel: Kun Ⅱ, 2017
Tin, ebony.
42 x 21 x 12 cm
From series: The Carefree Excursion
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Vessel: Kun Ⅱ, 2017
Tin, ebony.
42 x 21 x 12 cm
From series: The Carefree Excursion
Alternative view.
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Vessel: Fire, 2017
Silver
8 x 9 x 23 cm
From series: Rhythm
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Vessel: Water, 2017
Silver
9 x 9 x 21 cm
From series: Rhythm
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Vessel: Roc, 2015
Tin, cedar, brass.
From series: The Carefree Excursion
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Vessel: Roc Ⅰ, 2015
Tin, cedar.
33 x 9 x 7 cm
From series: The Carefree Excursion
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Vessel: Roc Ⅱ, 2015
Tin, brass.
11 x 8 x 22.5 cm
From series: The Carefree Excursion
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Vessel: Roc Ⅲ, 2015
Tin, brass.
27 x 18 x 7 cm
From series: The Carefree Excursion
© By the author. Read Klimt02.net Copyright.
Vessel: Roc Ⅳ, 2015
Tin, cedar.
21 x 18 x 7 cm
From series: The Carefree Excursion
© By the author. Read Klimt02.net Copyright.
I obtained both a Bachelor's and a Master’s degree from Metal Art, Department of Art and Crafts, Academy of Arts and Design, Tsinghua University. Now, I am conducting my research as a doctoral student at Tsinghua University. My creation of tinware has been supported by the China National Arts Fund. My works have been exhibited in the13th National Art Exhibition of Fine Arts, Sino-Swiss Accessory and Watch Design Exhibition, ‘21 Grams’ Hangzhou Contemporary International Metal Art Triennial, The 1st National Art Exhibition of Art and Crafts, and “1895” China Contemporary Metal Art Exhibition. I received the Golden Pin Concept Design Award, excellence award of the 8th China Modern Handcrafts Exhibition and Silver Award of the 3rd New Crafts International Artists Exhibition.
Statement
In the past few years, I have received basic systematic training in metalworking and creative thinking. I have devoted myself to researching metal art for X years, and have delved into a deep exploration of traditional tinware culture and contemporary tinware creation.Tinware is less likely to be handed down from past generations due to the popularity of other materials unleashed by the rapid development of China’s economy. I believed that tin should not be a rarity-it still has a unique value in contemporary life. I started to work with tin after I began my graduate study at the Academy of Arts and Design, Tsinghua University. I appreciate tin’s unique characters-- soft, flexible, and easy to manipulate. I creatively use the distinctive characteristics of tin and shape tin to make it visually flow like liquid. Inspired by the tin of Ming and Qing Dynasties, I adopted 3D technology into this creative process. By twisting, rotating and stretching traditional teapots, I succeeded in creating mind-shocking, visually stimulating pieces for the viewers. I spared no effort to investigate folk metal craftsmanship and local customs throughout the country. My works have combined positive impacts of traditional Chinese architecture, furniture, and ceramics. With that experience, the Jiangsu and Zhejiang Province literary culture became a significant inspiration for my jewelry and silverware creations. I sought specific influence under the classical gardens of Suzhou and Yixing clay teapots. Folk arts also significantly influenced my creation of contemporary metal art. There was a strong intercommunity between utensil and architecture. Literati tea utensils carried literati’s spiritual world while the architecture was the carrier of their physical body. The visual structure language of architecture sparked my enthusiasm for my design, so I paid more attention to ancient architecture which had deep regional characteristics. Through deconstructing the structure of ancient Chinese architecture, I visually express the philosophy of the layout of Chinese architecture, which reflects the conflict and fuse between eastern and western culture. I hope my work acts as a bridge between the past and the future. In conflict and commonality, with a background in Chinese culture, I am constantly searching and discovering my own identity.
/ Shaoxiong Fu
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