Mei-Fang Chiang 江枚芳
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So come out, grab a handful of greens and sunlight. Place them in a piece of aluminum. And let them
speak. Infusing colors into metal, my intention is to polish the expression of materials, bring it to a subtle balance between sense and sensibility, then search for possibilities of jewelry design. The everyday-use experience of the wearer is one of my major concerns. I would like to connect the unique emotion between jewelry and its owner : while the work's concept embodies the user experience, a new object/subject relationship is created. Meanwhile I go back to life itself, continue observing the land, the nature and people so as to return to the practice of physical labor, which is the very basis of crafting.
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So come out, grab a handful of greens and sunlight. Place them in a piece of aluminum. And let them
speak. Infusing colors into metal, my intention is to polish the expression of materials, bring it to a subtle balance between sense and sensibility, then search for possibilities of jewelry design. The everyday-use experience of the wearer is one of my major concerns. I would like to connect the unique emotion between jewelry and its owner : while the work's concept embodies the user experience, a new object/subject relationship is created. Meanwhile I go back to life itself, continue observing the land, the nature and people so as to return to the practice of physical labor, which is the very basis of crafting.
Shih-Dea (Deborah) Tseng 曾詩迪
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My concept is inspired by a sentence: “Do not judge a book by its cover”. An indistinct and subtle atmosphere can illustrate our society which means there is no absoluteness to anything. I aim to create a neutral area - peaceful but slight odd, fragile but strong and smooth but rough. Jewellery is
the medium I use to communicate my aesthetic ideas. I explore juxtaposing textures, which are desirable to touch, and so evoke emotions. Visually therefore, the conflict generates irregular three dimensional patterns on my jewellery pieces, while they all have the same visual impact as they are all white. It creates a vague and abstract impression in the perceptions of touch and vision.
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My concept is inspired by a sentence: “Do not judge a book by its cover”. An indistinct and subtle atmosphere can illustrate our society which means there is no absoluteness to anything. I aim to create a neutral area - peaceful but slight odd, fragile but strong and smooth but rough. Jewellery is
the medium I use to communicate my aesthetic ideas. I explore juxtaposing textures, which are desirable to touch, and so evoke emotions. Visually therefore, the conflict generates irregular three dimensional patterns on my jewellery pieces, while they all have the same visual impact as they are all white. It creates a vague and abstract impression in the perceptions of touch and vision.
Wen-Miao Yeh 葉玟妙
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Space is three-dimensional and the most important thing in my work.
Human beings are visual, live in three-dimensional space and create objects from what they see in daily life. The relationship between human beings’ emotion and living space is of the most importance that I take into account in my work. Space is not only space but is also sentimentally attached to ourselves.
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Space is three-dimensional and the most important thing in my work.
Human beings are visual, live in three-dimensional space and create objects from what they see in daily life. The relationship between human beings’ emotion and living space is of the most importance that I take into account in my work. Space is not only space but is also sentimentally attached to ourselves.
Ying-Hsun (Zita) Hsu 許鶯薰
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Science usually gives a rational impression, and may only surprise people but may be difficult to evoke one's emotions. My wearing art is inspired by the Asia aesthetic of Wabi-Sabi to taste soothing. I explore magnetism to embody invisible movement and solidify its ephemeral moment in a static work, that people can directly experience and interpret with their senses.
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Science usually gives a rational impression, and may only surprise people but may be difficult to evoke one's emotions. My wearing art is inspired by the Asia aesthetic of Wabi-Sabi to taste soothing. I explore magnetism to embody invisible movement and solidify its ephemeral moment in a static work, that people can directly experience and interpret with their senses.
Yu-Ping Lin 林玉萍
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Yu-Ping Lin, Europe based Taiwanese emerging designer maker, works with textile and jewellery.
Yu-Ping’s work is process-based and structurally complex. She practices paper cutting/folding where the ideas of 3D structures originate. Her work focuses on the notion of Origami and paper art, architectural structures, interaction and seduction of pattern; the original pleasure captured by the structure of organisms inherent in nature. “ I do not set out to be a jewellery or fashion designer but as my portfolio developed and I became interested in both elements and aesthetics.” The medium includes felt, synthetic fabric, silk and mixed media. Part of the material is coloured by hand painting, dyeing, digital printing or transferring and cut by laser cutting technique. With the resentation of the colour, pattern and structure, may this collection bring fun and fantasy to the audience!
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Yu-Ping Lin, Europe based Taiwanese emerging designer maker, works with textile and jewellery.
Yu-Ping’s work is process-based and structurally complex. She practices paper cutting/folding where the ideas of 3D structures originate. Her work focuses on the notion of Origami and paper art, architectural structures, interaction and seduction of pattern; the original pleasure captured by the structure of organisms inherent in nature. “ I do not set out to be a jewellery or fashion designer but as my portfolio developed and I became interested in both elements and aesthetics.” The medium includes felt, synthetic fabric, silk and mixed media. Part of the material is coloured by hand painting, dyeing, digital printing or transferring and cut by laser cutting technique. With the resentation of the colour, pattern and structure, may this collection bring fun and fantasy to the audience!
Han-Chieh (Joy) Chuang 莊涵絜
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The growing background and experience of the environments has strongly influenced the concept of Han-Chieh Chuang’s works. Growing up in such an advanced capital city she has become gradually tired of busy urban lives and yearn for the simple and buoyant life in traditional Taiwanese farming villages where people are sanguine and content. Chuang looks for elements that have come from her affection for her homeland, particularly, the Taiwanese agriculture combining techniques with hand craft skills to complete series of works that she hopes to express the strength and emotions connected to her home. She believes art has a strong power of communicating a message. Through her works she expects to pass an idea of the beauty of her homeland and bring it back to hearts where those beauties have been forgotten.
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The growing background and experience of the environments has strongly influenced the concept of Han-Chieh Chuang’s works. Growing up in such an advanced capital city she has become gradually tired of busy urban lives and yearn for the simple and buoyant life in traditional Taiwanese farming villages where people are sanguine and content. Chuang looks for elements that have come from her affection for her homeland, particularly, the Taiwanese agriculture combining techniques with hand craft skills to complete series of works that she hopes to express the strength and emotions connected to her home. She believes art has a strong power of communicating a message. Through her works she expects to pass an idea of the beauty of her homeland and bring it back to hearts where those beauties have been forgotten.
Ying-Hsui Chen 陳映秀
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I was born in Penghu, a small island Southwest of Taiwan. In the process of growing up, the beach is my most frequently visited spot as I was raised in an environment surrounded by the sea. My imagination came from Mother Nature. I was deeply fascinated by the forms and colors of marine animals as well as their bodily patterns and the way they grow. Through observing familiar natural
phenomenon and summarizing their essence, I have conveyed characteristics observed into my works.
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I was born in Penghu, a small island Southwest of Taiwan. In the process of growing up, the beach is my most frequently visited spot as I was raised in an environment surrounded by the sea. My imagination came from Mother Nature. I was deeply fascinated by the forms and colors of marine animals as well as their bodily patterns and the way they grow. Through observing familiar natural
phenomenon and summarizing their essence, I have conveyed characteristics observed into my works.
Cai-Xuan (Molly) Wu 吳采軒
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Acrylic is a basic industrial material can be seen in daily life. I try to insert nature into the material and bring the life out. Through all the hand making process, the sea life-like organic form allows my imagination into real life and shows the free, fluid and vitality feeling of natural.
By not using knitting in its traditional application, my works are intended to show the beauty of knitting in structural three dimensional forms. My challenge is to use non-textile materials to transform a traditional craft technique into a contemporary art work which pushes the boundary of material and making technique.
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Acrylic is a basic industrial material can be seen in daily life. I try to insert nature into the material and bring the life out. Through all the hand making process, the sea life-like organic form allows my imagination into real life and shows the free, fluid and vitality feeling of natural.
By not using knitting in its traditional application, my works are intended to show the beauty of knitting in structural three dimensional forms. My challenge is to use non-textile materials to transform a traditional craft technique into a contemporary art work which pushes the boundary of material and making technique.
Heng Lee 李恆
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Through making jewelry, I explain how the overexpress costumes and luxurious jewelry along with Eastern and Western history become the inspiration for my works. I present Chinese traditional craft as another inspiration of my collection, and display how the surprising flame can be generated when traditional patterns cross upon contemporary jewelry. In my series of works, I enlarge the images which as a decorative garment on the dresses or creatures of nature. Throughout magnified image process, pixels of the pattern also weakened, and the rest is similar to the mosaic image. As the image to
magnify, the border out of focus, then hand-embroidery would be the highlight of all.
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Through making jewelry, I explain how the overexpress costumes and luxurious jewelry along with Eastern and Western history become the inspiration for my works. I present Chinese traditional craft as another inspiration of my collection, and display how the surprising flame can be generated when traditional patterns cross upon contemporary jewelry. In my series of works, I enlarge the images which as a decorative garment on the dresses or creatures of nature. Throughout magnified image process, pixels of the pattern also weakened, and the rest is similar to the mosaic image. As the image to
magnify, the border out of focus, then hand-embroidery would be the highlight of all.
Yung-Huei Chao 趙永惠
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The fascinating building blocks of the overbuilt barred windows and corrugated irons, commonly seen in Taiwanese housings, are arranged and fabricated in any possible way. Using this as a pattern, intuition leads the pieces to different shapes and sizes for a chaotic and vital effect for human body build-on.
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The fascinating building blocks of the overbuilt barred windows and corrugated irons, commonly seen in Taiwanese housings, are arranged and fabricated in any possible way. Using this as a pattern, intuition leads the pieces to different shapes and sizes for a chaotic and vital effect for human body build-on.