In this work, I imitated Dunhuang murals with cloisonné enamel technology, starting from the gesture movements of the characters extracted from the original work, and combining with the modern understanding of gesture movements to convey the emotions in the murals, thus discussing the ability to transform from emotional carrier to medium. The idea of developing this work started from my sketching experience in Mogao Caves were sketched from life. I was deeply impressed by the gesture as the emotional carrier and the function of the character's identity symbol in the murals. Therefore, I extracted the character's gesture from the original murals through cloisonne enamel technology.
Red Copper, Copper Wire, Sands,
100 ×14 × 0.4 cm
Deeply examining the expressions of lines and geometric aesthetics in Dunhuang murals and gaining a thorough understanding of the gesture. On this basis, I carried out in-depth reflection on the emotional carrier expressed by the modern gesture, seeking to extract character's gesture from the original murals, which was later combined with the modern understanding of gesture expression to convey the emotion in the painting. Applying the sand collected in the desert during the sketching process as a medium, I explored how gestures are applied as an emotional carrier and realized its transformation between different media, thus narrowing the distance between the viewer and the exhibits by the derivative creation of the object.
Red Copper, Copper Cire
12 × 9 × 6 cm
The creation attempts to explore the possibility of intervening in "classical jewellery" with "modern technology".The interpretation of the body by the lines in the ancient paintings served as the starting point, and modern 3D modelling technology was deployed to extract the line structures in the ancient paintings, which was then made into jewellery.In ancient times, roundness was regarded as the pursuit of a better life and the expression of good fortune. Therefore, I applied fat creases, which demonstrates "the fat beauty", as visual elements, combined with modern materials and aesthetic trends, and finally presented works with a strong contrast conflict with traditional solemn mural figures.Due to the ignore of the original material of jewellery in the murals by this combination, the classical elements in the ancient murals was transformed into jewellery works with modernist style. In the process of extracting and reconstructing the most common jewellery forms in Dunhuang murals, I selectively retained the two-dimensional style in the original murals.In the application of this revolutionary method, I kept reflecting on the different values conveyed between modern and ancient jewellery.
Resin, Flocking, Brass
15 × 8 × 3.5 cm