Artists Collaboration : Contemporary Jewellery Exhibition
IN SUBTLE SENSITIVITY : 26/10-28/11
EXPLORING THE BOUNDARIES BETWEEN BODY, NATURE AND SKIN
探索遊走於身體、自然和皮膚之間的模糊界線。
展覽日期 EXIBITION: 26TH OCTOBER - 28TH NOVMEBER
開放時間 OPENING HOURS: 12PM - 6PM (逢星期一閉館 MONDAYS OFF)
地址: 中環鴨巴甸街35號元創方B座H402號舖
ADDRESS: PMQ- Shop H402, No.35 Aberdeen Street, Central, Hong Kong
也許是深嵌於物種拓展邊界的原始行為模式； 無盡的感官探索是人類存在着密不可分的主觀體驗。
縱然世界充斥著多元的感觀刺激，偏向理性的視覺總能給予人最優先的依賴和安全感，直至一剎熟悉的氣味帶你穿越時空，重遊那不復存在的故地；或一種獨有的觸感，如神秘經驗般給予你最直接的瞬間辨知……
是次策展概念意在探索觸覺的感知，透過瑪莉亞·沃克 、張雅婷和蔡卓岐帶來的獨有詮釋展現有別於平常以視覺為主的作品。將虛無主觀的個人情感揉合設計、手藝和選材繼而實體化呈現；三位工藝家期望引導觀眾一瞥其獨有的個人世界觀之餘，同時展現金工技藝的無限可能性。
OBELLERY誠意呈獻三位金工藝術家的巧手佳作。自2014年創立至今，本館一直致力推廣本地及國際工藝家的手作首飾，期望提醒大眾在追求現代化的快速和便利之餘，不忘珍惜並欣賞那些正和時代巨輪搏奕的匠人們用雙手打造的美好。時至現今冀望透過策劃更多不限於首飾的展覽，向更廣大觀眾推廣當代工藝品及可穿戴藝術品的美學。
As we feast our senses with exotic stimuli, recollection of our experience is predominantly occupied by visuals. Seemingly logical, until we occasionally encounter a familiar scent that triggers memory more vivid than any spectacle, or a distinct tactile quality that allows us to instantly identify an object.
The curatorial vision of this exhibition is undergirded by a clear focus on the tactile qualities and perceivance of felt textures as a medium for the creator’s message. The artworks by Maria Ignacia Walker, Belinda Chang and Alex Tsai communicate through articulated forms and rich surface textures in their selected works. The motley assortment of intriguing artefacts shares the vision of channelling qualia into hypothetical existence, where each artist presents their own narrative via the holy trinity of creative practices; that is, design, craftsmanship and choice of material elements.
The selected works exemplifies sentiments crossing the threshold of human psyche and rendering them tangible. It takes our audience on a journey through the extraordinary virtuosity of artisans, peering into their own approach to interpreting and actualising abstractions which illustrate to these three creative principles
Obellery is pleased to showcase these fascinating pieces. Established in 2014, our studio has been a keen supporter of local and international jewellery arts, offering opportunities for the public to discover the craftsmanship and promote appreciation for contemporary jewellery through workshops and gallery displays. Open to the public, the curated exhibitions are becoming an integral part of our mission: to promote the culture of contemporary art objects and wearables to the widest possible audience.
Maria Ignacia Walker, “From Memory”, Vessels 02, Silver plated copper, Rubies
《From Memory》by Maria Ignacia Walker
藝術家將記憶的概念和生命經驗的收集、分類、儲存、復取和重現連結；繼而創作出《From Memory》一系列的銅及銀製作品。運用電鑄技術不受控的高壓電流反覆地刻劃出一張又一張的臉。
The fragility of memories has been the subject of countless theoretical and scientific studies. Like stormy clouds limiting a comprehensive understanding of phenomena, memories are intricate, mysterious and evoked differently every time. Each processed memory, becoming distorted or manipulated to fit what we interpret from the reality.
Collecting, cataloging, storing, retrieving and repeating life experiences are concepts that María Ignacia Walker links to memory. As a result of such reflections, she created “From Memory”, a series of figurative copper and silver pieces forged and reconstructed through an uncontrolled hight voltages electroforming process.
Belinda Chang, “The Tactile & Taciturn”, Sterling Silver.
《The Tactile & Taciturn》by Belinda Chang
藝術家向來對大自然各種混天而成的元素感到著迷，從型體構造至紋理材質；皆給予她創作靈感並貫穿其多個個人作品系列。是次作品沿襲《Cactile Collection》系列加以發展，摹傚多肉植物的型態、結構和紋理；結合個人獨有的審美創造出一系列的視覺和觸覺饗宴。
運用傳統金工技術，藝術家將金屬和植物兩者迴然不同的存在界線溶和，表面每一道看似靜默的痕跡皆透過觸感無聲地訴說著其可溯脈絡。每一敲每一鑿是藝術家對自身作為金工師的界限挑戰；卻也是一種內在探索的禪行覺察。如同自然界不變的兩極法則，藝術家期望嘗試在不斷突破金工工藝的固有框架同時；鍛練出自身剛柔並全的獨有里程。
Belinda elegantly wed her penchant for floral inspiration and creative use of manual fabrication techniques to bring forth a sense of spiritual relief in her latest work. Using the inherent possibilities in the materials, the act of disciplined texturing is essentially a meditational process as much as it is a creative one.
By employing techniques such as forming, repousse and engraving, the technical procedures used on metals take on the decorative value through rich subtleties and textures. The boundary between metal and organic matter is blurred in Belinda’s creations, the segmented form and discernible textures are reminiscent of that belonging to the cactus family; created through cycles of repetitive fabrication
process, the experience is a therapeutic one as organic trait gradually manifest on the metallic surface, until the piece is ripe to exemplify an ineffable individuality that cannot be fully comprehended by sight alone but is to be felt and remembered.
Alex Tsai, “In Situ”, Wood and sterling silver
《 In situ 》by Alex Tsai
沒有任何靈感泉源能媲美大自然的森羅萬象，它作為繆思推動著每一個創作者並激發他們的想像力。從藝術家的作品中可以看出，昆蟲學對其而言有一種無法抗拒的吸引力。
是次展出的作品“ In situ ”，可以說是其系列的先導作品，每一件作品透過選材和視覺元素的搭配共同引出這一系列的中心思想： 利用自然詮釋出思想記憶珍貴。
“ In situ ”在拉丁文中意譯“在原本的位置上”，寓意著設計師希望將最珍貴的回憶凝結，將記憶定格於最美好的一幕，停留在原本的位置。細心觀察可以發現中空的蟲蛹被安放在一個人造的環境當中被細心呵護著。暗喻人永遠在經歷過後才會發覺美好的回憶稍瞬即逝，心甘情願的耗盡自我編織出一個又一個的溫室保護如蟲蛹般脆弱的記憶。
這些作品重來都不以首飾的角度出發，其功能性並不以切合人類的需求而存在。而是作為當代首飾，遊走於物器與首飾之間，模糊了兩者的界線。他們是一個獨立的個體向觀察者敘述出一個又一個關於記憶的故事。
There is a natural gravity towards entomology in any of Alex’s creations, there’s no greater source of inspiration than hexapedal wonders prepacked by the Muses themselves, as the artist puts it.
The quartet of contemporary wearables on display is part of a developing collection that interprets nature as a visceral precious object. As much as each piece differ in form, they share a fundamental recipe for material elements. This connects them to the series’ central theme of conservation, where the vacated chrysalis adheres to a pseudo-authentic habitat; constructing a metaphor for our inability to fully comprehend our blissful instances until in hindsight, as a memory that we would willingly exhaust ourselves to salvage from dissolution in the fog of oblivion.
The miniscule conservatories though exist within the confines of a brooch, their functionality in the context of the human form was never a priority in the artist’s creative practice. These artefacts are formally resolved as a standalone object, its wearability stems not from the preconceived notion of jewellery, but instead a practical appendage that yields an extra stratum of significance, oscillating the threshold of bodily boundaries.
