播放音乐，和设计师对话
胸针
Lin Cheung
Lin Cheung
伦敦中央圣马丁珠宝设计高级讲师
珠宝艺术家
珠宝设计师
Lin现生活在英国，是一位珠宝艺术家、设计师，并在伦敦中央圣马丁艺术与设计学院担任高级珠宝设计课程的讲师，作品极简概念，曾给伦敦残奥会设计师过奖牌。她善于对已建立起的事物设计或提出质疑，并赋予她们新的使用功能和意义。她喜欢研究生活里小的细节，从中提取最恰当的元素进行创作，最终作品都是值得被推敲的。
London 2012 Paralympic Games Medals
Lin Cheung is a jewellery artist, designer and senior lecturer at Central Saint Martins. She trained at the Royal College of Art and lives and works in the UK.
Her approach to designing and making questions the established and authorised uses and meanings of jewellery and objects. Her work is a personal response to everyday experiences and observations.
Lin works independently and collaboratively on private and public commissions, personal research projects and design projects. She has won several awards for her work and exhibits internationally in major museums and galleries.
Pinpoint 2014 Gicleé print
Exhibited as part of Finding A Central Saint Martins BA Jewellery Design project at The Foundling Museum in London
– ❧ –
I have become obsessed with the smallest of details: the pin that holds a textile token onto each page of the billets that documented the admission of every child. The pin is witness to a small but poignant intervention, performed by the departing mother as she pins a token to her baby’s clothing followed by the Foundling Hospital diligently attaching each textile token onto a billet page as a means of identifying the child with its mother. Small, unassuming and ordinary, the pin is crucial in maintaining identity, belonging, cataloguing and recording what would become the child’s past as he or she assumes a new life.
My creative response has been an emotional one, playing with notions of permanence and impermanence, commitment and abandonment and emotional attachment and loss. Whilst the act of pinning is secure, it can be easily undone – temporary – it makes me think of the mother leaving a last, hopeful gesture for her baby that one day, she may claim back her child.
The vast majority of foundlings were never reunited with their parents. Inspired by their stories, I have tattooed a small pin on my body – a pin that cannot be undone.
Foundling 11146, a boy admitted 10 January 1759 © Coram
Keep
Paper and an elastic band 2016
Brooch, carved Recon stone, gold, elastic band
Kitchen Paper 2016
Brooch, carved Recon stone, gold
Corner of a Plastic Bag 2016
Brooch, carved rock crystal, gold
Keep is a wry look at how I store and protect my own jewellery.
Unceremoniously tucked in corners of plastic grip seal bags, wrapped like a slice of cake in kitchen paper, scrunched up in a tissue, folded in a handkerchief or secured with paper and an elastic band are just some of the ways the jewellery I own and wear is stashed and stowed.
Take Care
Take Care 2008
Gloves, Goddard's silver polishing cloths, cotton, silk, gold, pearls
Friend or Foe?
Friend or Foe? 1998
Necklace, PVC, silver
Keep - Old Pearl Necklace
Keep - Old Pearl Necklace 2018
Pendant, carved rock crystal, nylon cord
Wedding Rings for the Average Man and Woman (UK Size)
Wedding Rings for the Average Man and Woman (UK Size) 2011
Cast aluminium finger sizer, gold
Together
Together 2016
Brooch pins, Swarovski Crystal pearls, gold
Sugar Cube
Sugar Cube 2009, silver
Rope of Pearls
Rope of Pearls
2016
Carved freshwater pearls, heat shrink tubing
There is a special vocabulary used to describe the length of pearl necklaces. While most other necklaces are simply referred to by their physical measurement, pearl necklaces are named by how low they hang on the body when worn around the neck. A ‘Rope’ is 45 inches (114.3cm) or longer and is the longest of six different strand lengths in pearl jewellery. Notches along the piece reference the remaining five strand lengths to elaborate the rope metaphor such as ‘Collar’, ‘Choker’, ‘Princess’, ‘Matinee’ and ‘Opera’.
The origins of these names are uncertain though they allude to a certain class of society and perhaps indicate a standard of dress and social standing. The grand sounding names may well have been a commercial ploy used to sell aspirations and indicate the higher value of longer lengths. I am fascinated by how jewellery is often bound up with rigid social structures and the humorous potential of jewellery to cause no-nos and faux pas.
Rope is often measured but never a measure in itself so this piece is designed and made to measure the length of pearl necklaces, to check you are indeed conforming to norms.
FOX2019开学日:三里屯新校区,线上线下1+1作品集课程,每专业仅招3名!!
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Fox International Art
理念与使命
“艺术是一棵树摇动另一棵树，一朵云推动另一朵云，一个灵魂唤醒另一个灵魂。作为艺术家应该承担着改变人们生活的责任，应该学会成为真正的创作者，而不仅仅是当做一个职业。”
Fox是首家研发了“线下线上1+1”作品集跨界课程体系的国际艺术工作室。旗下还设有展览馆、产品开发基地、设计师经纪公司等多个部门。核心团队由英国伦敦中央圣马丁、美国帕森斯、英国皇家等顶尖艺术学院海归设计师、艺术家以及专家教授在2010年于伦敦和北京共同创立。
Fox国际艺术坚持传达狐狸精神-无畏、自由和颠覆。保持的使命是启发创意的无限延伸，倾尽全力创造平等机会、提倡多样性、充满活力与革新精神的工作环境，这也使工作室能吸引最有才能和创造力的设计师团队。不同文化的冲击，力求独特、创意、自由、甚至是极端反叛的艺术氛围，创意在这里并不是纸上谈兵。
Fox的设计师与学员，无论是背景还是专业能力都是业界首屈一指，与众多知名一线品牌、著名博物馆合作过，如大英博物馆、V&A博物馆、德国国立宝石博物馆、Gucci、Cartier、Alexander McQueen、施华洛世奇、Gareth Pugh、John Galliano、Dior、Alexander Wang、Giles Deacon、陈奕迅、余文乐等。
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