Author: FanYu Lin

I spend time putting up my portfolio. It doesn’t go well at beginning as I shouldn’t focus too much on each page’s layout and text. Because organizing portfolio page by page distract my attention from the whole structure of my project. For improvement, I will write texts based on my project development and add images separately. This method helps me focuses on project’s narrative than get lost in the layout. Furthermore, I need to be aware of readers’ demand, who think content and development are key aspects. I will look at successful portfolio examples that explain things clearly.

       I am not pleased with my technical works because the asphalt melts away during the firing. I should have checked its melting point before putting it into mold. Luckily their rocky shapes casted in Bronze, which means that I can use patina turn them in black after polishing.    

Reflection on Brooch casting

I don’t think this week’s mould making goes well, because I don’t fully understand mould’s structure and the way bronze liquid flows. Consequently, I have to re-join air channels to make sure it works during the casting process. Next time I will draw out mould’s structure figure out the best way of casting my object before making the mould.

I went to Surreal artist Eileen Agar’s Angle of Anarchy exhibition. This visit inspires me both physically and mentally. Eileen puts different images together for her collage, which is a way of using existing element to tell new story. I think this method applies to most design formula, includes my street jewellery. I think a successful design is making new combination of things that already exit. This can be certain techniques or design objects. I am combining street found objects with bronze using wax carving and casing technique. Casting is my way of combining exist object with new metal forms. I will keep finding successful examples that uses this design formula.     

       I am quite happy with my studio visit presentation because the video visualizes me and Fran’s texts. However, the video is a bit long. Next time I will only read out those highlighted texts. This activity helps me reach out individual jewellery maker, which is important for my future career. I will keep reaching out people and gain suggestions on how to set up a successful jewellery business, while not lose my personal identity.

        Audiences’ feedbacks help me make decision on jewellery’s forms. They prefer direct casts form walls to the 3D printed ones. Their feedback helps me reflect on my decision making. It reminds me of the early stage of my project that I made assumptions on homeless issue, which are not real to each individual cases. Again, 3D printed wall looks fake, and it doesn’t represent the real situation of London Street. Even for my second jewellery collection it doesn’t communicate the street feeling. I need to make sure my interpretation with objects doesn’t affect their truthful narrative. Asking viewers’ feedbacks helps me discover the best way of communicating street feeling.   

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I looked at Simone Decker’s chewing gum installations. His works catch audiences’ attention by enlarging chewing gum’s sticky characteristic in public space. However, chewing gum’s fancy colour seem to deliver a positive message rather than stop people from spit it on ground. His message is confusing. This reminds me of my street wall observation, which captures wall textures. My project doesn’t deliver specific message neither. The way I set discarded objects with precious metal is trying to highlight objects value. This material combination proofs, although they are unwanted objects left on street. Their sentimental value makes them look precious. My project helps people to see street object’s precious side. So I need to stay frank with what I found on street. Make sure that I am transforming material rather than making assumption of the street. I will ask feedbacks on two types of badges and see which one makes better senses.

I am pleased with the street observation this week. Collected materials like bricks and concrete directly remind me of the street. It might not be good if they were smashed into smaller units just to fit with badge’s circular shape. Their irregular forms represent the feeling of street directly. However, I need to add my design element with in these found object. Badges circular shape makes strong contrast with street objects’ irregular shape. Apart from circles I can also test out rectangles or squares I will also try to understand why most badges are circles?

My observation on chewing gum that pressed on pavement can develop into badges as well. They share similar visual quality with some of the wall textures. I need to investigate why people spit chewed gums on street and also the history of chewing gum.  

10^th July

       Now I decide to exhibit my jewellery on white background because viewers’ attention will not distract by complex layout. However, white background separates street context from jewellery, which is harder for viewers to understand my inspiration. To improve the layout, I decide to test out a few different layouts and ask peoples’ preferences. Or I could photograph jewellery on streets communicate my urban context through images. Alternatively, I will also look at artistic displays that show narrative.

       I am not satisfied with the rings because they are not shinny enough to contrast with street found stones. Visual contrast is the key for my jewellery the stronger the contrast is the more attention people will pay to jewellery. I will repolish those rings with fabric polishing mop and go though them with metal paste before the exhibition.     

Alternative questions:

How can I represent the street feeling through display?

How to attract viewers attention?

       I decide to keep combining precious metal with objects found on street. This material combination can be developed into my symbolic visual language. These jewellery’s finishes hardly communicate or represent my street observation. I avoid the direct use of street material. Adding my own interpretation by peeling off cardboard’s top layer and stick glass to it. However, these interpretations hardly represent the street. Based on people’s feedbacks they see my jewellery as ancient artifacts.  This feedback refers to my glass setting technique. Making process may affect viewer’s perception on jewellery.

       I find packages are the most common street object. These packages were formed symmetrically, but their twisted shape proofed that they are no longer functional. Perhaps cast food packages and then form them into random forms can direct viewers’ thought to street object. I am open to viewers interpretation with my jewellery. As a designer I need to make sure my jewellery communicate street feeling to some of the audiences. I will look at design pieces that catches street’s common feeling. I will also pay close attention to street object and make accurate visual reference by photographing drawing or writing descriptions of objects physical characters.

       I am quite happy with the bronze casts that come out of the vacuum machine because they come out in complete shapes. I polished their surfaces into golden colour create strong visual contrast with street object’s dirty matt surface. Attracting viewer’s attention using material contrast.

       I mainly focuses on finishing off the bronze casts and I feel like there are not enough conceptual development for my project. I will look at examples of conceptual jewellery and depict the relevance with my practise. I will also looking at works that have strong narratives, which can be upcycle furniture found on street or upcycle sculptures. Objects that made from found objects may also be relevant to my project. However, I will only focus on reuse object’s story rather than their benefits for environment.

Damien Hurst exhibition visit

Damien hurst’s use of found objects hardly communicate any common messages. The colour arrangement of found items helps his work becomes a collection. Object’s quantities attract viewers’ attention. Such as the cigarette butts wall communicates the disgust feeling of smoking. From a design aspect I avoid the direct copy of found object by casting it in precious metal. However, as an art piece, existed objects communicates direct messages. The exhibition did not introduce the context so its hard to understand each piece.

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       The wall texture was casted in plaster. However, they look like mini sculptures rather than wearable jewellery. The thickness of plaster hardly represents textured walls. I will collect bricks from streets grand them into powders and add to wax to symbolize the street.     

I think it is important to looked at other artist’s inspiration form the street. Banksy’s exhibtion makes me consider about copying street object’s material. Banksy’s graffities make political comments. However, as a viewer I do not fully agree or understand his message. Although he makes bold statement its hard to understand them without the streets. Graffities are more understandable in the street environment.

To express the street feeling I decide to take notes of street object’s location that helps viewer understand objects’ narrative. Red clay was pressed into broken walls capturing its texture. This process called press moulding, captured wall texture accurately.It helps viewers and wearer make direct connection with walls. This process like scientific experiment. I need to gather a variety of wall textures let viewers engage with streets by looking at this badge collection. It is also important focusing on one type of building comparing the differences within location and building materials. For example, I can compare church’s wall textures in north London and south London. Help viewers understand the difference by comparing one type of building.