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14/08/2010

YuYen CHANG – fleshy, woundlike world

Classé dans : Taiwan (RC),www Ganoskin,Yuyen CHANG (Taiwan) — bijoucontemporain @ 12:43

Des « bijoux » qui dérangent, attirent -comme pourrait attirer un corps nu, partiellement dévoilé à travers un trou de serrure-, et en même temps « répugnent », comme si l’on pouvait -enfin- regarder (sans être vu) tous ces orifices « défendus » du corps humain ….. attraction-répulsion ….
« Should I look, or look away? In an instant, Yuyen Chang confounds the viewer. Her complicated work plays on our innate attraction to jewelry, its invitation to gaze, and our equally human repulsion from physical deformities: scars, growths, cysts, wounds. As baubles and boils incite these diametrically opposed responses, Chang’s difficult pieces send one scrambling for the socially appropriate behavior.
Chang’s work is intentionally anthropomorphic, disturbingly so. She likens her technique to that of a plastic surgeon, shaping and sculpting on and beneath the surface, using traditional fabrication methods like die­forming, chasing, and repousse. Yet Chang’s goal is hardly to beautify or’ improve’ her subjects; she labors to distort, to subvert. Though Chang made these pieces while still a student, she reveals an awareness of the allure-enhancing and status-bestowing powers of jewelry, especially in modern society, as well as our obsession with erasing any wrinkle, bulge, or flaw.
A most unusual jewelry artist, Chang bypasses witty and aims straight for unsettling. If one were simply to describe her navel- or mouth like brooches, they might seem wry or humorous, but in the flesh, as it were, her jewelry incites not a smile but a straight face-maybe even a wince. This is volatile territory, indeed; deformities are not a laughing matter. But our compulsion to look at them, Chang proves, is a fruitful topic for art indeed, especially art meant to be worn on the body.
Consider the brooches in her « Orifice Series’ ». At their center is an irregular orifice, from which poke crowded tongues? Fingers? Genitals? The brooches feel not quirky but creepy, sinister, abnormal. A similar sensation is elicited by a copper pendant in the same series. While finely executed, its bivalve, bloated form recalls a medical specimen, a detached organ, as if the owner were showing off her recently removed tonsils in a jar. »

YuYen CHANG - fleshy, woundlike world dans Taiwan (RC) MTS-S03-P14
Untitled (brooch), « Orifice Series, » 2001 copper  (Photo Jim Wildeman )

« The brooches in Chang’s most recent « Chi-Pa Series » assume more amorphic, growth-like contours. The artist coined the term « chi-pa » by combining the Chinese word for beauty or talent with that for scar or wound, to capture the ambiguous quality of these works. Yet the central, fleshy, woundlike gashes make it almost impossible to call them beautiful. One suspects a line of Yuyen Chang engagement rings is all but out of the question. Her intellectual yet visceral pieces defy not only social mores, but language as well. We’re going to need a new vocabulary to praise this complex work. » (The GANOSKIN)

MTS-S03-P15 dans www Ganoskin
Clockwise from top left: Untitled (brooch), « Chi Series, »-copper- 2002  –  Untitled (brooch), « Orifice Series, » – copper- 2001 –  Untitled (pendant), « Orifice Series, » 2002 copper, silver chain  — Untitled (brooch), « Chi-Pa Series, » 2002 copper  (Photos: Jim Wildeman)

 

COUP de COEUR ! Beth LEGG, from the far north coast of Scotland

Classé dans : Beth LEGG (UK),BOOKS / BIBLIO,COUP DE COEUR,Grande-Bretagne (UK) — bijoucontemporain @ 12:21

« My jewellery pieces explore the sense of place through the embedded object and memory. The remote environment I come from in the far north coast of Scotland from has strongly influenced the work I produce. I have always been fascinated by the hinterlands and quiet edges of places – a bleak remoteness which can be both beautiful and melancholic.
I like to think of the body as a landscape – the jewellery pieces are transformed when worn and the wearer appropriates the narrative of the landscape and forms their own associations through the piece. Away from the wearer I would like my work to take on the character of still lives through a contemplative and sensitive interpretation of the sense of place. I tend to work instinctively with materials rather than contriving designs beforehand. I enjoy the labour of traditional hand tool methods – forming a dialogue with materials through the exploration of their innate qualities and discovering their inherent possibilities. I find this process of designing through making both intellectually and emotionally satisfying.
My work can be seen as a moving dialogue – each piece an exploration of composing elements encompassing themes of landscape and memory, ultimately reflecting the often bleak and fragile nature of the environment I come from. » (Beth Legg)

COUP de COEUR !  Beth LEGG,  from the far north coast of Scotland dans Beth LEGG (UK) Image1Image7 dans BOOKS / BIBLIO
Beth Legg-  p
etrified forest neckpiece
Beth Legg-pods and buds necklace

Image5 dans COUP DE COEURImage13 dans Grande-Bretagne (UK)
Beth Legg‘buds
Beth Legg‘rivers mouth’ neckpiece

Image11Image12
Beth Legghinterlands neckpieces, I & II

Necklace Click pic to close this window
Beth Legg« In this neckpiece the wych elm wood is treated as a precious material and is set in a method similar to the way traditional jewelers set precious stones  »

 

BOOK :

http://www.laprocure.com/cache/couvertures/9782212124064.jpghttp://img.fkcdn.com/img/762/9780713682762.jpg
Les bijoux en matières naturelles – Beth Legg – Eyrolles , Paris 2009 – 143 pp

(traduit de l’anglais : « jewellery from Natural Materials »)

 

 

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