This project dedicate to people who have ever struggled in love.
I always try to think positively, and it usually comes naturally. But one day, I found myself sinking and could not cope with this kind of emotion anymore. I felt myself helpless and anxious in an unpleasant relationship. I tried so hard to find a balance to keep this relationship going, but situation still gradually went down. It did not end happily ever after, instead it ended worse than I could imagine; I started to doubt my ability to love someone. I don’t trust the essential element of being a human.
My world started to collapse and I sank. I lied in bed and gravity held me tight. Tears ran from me, as they were frightened to stay on my face. I shouted in my mind but no one heard my voice. I struggled and struggled, alone.
When love becomes heavy, it blinds our eyes and numbs our feelings. Even it is apparent when the connection between two begins to crack. Yet we deceive ourselves as long as we can of its existence, we cling to the loved one, even if in turmoil.
Sorrow did not stop when the relationship ends. The commitment from the one you loved keep echoing in mind for a while. The only solution to heal the wounded heart is by time. We learn lessons from previous experience; therefore, we then know when to cut off next time.
In this collection, each metal ring represents a being. Due to gravity, the metal rings dropped further, gradually through time, which shows in the installation. The weight of the rings determines the speed at which they drop. Soren Aabye Kierkegaard’s ‘theory of fall’, regarding anxiety, is delivered. Psychologist Robert Sternberg’s ‘triangular theory of love’, regarding relationship, is symbolized as triangular metal units. The use of solid tape materialized the complex emotions that we have in an unpleasant relationship. Tape is representative of the mind in this state. It sticks to anything and in turn possesses.
A further development piece in oval shape which can be wear as a bangle. This work has been selected as part of the ITAMI International Jewellery Exhibition in Japan, 2015.
A Lifetime. 2014
Metaphysics and time are concepts that I am obsessed with. The familiarity of daily objects creates streams of consciousness that formulate many different stories in peoples’ minds. My work invites the viewer to enter a sequence representative of life. A selection of objects expresses seven different stages in a person’s life. The use of soap bubbles indicates the time that we can never hold on to, that which we only experience. As I am in a stage of finding my position in this world, by looking back into the past and dreaming about the future, thus I exist. No matter which stage we are in, we shall never forget the purest joy of play. It is the initial desire that motivated us to explore the concrete world and provides the building blocks for the sequence of our life.
When I first saw the chain linked spoons in the Pitt Rivers Collection, I wondered why these everyday, utility objects were linked together with a chain. I was curious because there was not much information telling the story of this object. After more research, I discovered how chains were used in ceremonies.
Curiosity led me to create my own version of the object. I chose to work with aluminium because it is not only lightweight but, to me, the material represents the revolution of technology, allowing me to produce the chain work in a new and novel way.
I decided to make a film of people working in pairs and let them interact in their own ways with the chained spoons that I had made. As the couples played with the object they were forced to engage with each other in an intimate space. I discovered how my object could draw out meaning in terms of harmony, collaboration and supportive relationships.
Subsequently, I designed a response piece representing the modern equivalent of my chosen object. The size of it would allow two people to fit it across their neck. This yoke-like form would have a fork and a spoon at each end that could only pick up certain foods. People would have to feed each other if they wanted to taste all of the food on the one plate. The length of the neckpiece would force the participants to negotiate the object in one direction at a time.
Experimenting the possibility of casting a wine glass in metal. However, it didn't work out very well in the end due to difficulties of its shape and thin wall.
Jewellery & Time. 2013
In this project, each person has to choose an object from V&A museum and made a series responses to it. The final outcome will be a collection from each member and be published into print-on-demand book.
Since I have decided which object that I wanted to research from the V&A museum. I had a very confusing journey of finding the true information about my chosen piece.
Firstly, the structure and the material combinations of Sigurd Bronger’s work attracted me when I saw it displayed in a glass box in the cabinet. It has been separated from other jewellery and I could not recognize how it should be worn. Following with research on the V&A website, there was a paragraph written about contemporary jewellery but I felt it was not indicating Sigurd’s work and actually very contradicted to my chosen object.
After this, I read Sigurd Bronger: laboratorium mechanum, a book about the maker’s pieces. In this book, presenting the piece was actually dangling down from a postcard but the postcard was missing from the display in V&A. Image of the initial display made this piece understandable in a certain level. However, there were still few doubts that I wanted to clear. Sigurd is currently working and living in Norway. I decided to email him to ask about further details. He kindly replied my email and told me the whole story.
This project had been through more than two months exploration and development. I found myself having a hard time of understanding the truth and was confused many times by information that came from different places and myself. I made one or two objects for each version of stories as responses. It representing what I obtained from each stories.
The layout of the context is designed to be my final outcome of this project.
Marzee webpage: This year is the 5th and final GSM&J exhibition in the Effe Kijken/ Let’s have a look series hosted by Galerie Marzee. The BIGGER picture project asks our students to open up questions about inner experience and exterior appearance, to explore the notion of personal universes and collective reality. We want our students to investigate these two realms of experience and the ways they interface and interact in their own life. [interior and exterior worlds]. What are the frames and frameworks we construct to navigate through, across and between these worlds [frames of mind]? As a point of departure each student will receive a photo-frame, an object where the real and virtual worlds meet, 2D meets 3D. This frame should, in some form or other, be part of the outcome you will present at Galerie Marzee. We live in a world of images. Many people spend as much, if not more, time inhabiting the virtual world as they do the real one. Our attention is constantly switching between these two modes of information input. As object makers we can ask how this constant involvement in the virtual affects our perception and appreciation of the real and just what is the relation between objects and images that we all so readily take for granted in our daily lives ? [virtual and real].”
Statement: Memories build up our personality but we shouldn’t trap in the past too much. Ying-Hsien (Eunice) Kuo wants to raise the notion of treasure the present day and focus on creating better futures through action of people pick up, play, put down her work and carry on in their life.