EN CO UN TER Royal College of Art Graduation Show 2022 Ceramics & Glass – Jewellery & Metal
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Royal College of Art Graduation Show 2022 Ceramics & Glass Jewellery & Metal
Encounter(s)
2022 Jonathan Boyd Applied Art Ceramics and Glass/Jewellery and Metal
A quick glance via the touch sensitive screen of my iPhone and I am connected, via The Internet of Things, to an answer for my search. ‘what encoutner mean?’ Google is quick to reassemble my misspelling and provide an answer: Encounter: unexpectedly be faced with or experience. The 2022 graduate exhibition from the Applied Art programmes, Ceramics and Glass/Jewellery and Metal, delivers an uncompromising experience of unexpected encounters (note the redaction or hesitation to use the ‘s’ here, {applied artS is about disciplines, applied art is about applications, of which there are innumerable applications offering endless artistic possibility} it is thinking of craft as the verb and not the noun {discipline}). Walls are placed at triangulated angles and the graduate’s works are exhibited next to each other in harmonious, and sometimes dissonant relationships. Moving through this exhibition the viewer’s response to the works is continually shifting
never the same from any angle. Lines of sight open up, revealing snippets of intriguing material relationships, unexpected changes of scale and often framed in bold, solid blocks of colour. The viewer entering this exhibition is greeted by unexpected meetings with new and innovative works that have themselves unexpected relations with the works of others surrounding them. This is the pure exhilaration that comes from a graduate exhibition – differences come thick and fast as one is pulled into the details and the subtleties of the individual personalities that emanate from the works set out before you. No two bodies of work speak the same language, and it is qualities such as these that are significant and define study at the RCA, where the ability to develop personal methodologies is nurtured. It is a dynamic time to be working with and through emergent possibilities that are presented by making, speaking to both studio practice with its rich histories of object-making, and the new possibilities presented by technologies and global dialogues. Herein lies the dynamism of
material-led practices. Students undertaking study in Applied Art subjects are always at the convergence of things. Whether it’s the cusp of art/design, material/ immaterial, digital/analogue, these are disciplines and approaches that demand multi-directional attention and which require empathic, thoughtful and considered interactions with materials and materiality. Narratives of materiality, the domestic, environment, virtual, posthuman, absurd, generational difference, gender and identity are evident alongside, and often contained within, tacit, embodied and poetic forms of thinking/making. Here, materials are questioned, altered and subverted through curiosity, intimacy and the care made evident in skilled transformative processes. It’s via this lens that we can start to see beyond a surface exploration of encounter to see how this relationship, this coming together/co-grasping, impacts artist/material and audience/ work. In the artist/material dialogue, the artist projects outwardly and the material speaks back and there is a dual grasping taking place. Their
relationship is magnetic in its is push/pull dynamic. The same exists for the audience where the viewer’s search for meaning is answered with a set of possible answers (interpretations) offered by the work. It is an energetic conversation, where meaning is made and artworks find new ways of speaking (finding voice). That these students are showcasing works that emerge despite the difficulties presented during COVID related lockdowns, and limited workshop access, only strengthens their significance as they now paint narratives of where the world is, has been, and might be going. We invite you to encounter the graduate works of the 2022 Ceramics and Glass and Jewellery and Metal cohorts, where new works have been produced with resilience and resourcefulness, seeking and interrogating (if not demanding) new narratives of how we engage with our material world. Jonathan Boyd Head of Applied Art (Ceramics and Glass/Jewellery and Metal) May 2022
MORVARID ALAVIFARD Untitled Pearl, 18ct gold, charcoal block
e: morvarid.alavifard@network. rca.ac.uk Instagram: mor.alavifard
Born in Tehran, Morvarid Alavifard studied Jewellery and Metalwork. Her work has grown to encompass social and cultural issues about her own experience of life. She challenges herself by creating uncomfortable conflict in her work, in doing so risking her true self and personal free-
dom. She enjoys the feeling of release of these tensions, through destruction and tries to express this through material exploration. Morvarid uses her work to invite an audience to join her on this reflective journey, exploring themselves through her destruction.
YIRAN AN Cosmos I Bullseye glass, cast glass
yiran.an@network.rca.ac.uk Instagram: yiran_an_ www.yiranan.work
My work is inspired by a recurring childhood dream in which there are some omnipotent presences watching a box showing everything that’s happening in the world. It was so real it influenced my perception of the world. Reversing the box means we
could be inside or outside, observe or be observed.
DEBORA BEVILAQUA Fragmented Memories (left), Nostalgia Ring (right), Sterling silver, enamel pigments and photograph
e: bevilaqua.jewellery@gmail.com Instagram: bevilaqua.jewellery www.bevilaquajewellery.com
Debora’s work questions the subject of identity and the feeling of belonging. Through personal photographs and readings on the theme of memories and nostalgia, she reimagines this distorted universe and evokes emotions using materials, photographs, and colours. Her research has
been looking at ways to connect people with the embed emotions held in the pieces, transforming an immaterial memory into something physical. Each piece can be seen as a fragment of those memories and a piece of her narrative.
MILS BRIDGEWATER Don’t just stand there!
Bullseye glass, recycled furnace glass
e: milsbridgewater@gmail.com Instagram: mils_bridgewater www.milsbridgewater.com
Why is an inanimate object given more value than a sentient being? I am investigating the disparity between transportation of livestock for fattening and slaughter and the transportation of inanimate objects for consumer pleasure. One is encased in
bubble wrap, packing peanuts, an oversized cardboard box, the other in overcrowded metal cages, extreme temperatures, no food or water. The slow process of glass casting enables me to meditate on the animals, honouring them with each cast bone, each foamed glass packing-peanut.
NOA CHERNICHOVSKY Facing the Plenty Earthenware, glazes
e: noacher@gmail.com Instagram: noachernichovsky www.noachernichovsky.com
Noa Chernichovsky’s work examines the network of associations created around objects, tying together their inherent narratives. Her work aims a spotlight on everyday physical things that we often overlook, which she reconstructs into surreal volumes. She sees herself as a “sampler”
of forms and surfaces from her surroundings and though her subjects are mundane, they are conveyed in a language over the top with elaborate textures and patterns and compose an image that is rich and full of energy.
CAROLINE CHOULER-TISSIER The Ground Beneath Your Feet
Porcelain & volcanic clay. New Skin (left), Blown, cut & fire polished glass.
Unlikely Balance Point (right), Porcelain & stoneware clay.
e: choulertissier@icloud.com Instagram: ct_ceramics_rca www.chouler-tissier.com
The vessel as a form in my practice references the universality of human experience through time. My research of ancient artefacts contributes to the interpretation of our story, embracing ambivalence of memory and recorded history. I reference the rawness and
vulnerability of our inner experience, and explore how social expectation inhibits our actions and ability to express an authenticity of feeling. This dissonance between internal and external expression is reflected in my use of extruded and distorted surfaces.
SOFIA CHRISTOFOROU The Explorations of a Curious Mind Stoneware
e: sofochristof@gmail.com Instagram: sch_creations
What fuels my creative drive is curiosity. I absorb information by everything that surrounds me and my work becomes an abstract response to the world I see. I immerse myself in a spontaneous and instinctive flow state of making that results in sinuous tactile forms of poetry. I explore forms, in
a quest that embraces the liminal state. My work evokes a sense of movement at a state of stillness and integrates both the surreal and the familiar.
HANNAH DAVIES A shift in consciousness Welsh raw wool and gold
e: hannah@hannahrhianjewellery. com Instagram: hannahrhianjewellery www.hannahrhianjewellery.com
Threads of our identity weave around us and through the land in which we stand upon, into materials, and possessions. When these are discarded, they become traces in the ground – left to be uncovered or absorbed into the interconnecting meshwork of the landscape.
Spinning wool into gold on a spinning wheel, Hannah uses the hyper-local materials to encapsulate these entangled threads of identity. This installation is a dive into an ecology of materials, and its absorption into the subconscious.
ELIZABETH DEGENSZEJN Release Parian clay
e: elizabeth.brazil@gmail.com Instagram: elizabeth.degenszejn www.elizabethdegenszejn.com
Release speaks of selfacceptance. It confronts and questions expectations of perfection and the liberating emotions of embracing who we are and our limitations. Sculptural ceramic forms express the conflict between conformity and independence, by suggesting internal
pressures that reveal the tensions created between the desire to individuate and the need to comply with what is expected of you. Elements of rigidity harmoniously coexist with the sensuality of curves and signs of rupture in a balance between conformity and liberation.
RICHARD DENNE Candlestick(s)
Sterling silver and PVC hose tube
e: info@richarddenne.com Instagram: richarddennesilver www.richarddenne.com
Denne’s practice brings together their interest in Objects for the table alongside the contemporary notion of Queering – the process of disrupting the normative, questioning the common place and confronting head on the lineage of everyday objects that are found inhabiting the
landscape of the table. This body of work uses the line as a metaphor for the invisible material of time, using it to capture the ephemeral nature of the dancing flame.
HAMISH DOBBIE Gold Gestures Box 18ct Yellow gold
e: hamish@hamishtdobbie.co.uk Instagram: hamishdobbiesilver www.hamishtdobbie.co.uk
Hamish creates objets d’art that explore the human experience and how an individual interacts with the extrinsic factors that form their life (e.g. place, work, family and love). The resulting work ‘paints’ the story of that coming together – with the build-up of each mark a demonstration of the friction
and flow of life. Hamish works to commission and has work in private and public collections and museums worldwide. Shown above is the solid 18ct yellow gold box depicting romantic love.
NATASHA FONTENELLE Home / The Quiet Ones Black clay
e: admin@natashafontenelle.com Instagram: ms_fontenelle www.natashafontenelle.com
I’m a multidisciplinary artist working across a range of techniques, incorporated with and around my ceramic practice. I hand-build, working intimately and intuitively in collaboration with the material, other artists and my environment, to create new worlds and inhabitants, which currently manifest as
“The Quiet Ones” – The imaginary, organic, past and futuristic self-sufficient hybrid species who live inside my sculptures. Presently migrating outside the sculptures in varying forms and speaking on their experiences. My role is as their silent observer…
ALICE FOXEN Inert matter, live wire Porcelain, glaze, foam
e: alice@alicefoxen.co.uk Instagram: alicefoxen www.alicefoxen.co.uk
Walking through urban space makes me curious. The street is always in flux and I am always searching for overlooked objects and leftover materials. Stuff in chaotic harmony, traces of activity on the street that sparkle for me. These encounters with objects are my personal connection with
public space, I gather them up. Layers of memory form a landscape that I explore through clay and other materials. My sculpture is on the move, a conversation in control and fluidity.
ZARATEA GÅRDEN HURTIG A sunny place for shady people Stoneware, glaze, vitreous slip, metal leaf, wood, solder
e: zarateagh@gmail.com Instagram: gaardenhurtig
I want to take the eyes on a holiday. My work is as much a parody on, as an appreciation of the everyday. With some disrespect of rules and lots of joy, my pieces might appear stuck mid process, carrying a sketch-like energy. It’s a fine blend of stories, nature, humour and some nostalgia.
Fascinated by narratives I often build stages, surreal and nonsensical scenes with references to known things: homes, plants or paintings, organised in a dreamlike logic.
DOVILE GRIGALIUNAITE Alter Mouth blown glass
e: dovile.g@network.rca.ac.uk Instagram: dovile.ideas www.dovilegrigaliunaite.com
I’m 42.3 cm tall. That’s how far until I reached the ground. It hurt but It shaped me. I don’t regret, I belong here and there. I was full of force until I hit the pre-existing space. I was pulsing. The desire to exchange was repressed.
I sprang from the alterity and trusted the dive through the sky. The movement is altering me. My body is touching the world. I became time and space.
YINGQI GUAN Me and my ugliness Silver wire, copper wire
e: guanyingqi11@sina.com Instagram: yingqi_guanguan
“Beauty” is a very noticeable feature of modern popular culture with many drawbacks. I expound on this paradox from the nature of the body. This concept generated by the human body dominates the growth experience of some people. Within the Me and my ugliness series, you
can experience the bias and unfair treatment resulting from stereotyping. I turned thoughts into jewellery to emphasize and be coherent with the wearer, to help people reevaluate the importance of the female’s body.
YICHEN GUO La vie est alleurs
Silver, stainless steel, ethical butterfly wings
e:guoyichen728@yeah.net Instagram: guoyichen728
Dreams sever life into countless parts, there exist many fictitious egos in, having all the vacancies in reality. “Life is elsewhere”, then “here” becomes a patch of thorns. The ego keeps resounding from a depth that I desperately seek to find, it echoes at the border between the illusion and the
real, where spear and shield are no longer opposed. I try to materialise the language to convey these immaterial boundaries.
NAEUN HAN Florescence Porcelain, metallic wire, glass
e: naeun.han@network.rca.ac.uk Instagram: naeun_studio www.studionaeun.com
I am inspired by the short and long time of ‘moment’. The word ‘moment’ is usually defined as a short time in the present, rather than the past or the future, but as Kierkegaard explained: “The moment is not properly an atom of time but an atom of eternity. It is the first reflection of eternity
in time. Its first attempt, as it were, at stopping time.” We face these countless instants in our lives, and we remember different scenes every time. Beyond the material, clay makes it possible to contain the moments of making. I would like to present precious moments in daily life through my work.
FAN HE Belief
Mother-of-pearl, silver, stainless steel wire
e: fan.he@network.rca.ac.uk Instagram: xxxfannnn
The number gradually increases, thin to thick, fragile to hard. The stacking of materials is a repetitive ritual, and the shaping of materials is a change from quantitative to qualitative. With the help of repeated actions and focused thinking, the answer and truth will appear. We should believe
in that essence – ego. This collection narrates the process of belief establishment to awakening through materials, trying to return from excessive reliance on belief to focusing on oneself.
INGER HEESCHEN Stages Glazed earthenware
e: ingerheeschen@gmail.com Instagram: sif_bang www.ingerheeschen.com
Through an interdisciplinary practice, my artistic research explores notions of origin and progress through a translation of cultural objects and artefacts. By studying and participating in several residencies internationally I have developed methods of working in
response to my current surroundings. Getting familiar with a specific place can almost be akin to learning etiquette. By approaching iconic imagery, the arcane and archaic, I aim with a subtle sense of anarchism to create objects that meander across time.
CAZ HILDEBRAND Lost & Found (white and colours) Earthenware, glazes
e: caz@cazhildebrand.com Instagram: cazhildebrand www.cazhildebrand.com
Caz’s practice is concerned with making connections between the past, the present and the future, exploring the intersection between archaeology, architecture and art. Working with a vocabulary of geometric forms that can be configured in infinite
combinations, she has created a lexicon with which to reflect on themes of memory, loss and reparation. Caz plans to develop larger scale sculptural versions to encourage audience interaction with her works in site-specific locations and the public realm.
Digital object/ NFT
Through hybridities of pattern, materiality, purpose and technique, Leora has created a range of objects which give physicality to an imagined heterotopia.
of actual function, however, it is understood that their use is ambiguous and that they may be viewed from a conceptual, sculptural or even decorative point of view.
e: leora.honeyman@network.rca. ac.uk Instagram: LeoraHoneyman www.leorahoneyman.com
Intended as design objects, these world bridging devices can be seen in terms
Leora is a QEST (Bendicks) scholar.
LEORA HONEYMAN Comfy Chair (left) & Flower Table (right), Porcelain
Fluffy Stool (below),
ANLI HOU TRANCE\SUNSET
Pearl, silver, gem, beads, holographic plastic
e: 651335102@qq.com Instagram: anli_xixi
Anli Hou is a Chinese jewellery designer. Her artworks include not only jewellery but also objects, painting, cinematography and art forms alike. She has focused on daily life and sought to make expression with her experience and perception of the world. Her work is to share the ‘offline visual ID’
by wearing jewellery. By means of visible artistic language, personal information is conveyed among people to find shared interests and topics, so they proactively make conscious and meaningful interaction.
YIHAN HUANG Weaving/Text Stainless steel wire and feather
e: 245175@network.rca.ac.uk or 2865608505@qq.com
Yihan Huang is an artist from Shanghai, China. She has an educational background of three years studying at Birmingham City University’s School of Jewellery and two years in Royal College of Art. She makes objects/sculpture which are inspired by literature, language and words.
JING JIANG Hair Hair, stainless steel
e: chloejiang.0221@gmail.com Instagram: jiangsanri
Hair is a symbolic material in possession of an undervalued power that is worth to be explored and redefined through cultural and artistic practices. In this collection, fallen hair from different people is carefully collected and reformed into wearable jewellery. Returned to the human body, the once
discarded “wastage” regains its value through artistic refinement. Furthering exploration of the physical materiality of human hair, the project also brings up thoughts related to femininity, time and ageing, distaste and beauty.
TAEYI KANG The Sanctification Glass
e: taeyi319@gmail.com Instagram: taeyi__kang
My work is similar to writing poetry. I like to express the numerous sentences I wish to say with poetic connotations through metaphors. Just like carefully selecting words to create beautifully refined sentences, I use glass as a language of metaphor. Most of my works are in the form of
love poems, but there are also epic poems that desperately build up the values, direction, and outlook of life, and poems of earnest last wishes.
SOGON KIM Celestial; Pink #4 Glass, silver leaf, metal oxides
e: whisperingsogon@gmail.com Instagram: Sogon_whispering www.sogonkim.com
Geoscience and the world of space have always evoked my curiosity. ‘How would it be formed?’ This question fascinates me with the moments when materials are being shaped and colored. My work resembles the world of space and earth sciences, where expectations are possible but
not accurately predicted. The process of imagining beyond the landscape and at the same time capturing the moments of reaction between materials evokes the feeling of showing a huge universe through a small lens – microscopically replacing a macro object with an object in front of us.
KEXIN LIU 3067—bacterial soundscape Bacteria pigment, vinyl, resin
e: kexin.liu@network.rca.ac.uk Instagram: kexin._.liu www.kexinliu.net
Kexin Liu is a multidisciplinary artist from Beijing, China. She has a strong interest in exploring the symbiotic relationship between humans and nonhumans. In her recent work 3067—bacterial soundscape, Kexin has analyzed and translated her body’s bacterial makeup into soundscapes and
embedded this sonic information in a vinyl record colored with Serratia marcescens, a pigment-producing bacteria living in the human body.
RUTH MAE MARTIN Objects I Learn With Porcelain, stoneware, glaze
e: ruthmaedesign@gmail.com Instagram: ruthmaedesign www.ruthmaedesign.com
My practice is focused on the symbiosis between people and their objects. The objects we choose to surround ourselves with are a lens for who we are: they act as vessels for our memories and inform how we learn about the world. My work explores this by using objects autobiographically: each piece
visits a specific memory. By arranging these objects together I am portraying myself at various moments in time, collaging the experiences that make me who I am.
XUEMEI MENG Explore the sand dunes – Civilization and Traces
Zircon, moissanite, pearl, silver, copper, gold plated
e: 228228@network.rca.ac.uk Instagram: miameng66 https://space.bilibili.com/24425336
Xuemei Meng believes that “the combination of aesthetic values and humanism makes jewellery more meaningful”. She is interested in vintage jewellery, which for her symbolizes the splendour of the times and its historicity makes it unique. She got a diploma in gemology from the gem-
ological association of Great Britain in 2017, This has helped her to complete designs more professionally. Furthermore, she holds that each gemstone is unique and brilliant in its own way, just as each person is one and only.
KARLINA MEZECKA Vessel 1 Ceramics, glaze, glass
e: karlinasm@gmail.com Instagram: karlinasm
In my work I focus on developing various narratives that challenge the use of ceramics – mainly through installations and sculptural pieces. My current work revolves around my fascination that the depths of our oceans are a greater mystery to man than outer space. Juxtaposing notions
of what is familiar and alien, I explore ways of merging and combining ceramics with glass and metal.
YUE QI Lucid Dream
Inflatable PVC, stainless steel, transparent elastic strings
e: qiyue9877@gmail.com Instagram: yueqi_77 www.yueqi.squarespace.com
Yue Qi is a contemporary jewellery artist based in China. Her interest consists in creating objects to embody her inner world through them, and communicate her emerging feelings, her emotions, her needs of the world in which she lives and with whom she interacts. With her pieces she dives
into interpersonal relationships, subconscious, emotional perception and memory, exploring the depths of the soul, meanwhile allowing materials to blend naturally into the environment and constantly change with the uncertainties of the outside world.
ISIDORO RODRÍGUEZ Urban Vessels. SW19 1HE London Blue Local London Blue wild clay
e: isidororguez@gmail.com Instagram: isirodriguezceramics
My work is intimately related to the space and time in which I live, and an urgent need to understand how things work. Through the use of local resources, industrial materials and our own waste, I try to find our humanity in the footprint that we leave behind. My practice is based on
observation, experimentation and research, as well as long mental processes that do not always lead to a tangible result, where the process is everything. With grateful thanks to Golden Earth Studio for providing London Blue clay.
YUFEI SHEN What’s in the box? Silver
e: yshen0917@outlook.com Instagram: yufei16 www.yshen0917.wixsite.com/yufeiportfolio/value
Yufei is a contemporary jewellery designer. Her work is inspired by her own life, the situation which happens to her and other girls her age, Marriage. People around her start to care about her love life, but for her it is an unknown thing. So she used a mystery box to metaphor the marriage.
She stands in front of it, trying to figure out what is in the box, and whether or not to open it.
PHILLIPA SILCOCK Taniwha
Kiln cast Bullseye glass. Bronze cast fixings on porcelain tile
e: phillipa.silcock@network.rca. ac.uk Instagram: phillipasilcock
My practice is kiln casting glass. My work is non-narrative storytelling. I am interested in the suggestion of memory through visual stimulation using the material qualities of glass – colour, layered images and texture – to evoke a memory image.
For those, like me, who live in a place other than where they spent their early life, such images can evoke memories of place, trace, sensation, and identity that are almost physical. This installation explores mutuality and concern for the environment we share.
ZOFIA SKOROSZEWSKA LCD RGB, 9 Rings
Gold-plated 925 silver, mineral silicon, liquid crystals, sapphires
e: z.skoroszewska@gmail.com Instagram: zofiaskoro www.zofiaskoro.com
Zofia is an artist and a jewellery maker. Her practice explores the poetics of liminal space in between the material and the digital. Taking inspiration from historical references, adolescent nostalgia and autoethnography, her work examines ideas and beliefs within material cultures and their correlation
to notions prevalent in the information age. She sets out to blur the line between physical and immaterial, and merge emotional with technological. Her works are informed by digital culture and created using analogue, labourintensive techniques.
EMILY SÖDERBERG Suspended Seagrass Brass
e: hello@emilysoderberg.com Instagram: emilysoderbergatelier www.emilysoderberg.com
Emily Söderberg’s work is built from explorations of wildlife found in particularly biodiverse ecosystems. Specific species are selected for their captivating quality and translated into metal forms that are suspended in motion. She aims to capture the subtleties and grace of the lines and shapes
created by the natural world. Each piece stands as its own distinct sculpture yet also exists as part of a larger body of work that forms a delicately balanced representation of an entire ecosystem.
UNU SOHN Don’t Break Your Tenderness (right), Pivot (top left). Glazed earthenware
e: unusohn@gmail.com e: unusohn@network.rca.ac.uk Instagram: unusohn www.unusohn.com
This body of work consists of nonrepresentational and abstract sculptures that invite and retreat. They reflect associations with selfhood and home: intimacy, safety, protection, boundaries, comfort. The sculptures appear in flux, explorations of time and space perching in this moment as
they are. I am gesturing towards the constant unknown. I work intuitively to do this and define intuition as a slow specific distillation of feeling, rather than spontaneous improvisation. My practice is informed by surrealism, phenomenology, and neuroscience.
BINGHUI SONG Psychedelic Metal, glass, ceramic
e: 228554@network.rca.ac.uk Instagram: binghui_song
I have a deep fear of water but often fantasize that I curl up and slowly sink into the dark deep seabed. In a cycle of death and rebirth, catharsis through creation alleviates my anxieties. I harness psychedelic vision and hearing and let the work grow in unique shapes. Formed in a meditative synergy
of my intuition and the properties of the material. The pieces condense in a melancholic, broken, sharp, and fragile state, sometimes warm and sometimes obscure.I have tried to convey a loose meandering flowing mood between nature and creation with the infinity causality of time and space.
GAYI SOORI Sentry haemolyticus
Glazed stoneware with coloured porcelain inclusions
e: gayisoori@gmail.com Instagram: gayisoori www.gayisoori.com
My work draws upon an enduring fascination with the immune system. I want to capture the wonder and strangeness of the hidden alien worlds that live within us. My Sentry series is inspired by white blood cells engulfing and dissolving invading microbes, a process alluded to in the
method of sandblasting through layers of coloured porcelain. I revel in the versatility of clay and glass, with the myriad forms, finishes, and techniques that may be applied to these humble materials.
ROSIE STONHAM I’m Still Processing it & Membranes
3D-Printed ceramic & hand blown glass e: rosie.stonham@network.rca. ac.uk Instagram: rosiestonham rosiestonham.com
Following a BA in Product Design at Central Saint Martins, Rosie Stonham designed for high-end homeware brands before starting at the RCA. Since coming to Ceramics and Glass she has been exploring a conceptual approach to creating functional objects. Rosie uses digital
and hand-made techniques to explore personal narratives, mental health and the idea of embodiment. This installation features blown glass and 3D-printed ceramics, exploring a fantasy of the inside of the body, celebrating the imagined colours and surfaces which generate consciousness.
HANAN SULTAN Hair Clip 7
Gold plated silver, lab-grown rubies
e: hanan.sultan1997@gmail.com Instagram: hananmustafas
Hanan’s practice in Jewellery Design is a blur between fine arts and fashion; including the exploration of cultural identity in relation to the human experience of society. Being a Neo-Traditionalist, her work is a bricolage of her research in the following themes: Histories and
Luxuries of Hair, Materiality and Immateriality, Heirlooms, Luxury and Commerciality. She was inspired to incorporate rubies as found in her personal familial heirlooms, making new heirlooms that allude to her obsessions with luxury and hair adornment.
ILDAR WAFIN Agaç Silver
e: info@ildarwafin.com Instagram: ildar.wafin www.ildarwafin.com
Combining both Tatar and Finnish aspects from his cultural identity Wafin embeds narratives, folklore, diaspora and elements from the Finnish nature into his work. Agaç is a depiction of the ancient folkore tales of the Tatar people that consists of rural landscapes, a
mesmerizing forest and mystical creatures.
YUANYING WANG I Come, Back to You Denim tights, human hair
e: 246286@network.rca.ac.uk Instagram: y.wang_jewellery
My memory is always fragmentary, my expression is also intermittent. However, creation ensures that I have an incoherent dialogue with the outside world.
YUCHEN WANG Visible Forces Sterling silver
e: yuchen.wang@network.rca.ac.uk Instagram: wwwyc__
Exaggerate forces around the body and made jewellery speak invisibly. Yuchen is an interdisciplinary designer with an architecture background. During her time at the RCA, she continues to explore the relationship between the body and space, trying to create hybrid jewellery
pieces that find the balance between natural and artificial, chaos and organised, random and logical through the use of digital techniques, AI and traditional handcrafts. Further development of practical ornaments questioning our position within the environment around us.
ZIXUAN WANG Salvation Porcelain
e:233663@network.rca.ac.uk Instagram: xwstarryxx1
My focus is to express the work with the properties of the material, such as ceramics: seemingly hard, fragile, and wounding after breaking, so as to metaphorize the fragility and power of human emotions. Problems everyone in life is similar, I show these feelings and experiences to help some
injuries have become lost people, let them feel understood supported at the same time, understand the world and the emotional complexity and multifaceted, find a more suitable way, and finally obtain the power of heart and thinking.
ZOE WEISSELBERG Imaginarium Paper porcelain, glaze
e: zoeweisselberg@network.rca. ac.uk Instagram: zoeweisselberg www.zoeweisselberg.com
My work involves a sense of jeopardy and improvisation. I work instinctively and disruptively, a balancing act between containment and collapse. Transforming limitations into possibilities. Sculpting and throwing in different gears from mediative to white knuckle, glazing intuitively to
create complex interior worlds. Each vessel is unique. Metaphors of our complexity, reflecting moments of instability, but also the beauty of our fallibillites and flaws. My intention is to provide wonder, at once suggestive of a contemplative stillness and a vibrant anarchy.
BIN WEN Self-portrait of Sarcasm in Jewellery Brass, aluminium, acrylic
e: 799949@network.rca.ac.uk Instagram: e5_efive
Wen is a virtual jewellery Bin artist, who tries to combine physical jewelry design with virtual design to convey the artistic concept of his works. His graduation design Selfportrait of Sarcasm in Jewellery extracts the unique icon that comes from the Megalia (Korean feminism group) to
realize his sarcastic jewellery, and notice the gesture, “ ”, which also shows the small eyes in a racist way. This discovery prompted him to combine the action and the icon to make glasses and accessories that can have two metaphors simultaneously.
MINNIE WU Things I Cannot Touch Anymore Felt, bronze, silver, opal
e: zacks_zero@hotmail.com Instagram: minniemints
Things I Cannot Feel Anymore is a series of jewellery telling a story of love and loss. I experimented with the contrast in texture of felt and metal, playing with the senses of soft cosiness and cold hardness. Please feel free to touch and hold the pieces.
MOLLY WU Under The “White” Silver, topaz, freshwater pearl
e: mollymolly714@gmail.com Instagram: hahaha0w0_ jew / hahaha0w0 www.yuchen-wu.squarespace.com
Jewellery allows for expression via the object for both the wearer and the artist. Molly sees herself as a storyteller. In her work there are themes of expressivity and humour. White bows are traditionally a symbol synonymous with innocence, purity and feminism. Molly’s collection explores the idea of
purity. It charts the transition from traditional stereotypes to modern women. The ribbon, floating in the air, is used as a symbol representing the journey to liberation and represents elegance, freedom and the spirit of femininity.
YUQING WU A Flat Ring Brass and copper
e: yuqing.wu@network.rca.ac.uk Instagram: gray876
The work A Flat Ring has a total of six pieces. What is shown is the process of a ring slowly rotating, which is Yuqing’s reflection from the virtual world to the real world. “What would it look like if images that existed on mobile and computer screens were taken out into the real world?”
Through the interweaving and transformation from three-dimensional to two-dimensional to three-dimensional again; the unique material texture of jewellery/metal, Yuqing restores the image of a ring with physical real substances. Ultimately, the ring is the image, and the image is the ring.
LOU XIAOMENG Find yourself Silver
e: shannonlou@qq.com Instagram: louloulouloulou.lou
I am a jewellery designer from China. I graduated from China University of Geosciences and hold GIC FGA jewellery appraisal certificate. I seek inspiration from my own experience and insight into the world. The entry point of my work is very delicate. I’m trying to
change the way people look at things and find yourself subconsciously in my works.
ANRAN XU Marriage controlled by parents Silver
e: anranliuliu@qq.com Instagram: anran_oliuliu
Marriage is one of the major events in my life that I speak about this strange parental love through the marriage of a child under parental control. I use metal knitting to make a small cage that traps the wedding ring. In this marriage cage, some enjoy it, some tried to escape, some succeeded,
some failed, some left but returned, some melted the cage, but some were melted. Hope parents know and respect the unique happiness that their children expect.
XIANGFEI YAN Steles Forest Aluminum, resin, glass
e: fayan3129@gmail.com Instagram: iamyxf
Xiangfei Yan is an artist with a strong perception of society and history. Her works often come from humans’ social and historical structural oppression and show the vigilance of banalization and normalization of exploitation. Steles Forest critiques wedding rituals that objectify the female body and
reproductive function to fulfil utilitarian social needs, using body as an ideological realm of state and nation. Architectural scaffolding shows the inner structure of the rituals that wrap love and romance in the history of marriage.
CHENWEI YU Loop Brass, pearl
e: yuchenwei1220@126.com Instagram: chenwei12_yu
Chenwei focuses on the infinite cycle of internal conflict. She relates this cycle to the myth of Sisyphus and refers to the Greek jewellery style and the tone of the work which presents the stages of internal conflict: the quarrel in the ears, the chaos in the mind, the bound action, and finally
the ‘rebirth’. As a person who struggles with internal conflict, Chenwei hopes to reflect on herself in this practice, to deal positively with complex emotions.
YIMEI YUAN Not Just Now Mixed clay, film
e: yimeiyuanart@gmail.com Instagram: Yimei.Yuan www.yimeiyuanart.com
Yimei Yuan was born in China and has since childhood been deeply influenced by Eastern philosophy. Yimei’s creative focus is to use and combine physical materials with digital media to explore space and the invisible atmosphere of space. When she sees a piece of work, what she sees is a portion of
time, and every object is the medium of narration in her conversation with space.
YU ZHAN The World of Yesterday Iron, silk, grass
e: 236602@network.rca.ac.uk Instagram: yuzhan57
Yu is an artist focusing on private dreams and public memories. Through research in history and old photos, she tried to establish a link between the past and the present and finally find herself.
NAIYUE ZHANG Looking?
Sterling silver, acrylic, LED light bulbs
e: naiyuezhang21@gmail.com Instagram: jinddoou
Naiyue Zhang is an interdisciplinary artist focusing mainly on Jewellery and interactive installations. Her work Looking? builds upon Chinese matchmaking and discusses changes of this social phenomena under the influence of an era of data. Naiyue metaphorizes
matchmaking with unboxing and through the mode of matchmaking and combining Grasshopper, she designs a virtual matchmaking system that enables the viewers to generate their own parametric curves. Together, a new matchmaking corner has formed.
YITONG ZHANG 26/04/2022 & 26/03/2022 Silver & brass, silver plating
e: hello.yitong@foxmail.com Instagram: yitong_zhangyt
Yitong Zhang is an object maker. Inspired by her previous transboundary experience of cooperating with six famous Chinese poets, this collection of works focuses on the exploration of the relationship between object, material, and poetic. Through contrasting, exchanging, and combining
the language characteristics of poetry and object, Yitong tries to create objects that refuse words, with the poetic completely belonging to themselves in the way of the paradox between de-symbolization and retaining functionality. Behrens Foundation Bursary.
YEXI ZHOU i += 10) { diamond(140); i += 50) { diamond(140); Brass, silver plating, gold plating
e: inseazhou@foxmail.com Instagram: inseazhou_
Yexi is a jeweller with a strong interest in digital technology and coding. In her collection of works ‘i += ?) { diamond(?);’, through writing code according to the fractal theory in processing, Yexi explores the visual possibilities of jewellery, in the meanwhile, she questions the value of processing beyond its
technological and functional roles through the interactions between coding language and jewellery language.
ACKNOWLEDGEMENTS
With grateful thanks to all those who have helped us during our time at the RCA: C&G and JAM course administrator: Kristi Kotow Technical services staff: Kelly Allsopp, Ricky Brown, Steve Brennan, Steve Bunn, Roddy Canas, Gill Dibben, Livvy Fink, Heidi Harrington, Harry Johns, Janet Mason, Jake McCombe, Peter Musson, Jan Naraine, Kam Raoofi, Liam Reeves, Damon Rostron, Anthony Scala, Mary Ann Simmons, Ian Stoney, Mark Trela, David Turtle, Chloe Valorso, Simon Ward and Lucy Whiting Neurodiversity support: Quona Rankin Battersea campus staff: Michael Ade-Oloruntola, Ricky Brown, Alessandra Caretti, Ana Curiel, Jorge Flores Cedeno, Rowan Flynn, Tyrone Gibbons, Olufemi Kalejaiye, Kieran O’Connor, Rukayat Odupwoye, Charles Ofori, Inga Ogulesi and Nurani Sarumi Thanks from individual students to their sponsors: Behrens Foundation Bursary Clore-Israel Foundation Charlotte Fraser Scholarship Sir Eduardo Paolozzi Foundation QEST Bendicks Scholarship RCA Studentship Scholarship Worshipful Company of Grocers
Design: Caz Hildebrand Print: Youloveprint.co.uk
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Royal College of Art Graduation Show 2022 Ceramics & Glass – Jewellery & Metal
School of Applied Arts Battersea Campus 1 Hester Road, London SW11 4AN www.rca.ac.uk