吳依婷 首飾設(shè)計(jì) 本科預(yù)科

我熱愛(ài)寫(xiě)作，無(wú)論作品類(lèi)型，敘事性都是不可或缺的重要元素。在創(chuàng)作過(guò)程中，我一直追問(wèn)自己：“如何講一個(gè)故事？”雖然作品是藝術(shù)家的信息，但在我看來(lái)，“發(fā)出宣告”和“說(shuō)個(gè)故事”是有區(qū)別的。我想在個(gè)人作品中探索和運(yùn)用敘述方式，創(chuàng)作出讓觀眾可以“閱讀”的首飾作品。

《戒指非戒指仍為戒指》系列展示了我作為一位注意力缺失障礙的首飾藝術(shù)家，如何創(chuàng)造和看待作品。除了成品，整個(gè)制作過(guò)程和副產(chǎn)品同樣重要。我采用墨魚(yú)骨鑄造法，刻意設(shè)計(jì)了一個(gè)變數(shù)多且重復(fù)性高的制作過(guò)程。由于高溫會(huì)損壞雕刻的圖案邊緣，我需要準(zhǔn)備大量墨魚(yú)骨進(jìn)行重復(fù)鑄造，這一過(guò)程迅速消磨我的注意力，導(dǎo)致出現(xiàn)許多意外。這些“失誤”被保留下來(lái)，用于進(jìn)一步發(fā)展。

作為神經(jīng)多樣性的人，我面臨許多困難，但也從中獲得了獨(dú)特的視角。我難以按照所謂“正確有條理”的方式完成任務(wù)，而找到適合自己的工作節(jié)奏至關(guān)重要。因此，我想在這個(gè)項(xiàng)目中運(yùn)用自己的方式，將那些通常被視為“失敗品”或“不完美”的產(chǎn)物加工，使它們?cè)谖已壑凶兊猛昝馈?/p>

作品《榮譽(yù)墻》分為兩個(gè)部分，包括數(shù)件可穿戴物品和一個(gè)裝置，象征著我青少年時(shí)期的記憶和家人的期望。裝裱框經(jīng)過(guò)了做舊處理，雖然這段記憶已成過(guò)去，但其影響仍然持續(xù)。裝置由實(shí)物設(shè)置和象征未實(shí)現(xiàn)期望的獎(jiǎng)狀投影組成；而可穿戴的獎(jiǎng)狀框代表曾獲得的榮譽(yù)，并遮擋住穿戴者包括臉部在內(nèi)的身體。穿戴者的身份因此消解，成為展示其成就的“榮譽(yù)墻”。這堵墻不僅代表我們所承載的期望，也代表我們自身。

As someone who likes to play with words, storytelling acts as an essential part in my work. Whether it is by conscious or not, and no matter its presentation form. “How to tell the story?” is the question of all questions for me – a question I continue to ask myself repetitively during the creation of my works.

Indeed, the artists would almost always leave a message in their works, yet I feel there are differences between “making a point” and “telling a story”. This narrativity is what I want to explore and create a jewellery piece that the audience will be able to read through.

<A Ring is a Ring is a Ring> is a series of works in which not only the final outcomes are valued, but also the byproducts throughout the process. Together they represent how I view and create artwork as a jewellery artist with ADHD. By using the cuttlefish casting method, I have deliberately created a procedure containing numerous random factors, that required me to repeat the same process over and over again. Since the outline of the shape will fray and distort under high temperatures, copious amounts of cuttlefish sets were needed for more casting attempts. Through this repetition, my attention span would easily run out, thus causing the deformation of the ring shape while carving it out and accidental slips during the casting. All these “accidents” and “mistakes” have been collected and preserved. It is then, left to me to decide on how to do with them.

Being a neurodivergent person has brought me countless troubles, and at the same time granted me insights from peculiar perspectives. Sometimes people with ADHD can work fine at their own pace, but struggle severely when being ordered to do things in “normal” or “correct” method – which is why I want, with my own ways, to edit the outcomes that would be deemed as failures or imperfections in common views into something that feels perfect for myself.

The two-part series <The Honor Wall> – which consists of several wearable objects and an installation – is a reminiscence of my early teenage years. The work conveys the feeling of the need to play the role of a perfect child and the urge to fulfil others’ ideals to honour the family. The installation combines the solid objects – the empty frames on the wall with a pair of shoulder straps – and the fictitious part – the projected images of merits which symbolised the unachieved expectations. The frames and the merits that appeared in this series are aged and worn out. These expectations – as well as the burden they carried – may seem long lost in the past, but somehow may remain for a lifetime.

For the wearable pieces, most of the wearer’s front body – including face – will be covered by the merit frames. The identity of the wearer therefore gradually vanishes,

and turn themselves into a wall that uses to display all the glories they have won. The “honour wall” is both the expectation we bear and the bearer themselves.