倪晨 珠寶與金屬（MA） - 英國皇家藝術(shù)學(xué)院

首飾與身體直接接觸，是人們表達(dá)情感和個(gè)性的媒介。它具有無限的創(chuàng)作可能性。我認(rèn)為以開放的心態(tài)探索首飾的各種可能性非常重要，我在創(chuàng)作過程中廣泛涉獵，并嘗試了多種多樣的概念藝術(shù)化表達(dá)方式，包括視頻作品和藝術(shù)裝置。

《庇佑卵子》描述了在科技高度發(fā)達(dá)、生育率極低的社會中女性的處境。該系列創(chuàng)作來反映女性不可避免地受到生殖剝削的社會現(xiàn)象。該系列有5件作品，包括：貞操帶、卵子提取器、性激素檢測項(xiàng)圈、裝飾性孕肚與體外胚胎培養(yǎng)裝置。

《鈴鼓》是一系列能隨著人體的運(yùn)動(dòng)而發(fā)出聲音的首飾。首飾和音樂有相似之處，都可以提高人們的精神滿足感和舒適感。受到中國傳統(tǒng)配飾步搖和禁步的啟發(fā)，當(dāng)人佩戴它們行走時(shí)，配飾上的金玉相互碰撞會發(fā)出令人愉悅的聲音。于是我想通過人們不同的行為來探索人與首飾對象之間的關(guān)系，這可能會給觀眾帶來更有趣的穿著體驗(yàn)和一種獨(dú)特的心理感受。

《微塑料之旅》包括《珊瑚骨》和《籠》兩個(gè)不同分支，其核心思想是喚起人們對微塑料污染的關(guān)注以及對快時(shí)尚產(chǎn)業(yè)可持續(xù)轉(zhuǎn)型的迫切希望。微塑料污染是一個(gè)日益突出的問題，具有對環(huán)境和人類健康的潛在威脅。

在《可生物降解的類塑材料》開發(fā)了一種可持續(xù)的可生物降解材料，以減少快時(shí)尚行業(yè)對塑料的濫用。我受到了清明團(tuán)（由糯米粉、大米和艾草制成的點(diǎn)心）的啟發(fā)，最終制成了具有足夠穩(wěn)定性的可代替快時(shí)尚產(chǎn)業(yè)中部分塑料使用的可生物降解材料。

另外我的《圓》探索了珠寶的基本元素——“圓”的可能性，并將它衍變出不同的佩戴方式。我通過重復(fù)、疊加、排列或組合多個(gè)基本元素，試圖打破常規(guī)的珠寶形式，。

Jewellery can contact directly with the human body, which can become a medium for people to express their emotions and personality so that it has unlimited creative possibilities.  It’s very important to keep an open mind to explore the diverse possibilities of jewellery, my work spans a wide range, and I also tried all the suitable artistic expressions for different concepts, including video works and installations.

<Blessed Ovum> describes women’s situation in a society with highly developed technology and extremely low fertility. Inspired by the novel The Handmaid's Tale, which talks about the authority using political power to control the country's fertility rate. As a result, I designed Blessed Ovum as an attempt to reflect that women are unavoidably subjected to reproductive exploitation. There are 5 pieces in this series, including a chastity belt, an ovum extractor, a sex detection collar, a decorative pregnancy belly， and an in vitro cultivation installation.

<Handbells> is a series of jewellery which can produce sounds with the movement of the human body. Jewellery and music have similarities, they both raise people’s spiritual satisfaction and comfort. Inspired by traditional Chinese accessories Bu Yao and Jin Bu, which can produce sounds when pendants on them collide with each other, I would like to explore the relationship between the human and jewellery object through different human behaviours. It may cause a more amusing wear experience and a sort of psychological comfort to the audience.

<The Journey of Microplastics> includes two different branches, The Coral Bone and Cage, their core idea is to draw people's attention to microplastic pollution and the urgent hope for a sustainable transformation of the fashion industry. Microplastic pollution is a rising issue that threatens the environment and human health.

<In Plastic-like Biodegradable Material>, I developed a sustainable and biodegradable material to lessen the abuse of plastic in the fast fashion industry. Inspired by Qingming Tuan (dim sum made from sticky rice flour, rice, and wormwood), I tested the properties of different starches and recipes. Finally, I made a biodegradable material with sufficient stability which can replace some plastic used in the fast fashion industry.

<In the project Circle>, I explored the possibility of the basic element of jewellery- ‘circle’ and changed it into different wearabilities. I tried to break the conventional forms of jewellery, though repeating, overlaying, arranging, or combining multiple basic elements together.