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Jewellery & Metal (MA)

Vivian SQ

Vivian S.Q., a maker and conceptual artist, holds a Bachelor of Engineering Honours degree from Donghua University, and is studying on the Jewellery and Metal MA course at the Royal College of Art.


Her work is all handmade, through a combination of traditional crafts and creative experiments, to achieve a special texture and innovative production process. Each piece is unique and contains the emotion and temperature of the maker. Many results come from accidents and mistakes in practice. How to make good use of these wonderful coincidences is the most important part of her production.


Vivian S.Q. is currently working both object and jewellery for exhibitions. She has taken part in several, including Arte y Joya in Barcelona; Milano Jewelry Week; Artistar Jewels. You can also see her work in the Lost in Jewellery Magazine project this year.

Degree Details

School of Arts & Humanities

Jewellery & Metal (MA)

S.Q.’s project originated from the Amazon rainforest fire in the summer of 2019. She used the 'negative' space of soybeans with a dual meaning to express her position on the conversion of forest land into farmland. The ‘Never Full’ collection and the ‘Amazon’ series were born out of the conflict between agriculture and limited natural resources. ‘GREED’ and ‘FOOD’ have a connection in ancient literature. Nowadays, people no longer have to worry about basic food and clothing needs. Confronting the promotion and benefits of import and export trade, should they reflect on the gradual expansion of desire?


S.Q. believes that art can become a catalyst for change and stimulate cross-cultural dialogue. She aims to explore the role of contemporary jewellery in spreading this message. Most of her projects are about hot social topics (environmental issues, consumerism issues) or vulnerable groups. She hopes that this work can arouse the public’s attention, rather than be forgotten. Through the information extraction, simplification and conversion of elements of an event, the resonance and sense of identity of the group related to the event can be stimulated to meet psychological needs. Their audience may be empathetic parties, communicators in the stream of consciousness, or those who are themselves alert to the issues.


Contemporary jewellery is not only a form, but also content, which explores the relationship between people and objects, people and other people, people and society, and people and the world.


Never Full - Tableware - Salad bowl
Never Full - Tableware - Salad bowl
Never Full - Tableware - Salad bowl (Perspective) — It combines tableware with oil painting through a real ‘Photoshop’. It is in sharp contrast to flamboyant home furnishings.
Never Full - Tableware - Salad bowl
Never Full - Tableware - Cup and saucer
Never Full - Tableware - Cup and saucer
Never Full - Tableware - Cup and saucer
Never Full - Tableware - Dish
Never Full - Tableware - Dish
Never Full - Tableware - Dish
Never Full - Tableware - Plate
Never Full - Tableware - Plate
Never Full - Tableware - Plate

Patination and the broken shape show the colour of the fire and the state of burning.


This series is called ‘Never Full’.

The surface of the vessel is full of holes and is unusable. It also means that people have no way to fulfil their inner desires.


It combines tableware with oil painting through a real ‘Photoshop’, in sharp contrast to flamboyant home furnishings.



Salad bowl: 17x17x8 (cm)

Cup and saucer: 5x10x5 /14x14x2.5 (cm)

Dish: 13x13x3 (cm)

Plate: 19x19x3.5 (cm)


Medium:

Bronze
Never Full - Mirror I — S.Q. uses romantic mirrors that symbolise beautiful, pure elements, and explains their definitions in another way. A mirror reflects the original. But we only want to see what we want, or the illusion that is beautified in our mind. Angels are like us, ‘We are born naked, and we feel nakedness like we fear the knife.’ Taking a typical Rococo mirror as a prototype, angels and plants are transformed into eroded shapes and painted with gold lacquer.
Never Full - Mirror I
Never Full - Mirror I
Never Full - Mirror II — Taking the transformation of woodland to cultivated land as the source of inspiration, the smoke-like pattern is 'painted' on the mirror with a polisher.
Never Full - Mirror II
Never Full - Mirror III — In free trade, it is the nature of business to pursue the maximisation of profits. The loss is shared equally by the whole society, and subsidies are given by the country. Everything is driven by demand, but now it is estimated consumption that drives production, leading to waste.
Never Full - Mirror III

Medium:

Metal; Clay; Mirror; Lacquer

Size:

70 x 40 (cm)
Never Full - Jewellery Collection — S.Q. applied this corrosion-like texture and technique to small jewellery pieces. The brooch in this series is the epitome of the mirror series. She concentrates on the typically comprehensive information in a piece of jewellery.
Never Full - Jewellery - Brooch — Copper; Patination 11 x 2.9 x 1.5 (cm)
Never Full - Jewellery - Brooch — Silver; 11 x 3.8 x 2 (cm)
Never Full - Jewellery - Brooch — Brass; Patination 6.5 x 5.8 x 3 (cm)
Never Full - Jewellery - Brooch — Copper; Patination 11.2 x 4.9 x 1.5 (cm)

Medium:

Silver; Copper; Brass