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Jewellery & Metal (MA)

Yujing Cheng

Yujing is a conceptual jewellery artist and object maker based in China. She graduated from Beijing Institute of Fashion Technology with a BA in Jewellery Design and is completing an MA in Jewellery and Metal at the Royal College of Art. Her works are mainly inspired by her life experience and engage with psychoanalysis, the subconscious, and writing. Her work expresses a stream-of-consciousness state, exploring the unformed language level of consciousness, and revealing her spiritual existence through poetic narrative techniques. 

By making jewellery and objects, Yujing hopes to create a mysterious ‘dialogue’ with the material world. She regards the object as a keepsake attached to the human spirit, a kind of soul, and an immaterial intersection within an intimate, powerful and subtle discourse. 


Exhibitions:  

2022 - Milano Jewellery week, Italy, Milan, Italy (upcoming) 

2021 - Romania Jewellery Week 2.0, Bucharest, Romania (upcoming) 

2020 - Royal College of Art WIP Show, London, United Kingdom 

2018 - The First Graduate Jewellery and Metal Exhibition, Craft Gallery, Guangzhou, China 

2017 - Beijing International Jewellery Art Exhibition, Beijing, China 

2017 - Marzee International Graduate Show, Gallery Marzee, Nijmegen, The Netherlands 

2017 - BA Graduation Show, Beijing Institute of Fashion Technology, Beijing, China 

2017 - Ministry of Education, University and Research (MIUR), Rome, Italy 

2017 - Biennale Nazionale dei Licei Artistici, Rome, Italy 

Degree Details

School of Arts & Humanities

Jewellery & Metal (MA)

Desire is a disability or madness, or both. 

—De Profundis (1905) Oscar Wilde 


When love disappeared in my world I felt that my soul and subconscious were trapped in the boat of memories, but the body sighed in the air of depression. Those distant events begin to reappear in my mind. My consciousness couldn't get rid of or withdraw from the lost external objective reality, and created an internal subjective fantasy instead. When my heart was filled with nostalgia and melancholy, I began to try to find a vessel on which to project my desire and love. Consciousness was positioned in the contradiction between vanity and reality. I couldn't escape the whirlpool of time – thus I decided to look for an echo in it. 

In the complex world of human feelings, I am eager to find a place she can restore the poetic essence to, where there is no entanglement, cowardly escape and humble filth, but just brave disobedience and pure dreams, an attempt to praise the light and brightness of love, where we are not ashamed to express our own fantasy. 


— Once I was reading automatic novel The magnetic fields, I suddenly caught a few ordinary words that instantly brought me back to my memory, nevertheless I was not very focused on scanning the article, to be honest. --<The Magnetic Fields> André Breton / Philippe Soupault
— work in progress

I decided to start deconstructing and editing her memories. I used a tiny font to describe the events and people I misses and yearns for. In this very private carrier of information, a dramatic narrative is undergoing subtle changes that are difficult to identify. 

This is the stage that involves the physicality and materiality of language, full of the possibility of communication. The individual's mind and tentative being merge in this private place. Writing traces like fingerprint and metaphorises the characteristics of internal uniqueness and identity. 

A hidden and unknown one-act play is taking place. 

Medium:

ceramics, ink

Size:

230 × 175 × 38mm

Love is not a possibility, it does not exist based on our efforts and positive attitude, it can hit us and hurt us for no reason. 

  —Die Zeit und der Andere (1979), Emmanuel Levinas 


Medium:

ceramics, ink

Size:

various size
[When the sunset burns the soul] — Medium: chalcedony, fish line Size: diameter: 860mm
[When the sunset burns the soul]
[Whispering in the clouds] — Medium: marble frame, carpet, chalcedony powder Size: marble: 140 × 140 × 35mm; carpet: 620 × 620mm

We are souls cut apart by Apollo, and in order to return to wholeness, love and desire that are inextricably linked become a permanent force in the soul. Also, from the original dual identity of the material and the spiritual, desire gradually shifts to a purely spiritual force. 

We strive to polish and wrap ourselves, to find a complete self in the universe of things, a kind of spiritual self-knowledge. 

When gazed at by one's lover, one's self is instantly transformed into a radiant body of beauty, which is also the other that one cannot conquer in the kingdom of the self. The wings of the lover are awakening, and the soul is nourished, as if it is about to be incarnated as a Satyr, devouring the elements of beauty in his arms. 

When the passion is gone, that fanatical, lingering and touching lover’s discourse is lost in the ruins of memories. They lie tranquil in the wild grass and praise the whispers that were once continual. They make the subject, they make the self. 

But now they are noiseless places.

This is a place where there are no miniatures of unrecognisable typefaces, and no words of fantasy that cannot be seen. Only the size of the frame increases the distance from which to read the text. 

White is a kind of enhanced achromatism, while paleness is a sign of a lack of strength. Here, it is a manic bank of snow, where the emotions run, the thoughts run and the will strengthens. Hidden in the frantic scratches is the longing for love. 

The sentence in the painting is from the tragedy Salome, by the British aesthete and writer Oscar Wilde. ‘The mystery of love is greater than that of death’. Between the lines, without elaboration, simple words blur the subject's ‘identity’ and ‘corporeality’, and trigger various possibilities. Smooth, neat words are like the skin wrapped with ‘meaning’: the secret is covered, concealed. This sentence is a metaphor for the mystery of love – not only love itself, but it even implies a taboo love, which is an ethical relationship of love related to identity and gender. 


Medium:

crayon, ink, paper, aluminium alloy frame

Size:

1092 × 787 × 60mm

The love, fiery desire, and endless thoughts that we are familiar with make up this field, lurking wantonly in the silent habitat. 

Medium:

glass bulb, ink

Size:

glass bulb: 5 × 6 × 10.4 cm; A4 paper
— Medium: balloon, ink Size: 80 × 55 × 50mm
— Medium: balloon, clay, ink Size: 70 × 50 × 45mm
— Medium: chalcedony Size: 60 × 45 × 12mm

Our thoughts veer between consciousness and subconsciousness, in a chaotic state of ‘betwixt and between’. Automatic writing moves at the tip of the pen, and changes the shape of the chalcedony. ‘Desire’ hopes to be released but is hidden again.