< The Survivor’s Monologue >

copper, enamel
2022

54 x 36 x 12 mm

At the beginning of my senior year, I’ve clearly felt more stressed and anxious. Multiple simultaneous projects and assignments, the endless need for inspiration, made me feel like I was being pushed forward by jewelry. At that time, I made a pendant for my friend. When I almost finished it, I found that the jump ring I soldered on the back wasn’t big enough for the chain to go through. I can only use a plier to force it to the right size. Adjusting a pendant that has been settled down in an unreasonable way just to fit a chain, I see such action as a kind of violence of making jewelry. I think of my own mental state of making jewelry: when I am uninspired but forced to hand in my homework, it seems like a part of me is forcibly stripped away and exposed to the public by a chain.

For the pendant, although I burned enamel on the surface, I was using the enamel to create a metallic-like texture. It is rusty and bloody, which obviously points to the concept of time and violence. And the form of this container can be understood as myself, my memory, my energy, my imagination, etc... I also try to establish a spatial relationship through the shape of the box. I hope the person wearing it will wonder what’s in the box. However, if you open it, you’ll find nothing, but at the same time, it can hold anything.

This is the confession of a survivor. I am the perpetrator, the victim, and luckly the survivor.

Violence requires no embellishment; wounds heal, albeit under a veil of blood.

This is the confession of a survivor. I am the perpetrator, the victim, and luckly the survivor. Violence requires no embellishment; wounds heal, albeit under a veil of blood.

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This is the confession of a survivor. I am the perpetrator, the victim, and luckly the survivor.

Violence requires no embellishment; wounds heal, albeit under a veil of blood.