Thursday, February 25, 2010

Lin Cheung...

This lecture I look forward to hear. When I have been looking what Lin Cheung has done before I get really impressed and happy over all the interesting pieces and ways into a “problem” or may be a solution of it?!

I didn’t get so impressed about the exhibition at gallery Hnoss, but when I look at all the other things that this artist has done, wow!

I absolutely, absolutely love the necklace at the top of this post!

I think it’s brilliant and I want it!

Lin Cheung
- Jewellery and Objects -

open lecture in english
Thursday 4 March 16.00
Stora Hörsalen
HDK - School of Design and Crafts
Kristinelundsgatan 6-8 Göteborg

Lin Cheung
exhibition "Papaver Argentum" at hnoss 13-7 of March.

info exhibition :

info Lin Cheung:

Jewellery Art Department HDK
/Karin Johansson

The text and the two photo at the top are from:

Born- 1971 England

1995-97 Royal College of Art, London.
_______MA Goldsmithing, Silversmithing, Metalwork & Jewellery.
1991-94 University of Brighton.
_______BA (Hons) Degree Wood ,Metal, Ceramics & Plastics.
_______First class honours in Metals & Ceramics.
1989-91 Southampton Institute of Higher Education.
_______BTEC National Diploma General Art & Design.

-Selected Awards-
1996 Winner of the 1996 Design Competition of the ヤFoundersユ AwardユMedal. Sponsored
____ by The National Trust in association with The Royal College of Art and The Royal Mint.
1997 The Renaissance Art Awards (Merit Prize)
____ Deloitte & Touche Award for Excellence.
____ The Worshipful Company of Goldsmithsユ Award for Jewellery.
1999 Crafts Council Setting Up Grant.
2001 The Arts Foundation Fellowship Award for Jewellery.
-Selected Exhibitions-
1997 "Graduate Show" Galerie Marzee, Nijmegen, Netherlands.
____ "Artisan"The Edinburgh Festival of Contemporary Crafts.
____ Galerie Sofie Lachaert, Antwerp, Belgium.
1998 "Decorative Arts Today" Bonhams, Knightsbridge, London.
____ "Twisted Elegance" Autumn/Winter fashion show, The Royal College of Music, London.
____ Jewellery for fashion designer David Fielden.
____ "Mavericks" Jewellery for the brave. The Pearoom Gallery, Heckington.
____ Galerie Sofie Lachaert Group Show with Ute Eitzenhofer, Salima Thakker & Chistophe
____ Verot. Antwerp, Belgium.
1999 "Decade" RCA at Villa de Bondt New Jewels Gallery, Gent,Belgium.
2000 "Table de fin de siecle" Galerie Sofie Lachaert, Antwerp,Belgium. Table pieces.
____ "Talente 2000" Internationale Handwerksmesse Munchen.
____ "Sofa" Chicago, USA. Represented by the Crafts Council Gallery.
____ "Bishopsland Retrospective", The Jelly Legユd Chicken Arts Centre, Reading, Berkshire.
____ Jewellery & Silver.
2001 "A Sense of Occasion" National Touring Exhibition. Curated by Craftspace Touring in
____ association with mac.
____ "Poised" Crafts Council Gallery Shop Showcase.
____ 1/2 full 1/2 emptyユ, Solo. Galerie Sofie Lachaert, Tielrode, Belgium.
____ Solo Show, Galerie Marzee, Nijmegen, Netherlands.
____ "Material Immaterial" Group show, The Scottish Gallery, Edinburgh.
2002 "Read between the lines" Bluecoat Display Centre, Liverpool.
____ Solo show. Galerie Marzee, Nijmegen, The Netherlands.
2003 Treasure. Contemporary notions of sentimentality in Jewellery.
_____Joint exhibition with Laura Potter. The Pearoom, Lincolnshire.
____ Approaching Content.Crafts Council Gallery, London. Group show curated by Jonathan Parsons.
____ "la table d'ouvrage" Galerie Sofie Lachaert, Belgium.
____ Showcase at The Crafts Council Shop at The V&A Museum London.
____ Solo show. Galerie Sofie Lachaert, Tielrode Belgium.

The text below is from Klimt02 site.

The focus for my making is about communicating an observation from the ordinary and extraordinary life around us. It analyses our relationships with each other and our relationships with the meaningful objects we own and use in our daily lives. It also questions the subject of jewellery, teasing out our relationships with it: what we wear and why we wear it. The ‘unique value’ associated with jewellery, be it intrinsic, inherent, perceived or added to jewellery through the owning and wearing of it informs my recent work and is the basis for further research. From these lines of enquiry, I begin to shape ideas into wearable and usable pieces with renewed meaning.

‘Locked lockets’ is a series of pendants that aims to visualise the sentimental value of a piece of jewellery and the personal meanings placed onto it by the wearer that a viewer has no access to.

‘Secret’ 2005
Permanently sealed inside is a real secret. It can be heard when worn but never revealed.

‘Breath/e’ 2005
Erotic words appear on the cold metal surface of the pendant with a single breath at close proximity. An extract from ‘Lover’ by Paul Éluard (1895 – 1952)

‘Through and through’ 2005
Holds a cherished gold ring, all the way through the piece.

‘Golden years’ 2005
The golden years of a relationship, like a seam of gold formed between the earth’s layers, needs to be carefully excavated and preserved as reminder of times of great emotional wealth.

‘By heart’ 2005
Five visually identical pendants but each is of a different weight, prompting the viewer to choose the one that ultimately ‘feels’ right.

‘Hidden value’ 2006
Lockets are symbols of sentimental value, often containing a photograph or a lock of hair from a loved one. Whether a locket is full or empty, the perception of preciousness is in the concept of the locket itself: believing that it should contain something of value. Whether the lockets of this necklace are full or empty is of no consequence to the final meaning, either way, the value remains hidden.

‘Safe place’ 2006
Often the emotional value of a piece of jewellery can be determined by where it is placed when it is off the body. ‘Safe place’ is a moveable, temporary ‘home’ environment for a piece of jewellery to sit for a short period of time away from its owner. Especially useful for when both owner and jewellery find themselves in strange hotel rooms.

The last photo is from:

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