She was transparent.
She laughed.
She dreamed.
She did not know how to speak.
She believed in what she wanted to believe in.
She was exposed to light.
She frowned.
She faked.
She learned how to communicate.
She believed in what other people believed in.
She built a cage.
She trembled.
She hesitated.
She remained silent.
She believed in what people told her to believe in.
She becomes the cage.
She doubts.
She imagines.
She is free.
She believes in what she can believe in.
This body of work consists of twenty 3D printed, fabricated, and enameled sculptural rings inspired by microscopic structures of living forms. The idea that how creatures are perceived by human eyes could be entirely different from the imagery revealed by a microscope makes me ponder whether I am able to capture the reality of anything merely through direct observation and visual reproduction. My work communicates the juxtaposition of 3D printed components and enameled components. Through combining machine-made forms and hand-crafted forms, merging modern technology with traditional metalsmithing technique, and showcasing creative solutions for cold connection among multiple mediums, I challenge the concept of ring in various perspectives, such as scale, material, and functionality.
The hand-drawing process assists me in modeling three-dimensional objects using Rhinoceros, a 3D modeling software that can build up volumetric forms through assigned points, lines, and surfaces. I fabricate the enameled objects through the process of preparing and finely finishing all metal parts, sifting vitreous enamel of various colors onto the metal surface, firing multiple layers of vitreous enamel in the kiln until achieving expected surface texture, and patinating the metal. The completed enameled components are combined with the 3D printed components through sewing, tension fitting, riveting, or applying creatively designed mechanisms.
My work is my vacant space. The tangible form is the glimmer that shadows the dazzling unknown.