Material, form, light – these elements come together to make objects dialog with surrounding and create atmosphere. Each one is inherently unique and I utilize geometry and materiality as a tool to shaped and modeled the atmosphere.
Project from Guldagergaard – International Ceramic Research Center.
It inspired by the experience of feeling lost in a forest which was my first time feeling infinite. Since, if we walk in a forest without focal position, we first feel lost and if our sight without focal point we will feel dizzy. Therefor in my design I create a forest which you can overview. In my “forest”, you can feel infinite, and when you are lost inside, you can find “me” in this forest as an elf and I’m a trigger to leave this forest and leave this infinite as well. I explored my forest in two direction, inside and outside which discuss the depth for space.
Thesis project from The Royal Danish Academy of Fine Arts (KADK).
Dripping is relate by time as a system. Life is limited, but we are unable to view next second. Future is infinite for us. Can we stop the time? I was also inspired by the way of counting time by water clock. I stopped one moment as a water drop in my work. Then, when this drop falling in the water, it leaves a mark on the water surface. They are the moment over past. We are in the infinite stage for them.
Island tree is inspired by the map, as if we lived in an island. When I was a kid before seeing a map, I thought the city I lived is the whole world. After I grew up, I realize I am just a tiny person in this entire world, and the world is infinite. In my object I translated this limited and infinite feeling to integrate with my concept
This project is about Light and atmosphere. I use porcelain as main material in my piece and wood frame to limit my light test sketch.
When people are staying in a space or seeing an object, with light as the original triggers of direct experience, people generate coherent feelings and emotions through accumulated understandings from their daily lives. Light influences colour, feeling, scale, etc, of the object and space. This direct experience become dynamic and simultaneous but differs when people changes the way of perceiving it. And the key point of the differ is light.
The reason I chose porcelain to explore the space and atmosphere is because it highlights the fluidity, translucency and tactility of a space and the barely visible shape of nesting. It shows some experience about different form of porcelain, Like, Edge, curring, hole, layers. It also tells different transparent and reflection by light passes through media, bring out the material, present the space and surrounding to see how light appear in porcelain.
In this project, I explored more possibilities for 3D printers. We are always emphasizing the accuracy of 3D printing and ignoring the charm of it on the other hand. I conducted experiments in different control groups, such as, different ways to filling cylinders mix different percent of clay in cylinders, different printing pressure, different distance between printer and base, same filling way with different humidity of clay.
There are three types of The clay: grey stoneware, black earthenware porcelain and recycle glass, to map how to control beauty and uncontrolled beauty in material. All of the objects have the same base, same types of slip casted cylinders. I put in different kinds of glass and glaze material fills in the infill gap to test this controllable and uncontrollable combination.
I used three kinds of glass to experiment, such as casting glass, window glass and recycle glass, it is the most amazing piece, with the dynamic movement of the glass in the sharp lines of ceramics.
These three pieces, I focus on exploring the language between controllable and uncontrollable. I used the porcelain and stoneware to prints honeycomb infill shape in different high. At the same time, I experimented with different infill percent ratios and print heights, and then placed a 3 mm thickness glass on the top, 950 °C heating for causes the glass to flow down the infill gap.
Tradition & Fashion
Inspired by the Arje Griegst 1977’s conch shaped vessel, the classical lace collection and crystal glaze.
The flare- Royal Copenhagen series will follow the classical white-blue colour and the typical crystal glaze styles. Moreover, the Flare will cross beyond the border and transform customers’ existing congnition of a porcelain product. The flare will provide not only basic functions but also unique visual and tactile experience to customers.
The crystal glaze and dynamic modelling of the Triton services reminds me of the Monet painting , Lady with a parasol, where her dress is flaring in the breeze. The flare and movement of the lady’s dress inspired the form of my designs. The combination of these organic shapes with the crystal glaze gives a shiny and elegant surface, reminiscent of the lady standing in the sunshine, Since most of Royal Copenhagen’s products have two dimensional decoration, I felt the need to create a more three-dimensional structure, giving a more dynamic feel to the tableware.
Art comes from life and goes beyond it. ”One journey comes up with one special experience” Various breath taking landscape patterns comes from outside the window.
I was so addicted to the exquisite and beautiful still scene, which seems to freeze life and time. Meanwhile, I was also surprised by fast passing experiences that been aggregate into attractive light and the colourful light effects that occurred in different weather.
The scenery in different patterns evolve a different line to layer sky, sun and clouds in constant movement become rounded and the upper slide small round bowl, two bowls and a sandwich containing small bowl, with a bowl of
This project was inspired by the folding mark left on the paper after you open the origami, and the regular creases represent the memories of the paper. Each crease is a record of each folding.
The choice of red is because in my childhood when kids opened the wrapping paper for candy at Christmas, we put red transparent sugar paper in front of our eyes and watched the light. The lamp is divided into two parts upper and bottom sides, which can be rotated and changed, different angle creates the different effect of light and shadow.
In the lamp, the bulb placed should be between 20w to 60w. Gives a mysterious sense of darkness, suitable for bars or cafes, where a strong, dark and colourful atmosphere is required.
This lamp I first combined with the 3D model software in design process and post-fine refinement in software as well. In the metal part I used digital technology to assist my production, the acrylic part I laser cut after modelling. Finally, I did a variety of silversmith tapping connections to do manual connection.