JoyHanChiehChuang! Jewellery!&!SilversmithingMFA2 ... ·...

Joy HanChieh Chuang Jewellery & Silversmithing MFA2

Context Report

Fig.1-‐Huang Y, (2010) Taipei Fig.2-‐Syararira, (2010) Taiwan

My background while growing up and experience of the environment have strongly influenced the concepts in my work. Due to its unique topography, Taiwan, my home country, is divided into two major parts: well developed cities with most of the population in the west, and picturesque rural landscapes in the east. Memories of home have constantly come to mind since I moved to Edinburgh. However, although I was born and grew up in Taipei, one of the busiest and most technologically advanced cities in the world, I found myself strongly missing the natural fields much more than the prosperous cities. Compared to an active urban existence, life in the east part of the land is simple, limpid and original. Seriously examining the different situations in the two kinds of surroundings, I started to realize how the beauty of rural land has lost its appeal and status in city-‐dwellers’ busy lives. Here I have had the time to reflect on the fascinating beauty of my home and was led into research looking at the relationship between people and land. Over the past two years I have been discussing how people illustrate their concern for the land in artistic expression, and in so doing arouse other people’s awareness. I believe the land itself represents art, as it is where art is born, thus it is our responsibility to never forget such importance and loveliness. The following report contains the full development of my working process started by looking at how natural forms exist in the field of art, and how I was inspired by nature and Taiwanese agriculture. I have looked into how people experience and express feelings similar to mine as a means to understanding. This includes several case studies as well as a series of interviews to assist me in going deeper in my research. By making my research study practical I aim to express the strength of emotions connected to my home. Through my work I expect to pass on an idea of the beauty of my homeland and bring it back to those hearts where such beauty has been forgotten.

Chapter 1 – Nature and Urban area “The roots of all things lie in nature” (Beth Legg, 2008, p.7)

Fig.3 -‐Chuang J. (2011) Natural Pattern

The contrast between the two environments in Taiwan led me into a brief period of research based on the idea of “nature and urban areas”. All great developments have undeniably been accompanied by the natural environment surrounding them. Industry and nature, which appear to be of great dissimilarity and contrast, are in fact related as closely as each breath is to the next. Forms of Nature I commenced my research by asking questions: How do “forms of nature” exist in the field of art and affect our lives? Nature, a subject without boundaries, is a theme for so many art makers. By the relationship with the human beings who interact with them, natural landscapes become more distinctive than they were originally. I consider every individual to have their own understanding and definition of different subjects and activities, and then to explore their own creations in an individualized manner both in terms of searching for and exhibiting the beauty of nature. Japanese jeweller Junko Mori (2006) once stated: “I saw a huge tree in front of me. I wondered where the beauty came from. The tree looked as if it were growing unconsciously. Then, I noticed the simplest thing – that each leaf had slightly different shapes.”

Fig.4-‐Mori J. (2001) 02 Silver Organism. Fig.5-‐Mori J. (2002) 62 Silver Organism.

Mori, who uses massive repetition of organic patterns, was first inspired by nature in her childhood. Her designs developed from looking at organic matter, and being in awe at how it grows. I was deeply impressed by her subtle observations and exquisite exhibits, an utter uniqueness showing an elaborate management of the art of combining materials. Similar to Mori, British jeweller Jacqueline Ryan’s works on organic forms are characterized by intricate arrangements of repeated elements of gold and precious materials. “A great deal of what I make today is still in part based on childhood memories, but I continue to collect visual information directly from nature even today” (2007). Besides representing the beautiful art in forms, structures, surfaces, textures and colors, many of her works are made up of moveable elements, which shake and vibrate on pins as the object moves.

Fig.6-‐ Ryan J. (2011) Bracelet Fig.7-‐ Ryan J. (2007) Square Brooch

Movement is shown to be one important characteristic when artists portray their interpretations of nature. Mori’s metal works were once described by Regina Connell, the founder of Handful of Salt (n.d.): “As I touched them, I was sure they’d move a bit, so alive were they”. The same features are also seen in Norwegian jeweller and Sculptor Tone Vigeland’s works. Vigeland’s creations are regarded as a reflection of her Norwegian background and have some Viking elements. She assembles and connects similar repetitive elements to create structures and textures, many of which express a feeling of nature. I was amazed at these splendid art pieces, impressed by how fine and vivid they could be. The jewellers used extensive repetition to represent natural beauty in an amazing way. It sends a message: nature exists in the form of repetition. The creators’ own communication represents the relationship between themselves and nature.

Fig.8-‐Vigeland T. (1992) Bracelet Fig.9-‐Vigeland T. (1992) Necklance

Natural Materials

Fig.10 -‐ Beth Legg, (2006) Caged Bird brooch Fig.11 -‐ Beth Legg, (2005) Buds and neckpiece

While studying how natural forms are involved in artistic expression, I understood that using natural materials is also a way to bring in this idea. Of course, natural materials have been used globally in many different ways since long before history. The uses of natural materials in adornment vary from wood, feathers, hair, stone, plants, shells, to bone, coral, teeth, etc. Nature has always been one of our primary sources of tools, materials and inspiration, and now is speaking to us in a new way through contemporary creators of art work. (Legg, B. 2008, p.13-‐17) Scottish jeweler Beth Legg demonstrates an honest reflection of the relationship between herself and the environment. “I am fascinated by the way in which the natural elements sculpt the vast open spaces in the far north of Scotland, and I aim for this to be reflected in my work.” (2008) The remote environment she comes from has obviously influenced her, which led her into

working with natural materials associated with her homeland. Likewise, Dutch jeweller Francis Willemstijn uses ebony and oak, transferring them into elegant creations that exude vitality. She claimed that her works are strongly connected with her personal background. Among these art pieces, I found how artists were inspired by understanding the connection to their own environmental background and memories, which helped me to comprehend the dialogue of their creation when I saw their work, as well as inspiring me as I found similarities in my own concepts. Urban Landscape / Nature in Urban cities On the other hand, I also looked for exemplifications of combinations of nature and urban areas in our modern life. American street muralist Mac Crew once asserted that: “Almost all good artists are inspired by nature. Urban nature is all about finding the beauty in everything. Being able to appreciate that and to see unnatural culture combined with natural forms is always interesting.”(2008) The impression of industrial cities and their architecture reminds me of one of the greatest architects -‐ Santiago Calatrava -‐ who is known worldwide for his insight into the nature of the relationship between art, architecture and engineering. The Kuwait Pavilion, completed in 1992, evinces the shapes of nature and the animal kingdom. By its forms, it suggests life. The idea of several of Calatrava’s works are based on the theme of a bird in flight. The image and structure of a tree are the basis for both the Cathedral of St. John the Divine in New York and Zurich’s Bauschänzli Restaurant. Moreover, his thoughts of nature are not just revealed through the form and appearance of architecture, but also as creating “the landscape in the urban”. Matilda McQuaid (1993, p.14) explained one of Calatrava’s projects: “With this gesture he creates a direct link with the city, transforming the canopy of trees into a canopy of structure.” Through his creations, Calatrava has demonstrated an idea of “urban landscape”-‐ a fine new explanation of “nature in the city”. He has brought natural elements into cities,

inviting people’s appreciation of not just architecture but landscape, too.

Fig.12-‐Calatrava S. (1992) Sondica Airport Project Fig.13-‐ Calatrava S.(1994) Lyon Airport Railway Station

In order to capture the idea of “nature and urban regions”, some of my earlier models were made of cork and paperboard. My aim was to make pieces that represented both the sense of nature and the urban feeling -‐ not only a combination but also a contrast. The use of drawing pins to stick into the cork reminded me of the conflict between the natural environment and man-‐made industry. They represented the attack on nature by human beings for profit. In addition, black rectangular paperboard and metal wire gave an effective impression of industry. The idea of “nature in cities” is obviously not a strange one to many artists. British artist Paul Goodrick’s work focuses on the relationship and tensions between nature and urban environments, and uses both living organic matter and other materials. Goodrick not only does his own work, but, impressively, he has been transmitting his ideas and a concern for the environment to people by teaching various courses. This helps others to get more deeply in touch with nature through art, in the hope that it will evoke a sense of environmental conservation. His art pieces are unique and inspirational, inviting people to think about human action and the environment through different sensory channels. (green cube, n.d.) The same emotion is shown in Will Beckers’ art. Beckers also works extensively with natural materials in his sculptures and land art situated in both natural and urban settings. “I follow my passion by listening to the material, in this way art and nature are fused together” stated Beckers. “I’m a part-‐time artist, the other part of the time Nature does the work.”(n.d.) His works in land-‐art projects have brought nature and people into each other’s world. Moreover, he recycles nature in his Second Life installation. Seeing these natural

artworks placed in our urban surrounding, telling stories that contain a powerful meaning, people are invited to become involved in primary environmental awareness.

Fig.14-‐Goodrick P. (n.d.) Willow Sculpture Courses Fig.15-‐Paul Goodrick, (2006) The Curtain on Johnnie the Oak

Fig.16-‐Beckers W. (2010) Noli me Tangere Fig.17-‐Beckers W. (2011) sculptures for children

Completing my first stage of research, I understood not only how the images and forms of nature exist in people’s lives, but also how artists have combined the idea of nature and urban areas. There are two weight-‐bearing points among the artists mentioned in this chapter about which I would like to carry on extended discussions. These are the relationships between the makers and the environment, and more importantly, a consciousness that is beyond its external form – eco-‐awareness.

Chapter 2 – Case Study – Green in Hand

Fig. 18-‐Lee J. (2009) Rice paddy [photograph]

While studying the manner in which nature is involved in art, I found how artists were inspired by understanding the connections between themselves and their own background and memories. I believe these represent the relationships between themselves and the environment by means of their own language to communicate with the land. In this way, nature becomes distinctive. Therefore, I had to search for a specific key personal element to characterize my relationship with the land I care about. As I have mentioned before, the two dissimilar environments in Taiwan – the urban developed western part and the natural, rural eastern part -‐ caused me to think carefully about my feelings of home. I decided to work on a theme based on Taiwanese agriculture owing to my great affection for it, as well as its significance to my home country. This is a similar notion to that of Willemstijn (n.d. quoted in Legg B. 2008), “I feel connected to Dutch history, I try to translate my heritage, the clay of my own country into Jewellery”. I consider fields of grain to be the most fascinating landscape in Taiwan. They symbolize the communion between humans and the earth. They are a treasure that has been preserved through time, and which represent our affection toward home including both present and past. Yet, do images of beautiful land ever occur in an urbanite’s mind? It is disappointing to realize that such loveliness has lost its appeal to most busy hearts. Likewise, there were meaningful things and moments that once turned up in our lives but have now either been ignored or forgotten. As a jeweller with a product design background,

I am keen to put my sentiments towards my homeland into my work. I consider art as a channel to convey messages, to recall people’s memories and evoke a sense of awareness. Agriculture in Taiwan “Agriculture is the root of Taiwan, is the starting point of which we grow and prosper.” Xin Wang (2008, quoted in XiaoYu Tang, 2008)

Fig. 19, 20-‐Lee J. (2009) rice paddy [photograph]

Agriculture in Taiwan has changed over time as a result of national policy. It has provided army supplies, sustained the economy, and was the basis for industrial development. Before the 1950s, agriculture represented the main industry and the core of economic development. However, after the 50’s, it completely lost its position. Agriculture in Taiwan faces challenges such as low use of resources and environmental damage. In addition, a certain rustic feeling has been lost. It is no longer prosperous and farmers have been facing a difficult time due to imports of farm products. Clearly, to urbanites, agriculture in Taiwan has become part of the forgotten past. Nevertheless, some regions in eastern Taiwan still remain as agricultural societies; a small group of people have insisted on following the traditional ways and safeguarding the fields.

Green in Hand

Fig. 21-‐Chang T. (2006) Green in Hand Logo [ Chinese calligraphy ]

With the rise of the cultural and creative industries, designers have started to give voice to the care for Taiwan’s traditional agriculture in different ways. My case study is a Taiwanese group called Green In Hand, founded by Ms. Yun Yi Chen and Mr. Jian De Lee in 2006 for their love of rice and the countryside. Chen and Lee work according to their expertise – one tells stories of agriculture by writing about it, the other captures the beauty of the land through photography. They work directly with small-‐scale organic Taiwanese rice farms. While selling manually packed organic rice, they are committed to transmitting stories about Taiwanese agriculture to the public. The Chinese name for Green in Hand is “Jian shen gu li”, which means “Every single grain is grown in our hand.” It is also assonant for the Chinese word for “applause”. On the cover of their book it is written, “Applaud for the things that remain good in Taiwan.” (Chen Y, 2009) It is also mentioned on their website that: “We believe the value of crops is not just food provision, but a creation by uniting the land and people. We stand as publishers for agricultural creators. Through ordinary grain, the true value we try to express is the kind attitude people show to the land.” (Green in Hand, 2006) In their work, a passion towards our land is shown. They interpret an ordinary traditional industry in a modern light. I am of the opinion that it is close to the destination I yearn to achieve in my work. Based on the care of the land through artistic expression, I divided the following context into three sections: storytelling, artists’ responsibilities, and educational purposes.

Tell a story “Every single grain contains an appealing story.” (Chen Y. 2006) Farming is the most direct connection between people and the land. As Chen once stated, “Every single grain contains the memories that sun, wind or rain print on the earth. No harvests remain the same, they naturally change, but this is the beauty of nature.” (Chen Y. 2006, quoted in Shin Yin Tsai, 2006) Over the years through books, reports and blogs, Green in Hand has exhibited stories of both cultivator and farmlands, passing a simple concept to those busy hearts trapped in urban societies. People have rice everyday but have forgotten the importance of it. Green in Hand produced a series of stories that tell of harmony between farmers and the land. These stories are written on simple brown paper bags that evoke rustic simplicity. This goes a long way towards renewing the importance of an everyday grain and points out the intention to evoke in Green in Hand’s products.

Fig. 22,23-‐Green in Hand (n.d.) Together Rice [product; rice]

It is pleasant to know that Green in Hand is not the only group engaged in making friends with our environment. An activity named Open for the Earth was held in Taipei in 2011, in which farmers were invited to give a talk about farmland. At the same time, Taiwanese environmental artist Tan Ya Lai was also displaying a land related exhibition entitled Respect to the Earth. After a grave flood in 2009, the number of butterflies was sharply reduced in Taiwan, an island once called “The island of the butterfly”. Lai made use of rocks, soil and silt from the calamity to create a series of art works called Chrysalis. By portraying the morphology and life experiences of the chrysalis, his works demonstrated a dialogue between the artist and the natural ecology. Lai’s works reveal a humble reflection of nature, and carry an objective of arousing the respect for ecology and nature. (Lai T. 2011) Another instance is Taiwanese photographer Ding Zheng. By capturing images of Taiwanese farmers working in orchards, his work Fruiting Taiwan gives praise to the guardians of this piece of land and their spirit of hard work. Using strong color and contrast, Zheng’s photographs reveal vigorous vitality and narrative. (Industry Loud, 2011)

Fig. 24,25-‐Lai T. (2011) Chrysalis [artwork; rocks, soil, silt, pottery] Personal Collection.

Fig. 26,27-‐Zheng D. (2011) Fruiting Taiwan [photograph]

From the illustrations above, we see how Taiwanese creators display their concern for the land in the most appropriate manners they know. Through Fruiting Taiwan’s products, photographs, pottery, art works and writings, people receive narrative messages while appreciating these works. This is the storytelling ability of art work. Our responsibility

While we talk about how people share messages for the need to care for our

surroundings through artistic expression, and others comprehend the

underlying voices of art works, we achieve an understanding of artists’

responsibility to demonstrate concern for the environment through their work.

According to the French artist and architect Didier Faustino (2012, quoted in

Design 360°, 2012, p.45) “I believe that art is a way to awaken people’s

awareness of the world that surrounds them, so it is important to sometimes

show those social problems.” The same consciousness is shown by Hung Lam,

the founder of CoDESIGN, (2012, quoted in Design 360°, 2012, p.98) “Designers

should consider themselves as problem solvers seriously. And I believe that the

answers always lie in the questions. The development of graphic design will and

must focus on social responsibility, and I can see that the environmental and

social problems will become the most inspiring muse for designers.” Another

great practitioner is Australian artist John Dahlsen, who for the last 15 years has

been working with recycled plastic objects he calls “washed up ocean litter”

which he has collected from Australian beaches. He sorted through those objects

by colors and created new compositions with an aim “to work with them until

they spoke and told their stories.”(Louise Buyo, Kim Hall, 2008). For instance, in

2005, Dahlsen made a series of totemic installations forming a piece of public

artwork with thousands of donated plastic bags in Jefferson City, USA. By doing

this work, Dahlsen hoped to express a certain beauty, as well as communicate a

unique environmental message. As he pointed out, “These artworks exemplify

my commitment as an artist to express contemporary social and environmental

concerns.” (2011)

Fig. 28-‐Dashlsen J. (2005) White plastic bag Fig. 29-‐Dashlsen J. (2003) Blue River

installation [public artwork; recycled plastic bags] [artwork; recycled plastic bags]

Jefferson City Missouri USA. Art Gallery of New South Wales.

Extending from the simple care of Taiwanese farm fields to a global view, issues

about environmental consideration will never end. An increasing number of

artists have participated in the mission of being reminders, which signifies that

the idea of passing messages by means of artistic expression is widely accepted.

On March 11th 2011, Japan suffered a terrible catastrophe: a huge earthquake,

followed by a devastating tsunami, made worse by a radiation leak at the

Fukushima Nuclear Power Plant. The whole world was shocked by the

tremendous convulsion of nature. Project Sunshine for Japan was held in

Dusseldorf in December 2011. Graphic designers were engaged to convey

reflections on the horrible natural calamity by the power of graphic design,

which included New Wound On Earth by Amir Alizadeh (Iran), Un Mofuku

Diferente by Abraham Hernandez Arana (Mexico), and Epitaph by Scout Laserow

(USA), and all revealed strong statements and consciousness.

Fig. 30-‐Alizadeh A. (2011年份) New Wound On Earth. [graphic design]

Fig. 31-‐Arana A. (2011年份) Un Mofuku Deferente. [graphic design]

Fig. 32-‐Laserow S. (2011年份) Epitaph. [graphic design]

By appreciating art creation, people learn to digest the messages they are given.

Once the ideas have been taken on, they subsequently bring about certain

influences in people’s demeanor and thinking. We should consider then that

creation is not just about displaying aesthetics but also possesses an educational

value. This kind of educational ability is also a motivating force for those art

practitioners. Just as Dahlsen has stated (2011), “I feel that even if just a fraction

of the viewing audience were to experience a shift in their awareness and

consciousness about the environment and art through being exposed to this

artwork then it would be worth it.”

Educational purpose

Fig. 33-‐Lee J. (2011) Organic Primary School. [photograph]

Since 2010, a project named Organic Primary School has been run in Taitung

County, Taiwan by Green in Hand. A group of elementary school students are

invited to spend a semester participating in farm work that enable the children

to grow grain by themselves from seeding to harvesting. Through the assistance

of farmers, children go through every process elaborately, experiencing the toil

of cultivating and learning to respect, contribute to, and appreciate both the

cultivators and the land.

An outbreak of rice bombings took place in 2003 in Taiwan. For a year, Ru Men

Yang, a son of a farmer, produced bombs made of rice and placed them around

Taipei with a note saying, “Don’t import foreign rice” next to every bomb. The

action shocked society. It was the heavy voice of Taiwanese farmers that Yang

was trying to convey, a voice of their toil and rights that had been disregarded.

This incident reminded the public of those issues and taught them to place

importance on them again. Modern lives have been accompanied by massive

disruptions, so we need to be reminded by others at times to reflect inwards and

recall the origin of the matters at hand.

Another example is the Sunsuivi organic farm located in eastern Taiwan. It is

called a natural classroom floating on grain fields. Started in 2006, the farm has

promoted rice knowledge and environmental education, and encourages

children to get close to the land. There have been 215 schools and organizations

that have visited the farm so far, and about forty people graduated from the farm

school last year. Senior agriculturalists pass on their knowledge, which is a great

heritage of culture and life values, to the next generation. This is a most direct

and effective way of communicating ideas.

Fig. 33-‐Sunsuivi (n.d.) Sunsuivi organic farm. [photograph]

American eco-‐artist Cynthia Cutting Robinson explained: “I start with the basic

concept of improving the human relationship to the natural world through the

visual art experience and products. This art-‐environment-‐functional concept can

take many forms, including education.” (n.d.) Believing in the power of art,

Robinson works as an environmental visual artist, wanting to use her artwork as

an agent for ecological change. She runs programs for children of different ages,

allowing them to engage with their local landscape by using recycled materials,

doing creative writing and art making, environmental art trail construction, and

community environmental advocacy.

Fig. 34-‐ Robinson C. & students (2011) Gilmanton School Mural. [artwork; recyclable materials]

Whether it is a direct education or any other means that could achieve an

educational purpose, the same aim is eventually reached -‐ enabling people who

have been in touch with the art or action to adopt important messages. This

concept runs through both art and behavior.

By discussing the three arguments above – storytelling, the practitioner’s

responsibility, and educational ability, I have generalized a core essential factor,

which is the practice of showing care for the environment by exhibiting

educational messages. Accordingly, this principal point is the ultimate objective

of my practices.

Chapter 3 – Sense of Place & The Beauty of Homeland

Following the above discussion about artists and their ideas of works with

natural elements or expression of concern, in this chapter I would like to focus

on research about how to illustrate the fascination with my homeland in my

work. Since my affection for home is the original concept of my work, one of the

main purposes of my practice would be convey this beauty to both the wearer

and viewers. In order to be more considerate and go wider into my concept, a

research event was planned to gain opinions and ideas from other people.

Earlier in the paper I placed emphasis on an idea about how the relationship

between artists and their surroundings have influenced their works. People aim

to express the influence in their work that states their connection with their

environment. This is one essential point I would like to address as well.

Case study

A project named A Sense of Place was initiated by jeweler Beth Legg and

exhibited at National Museums Scotland last summer. Jewellers from Sweden,

Norway, Iceland, Finland, Denmark and Scotland were asked to fill a box with

objects and materials reflecting a place they love. Then they would create a piece

of jewellery inspired by the objects and this place. The boxes were then

redistributed anonymously and at random among the artists, who each created a

second piece of jewellery informed by the new box, drawing inspiration from

each other’s work. Each work displayed a unique atmosphere of its own

individual cultural histories and heritage. The works were displayed in pairs

alongside the corresponding box of source materials, illustrating the different

approaches taken by artists with the same stimuli. (Craft Scotland 2012)

Fig.35-Legg B. (2012) Topophilia box Fig.36-Holt C. (2012) Topophilia box

Fig. 37- National Museums Scotland (2012) A Sense of Place Exhibition.

A similar exhibition called Sense of Place took place in Brussels this year. This

was a photography exhibition that presented some 160 works by 40

photographers from every member country of the European Union, divided into

three major geographical regions – northern, central, and Mediterranean Europe.

The exhibition demonstrated the diversity of the European landscape and

showed how the natural environment has helped to shape identities. (Bozar

2012) While Legg stated that her jewellery project “demonstrated cultural links

and formed new connections to our environment in the world by those jewellers

who tell stories of personal narratives of place”(Craft Scotland, 2012), Lizz Wells

(2012) explained that her photography exhibition was intended to “investigate

other ways in which our relationship with particular places is expressed through

photographic arts.”

Fig. 38-Brotherus E. (2010) Still image from The Black Bay Sequence

Fig. 39-Huber Y. (2007) 48 Stunden

Fig. 40-Reis P. (2009) The Sleep of Reason, 4th series

The practice of art in the two above exhibitions characterizes land and natural

environments from the artists’ own perspectives that sincerely reflect their

personal connection to these places. It indicates the importance of the

interrelation of land and people: without people, the land would never become

special; it would only remain a “landscape” rather than a “place” without our

emotional connections and the accumulation of histories attached to it. Another

manifestation of this role of art is Marlene Creates’ exhibit The Distance Between

Two Points is Measured in Memories. Creates was saying as early as 1985 that,

“The land is important to me, but even more important is the idea that it become

a ‘place’ because someone has been there”(quoted in Jacqueline Fry, n.d. p.57).

Her idea was also once explained by Susan Gibson Garvet (1991, p.3) in the

project Rephotographing The Land. Garvey said, “Creates explores that process

whereby an indiscriminate piece of land becomes a place, a somewhere that, be

it ever so humble, lives on in our hearts and memories.”

During 1989-‐91, Creates developed her works which were exhibited in 1988 as

the exhibit The Distance Between Two Points is Measured in Memories. She spent

her time carefully collecting stories and “memory maps” from elderly country

people she met in remote areas about places that were special to them. In the

exhibition there were eighteen assemblages, each including a photograph of an

elderly person, some of the story they told, and a “memory map” they drew for

Creates of how they remembered their environment. She followed these maps to

see the places described, and then photographed one of the landmarks on the

map and collected, where appropriate, an object from the landscape. Creates

explained (1990, p15), “I began to understand that there are certain things about

their lives which are being left behind – certain things that matter to

them…These people make sense of their place in nature.”

Fig. 41-Presentation House Gallery (1990) The Distance Between Two Points is Measured in

Memories Exhibition

Fig. 42- Creates M. (1988) Mary Ann Noah Fig. 43- Creates M. (1988) Memory map

Fig. 44- Creates M. (1988) Story Fig. 45- Creates M. (1988) Landmark

Fig. 46Creates M. (1988) Burnt rock

The overall study of these cases suggests a vigorous understanding, the idea

that our land and places is closely linked to the people who live on it, just as my

interest in my land was rooted in my background and the time I spent with it. By

looking at the places and ourselves, our land becomes more understood as a

particular sort of place through our sense of place. By studying and analyzing

these projects, I also see from them a fine integrity of work with great

completeness and originality, together with a sense of identity invested in places.

I believe these works have the value of things shared, and I hoped a similar kind

of value would be found in my own work.

The event

I started with the questions: What feeling do people have about “land”? What

sensation and impressions have been brought into their mind when recalling the

sense of land? My aim is to look for the sense people have of land and by

collecting diverse ideas, break the limitations of my own thinking and find more

possibilities for my working process. After contemplation, I resolved to go into a

definite question which is how the beauty of our land is understood and defined

by our people, who live on our land – Taiwan. What is the beauty of Taiwan in

Taiwanese people’s understanding? I had come out with the core question. I

wanted to know the kind of beauty people see in this land, and how it is defined.

My event was planned to be a series of one-‐to-‐one interviews and the audience

were Taiwanese people who reside abroad. I found the impression of homeland

has remained strongly engraved in my memory after I left. Furthermore, I

believe that after experiencing changes people sense things that they didn’t

before. The state of being away from home is accompanied by distinct feelings

we have for that home. For this reason Taiwanese people with this characteristic

were chosen to be my interviewees. Last Name Shih Liao Chang Lin Chiu Tsai Jian Chang

Gender Female Female Female Female Male Male Male Male Age 30 26 32 35 29 27 27 26

Profession Marine Biology

Jewellery Jewellery Advertising Graphic Design

Medicine & Animal

Biosciences

Graphic Design

Apply Art

Time away from home

3 months 3 months 9 years 3 months 1 year 3 months 6 months 1.5 year

Home City Kaohsiung Miaoli Hsinchu Taipei Taipei Kaohsiung Taipei Taipei

There were eight people involved in this event, four male and four female. Each

person was invited to bring an image or an object that they thought represented

the beauty of their homeland. Each interviewee was asked a series of six major

questions which were followed by follow up questions. The six main questions

were as follows:

1. Why did you chose this object?

2. How does this promote the beauty of your land?

3. What kind of emotion do you attach to it?

4. How does it connect you and your home?

5. Do you think your absence from home has changed or made any

difference to your feelings about home?

6. If you were asked to make a creation with one element which could be an

actual object, cultural trait or abstract concept from your homeland, what

would it be and why? Or: If you were invited to give an element from your

homeland which could be an actual object, cultural trait or abstract concept to

an artist to make a creation, what would it be and why?

The interviews went very successfully. The interviewees brought out a variety

of interesting choices includes bubble milk tea, Taiwanese tea, Taiwanese snacks,

Taiwanese drama, an amulet from a Taiwanese temple, a convenience store,

architecturally old fashioned buildings, and a photo of beautiful landscape.

People addressed the importance of these things and the feelings attached to

them. Wan-‐Yao Lin indicated that tea is the most marvelous thing her homeland

had provided her. “My life had encountered a great difficulty when I found I

couldn’t have Taiwanese tea after I came to United Kingdom, so I asked my

friends to mail some to me.”(Personal communication, 20 November 2012)

Behind this notion is the beautiful Taiwanese tea culture we have, which

involves gathering friends and guests for tea tasting and sharing each other’s

lives. Ya-‐Hui Shih explained. “I think of a particular kind of taste when I think of

Taiwan, the taste of Taiwan; that’s the taste of Taiwanese snacks, which is

different than any taste from other places.” (Personal communication, 18

November 2012) Just like Shih-‐Bo Chiu had mention about bubble milk tea,

“Don’t you think it is very Taiwan?” (Personal communication, 17 November

2012) Another example is Bo-‐Wen Chang, who carries a Taiwanese amulet with

her every single day, and pointed out, “I think only Taiwanese gods can bless and

protect me.” A beautiful photo of a river in Taiwan called Ao-‐Hua River was

presented by Ying-‐Zhe Jian. He explained the value of this scenery thus: “This

Island has been through continuous depredation and recreation; it had been

destroyed but revived over and over. It shows distinct details every time when

you look at it. No matter how many misfortunes this land had been through, it

always appears with another beautiful feature again.” (Personal communication,

18 November 2012)

While carrying on these interviews I was surprised and amazed by the variation

of the sources people chose and their explanation of beauty. It was more

interesting to find out that only one photo of a landscape was presented, which I

hadn’t expected. I had always understood the fascinating landscape as the most

desirable part of my homeland, nevertheless, it was obvious to see that the ideas

chosen in this project by the participants were not what those objects visually

displayed but an inner value attached to them. I have categorized the

interviewees choices according to three major factors: taste, culture and

tradition. In Taiwan, they represent the original form of beauty.

Chapter 4 – Cultural Embedding

These research interviews helped me to understand the core meaning of beauty

from a Taiwanese perspective, which then gave me the idea of integrating

Taiwanese cultural elements into my work. This i turn led me to do research on

cultural embedding. Culture is a familiar theme in art. Japanese jeweler Mariko

Sumioka explained,” I am fascinated by Japanese traditional architecture, which

is an essential part of human lives as a central part of a culture and a place where

people have a basic connection with their natural surroundings.”(n.d.) Sumioka’s

work illustrates a vigorous unique Japanese element, using Japanese

architectural structures and kimonos.

Fig.-47 Sumioka M. (2011) Blue earrings

Asian culture is very distinct from Western culture, including in

terms of life style and artistic style. However, culture circulates and

flows between nations and people. It holds its own attractive power

regardless whether it’s local or foreign. This fact is demonstrated in

the field of art.

A series of jewellery pieces called The Year of The Ox, which is

named after one of the twelve Chinese zodiac animals, have been

created by Dutch jeweler Peter Hoogeboom. Displaying an amazing

comprehension of oriental culture, Hoogeboom uses materials like

porcelain, bamboo and raffia to give explanatory comments to

subjects such as Shaoxing Peony, Chrysanthemum and Gourd.

Fig.-48 Hoogeboom P. (2008) Shaoxing Peony (left) Shaoxing Chrysanthemum (right)

Fig.-49 Hoogeboom P. (2008) Precious Gourd 1

British based jewelers Susan Cross and Georgie Leung both have

illustrated ideas about Korea in their creations. By traveling they collect

inspiration, whether it be in the form of ideas or material sources, and

plant these influences into their work.

Fig.-50 Leung G. (2012) Ring a day Fig.-51 Leung G. (2012) Korean pendant

Fig.-52 Cross S. (n.d.) Poppy Brooches Fig.-53 Cross S. (n.d.) Composition Brooches

In Taiwan, a series of ceramic works named Chinese Mended Ceramics was

brilliantly done by Yi-‐Ru Zhy and Zhe-‐Chen Guo in 2009. The design came from a

lost culture – the use of patchery, which is an old technique people used for

mending their broken porcelain or clothes with other materials a long time ago

in China and Taiwan. It symbolizes a sense of economizing resources and a

representation of gratitude and cherishing. Understanding the value of old

culture, Zhy and Guo desired that their work would arouse memories of this

beautiful lost culture.

Taiwanese artist Geng-‐Zhen Wu prolifically practices the art of paper-‐cutting on

red paper, promoting this traditional skill. He believes there is a strong

connection between his art and the life and notions of the culture. In 2006, he

experienced the original culture of paper-‐cutting in Shan Bei, China, where

elderly women hand down their scissors and cutting tools to their daughters as

expressions of love and of their expectations. Through his work he illustrates a

fine demonstration of native culture and his passion for it by an innovating with

traditional art.

Fig.-54 Wu G. (2012) Patterns so much fun

Taiwanese designer Jun-‐Liang Chen has promoted a deep sense of Asian identity

by an elaborate use of Chinese character and a refined sense of simplicity in his

work. “Being an Asian designer, I’m using my own culture to illustrates my

works.”(Chen 2009)

Fig.-55,56 Chen J.

(2001) Long time no

see, east wind.

In 2011, Chen held a graphic design exhibition named

Ingenuity Follows Nature in Taipei. Forty artists from around

Asia created posters inspired by Taiwanese calligrapher

Yang-‐Tze Tong’s twenty-‐four works of calligraphy. The

exhibition presented the multiple facets of calligraphy

aesthetics, enabling continued succession of oriental culture.

More importantly, it addressed the issue that the Chinese

written language and the art of calligraphy are slowly dying.

This exhibition displays the beauty of Eastern culture and

the value of the written language. (Tong Chang 2011, p.3-‐7)

Fig.-57 Xiao Q. (2011) Ride on a white horse Fig.-58 Kang L. (2011) Touched by Ink

Fig.-59 He J. (2011) Ingenuity follows nature Fig.-60 Nagai K. (2011) Lively lives

It is interesting to see a similar sincerity shown in the practice of

contemporary jewellery by Tricia Tang, whose father -‐ Cheong-‐Shing

Tang -‐ is a Chinese calligrapher in Hong Kong. Being influenced by her

father, Tang’s work is strongly connected with her past and her culture.

This June, Tang and her father both exhibited at the Bishop Lei

International House in Hong Kong, showing two generations working

with the same materials but with different approaches and conceptions

of the Chinese artistic tradition.

Fig.-61,62 Tang T. (2012) Us

Fig.-63,64 Tang T. (2012) Family & I

Chapter 5 – My own works

Studio work Back to my studio works, I aim to transfer my research into practical making. I started with sketching and trying to capture a feeling of grass and grain. As I have talked about cultural embedding, I have brought in cultural elements such as the use of Chinese red paper and models of farming hat made with bamboo. I aim to express both the ideas of rustic farming life and cultural demonstration. I use strong expression to bring out my impression of the beaut o f my country, in addition hope to recall a sense of beauty or memories of home for people who from my nation, on the other hand, to encourage foreign people to understand my culture.

Fig.-65 Chuang J. (2013) Peasant brooch 02 Fig.-66 Chuang J. (2013) Peasant necklance

Exhibition display

A performance costume and stage design exhibition called Transformation and

Revelation (R&S) was held in Edinburgh in February 2013. The feature of the

show that impressed me the most was the diversity of scope of the presentations,

which included costume designs, photographs, sketches, scale models, and video

installations. These works of art brought me great visual enjoyment, leaving

lively images and a strong impression in my mind. Although the main subject of

the show was theater design including stage, space, costume and performance

plans, the show was even more abundant in terms of the variety of art elements,

creations and narratives. It was not just about stage and performance but about

completing and gathering designs and imagination and then performing them.

The exhibition was described as “wide-‐ranging and intriguing”, where the arts

were “revealed in magical ways”, appropriately pointing out both the plentiful

content and outstanding display methods of the exhibition. (Summerhall 2012)

Fig.67 Smith R. (2007) War Horse

I noticed that there were common numbers of script or written context printing on boards hanging next to the main showcases or scale models to help the audience comprehend the theme behind them. While appreciating those brilliant exhibits I started to reflect on my own display for the upcoming degree show. The broad creative exhibition has given me some helpful ideas about display and

demonstration. As a contemporary jewellery student, I have been under the impression that jewellery displays are usually simple and uncomplicated. Nevertheless, since I have been engaged in expressing a different cultural element and a more personal research topic, I think it is essential to communicate and convey my thoughts and have people understood the concept behind my work. As I have discussed earlier regarding the importance of passing messages and storytelling, I consider it important for me to practice this argument in my own show. In addition I aim to vary the range of my show by presenting not just jewellery works but also including images and sketches in order to bring a depth of expression into the presentation like what the S&R

exhibition achieved. The hanging idea appears to be a good way of exhibiting images, photographs or text statements. I especially like the idea of hanging pieces instead of simply displaying them on the stand. Furthermore, short film or dynamic images would be part of my display proposal owing to my idea of presenting a film about Taiwanese agriculture. Among the great number of exhibits I saw, I was particularly impressed by Rae Smith’s stand War Horse. His scale model of stage was on the middle of the stand with a projector set at the top, projecting a film onto a well-‐shaped paper screen at the back of the stage model, which allowed his scene to have a moving backdrop as well as sound. Smith’s design shows methods of exhibiting that naturally link together the whole design. In front of the scale model is his original sketchbook, laying open. It was a simple but well-‐presented stand that comprises both static and dynamic visual art as well as sound performance. I was deeply inspired by the Transformation and Revelation exhibition, which has encouraged me to think of not just the means of exhibiting but also how to integrate the design to make a more complete and lively show.

Conclusion

In conclusion, I have been working on a theme originating from my affection for

my homeland, and therefore I have carried a mission of presenting the beauty of

Taiwan by both visual and narrative expression. The past two years of study has

given me excellent experience with both research and practical skills, which will

enable me to achieve my objective. First of all, influenced by the dissimilarity of

land environments in Taiwan, I looked into other jewellers’ and artists’ work that

express either feelings of nature or urban areas. I have understood not only how

the form of nature exists in our lives, but also how artists have combined the

ideas of nature and urban areas. Besides, through those creators’ senses, I have

seen both extremely fine craftsmanship and wonderful expression of ideas. I was

deeply impressed by the beauty of repetition, which presents the loveliness of

metalwork and makes a magnificent expression of the sense of organism and life

from movement. I have been working on achieving this exquisite skill and

technical level, challenging myself to grow into a craftsman who completes

works of elegant and detailed fineness. Secondly, a weight-‐bearing point I found

among all the artists mentioned in the article is the relationship between the

makers and the environment. Artists find their own language to communicate

with the land in their own way, and present the relationship between themselves

and the environment to other people. Some of them were inspired through

experiences in their formative years; others positively share their love and

concern for nature with others.

After careful consideration of my personal affection for home, I decided to work

on Taiwanese agriculture as my topical subject, which plays a meaningful role in

my homeland as well as symbolically linking humans and the land. I looked into

the Taiwanese group Green in Hand, which demonstrates appreciation and

respect toward our land by expressing care for farmers and their fields.

Illustrating care for the land has been shown in many other ways by artists

including educational actions such as running courses to help people to get close

to the earth or creating artwork that contains important messages. By seeing

practitioners who stood up and engaged in environmental care, we sense a

determination to be responsible. It is understood that encouraging educational

messages could be a responsibility for artists.

While carrying on my research, several case studies I looked into include the

exhibitions A Sense of Place and Sense of Place, and The Distance Between Two

Points is Measured in Memories, which have all suggested two similar notions -‐ a

special sense of place created by the artist or people who live on the land, and a

willingness to pass on important messages about the environment. Using various

approaches the three exhibitions captured how people portray their impression

of their land and how mere landscapes become places that become significant

parts in people’s lives because of the interrelation between them. Thus, in order

to complete my research, I did a research event as an investigation of the

definition of beauty people have toward our home -‐ Taiwan. I interviewed eight

Taiwanese people who reside abroad individually. Through images and stories

they narrated I captured the beauty of Taiwan as defined by its own people and I

subsequently concluded and classified the aspects of these into three key points

– taste, culture and tradition. I comprehended that everything happens on this

ground is part of the culture, from which all the beautiful affairs and elements

spring from. It was a very appealing result which helped me realize the essential

role culture plays in characterizing the beauty of a place. I discovered how

cultural subjects are widely used in artists’ work, including how Asian culture

has also been exhibited in innovative means by both Asian and Western artists. I

appreciated how different cultures are absorbed and respected by other cultures.

Finally, by assimilating the knowledge from all the above study, I intend to

work with the admiration for my homeland as a starting point, and instilling

more positive force back to my initial intention, which is the care of my

homeland. I will use cultural elements that relate to Taiwanese agricultural

culture, including Chinese paper and bamboo in my work. Inspired by the shape

of growing grain and traditional Taiwanese architectural techniques, I will aim to

express a feeling of a rustic agriculture culture. By displaying images, sketches

and film, I will try to achieve a form of storytelling, passing the stories behind my

design and inspiration to the viewers, which is the story of my homeland and my

love for it. I expect to achieve a fruitful result in my work, which should

appropriately voice the story and beauty of my land and furthermore accrue to

both wearers and viewers a cultural experience of awakening of their cultural

memories, bringing more unique and meaningful art to the fore.

Bibliography Legg B. (2008) Jewellery From Natural Materials. London, A.&C. Black. McQuaid M. (1993) Santiago Calatrava, Structure and Expression. New York, Museum of Modern Art. Tang X. (2008) Villages in Taiwan. Taipei, Walkers Publishing. quote translated by Chuang H. Chen Y. (2009) Green in Hand. Taipei, Commonwealth Publishing Co., Ltd. quote translated by Chuang H.

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Online Resources

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Images

Fig.1 Huang, Y. (2010) Taipei. [Online Image; photograph]. Available from: <http://picasaweb.google.com/lh/photo> [Accessed 29th October 2011] Fig.2 Syararira (2010) Taiwan. [Online Image; photograph]. Available from: <http://syararira-‐goalforpaperfight.blogspot.com> [Accessed 24th October 2011] Fig.3 Chuang, J. (2011) Nature Pattern. [photograph] personal image. Fig.4 Mori, J. (2001) 02 Silver Organism. [Online Image] Available from: <http://www.junkomori.com/> [Accessed 20th November 2011] Fig.5 Mori, J. (2002) 62 Organism. (British Council, 2010) Fig.6 Ryan, J. (2011) Bracelet. [Online Image]. Available from: <http://www.scottish-‐gallery.co.uk/artist/jacqueline_ryan/> [Accessed 20th November 2011] Fig.7 Ryan, J. (2011) Square Brooch lentil-‐shaped forms. (British Council, 2010)

Fig.8 Vigeland, T. (1992) Bracelet. (Oslo Museum of Applied Art, 1995, p.89) Fig.9 Vigeland, T. (1985) Necklace. (Oslo Museum of Applied Art, 1995, p.75) Fig.10 Legg, B. (2006) Coged Bird brooch. (Legg, B. 2008, p.114) Fig.11 Legg, B. (2006) Buds and Loom neckpiece. (Legg, B. 2008, p.95) Fig.12 Calatrava, S. (1992) Kuwait Pavilion. (Calatrava, S. 1996, p.69) Fig.13 Calatrava, S. (1994) Lyon Airport Railroad Station. [Online Image]. Available from: <http://www.calatrava.com/#/Selected%20works/Architecture/Lyon?mode=english> [Accessed 23rd October 2011] Fig.14 Goodrick P. (n.d.) Willow Scutpure Course. [Online Imgae]. Available from: <http://www.thegreencube.co.uk/willow.html>[Accessed 25th November 2011] Fig.15 Goodrick P. (2006) The Curtain on Johnnie the oak. [Online Image]. Available from: <http:// www.thegreencube.co.uk/jonnietheoak.htm> [Accessed 25th November 2011] Fig.16 Beckers W. (2010) Noli me Tangere. [Online Image]. Available from: http://www.willbeckers.com/Noli-‐me-‐tangere-‐project.html [Accessed 26th November 2011] Fig.17 Beckers W. (2011) Land Art Sculptures for Children. [Online Image]. Available from: <http://www.willbeckers.com/Noli-‐me-‐tangere-‐project.html [Accessed 26th November 2011] Fig.18 Rice Paddy. (2009) [Online Image]. Available from: < http://www.greeninhand.com/album_photo.php?AlbumID=5&Page=1&Order By=Date+DESC&AlbumYear= > [Accessed 25th April 2012] Fig.19,20 Rice Paddy. (2009) [Online Image]. Available from: < http://www.greeninhand.com/album_photo.php?AlbumID=5&Page=1&Order By=Date+DESC&AlbumYear= > [Accessed 25th April 2012] Fig.21 Green in Hand logo. (2006) [Online Image]. Available from: < http://www.greeninhand.com/index.php > [Accessed 18th June 2011] Fig.22,23 Together Rice. (n.d.) [Online Image]. Available from: < http://blog.roodo.com/greeninhand > [Accessed 25th April 2012]

Fig.24,25 Lai T. (2011) Chrysalis. [artwork; rocks, soil, pottery]. Personal collection. Fig.26,27 Zheng D. (2011) Fruiting Taiwan. Taipei, 天下雜誌. 2011, p. 202, illus. Fig.28 Dashlsen J. (2005) White plastic bag installation. [public artwork; recycled plastic bags] JeffersonCity Missouri USA. Fig.29 Dashlsen J. (2005) Blue River. [artwork; recycled plastic bags] Art Gallery of South Wales. Fig.30 Alizadeh A. (2011) New Wound On Earth. Hong Kong, Sandu Publishing Co., Limited. P. 73, illus. Fig.31 Arana A. (2011) New Wound On Earth. Hong Kong, Sandu Publishing Co., Limited. P. 81, illus. Fig.32 Laserow S. (2011) Mofuku Deferente. Hong Kong, Sandu Publishing Co., Limited. P. 81, illus. Fig.33 Sunsuivi organic farm. (n.d.) [Online Image]. Available from: < http://sdnoodle.pixnet.net/album/photo/164340301 > [Accessed 30th April 2012] Fig.35 Legg B. (2012) Topophilia box [art work]. Held at National Museums Scotland. Fig.36 Holt C. (2012) Topophilia box [art work]. Held at National Museums Scotland. Fig.37 National Museums Scotland (2012) A Sense of Place Exhibition. Edinburgh, National Museums Scotland. Fig.38 Brotherus E. (2010) Still images from The Black Bay Sequence [photograph]. Held at Centre for fine Arts. Fig.39 Huber Y. (2007) 48 stunden [photograph]. Held at Centre for fine Arts. Fig.40 Reis P. (2009) The Sleep of Reason, 4th series [photograph]. Held at Centre for fine Arts. Fig.41 Presentation House Gallery (1990) The Distance Between Two Points is Measured in Memories Exhibition. Canada, Presentation House Gallery.

Fig.42 Creates M. (1998) Mary Ann Noah [photograph]. Held at Art Gallery of Memorial University of Newfoundland. Fig.43 Creates M. (1998) Mary Ann Noah-‐mempry map [drawing]. Held at Art Gallery of Memorial University of Newfoundland. Fig.44 Creates M. (1998) Mary Ann Noah-‐story [written words]. Held at Art Gallery of Memorial University of Newfoundland. Fig.45 Creates M. (1998) Mary Ann Noah-‐landmark [photograph]. Held at Art Gallery of Memorial University of Newfoundland. Fig.46 Creates M. (1998) Mary Ann Noah-‐burnt rock [photograph]. Held at Art Gallery of Memorial University of Newfoundland. Fig.47 Sumioka M. (2011) Bamboo brooch [jewellery; copper, enamel, kimono]. Personal collection. Fig.48 Hoogeboom P. (2008) Shaoxing Peony and Shaoxing Chrysanthemum [jewellery; silver, porcelain, lacquer, nylon, steel]. Personal collection. Fig.49 Hoogeboom P. (2008) Precious Gourd 1 [jewellery; bamboo, porcelain, raffia, steel]. Personal collection. Fig.50 Leung G. (2012) Ring a day [jewellery; copper, wood, wire, ceramics]. Personal collection. Fig.51 Leung G. (2012) Korean Pendant [jewellery; copper, wire, thread, paint]. Personal collection. Fig.52 Cross S. (n.d.) Poppy Brooches [jewellery; oxidized silver, Korean red braid cross]. Held at The Scottish Gallery. Fig.53 Cross S. (n.d.) Composition Brooches [jewellery; steel, wood, enamel, Korean braid]. Held at The Scottish Gallery. Fig.54 Wu G. (2012) Pattern so much fun [art work; paper-‐cut]. Held at Kaohsiung Museum of Fine Art. Fig.55,56 Chen J. (2001) poster [graphic design]. Personal collection. Fig.57 Xiao Q. (2011) Ride on a white horse [poster design]. Held at Taipei World Design Expo.

Fig.58 Kang L. (2011) Touched by ink [poster design]. Held at Taipei World Design Expo. Fig.59 He J. (2011) Ingenuity follows nature [poster design]. Held at Taipei World Design Expo. Fig.60 Nagai K. (2011) Lively lives [poster design]. Held at Taipei World Design Expo. Fig.61,62 Tang T. (2012) Us [jewellery]. Personal collection. Fig.63,64 Tang T. (2012) Family & I [jewellery]. Personal collection. Fig.65 Chuang J. (2013) Peasant brooch 02 [Jewellery]. Personal collection. Fig.66 Chuang J. (2013) Peasant Necklance [Jewellery]. Personal collection. Fig.67 Smith R. (2007) War Horse [Stage design]. Personal collection.

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