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Studio practice
(Phase One)

In phase one, my studio work (Initial Exploration and Test Piece), which represents the explorative phase of my research, was carried out. The aim of phase one was to develop an initial understanding of the research context through artistic practice, thereby fostering a critical dialogue between theoretical analysis and practical work. As a result, research themes pertaining to light, space, and the body were examined through my engagement with UV-reactive materials in jewellery design, innovative display methods, and immersive interactions with light installations.

My earlier studio practice

My postgraduate jewellery collection, 'Go with the Glow' was inspired by the notion of how jewellery interacts with light. It also drew inspiration from marine life and involved experimentation with UV-reflective materials to 'activate' the jewels, allowing them to change colour depending on the lighting conditions. When UV light is projected onto a jewel, it emits brilliant colours. In the absence of UV projection, the fluorescent materials can still emit light. This jewellery can actively or passively react to its surroundings based on the lighting conditions, creating an interrelated and inseparable relationship between the jewellery and its environment. The UV light serves as a trigger that stimulates the jewellery, transforming the object into a 'living creature,' which empowers both the viewer and the wearer.

An initial exploration of jewellery performance 

Go with the Glow jewellery collection (2018). 

Go with the Glow jewellery collection display/interview at JOYA 2018 in Barcelona, Spain

An initial exploration of interactive jewellery display at JOYA

In 2018, I was invited as a guest artist to participate in the JOYA Barcelona Art Jewellery Fair. As I considered the display method for my jewellery at this event, with the aim of encouraging the audience to fully engage with and comprehend the concept of my work, I designed two light boxes equipped with UV lights. These light boxes resembled water tanks typically used to display jellyfish in aquariums. In this case, the glowing jewellery showcased in these 'water tanks' visually piqued the curiosity of visitors and, to a large extent, allowed them to recollect their experiences or memories associated with aquariums.

To further encourage tactile engagement with my work, I placed instructional signs near the art pieces reading, 'Please play with the flashlights to see what will happen.' Visitors were provided with portable UV flashlights, which not only allowed them to freely explore the colour changes of the pieces that interested them but also gave them control in terms of manipulating the appearance of the works. Audience members were also encouraged to touch, handle, and even wear the objects. When someone wore a piece of jewellery on their body, they were encouraged to ask a friend to project the UV light onto the piece, enhancing the wearing and viewing experience. The individual controlling the light and directing it onto the artwork was not merely a spectator but also a 'creator' or 'director' of the experience, transforming the act of wearing and viewing into an interactive and lived 'performance

An initial exploration of  immersive jewellery display at my solo exhibition

In 2019, I received an invitation from Lorenza Bini, the owner of Bini Gallery in Melbourne, Australia, to present a solo exhibition showcasing the 'Go with the Glow' jewellery collection. With the freedom to design my own display, I opted to create an immersive, mysterious, and imaginative atmosphere within the gallery space, employing a single UV light source. I installed a UV projection light in the corner of the room, directing it towards the centre of the display stands. Consequently, as visitors entered the space, their attention would immediately be drawn to the area illuminated by the light and the intriguing shapes it created.

In addition to the central space illuminated by the UV light, it was fascinating to observe the dim shadows occupying the corners of the room, blending with the silhouettes of gallery visitors. The light-projected area created a space surrounded by shadows, which, in turn, gave rise to a visually observable blurred 'boundary' between the display area and the rest of the space. Moreover, the chiaroscuro effect generated by the interplay of light and shadow bridged the gap between two and three dimensions, allowing for a visually imagined space. As visitors moved around the exhibition, their bodies naturally interacted with the projected light, creating a dynamic interplay of body movement, light, and shadow. 

During my solo exhibition, I observed visitors' reactions and interactions with the showcased pieces under a single UV light source. Many visitors were intrigued by the creative use of the UV light and appreciated the contrasting illuminated display area with its darker surroundings, which added depth to their experience. This indicated that creative lighting strategies could significantly enhance the perception of displayed artworks. The emotional impact of the lighting and environment was evident, as some visitors expressed feelings of wonder and curiosity, while others felt more contemplative. Moreover, using light in this way encouraged exploration, as visitors moved around the space and interacted with the objects in the dimly lit areas. This incorporation of light transformed both the jewellery on display and the space in which they were displayed, creating an immersive and mysterious atmosphere that evoked a range of responses from the audience. This experience informed my subsequent approach to setting out my studio practice in phase two, which employed audience participation during the workshops.


Go with the Glow jewellery collection display at

Bini Gallery (2019), Melbourne.

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