Orbit A Collection Tajmaɛt n Tɛeqqayin sɣur Suyu Chen

Orbit A Collection Tajmaɛt n Tɛeqqayin sɣur Suyu Chen d anerbaz yettwaqadren meqqren n 2022 Tarbaḥt A' Design Award n Uzzal deg Taggayt n Tnaflit n Afeṣṣel n Lḥelya.

UzzalLḥelya· 2022

Orbit A Collection Tajmaɛt n Tɛeqqayin

sɣur Suyu Chen

Amsaɣ: Suyu Chen

Anerbaz n Tarbaḥt A' Design Award n Uzzal deg Taggayt n Lḥelya

15,062

Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #131168

Rzu ɣer usmel Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

Initen

Afeṣṣel

Ɣef Orbit A Collection Tajmaɛt n Tɛeqqayin

Orbit A d yiwet n tejmaɛt n tɛeqqayin i d-ttwaxedmen s ufus, tesdukkel yiwen ubruc akked snat n tɛeqqayin n tuyat. Yal taqcict tettwaxdem d tin i s-yiwen kan, tesdukkel lfeṭṭa (sterling silver) d yizzuyaz n plastik, d ṭṭinet n rrezin akked usebbeɣ. Aɣanib-nni n plastik yettwarra-d s tikkelt-nnien am tferka tazadurt akken ad d-yefk leckal ixtelfen, ama i tlusi ama d wid n tẓuri n tnaqqiḍt. Ttwasqedcent tarrayin tiqburin n uxeddim n lmeɛdan am tesluliḍt (soldering), aḥwaz d uxeddim n tsegnetin, ddaw n tarrayin timaynutin am usleluḍ n plastik, ussay akked usebbeɣ. Tajmaɛt-a tessken azdam yellan gar ṣṣenɛa taqburt d twennaḍt tatrart n usnulfu s wugar.

Asmekti

Ɣef Tarbaḥt A' Design Award n Uzzal

Orbit A Collection Tajmaɛt n Tɛeqqayin d amerbaḥ n Tarbaḥt A' Design Award n Uzzal, tagmat i yisnulfa yelhan i yemmalen ayen i d-ttrajun yimdanen seg yisnulfa yelhan. Imerbaḥen n Uzzal ttbanen d tmusni, tmahilt d tazmert n yimahilen-nsen. Orbit A Collection Tajmaɛt n Tɛeqqayin ad yili d asnulfu yettwaɛezzen, yelhan, amaynut. Isnulfa-a ttwaɛezzen imi ɛawnen deg tudert, rran ddunit ugar n lxir.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.

Taɣara Tasuft: Each piece in this collection is handcrafted and one-of-a-kind, featuring a combination of precious metals and mixed materials, such as plastic tubes and resin. By composing jewelry works that relate to subtle forms and marks, the works embody the relationships between practices and artificial objects in traditional arts and modern mass production. Through random separating, texturing, and coloring the plastic tubes, the jewelry pieces present unique consequences with an emphasis on minimalism and elegant forms.
Tigejdiwin & Akemmus: Brooch: 35*35*145mm
Double-tube necklace:127*40*50mm
Chain link statement necklace: 250*250*30mm
Tibzimin: jewelry, necklace, brooch, craft, mixed material, art jewelry
Tasnakta n Ufares: The metal structure utilized traditional metalsmithing techniques, such as soldering, forming, and chain-making. For the alternative medium parts, plastic-welding and various paints combination were applied, including enamel paints, gesso, and acrylic.

Material: sterling silver(925 silver), plastic tube, resin clay, enamel paints, gesso, acrylic, stainless steel(for the brooch pin)
Asewḥel n Usnulfu: Methods to assemble and secure the parts were the most essential and challenging throughout the whole process, while various experimentation had been performed in preparation. Although the tubes were manufactured within the same standard, they were however not entirely equivalent. The slight form difference requires a more precise structure design in order to assemble all parts together perfectly. Especially for the metal part, multiple models need to be done and tested before the final outcome.
Anadi: By studying the history of craft-making, traditional apprenticeship culture both in China and western society, and the idea of modularity in the art fields through books, articles, and interviews, this project focuses on the repeated use of the same component, plastic electrical conduits, to create both wearable and sculptural objects. Making art using a certain strict component or principle is not uncommon in art history. The occurrence not only happened in the craft fields, but also in fine arts and even literary creation. The nature of human activities and artifacts becomes a part of the artwork concept.
Aseḥbiber: By exploring the Chinese cultural background, and the idea of modularity in the traditional art fields, the project focuses on the repeated use of the same component, plastic electrical conduits, to create both wearable and sculptural objects. The aim of the work is not simply to compose forms or examine functions of jewelry within one simple material, but also to memorialize and symbolize mixed thoughts related to the experience of nostalgia and self-identity that arise from being away from home.
Tanzagt n Usenfar: The project started in January 2019 in Rochester, New York, United States, and was completed in December 2020. The collection works had been exhibited internationally, including in New York City Jewelry Week 2019(NYC, US), JOYA 2020(Barcelona, Spain), Gioielli in Fermento 20|21(Milan, Italy), Art in Media 2021 (Burchfield Penny Art Center, Buffalo, US) and Beijing International Jewellery Exhibition(Beijing, China).
Tanila n Umahil: This collection focused on the variation and transformation of endless forms by continued use of the same artifact as a basic module. Revealing subtle layers of imperfection through painting, sanding, separating, and combining.
Igmamen n Terbaɛt: Suyu Chen
Imsuren n Tugniwin: Image #1, #2, #3 and #4 Photographer Suyu Chen, Orbit A Collection, 2019
Image #5, Photographer Jiageng Lin, Orbit A Collection, 2020