CENTRAL SAINT MARTINS

BA (HONS) JEWELLERY DESIGN 2019

BA (HONS) JEWELLERY
DESIGN DEGREE SHOW

19 - 23 JUNE 2019

C e n t r a l S a i n t M a r t i n s , Un i v e r s i t y o f t h e A r t s L o n d o n
Granary Building, 1 Granary Square, London, N1C 4AA

csm.arts.ac.uk
csmbajeweller y.wordpress.com
instagram @csmbajewellerydesign
The worshipful Company of Tin plate workers
alias wire workers of the City of London

Also a big thank you to:

• J&J
• Margarita Wood
 INTRODUCTION

We are delighted to present and celebrate of projects with industrial contacts and
the work of the graduating jewellery cultural institutions that have provided
design students of 2019. the students with invaluable experience.
These projects included: a collaboration
This group has explored a broad, insightful with the V&A where the students
and delightful range of approaches in responded to the Balenciaga exhibition;
the research, development and final a very successful medal project with the
productions of their collections. The ideas British Art Medal Society with two of
are wide ranging and searching, whilst the the graduating students winning prizes
processes and materials used range from in the first year; a design project with
traditional to experimental embracing Indian jewellery company, AZVA; an eye
both new technologies and ancient craft. wear project with Percy Lau; the Cartier
portfolio project; material investigation
The course starts with two years of projects sponsored by the Worshipful
structured technical inductions, research Company of Tin Plate Workers alias
and design skill development, study trips Wire Workers and The Leathersellers’
and a full variety of projects to explore Company in the second year and projects
the subject. Following this the final with Theo Fennell, Winterson and Solange

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year students are then given freedom to Azagury-Partridge this year. During this
investigate the subject through themes year the students have benefited from a
and ideas that inspire them and in some studio visit to Annoushka and lectures
way, add to or expand the subject of by Philip Attwood, Jonathan Boyd, Greg
jewellery. The group has been fascinating Valerio, Hannah Martin, Manon Van
to watch as they have built confidence and Kouswijk and Hazel Forsyth from the
understanding in their ideas, skills and London Museum.
directions.
We extend our gratitude to the friends of
This year we are showing 16 collections, the course who support and encourage
which is a smaller cohort than usual due our students.
to a large number of the group who began
their studies with us in 2016, opting to take We warmly welcome you to the 2019
a year out on the Diploma in Professional degree show to view the students’
Studies. This is a new optional element of collections. On behalf of the BA Jewellery
the BA Jewellery Design course. Design course team and everyone who
has worked with this group, I would like to
During the three years of the course this wish all of these graduates every success
cohort have participated in a wide range for the future.

GILES L AST COURSE LEADER

 JOARLA CARIDAD

With her entirely biodegradable jewellery, Joarla proposes an

alternative to our unsustainable production of throwaway
objects made from permanent materials. Her collection is
fashioned from dried potato, sculpted into shapes that mimic
plastic ocean waste. She then treats each piece with natural
dyes such as beetroot, spirulina and coffee, bejewelling some
of them with seeds. As consumer fashions and tastes evolve,
so will Joarla’s jewellery: once the wearer has outgrown it, she

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can simply dispose of it in nature, where it will completely
decompose, returning its materials to their place of origin.

Interpretative text by Madeleine Tabary

BA (Hons) Culture, Criticism and Curation

Recipient of the Swarovski

Foundation Scholarship

Carved dehydrated potato, blue spirulina dye, steel fishing hook

info@joarlacaridad.com Instagram @joarlacaridadjewellery

 GUOXIN CHEN

Guoxin’s collection draws on the sense of vulnerability

and disarray that we experience when we’re in a state of
inebriation. She focuses on visual distortions of material,
in the process recreating a prismatic sense of clarification
and refraction by embedding natural pearls within her
organically created acrylic shapes. Communicating the loss
of inhibitions in this tactile medium is her way of tapping
into the universal longing for a return to childlike freedom.

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Interpretative text by Disha Deshpande

BA (Hons) Culture, Criticism and Curation

Precious white metal, acrylic, freshwater pearls

becka.chen@tom.com
 JIANAN CHEN

Jianan’s work is closely linked to ideas of tea as culture

and as social connection. Inspired by the various forms
of tea paraphernalia, she infuses her designs with the
customs, manners and aesthetics of this universal drink. By
deconstructing items of teaware – a teapot, a milk jug, an
infuser – and embellishing them with silver, she breaks their
original functionality, emphasising their properties of value
and circulation. In this way, her jewellery reconstructs the

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link between artistic and practical, in the name of form for
form’s sake.

Interpretative text by Lianyi Wang

BA (Hons) Culture, Criticism and Curation

Silver plated nickel silver and precious white metal

teresachencjn@outlook.com Instagram @teresachencjn

 FERMIN CHEUNG

Fermin’s approach has involved a process of interrogating

and rethinking the traditional uses of pearls. He wishes
to look beyond convention by emphasising other ways in
which pearls can be interpreted and used as raw material. By
challenging the way we see, he creates a cognitive dissonance:
while pearls tend to be perceived as flexible or fluid, in his
designs, they become rigid, encased. The aim is to question
their materiality and its effects on the body of the wearer.

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Interpretative text by Nora Criado Diaz

BA (Hons) Culture, Criticism and Curation

Freshwater pearls, brass, precious white metal

fjfermin7@gmail.com www.notcot.artstation.com
 AY Ş E DAG A

Ayşe’s collection is inspired by objects seen on Sigmund

Freud’s desk at the Freud Museum in Hampstead, and
by pareidolia, the subconscious tendency to see familiar
patterns – particularly faces – in unfamiliar objects. In her
jewellery, items such as sea glass, agate and an orthoceras
fossil are mixed with amulets and parts of an antique clock.
Sourced from markets and beaches she has visited on her
travels, her found materials defy traditional classifications

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such as man-made and ‘natural’. The journeys that they
have undergone coalesce within the pieces to suggest an
underlying connectivity.

Interpretative text by Melanie Khorshidian

BA (Hons) Culture, Criticism and Curation

aysedaga @gmail.com
 CHENYUE HUANG

Chenyue’s collection reflects on her childhood memories

of life in a hospital, where her parents worked. Exploring
the interactions between medical staff and medical tools,
she envisions the figure of the doctor as the gatekeeper of
the patient’s life. Her pieces also draw inspiration from the
symbolism attached to precious metals, which in cultures
both ancient and modern implies a noble meaning. The
artefacts she makes take the form of mundane pieces of

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medical equipment, their everyday significance enhanced by
the way that she plates them with gold and silver.

Interpretative text by Helene Alinot

BA (Hons) Culture, Criticism and Curation

Silver plated copper, precious white metal

chenyuehuang@hotmail.com Instagram @chenyueh_jewellery

 JING JIANG

Jing’s jewellery is a personal interpretation of the complex

traditional technique of tian tsui, which utilises kingfisher
feathers as inlay. Using physical sense as her medium, she
sculpts her designs so as to bring together the refinement
of traditional Chinese craftsmanship and the minimal
aesthetics of western modernism. The delicate bird feathers –
from various birds rather than the protected kingfisher – play
visual tricks, confounding our expectations. It’s not about

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what we see at first glance: something more is waiting to be
discovered. Every piece is intended to arouse our curiosity;
soft delicacy will eventually transform into mightiness.

Interpretative text by Lianyi Wang

BA (Hons) Culture, Criticism and Curation

Recipient of the Swarovski

Foundation Scholarship

Brass, goose feathers

chloejiang.0221@gmail.com Instagram @jiangsanri

 DIANA JUNG

Diana’s collection reflects her interest in the texture, smell

and symbolism of laundry. She recalls the sight of a pillowcase
on a washing line – an intimate possession, exposed to
onlookers as it dries. This poetic duality of the personal made
public informs her hand-cast, ceramic models of miniature
pillows in the form of rings, brooches, and necklaces. The
pillow fitted on one ring in particular is worn between two
fingers, evoking comfort and reassurance yet denying it as

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the material is cold and hard.

Interpretative text by Madeleine Tabary

BA (Hons) Culture, Criticism and Curation

dianajung96@gmail.com
 JUNGEUN KIM

JungEun Kim takes inspiration from Shelley´s notion of a

moment of joy, as expressed in his poem ‘The flower that
smiles today’, which she also finds echoed in the film Picnic
at Hanging Rock. Her rather delicate pieces create a natural
atmosphere, inviting us to recall lying on the grass during a
picnic on a sunny day. In this way, she is perhaps offering a
portal through which we can remain in that joyful moment.

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Interpretative text by Nora Criado Diaz

BA (Hons) Culture, Criticism and Curation

Enamel on copper

orangekim89@gmail.com
 H A O YA N G L A I

Hao Yang’s collection, which he calls ‘Anthropocene’,

challenges the traditional boundaries of jewellery making.
Influenced by the sense of the impending moment when
technology irreversibly transforms humanity and the
physical world we occupy, Hao Yang recreates organic matter
with synthetic substances such as resin, scrap metal and
construction aggregate. He asks us to consider the materials
we associate with technology and nature, destabilising

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one with a substitution of the other. The impulse behind
his pieces is rooted in his own curiosity regarding material
concepts, and a broader optimism towards change and
connection derived from the human psyche.

Interpretative text by Disha Deshpande

BA (Hons) Culture, Criticism and Curation

Recipient of the Swarovski

Foundation Scholarship

info@haoyang.co.uk www.haoyang.co.uk
 KA HO LEUNG

Informed by his time spent diving, Ka Ho’s work seeks to

visualise the devastating transformation affecting coral
reefs as a result of environmental bleaching. The contrasting
textures, rough and smooth, echo the physical nature of
the reefs. Distinctly organic forms give way to industrial
and familiar shapes that evoke the destruction of the once
brilliantly vibrant coral. An environmental awareness is
present but not overbearing, as the eye-catching structure of

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the pieces takes centre-stage, allowing us to appreciate their
beauty while still understanding the warning contained in
his work.

Interpretative text by Regan Dockery

BA (Hons) Culture, Criticism and Curation

leung_kaho@hotmail.co.uk
 XUAN MA

With playful curiosity, Xuan’s collection offers a perspective

on the ways in which the human body becomes the medium
of contemporary jewellery design. By using metal as a
reflective surface, she creates experimental patterns as a
means to explore the beauty of the human figure. The simple
pieces of metal are arranged in geometric patterns that
contrast to the diverse forms of our body parts. They make
visible bits of our anatomy that are normally unseen. In the

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process, the human form becomes a precious repository of
Xuan’s highly individual vision of beauty.

Interpretative text by Lianyi Wang

BA (Hons) Culture, Criticism and Curation

Silver plated brass

x.mahinemma@gmail.com Instagram @x.mahin_jewellery

J U N TA O A S A O U YA N G

Asa’s collection subversively fuses traditional Chinese

lacquer work with 21st century dependence on technology.
A painstaking approach to craft that runs counter to digital
culture underpins an aesthetic which reflects the philosophy
of science fiction films such as Blade Runner and Ghost
in the Shell. Lacquered screens in mother of pearl become
spectacles that obscure reality: their function is turned on its
head, while pearls appear nestled safely in ears, referencing

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the emergence of wireless devices and high-tech design
aesthetics. Such playful juxtapositions shift the wearer’s
location in culture, time and space.

Interpretative text by Melanie Khorshidian

BA (Hons) Culture, Criticism and Curation

asaouyang@outlook.com Instagram @asaouyang jewellery

 KLONG STONES

Subverting the dominant mythology of the feminine as

submissive, Klong explores the tensions that arise between
the themes of power and subservience, constraint and
liberation, subjugation and empowerment. Fluid and
sensual forms meet lines of fierce severity, valorising
the body through positions of strength in dialectic with
constraint. The collection examines the mutations of control
and constriction, revelling in their transformation into

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instruments of empowerment and beauty.

INTERpRETATIvE TExT BY BA (HONS) CULTURE, CRITICISM AND CURATION

GOLD pL ATED BRASS

klongstones@gmail.com
 WEN-JU TSENG

Framed as a material response to a probing application form,

Wen-Ju’s collection ‘How Valuable Are You?’ scrutinises the
individual’s role in contemporary society. Wryly humorous
but earnestly involved, Wen-Ju diagnoses modern neuroses
by taking everyday objects, such as a credit card chip or
the clip from a plastic bread wrapper, as the basis for her
jewellery. In the process, she highlights the convergence of
our living selves with the dataset identities through which

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bureaucracies manage us. It becomes unclear if the wearer
controls what is worn.

Interpretative text by Patrick John Lillie

Goldsmiths’ Precious Metal

Grant Award Winner 2019

Recipient of the Swarovski

Foundation Scholarship

Freshwater pearls, 9ct yellow gold

wenjutsengdesigns@gmail.com Instagram @wenju.tseng

 DANQI ZHAO

Danqi’s collection draws on her training in Chinese painting.

She wants to remind us of the value of traditional techniques.
For instance, the dents that she makes in enamel simulate
the effects achieved by brushstrokes on rice paper. The white
enamel resembles porcelain, but the unpredictable quality
of the metal produces areas on the brooch that are faded or
burned. Although she works with broken parts, such as pieces
of a vase, Danqi considers each item of jewellery to be whole.

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Interpretative text by Ellie Higgins

BA (Hons) Culture, Criticism and Curation

Solange Azagury-Partridge
Award Winner

danqi1077@163.com Instagram @danqizhao_

 FABRICATE

An exhibition of work by staff and students of Central Saint

Martins BA (HONS) Jewellery Design for Munich Jewellery
Week 2019

Vitsœ, TürkenstraSSe 36, Munich

9 - 17 March 2019

Caroline Broadhead | Sal Camboa | Joarla Caridad | Piran Caseley | Mary Chan |
Shengyi Chen | Jianan Chen | Biying Chen | Fermin Cheung | Lin Cheung | Munesu
Chingwena | Nicola Constantina | Leo Costelloe | Veronika Fabian | Melanie
Georgacopoulos | Lucie Gledhill | Gabriella Goldsmith | Catherine Griffiths | Emine
Gulsal | Andi Gut | Katy Hackney | Lydia Hartshorn | Miho Ishizuka | Yulia Kholdina
| Eve Lam | Giles Last | Leia LEE Le Er | Michelle Lung | Aidan Madden | Marlene
McKibbin | Maria Militsi | Frieda Munro | Charlotte Ooi | Khristina Stolyarova | Louis
Tamlyn | Mizuki Tochigi | Wen-Ju Tseng | Jessica Turrell | Frances Wadsworth Jones |
Sirui Wang | Yaling Wang | Max Warren | Nicholas Willis | Ariel YC Tsai | Qi Zhang
 POP-UP SHOP

Students organised and hosted a jewellery pop-up shop sale

to raise funds for their degree show

THE STREET, CENTRAL SAINT MARTINS

20 - 21 NOVEMBER 2018
ACKNOWLEDGEMENTS

Joarla Caridad, Jing Jiang, Hao Yang Lai and Wen-Ju Tseng
would like to thank The Swarovski Foundation for their
scholarships

Wen-Ju Tseng would like to thank Jurassic Jewelry Co

Wen-Ju Tseng would like to thank The Goldsmiths’ Company

and The Goldsmiths’ Centre for her Precious Metal Grant
Award

Danqi Zhao would like to thank Solange Azagury-Partridge

Fabricate jewellery by Jianan Chen, Wen-Ju Tseng, Fermin

Cheung and Joarla Caridad

Pop up shop jewellery by Xuan Ma, Klong Stones, Ayse Daga,

Juntao Asa Ouyang, Hao Yang Lai and Chenyue Huang
Photography Credits:

Wen-Ju Tseng photo by

Photographer: Denise Hsu
Sylist: Sarah Bomard
Creative Direction: Sarah Bomard & Denise Hsu
Hair & MUA: Hyemin Jeong
Photography assistant: Elena Jo and Becka Chen

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Interpretative texts and degree show captions by BA
(Hons) Culture, Criticism and Curation students at Central
Saint Martins, with thanks to Course Leader Michaela
Giebelhausen and tutor Nick Kimberley

Interpretative text and degree show caption for Wen-Ju

Tseng is by Patrick John Lillie

Cover image by Xuan Ma

This Catalogue is designed by Holly Browning and printed

by Ex Why Zed
 WITH THANKS TO

With thanks to staff who have supported this cohort of

students throughout their studies

Martin Baker
 Jane McAdam Freud

Caroline Broadhead
 Marlene McKibbin

Maisie Broadhead Maria Militsi

Lin Cheung
 Michael Milloy

Carole Collet Campbell Muir

Naomi Filmer
 Frieda Munro

Melanie Georgacopoulos Pervez Sethna

Lucie Gledhill
 Jane Short MBE

Andi Gut Jessica Turrell

Katy Hackney
 Jane Tynan

Tony Hayward Frances Wadsworth-Jones
Colin Henderson
 Margaret Wagstaff
Martin Hopton
 Max Warren

Chris Howes William Warren

Jet Jet
 Silvia Weidenbach

Volker Koch
 Paul Wells

Giles Last
 Scott Wilson

Hannah Martin
 Anastasia Young
 42 - 43

Programme Administration Manager Hannah Cheesbrough

External Liason Coordinator Sinead But
External Examiner Anna Gordon
Graduate Assistants Coline Assade, Lydia Hartshorn