Potato :: 金工鍛敲墜作品 / Forged Pendant

這是我的第二件金工作品－以金工鍛敲技法完成的銀墜，因為外型被大家聯想成馬鈴薯，所以就叫馬鈴薯墜了。

一開始的想法是希望在銀片上做出高低不同的凹凸，來表現心情起伏的感覺，老師看到草圖後就建議我以金工鍛敲來製作。以前從來沒有接觸過金工鍛敲技法，而第一次的學習跟製作對我來說都非常有趣。

Potato / Oct.2007
925 銀
Sterling silver

首先將銀片鋸出橢圓形，再固定到松脂膏（老師的特殊配方，外面有的用瀝青）上，再用圓樁頭敲出凹凸，中間反覆的退火...敲擊...退火，最後再做大體的整型之後，便完成了我的馬鈴薯墜了！

表面因為不想做成亮面，搶走本身造型的風采，就手工用砂紙將表面處理成霧面，最後配上我愛的長鍊，就變成萬搭款的個性銀墜。

我也因為接觸到鍛敲技法而愛上鍛敲，那種經由自己的手，將金屬塑造改變的過程，似乎代表著力量與精神的賦予。就如古代重要的工匠一般，把自己一身的心力投注在作品裡，將自己與作品合而為一。所有的過程都如同一次一次的省思與進步，只為了成就出絕代藝品，讓自己與作品名流千古。

這是一項深奧而複雜的技法，我會繼續鑽研下去，把它應用在作品裡。

This is my second silversmithing work-forged pendant. It is called "Potato" because of it shape.

My first idea is to create a lumpy surface to effect my moody situation. After looking at my sketch, Teacher Lin suggested me to use the forging skill to make work. I never learned about forging, it's a new experience of learning.

At first, I sawed an oval silver plate and put it on the surface of heated pitch. Then I punched it to become a shape that I liked. I need to keep annealing during the forging process. After all repousse process, I finished my work.

At last, I used emery paper to make the rough surface. Incase the light of polished surface will be more conspicuous than shape. I collocate it with a long chains I loved. It became a very stylish pendant in the end.

I love forging the way can add the strength and spirit of maker. Like the smith of ancient periods who spent all their life time to make an artware with their soul. The process of making is not only to develop the skill but also to create an artware which will last through all ages.

I will keep learning this skill and put it into my works.

玻璃融合擺飾 / Fusing

這是於2006年，利用我在台灣工藝研究所研習＂脫腊鑄造玻璃多媒材燈飾設計＂課程時，自行試作的玻璃融合擺飾。一個是橄欖形的淺盤，一個是杯墊，因為從來沒做過玻璃融合，所以用了最便宜的淡綠色台（灣）玻（璃），跟做琉璃珠後被丟棄的拉絲玻璃製作，這樣失敗的話也比較不痛。

Fused Glass Decorations / 2006
玻璃
Glass

左邊橄欖形的淺盤作法，是先作一個好一個橄欖形耐火石膏模，再疊上大小不一的雙層台玻，中間夾入各色被丟棄的拉絲玻璃（可用快乾膠先固定避免移動），融合而成的。完成後的夾層多了許多氣泡，也增添了不一樣的趣味感！右邊的杯墊是用圓形的台玻片，鋪上方形的台玻片及淡藍色的拉絲玻璃融合而成，若方形的台玻片朝下放，可使桌面與圓片有些許的高度差，剛剛好可以讓杯墊不會因水而黏在桌子上，也是我第一個玻璃杯墊作品。

當然第一次並不是不會失敗，橄欖形的淺盤總共作了三個，卻只成功兩個，失敗原因可能是因為台玻跟拉絲玻璃的收縮係數不同，或溫度控制不同造成的結果。但這也是我認為玻璃之所以動人的地方，好像永遠摸不清楚她的心情，不知道她的變化，可只要能幸運的捕捉到某一個瞬間，她就能留下最美的一面給你。


I made fused glass decorations when I studied in mix-media class of National Taiwan Craft Research Institute (NTCRI). One is an marquise plate, another is cup pad.

There two layers of the plate, and I put some lampworking glass among them. That's why there are few bubbles in the plate. They are really cute. About the cup pad, I cut a circular glass first, then put the square ones and lampworking glass on it. If the square side is downward, It can make the drop height between table and cup pad. That can avoid cup pad stay close to tabletop.

I didn't success at once. I made three plate, but one is failed. Maybe is because of the expansion coefficient, or the control of temperature. But I think that's why glass attract me. We never know what will happen of it, what will cause it to change. But If you could catch the right time and rignt moment, glass will be the most beautiful thing of the world.

Lab :: 各類焊藥/片熔點溫度一覽 / Solder

因為去墾丁時掉了一條白K項鍊，那項鍊又是天天要戴的幸運項鍊，所以需要將手上白K的項鍊改短，才能配我的幸運墜子。但自己平時用不到K金焊藥，一片K金焊藥又不便宜，想說也許用銀焊藥，也可以焊我的白K鍊，而也許只要知道各種焊藥熔點，就能知道彼此是否相容。

下面是各類焊藥/片熔點溫度一覽
【18K金焊片】熔點810℃
【16K金焊片】熔點780℃
【14K金焊片】熔點760℃
【10K金焊片】熔點745℃
【低溫銀焊片】熔點750℃（銀含量為45%）
【中溫銀焊片】熔點825℃（銀含量為65%）
【中溫銀焊片】熔點825℃（銀含量為70%）
【高溫銀焊片】熔點885℃（銀含量為75%）

實驗結果結果也證明了，我的銀焊藥（高溫）是真的可以焊接14K白線圈的！


參考：
冶燴銀

Because I missed my 14 karat white gold necklace few days ago, I need to make a new one the shorter length for myself. I don't have solder of karat white gold, and it's not cheap. I thought maybe I can use the solder of silver to solder them. And the key point is the temperature very probably. I found all temperatures of each kind of solder;

【18 karat gold 】fnp810℃
【16 karat gold】fnp780℃
【14 karat gold】fnp760℃
【10 karat gold】fnp745℃
【Easy silver】fnp750℃（contain 45% silver）
【Mdium-easy silver】fnp825℃（contain 65% silver）
【Mdium silver】fnp825℃（contain 70% silver）
【Hard silver】fnp885℃（contain 75% silver）

After I tried. The truth is that's really worked!

我愛的玻璃彈珠 / My Lovely Glass Marbles

Glass Marbles / 2007

玻璃

Glass

在2007年，非常幸運的可以接觸到”玻璃珠”這樣有趣的課程，並花了半年週日的時間學習。中間不但看到了拉絲玻璃，可以做到各種出神入化的美麗樣貌，也認識了許多厲害的老師跟同學。

本來課程主要是專注在”玻璃珠”的教學，但我一直以來都很喜歡玻璃彈珠，也看過大伯家裡，一顆顆國外帶回的繽紛彈珠，所以我不經意的問到老師，利用拉絲玻璃製作玻璃彈珠的可能性。而老師也非常厲害的信手拈來一顆圓潤晶瑩的彈珠，讓我內心頓時澎湃了起來，原來拉絲玻璃是可以做彈珠的！

當然經過瞭解，大部分國外做玻璃彈珠都是用吹製的方法跟設備為主，再來就是拉絲能做的彈珠尺寸會取決於火槍大小（火量），但我仍然非常高興的用了我的小噴火槍，做了幾顆小彈珠～

雖然以現在的技巧跟實力，還沒辦法做出如國外的高級技巧作品，但我想不斷的努力嘗試，東西一定會越做越好的，也許有一天，我的彈珠也可以需要刻上簽名來標明價值，也說不一定呢！

In 2007, I was so lucky to learn the lampwork beads class taught by Hsu Chin Lang at Kun's Crystal. I loved glass, it's so cute, lovely, clear, and special. Even if the class was focus on lampwork beads, I wanna learn how to make a glass marble. When I was a child, I saw many incredible foreign glass marbles in my uncle's house. I was fascinated by it. That's the reason why I'd loved to make glass marbles.

Then the teacher really shown me how to make a glass marbles with lampwork. Although it's inappropriate way to make glass marbles with lamp torch, I still do my best with it. I made several little glass marbles. They are really lovely.

Maybe I'm still a beginner of glass marble. I think I'll keep on making glass marbles until I can sign on my marbles and become somebody one day.

:: Miss Maru Mable sales at Old Stuff now ::

延伸：坤水晶 Kun's Crystal琉璃珠課程（由琉璃珠大師 許金烺Hsu,Chin Lang老師 親自教學）

追憶 / Remembrance Of Things Past: Memories

＜追憶、似水、年華＞系列之一。



＜追憶、似水、年華＞系列是我第一個設計的首飾系列，也是我大學的畢業製作作品。以一系列的概念做出發，用不同的媒材跟款式來表現－「追憶」、「似水」、「年華」三個名詞與狀態，以及對我的意義。整個系列都是以生活跟自己的想法為出發，展現佩戴者自我風格的想法為主，大概利用了一年的時間準備，半年多的時間學習臘雕製作技法，最後在台北的「紐約．紐約」做畢業展。


其中＜追憶＞是自己最喜歡的系列。

Remembrance Of Things Past: Memories/ Mar.2004
銀, 玻璃片, 相片
Sterling silver, Glass, Photo

＜追憶＞顧名思義，是以"記憶"為主題，並且將金屬和影像作結合而成的作品。上面的黑白肖像，都是我記憶中的面孔，雖然擁有之後必定會有失去，但卻永遠不可抹滅，不管是快樂的、痛苦的、辛酸的、溫暖的記憶，藉由著腦海中的影像，都將伴隨每個人走到生命的最後一刻。

而每個人的記憶與生命過程，更是讓自己之所以與眾不同、無法取代的原因，藉由著實體影像，我們可以更快的將記憶喚醒，也可以將記憶示人，將影像賦予自己與他人的感受作雙向連結，一如刺青般，首飾也可以展現自己獨特的自我風格和想法，而不單純的只是裝飾性的意義。

這也是我為什麼喜歡設計首飾的原因，當大家可以藉由我戴的首飾加深我的印象，或更認識我的時候，那種獨一無二感覺是最棒的了。

'Remembrance Of Things Past' is my first jewelry collection. There are three objects of this collection. Every object shows different meaning and experience which I felt and thought of the words ; memories, women and water, time and life. I took one year to prepare it, and about half year to learn wax carving, and had an exhibition at New York New York Mall in Taipei in the end.

'Remembrance Of Things Past: Memories' is my favorite object. I combined metal with portrait images which are all the memories of my pets. Even some of them were gone, I still love them very much and can't stop thinking of them. It's painful to lose them, but I don't deny that they gave me the happiest time of life. All we had will be gone, but the memories will last forever until we pass off.

That's why we can be different from others by having all kinds of experience of life and time. All changes make us grew up, and no one can take place of our own self. As the experience became images which can also recall all the memories and past easily, we can link up everyone through they see them. It's just like the influence of tattoo. It's not only an image but also a unique sign.

I love the function of jewelry and accessory which can connect people and life, therefore I chose them to be the media of my creations. It's an object, an ornament, a kind of art.., also a piece of life!

似水 / Remembrance Of Things Past: Women And Water

＜追憶、似水、年華＞系列之二。

Remembrance Of Things Past: Women And Water / Mar.2004
環氧樹脂, 金屬鍊
Epoxy, Chain

在我的想法裡，女人就像水一樣，有著千變萬化的多樣風貌，遇強則強，遇弱則弱。一會兒是溫柔潺潺的溪水，一會兒是頑固的巨大冰川，或是激動澎湃的浪濤...每個女人都自有她的美，每個年紀也都有不同的美，且大部分的美都不是外表的，而是內在那股強大的母性或是不屈不撓的堅強意念，也許外表柔弱、溫柔，卻在適當的時刻變成堅強的力量。

讓我最深深著迷的女人，就是亂世佳人中的「郝思嘉」（Scarlett），她美麗、堅強、熱情、對愛一無反顧、又充滿魅力，雖然也自私、太過獨立、倔強，卻一點都不影響我喜歡她的個性，女人就該這樣獨一無二，世人怎樣解讀一點都不重要。可「郝思嘉」是個虛構的人物，並無真實的形象，而在所有真實的女性當中，「瑪麗蓮夢露」（Marilyn Monroe）是一個非常有傳奇特質的女星，大家對她的印象都是性感、有女性魅力的，可是從我找到她小時候、年輕的照片看來，她曾經有清純、青澀的模樣，一個大家都沒有仔細尋找過的模樣。

於是，我將她這些多變的模樣，封在一個個透明如冰塊的結構中，一顆一顆如蜘蛛網般串聯起來，表現女人似水的特質。每一顆都是「瑪麗蓮」（Marilyn），每一顆也都不是「瑪麗蓮」（Marilyn），是一個曾經、一個影像，既是成長的面貌，也是美麗的面貌，有小、有少、有貌美如花、有慢慢衰老，但不可否認的是她精采的人生與帶給世人的感受，每一個片刻都是值得回憶的點點滴滴。

就像我們身邊接觸過的所有女人一樣，也許她們都不是世界上最美麗的女人，卻有一種不凡的特質與個性，在我們的心中永遠無法抹去。

In my opinion, women are like water. Water doesn't have any constant shape, it could flow tenderly in river; it could freeze hard like glacier; or it could be a billow dashed high by a storm. Water adapts itself to its environment, so do women. All women have their own beauty and characteristic, in every time, in every age, in every situation, women show different kinds of looks and bravery. The motherhood and inner beauty of women always can beat every thing and protect all of us.

The woman I admire most is "Scarlett" of "Gone with the Wind". She's so charming, beautiful, brave, enthusiastic..., but also selfish, obstinate, stubborn. But I still love her very much. She's so unique, and women should be unique, no matter what people think and look at. But "Scarlett" is fictitious, so I took "Marilyn Monroe" to be my Muse. She's a legend of sexy and desirable women. Even though she's image to everyone is a mature woman, I still can find the pictures of her youth age, a different look.

So I took the pictures of Marilyn's faces in a transparent ice cube shape, and linked like cobweb with chains. The pictures includes her young faces, mature faces, old faces..., every face is Marilyn, and every process is Marilyn. We can't deny the influence of time changes her face, but she's always glamorous in our memory.

Those faces are just like every woman on our side, like mother, sister, aunt, wife, daughter...,etc. Their faces will always in our hearts, and their behavior will influence us naturally and forever.

年華 / Remembrance Of Things Past: Time And Life

＜追憶、似水、年華＞系列之三。

Remembrance Of Things Past: Time And Life / Mar.2004
925 銀染黑處理
Oxidised Sterling silver

雖然已經是四年前做的作品，但歲月對於我的意義卻沒有變過。一直覺得人在社會中是不停被改變的，變的越來越世故、圓融、甚至浮華，所有的改變都是難以自覺甚至難以抗拒的，不能說絕對的好，也不能說絕對不好。就如同自山上落下的多稜角碎石，經過河流多年的沖刷侵蝕，成為圓潤的鵝卵石一般，在＂不得不＂的狀態下被改變。

對我而言，歲月的流逝跟年華的流逝，在程度上其實是不同的。歲月流逝的是時間，但是年華流逝的卻是天真單純，是一連串改變的過程，從最初的頑劣粗糙，轉變為圓潤光滑。

墜身主體是用銀來表現不同的紋理跟質感，包括粗糙與光滑，反映年華的流逝對我的影響。空洞部份則可依配戴者喜好綁繫任何物件，一如人用不同的想法和意念去反映自己的改變。

無論改變是好或是壞，都沒有任何人可以決定，但結果也早已悄悄的在自己的身上反映出來，無論一點一滴，都必須全然的接受。

即使我的內心，一點都不想被改變。

When the years go by, every one is always changed by some way and some how. Like rough and acuate stone, after washout from the river, it will become smooth and roundness. It happens spontaneously, naturally, automatically. We can't stop it or change it, even it changes us a lot and unconsciously. And after days and years, we suddenly find that we are different, we are not a child or be innocent any more.

It doesn't mean good or bad. It's a phase, a gradation of life. It gathers beauty and ugliness, and the must important part is what we face and go through.

That's what I feel of time and life, and I put all elements in this work . There are two textures of the body; one is rough, another is smooth. It explains the changes of time. There are also some holes on th body, every one can ties any different kinds of material on it. That's what I can show apart from another one.

I like ribbon, how about you?

我的偶像(一) / My Idols(1)

前陣子去一家知名琉璃公司面試時，面試的主管問了一個很有趣的問題，他問：「為什麼珠寶跟琉璃，兩者差別那麼大，會想來這邊應徵？」這時，我腦海裡出現的並不是問題的答案，而是一個問題的開始；

為何珠寶跟所謂的藝術品不是等號？

在我的觀念裡，我之所以選擇珠寶作為我的作品與專業的領域，是因為它能被賦予藝術品的意義，而不是一般人眼中奢侈品的定義。而我之所以這樣認為，是因為有許許多多的設計師，設計出了無數美麗的珠寶，而那些珠寶活生生的演譯出了珠寶既是雕塑品、藝術品、裝飾品、生活用品等等多樣精緻的面貌。也許是高中開始閱讀「珠寶界」雜誌，與大學時期翻閱許多國外金屬工藝家的作品之後，而有了這樣的觀念，但我始終認為，珠寶不應該被賦予奢侈品的定義，因為它的美麗是許多人心血的結晶，不只是被有錢人拿來作為一種炫耀的工具而已。

而下面介紹的＂珠寶＂領域設計師跟品牌，都是我的偶像。他們豐富的作品，我想不能說只有用＂錢＂堆積而已，其精湛的工藝與設計，絕對不是一般人要做就做得到的！


Elsa Peretti－我的啟蒙設計師

知名的Tiffany設計師之一，自高中從在雜誌上看到她的介紹跟作品之後，就開始嚮往起當Tiffany珠寶設計師的念頭。雖然她最知名的作品是Open Heart跟Bean系列，但我最喜歡的反而是下面的那款Bottle墜子跟Bone系列、Mesh系列。

尤其Bottle墜子的設計理念十分有趣，她是為了將自己喜歡的香水或是俯拾而得的花朵，可以隨時待在身上，而設計了這個Bottle墜子。

Bone系列當然是以＂骨＂的造型作為靈感的設計，但去掉了血腥與寫實的部分之後，取而代之的是流線與優雅的現代風格。
「優美的線條、優美的造型是永恆的」，這是設計師Elsa Peretti對自己設計的作品下的注解，而這也是她一貫的設計風格，事實也說明了這樣的設計，是經的起時間考驗的，自1974她加入Tiffany至今的設計作品便可以證明。

也因為她的作品影響，我始終喜歡流線多過於稜角，喜歡圓多過於方，取材自然的造形更是Miss Maru不可少的風格之一。

/產品圖片版權為Elsa Peretti所有/

Jewellery Theatre－獨特的珠寶設計品牌

由俄羅斯雙人設計師 Irina Dorofeeva與Maxim Voznesenskiy所創立的珠寶品牌，當初一逛到他們網站的時候，直感到不可思議，原來珠寶可以做的如此獨特而精緻。

他們的作品應該被稱做珠寶嗎？他們應該被稱做珠寶設計師嗎？我想他們被Moscow World Fine Art Fair 稱做jewellery artists，就可以顯示出作品的藝術表現遠遠大過珠寶的意義了。

而我也始終認為，珠寶是將天馬行空的想像，幻化成微小雕塑的一個產品。無論材質、價格、使用方式等等，都不應該受到限制。也許珠寶工藝會像所有舊時代的工藝技術一樣慢慢沒落，最後被大量機器生產的產品所取代，一如服飾、鞋子、玻璃與藝術製品等等，但我還是愛那種用手工一步步完成，賦予作品情感的感覺，那是被大量生產與機器製作之後，不能被附加的，而人其實是可以分辨的。

/產品圖片版權為Jewellery Theatre所有/

Joel Arthur Rosenthal－令人驚艷的珠寶藝術家

會認識Joel Arthur Rosenthal 是因為一本以他名字作為簡寫的JAR的書(上圖)，而認識了他的作品。

他是一位生於美國紐約的哈佛畢業生，卻因為對寶石的喜愛，在1976年的巴黎開了一間珠寶店，經過30多年的努力之後，他成了專為首富名流訂製珠寶的設計師，一年只做70~80作品，而這家隱身在Place Vendome的珠寶專賣店，沒有櫥窗也沒有固定的開放時間，卻依舊在業界有聲有色，光從2006年Christie's 拍賣會上賣出的一對由銀和18K玫瑰金製成，同時鑲有紅寶石和鑽石的黃玉耳環，拍出了710400美元(而拍賣前的估值僅為6-8萬美元)，實際成交價幾乎翻了十倍的狀況可看出來，他的作品可以在珠寶設計界舉足輕重的角色。

用鋁、金和藍寶石裝飾的羊頭

他的作品總是形象豐富，寶石色彩運用的出神入化，不同於一般的商業珠寶，一次量產千千萬萬件，相信他的作品每款要做到第二件都很不簡單，不但寶石稀有，造型獨特，在珠寶工藝上的突破與創新，真的無法用言語形容。

/產品圖片版權為Joel Arthur Rosenthal 所有/

珠寶的材質跟價格真的有那麼重要嗎？其實對我來說，珠寶跟畫作是一樣的，它被賦予的感情和意義，才是真正源遠流長的的東西。而珠寶設計師追求的，除了購買者心靈上的滿足以外，工藝技術上的精緻，和作品美感、立體感的呈現，更是不可或缺的重要部分。

珠寶就跟藝術品一樣，欣賞的角度不同，美的程度也不同。但我知道，珠寶是美麗的，是可以兼具傳統與創新、藝術和商業的藝術品，只要細細觀察，都可看出每個設計師對每件作品的用心。

在我心裡，珠寶它跟藝術品一樣，是絕對相等的。

I had an interview with a famous crystal glass company lately. When I talked to the director, he asked me a very interesting question.

"Why the jewelry and glass are so different, and you wanna work in the crystal glass company ?"

After he asked, I can't help wondering are the jewelry and glass really different? In my opinion, they are always the same thing. And here are my idols of jewelry area. Their design and works all show the jewelry is not only a kind of accessories but also a craft of art.

Elsa Peretti - the first jewelry designer I admired.

Elsa Peretti is the one of the most famous designers of Tiffany & Co. She designed many of Tiffany's best-selling items including the famous 'Open Heart' and 'Bean' pendant collections. But my favorite are the 'Bottle' pendant and 'Bone' collection.

"I hate that impeccable, perfectly perfect look, all matched and prearranged," Elsa Peretti said. "Style is to be simple." Her jewelry proved her points are right since 1974 she worked in Taffany & Co. Until now, her work is still modern and chic.

She was inspired by nature, and her jewelry often has circular and curvilineal shape. By her influence, most of Miss Maru's work often contains curve and nature elements. They are always my favorite subjects.

Jewellery Theatre - special jewelry style company.

Jewellery Theatre is the leading Russian jewellery house created by Irina Dorofeeva and Maxim Voznesenskiy. When I saw thier website at the first time, I can't believe that fine jewelry can have so many possibility. Is their jewelry just jewelry? The two designers are called jewellery artists by Moscow World Fine Art Fair. It's clear enough to show the art value of their works.

Joel Arthur Rosenthal - incredible jewelry artist.

I know about Joel Arthur Rosenthal from the book as his name called 'JAR'. Joel Arthur Rosenthal who was born in New York and works in Paris. He's well-known by 'JAR'. His work is sold in only one store in Paris 'Place Vendôme', sequestered from the outside world, and only make 70~80 pieces of work each year.

His jewelry is always colorful and amazing, whether the technic of jewelry making or intelligence of choosing gem. It's really a very high level for jewelry designer to achieve, and that's also my goal.

Therefore, after seeing those top jewelry designer and their works, I really can't tell the difference of jewelry and glass. Jewelry can be comercial or artistic by different ways rested on everyone's appreciation. And every jewelry is cerated by designer's mind and thought. That's why I think jewelry is equal to art.

To know more about designer..

Tiffany & Co.

Jewellery Theatre