education

2015 – 2018 master of fine arts, Hochschule Trier, department gemstone and jewellery design,Idar-Oberstein, Germany
2016 – 2017 Erasmum Program, Ehte-ja Sepakunst (Jewellery and Blacksmithing), Estonia Academy of Arts, Talinn, Estonia
2002 –  2007 B.S.S., Political Science – International Relations, National Taiwan University, Taiwan

exhibitions (selection)

2019  Schmuck 2019, Internationale Handwerksmesse, Munich, Germany
2018 – 2019 European Prize for Applied Arts, Anciens Abattoirs de Mons /National Design & Craft Gallery/ Kilkenny Castle, Mons/ Kilkenny, Belgium/ Ireland
2018  Transboundary • Aesthetics, Itami City Museum of Art, Itami, Japan
2015­­ – 2016  KORU 5: The 5th international contemporary jewellery triennial, Imatra Art Museum/ Vaasa Art Hall/ Kuopio Art Museum, Imatra/ Vaasa/ Kuopio, Finland
2014  the 6th New Traditional Jewelry: Confrontations, Museum Arnhem, Arnhem, Netherlands

awards

2022  Award, Justus Brinckmann Förderpreis 2022, MK&G Freundeskreis, Hamburg, Germany
2020  Award, Finalist, Friedrich Becker Prize, Deutsches Goldschmiedehaus Hanau, Hanau, Germany
2019 Award, Finalist, Albert Haueisen Art Prize, Zehnthaus Kuratorium, Jockgrim, Germany
2019 Award, Finalist, European Prize for Applied Arts, WWC Belgium Francophile and World Crafts Council Europe, Mons, Belgium
2014  TALENTE Prize, Internationale Handwerksmesse, Munich, Germany

about the work

I usually start working with certain materials because of their physical attributes and the memories that accompany them. Initially, I work with them as if I were playing with a new toy, seeking out intriguing possibilities. At the same time, it’s always essential for me to read the messages from the materials and perceive what actually happens between my hands and the materials. Therefore, the method of working is not fixed and varies from material to material. The “yàn” series began with some nostalgic feelings associated with the materials/used objects. As I continued to “play” with them, the sound of their materiality and their former functionality became louder. All of these factors influenced how I developed tangible expressions such as forms, compositions, finishes, and details of the work, as well as intangible atmospheres and connotations.
2022, Ou