Silvia Bonardi

(IT 義大利) 

Hat帽 ｜ iron wire, crochet / 鐵線編織

'無形-有形'

時刻，影像，語詞，疑問，出現在我眼前，而周圍的現實停止了，隨著脈動的節奏，它們出現又消失。

我不禁顫慄；時刻，影像，語詞，疑問...重複循環，在現實與虛幻之間，我不禁懷疑起自己。有什麼可以阻止這種想法？編織成了我的救贖，我的庇護所，透過行動，一步一步，離開思想和妄想症的漩渦，新的感受，新的平靜。鐵絲帶著味道，它讓我的手染上顏色，並且割傷了我的手指，我感到痛苦，這是過程的一部分，它艱難，緩慢且不斷重複。我是在尋找希望嗎？還是一種療癒的方法？

輕盈而空虛，粗糙而尖銳，沉默而寄生，有形與無形。

'Invisible-tangible'

Moments, images, words, and questions showing up in front of my eyes, the reality surrounding it stopped; with the pulsating rhythm, they appeared and disappeared.

A shiver goes down my back; moments, images, words, questions, moments, images, words, questions, moments, images, words, questions.. Doubts of myself are growing. Reality and unreality. Which is the method to stop this mechanism of thinking? Knitting is my answer, my mantra, my shelter. Vortex of thoughts and paranoia transformed by action, step by step, new feelings, new calm. The Iron wire smells, colours my hands and cuts my fingers. I feel pain and it's part of the process; it's hard, slow and constantly in repetition. Is it hope, what I'm looking for? A way for healing?

Lightness and emptiness, rough and sharp, silent and parasite. Visible and invisible. 

YuChun Chen 陳郁君 

(TW 台灣) 

Object 物件 ｜glass, Akoya pearl / 玻璃，日本Akoya珍珠

'脆弱的珍貴'

珍貴：由於稀有，昂貴或重要而非常有價值。

由於地球的氣候變化與環境問題，我們的大自然儼然已成為這世界上最寶貴的事物。但人類不斷地濫用自然資源，一直到近期才開始意識到自然的彌足珍貴。

作品中我使用Akoya珍珠隱喻珍貴的大自然之美，吹製玻璃泡泡將珍珠包圍，就好像珍珠被玻璃"保護"著。但是，泡泡通常是轉瞬即逝的，而玻璃本身又非常脆弱。將這珍貴包覆在脆弱中，珍藏著透明的柔弱，希望能激發大家感受與意識到生命與大自然的寶貴。

'Fragile preciousness'

Preciousness: the quality of being very valuable because of being rare, expensive, or important.

With all the environmental issues and climate change of our planet at this moment, our mother nature has become the most precious thing in this world. We human beings have been abusing it and not until this point that we start to be aware of its preciousness.

Using Akoya pearl as a metaphor of our mother nature, a glass bubble is blown around the pearl and enclose it as if the pearl is under the "protection" of the glass. However, the bubble is usually something ephemeral and the glass itself so fragile. Using fragility to protect preciousness, I'd like to bring awareness and feeling of cherishing and treasuring our delicate mother nature. 

Francesco Coda

(IT 義大利) 

1. Bobo 2. La Metta 3. Giambo 4. La Coda 5. Kekko

Brooch別針 ｜ silver, lava, ruby-zoisite, cubic zirconia, marble, granite / 銀，火山岩，紅寶黝簾石，鋯石，大理石，花崗岩

'Late小隊'

時間是寶貴的，而空閒時間更重要，因為我們必須進行一些活動來增進我們的身心靈。對我來說，最棒的活動是與朋友們一起進入大自然去攀岩，它不只是一項運動，也是對心理/身體極限的研究，這個攀岩大家族讓我認識了一群可以分享個人目標，並激勵我去實現的好朋友。這一系列胸針個別代表了這些朋友，他們給我動力不斷前進，去發現自己的極限，並在旅途中分享了許多樂趣。

'Team late'

Time is precious and free time is even more important because we have to do activities that further our mental and physical state. For me, time is best used when I go into nature with friends and we rock climb. It is more than a sport, it is a mental/physical research of limits, and the climbing community has given me people with whom I can share my personal goals and who inspire me to achieve them. This series of brooches is a collection of friends who have given me the motivation to push forward, find my limits and share lots of fun along the way.

Elisa Deval 

(IT 義大利) 

1. 'Lichene #1 地衣 #1' 

Pendant項鍊｜ silver, shakudo, ebony wood, silk / 銀，赤銅，烏木，絲綢

2. 'Lichene #2 地衣 #2' 

Earring 耳環 ｜ silver, shakudo, shibuichi / 銀，赤銅，四分一

'Lichene 地衣‘

我想像一個黝黑微沁著月光的夜晚

不停的雨

I imagine a night of dark and moon,

with endless rain.

Meiri Ishida

 (JP 日本) 

1-2. Brooch別針｜ cast glass, silver / 鑄造玻璃，銀

'秘密花園'

Hortus Conclusus是封閉花園的拉丁語。

作品的靈感來自德國現實主義作家迪奧多·史篤姆(Theodor Storm)的短篇小說《三色菫》(Viola Tricolor / 1874年)。

關於人性脆弱與生命喜悅的故事，在心中喚起了永恆的美感與豐富的色彩圖像。

我對這書的原始德語文本感興趣，幸運的是以我母語(日語)的翻譯版本非常好，但我需要自己再嘗試把它翻譯成英語。

也因此我從不同的方向來閱讀而豐富了不同角度的詮釋。

這樣的過程與繪圖，素描和所有創意實驗相同。

我在素描本中記錄了其中的一些痕跡。

這些痕跡的結合，形塑了我的首飾作品。

'Hortus conclusus'

Hortus Conclusus is the Latin for an enclosed garden.

This artwork inspired by the short novel of Theodor Storm, "Viola Tricolor" (1874).

The story about human fragility and the joy of life evokes sense of timeless beauty and abundant color images.

I had an interest in the original German text of this story. Fortunately, I had a very good text by native language (Japanese) but I needed to try to translate in English by myself.

Because seeing from different directions enriches interpretation.

This is the same way as drawing, sketching and all creative experiments.

I recorded some of those traces in my sketchbook.

And the result of their combination is formed as my jewelry pieces.

Sayaka Ito

(JP日本)

1. 'Umegasane 梅重' 

2. 'Canary 金糸雀色'

Necklace項鍊｜hand dyed silk, silk thread, iron wire, resin /  手染絲，絲線，鐵線，樹脂

重複與反覆的動作不是我個人喜歡做的事，我寧願尋找新地方、新事物，但我漸漸開始意識到它們也有其美感。正如許多人所說，一切都會改變，即使去同一個地方，經驗會不同，即使重複製作相同的作品，結果也永遠不會一樣。這樣的意識讓我的創作自由了，接受了重複，打開了新的大門。縫紉和編織是反覆的動作，幾乎如冥想一樣，尋找新的材料，再回到我最喜愛的絲綢，這些作品的整個過程都是關於回歸和重複，表達了我的生活現狀，也意識到創作正在講述我的人生故事。

Returning, repeating, are not the things I personally prefer to do, I rather look for new places, new things, but I have started to realize returning and repeating have their beauty in them, and there are matters I do like in these two acts. As many people say, everything change, even if I do return to the same place, it is not the same, even if I do repeat making same pieces, they are never the same. Realizing that, feeling that with my own experience has freed my mind, acceptance to returning and repeating has opened a new door. Sewing and knitting are acts of repetition, almost like meditation. Searching for new materials, but returning to my favorite, silk, the whole process for these pieces was about returning and repeating, which I feel that expresses my state of life today. It made me realize my creation is telling a story of my life.

Anastasia Kandaraki

(GR 希臘)

1. "Symbiosis 共生 #4"｜Object-brooch物件-別針

maple wood, steel, color / 楓木，鋼，色料

2. "Symbiosis 共生 #6"｜Object-neckpiece物件-項鍊

maple wood, steel, color / 楓木，鋼，色料

'共生'

鋼鐵和木頭，壽命和死亡，強度和敏感性，硬度和可塑性：這些對比定義了我們的生活和與城市環境關係的矛盾，通過作品的材料和形式，體現於人體或空間的首飾物件。

共生是指相互依存，耦合，與相互作用，指的是兩種不同生物為生存而嘗試相互"支持"。鋼鐵的幾何形式會抑制木材的有機性質？還是可以支撐木材的脆弱？它能保護木材免受損害或只是產生限制？

這些作品像是詩的隱喻，如羅馬神話中的雙面門神雅努斯（Janus）代表對立的組合：老年與青年，太陽與月亮，戰爭與和平。體現了宇宙間相互依存的關係，通過對比、衝突和脆弱而啟動。

'SYMBIOSIS'

Steel and wood, duration and mortality, strength and sensitivity, rigidness and plasticity: the contradictions defining our life and relation to the urban environment are manifested through the materials and forms of this collection of jewelry and objects made for body and space.

Symbiosis means interdependence, coupling, interaction. It refers to the attempt of two different organisms to "support" one another for survival. The geometric aspect of the steel compositions suppresses the organic nature of wood? Or does steel, maybe, support wood's weakness? Does it protect wood from its disorderly self or set its limits?

These jewelry pieces are like poetic metaphors that like the god Janus stands for the combination of opposites: old age and youth, the sun and the moon, war and peace. They embody the interdependent relationships of a universe full of connections, where everything is activated through contrasts, conflict and fragile resolutions. 

Sanaa Khalil

(LB 黎巴嫩)

Kit / Object物件組｜olive wood, iron, leather, brass, elastic / 橄欖木，鐵，皮革，黃銅，彈性帶

'沒有抽象空間'

當荒誕本身就是現實時，自由與想像的空間，就會與尋求道德價值觀和人生意義的傾向衝突，卻又在這無意義，無目的，混亂和不理性的世界中遍尋不著。

兩種不平衡對比的現實可能是觸動靈感的關鍵，在荒誕語句之間的解讀，想像力無法表達。

'No Space for Abstraction'

When absurdity is itself the reality, the space of freedom and imagination conflicts between our tendency to seek ethical values and significance in life, and our inability to find any in a purposeless, meaningless or chaotic and irrational world.

Figuratively opposing two unbalanced physical actualities could trigger a space of inspiration, a reading in between the lines of absurdity, what imagination fails to convey. 

Marisa Leenutaphong

(TH泰國) 

Untitled 無題

Brooch別針｜alabaster, stainless steel, silver 925 / 雪花石，不銹鋼，925銀

這些作品是我的碩士畢業製作《白象故事》主題的延續，探討了神話和童話故事中善惡之間的關係，以及相關共同的真實經驗，如何關注聽到的內容，以防止這些故事如果不小心可能會傷害人。

作品是一系列以自然，動物和日常物品為基礎的具象和抽象形式，使用手工雕刻技術與金工技法。我想邀請所有人透過我的作品找到你自己的故事，並將它們用作靈感，自我表達，或是提醒你那很久以前聽到的傳說故事。

These pieces are a continuation of my MFA project The White Elephant Tale, which looks into the relationship between good and evil in stories like myths and fairytales, and those shared experiences. And how we should pay attention to what we listen to because these stories can hurt you if not careful.

The work is a series of figurative and abstract forms based on subjects of nature, animals, and everyday objects, using hand carving technique and goldsmithing.

I would like to invite everybody to find your stories through my pieces and use them as inspiration, self-expression, or as a reminder of those stories told long ago.

JunChang Lu 陸俊昌  

(CN中國)

1.Brooch別針｜bottle glass, sterling silver, stainless steel wire / 酒瓶玻璃，銀，不銹鋼線

2. Ring戒指｜bottle glass, sterling silver / 酒瓶玻璃，銀

'琢 /zhuo/'

琢，本意特指玉石的雕刻，拋光等加工過程，也經常隱喻為將普通的事物經過加工，琢磨使其變得特別，貴重和有意義。

我的作品主要是探尋首飾的價值與其材料價值之間的關係。以往作為商業珠寶設計師的工作經歷讓我意識到，首飾的材料價值總是在很大程度上決定了它的全部價值，人們往往忽略了材料之外的價值。然而這些被忽略的價值，在我看來才是首飾真正的意義所在。這也是我開始當代首飾旅程的動機所在。

我選擇了玻璃酒瓶這一日常生活中隨處可見且並不昂貴的材料作為主要的研究對象。因為它在某個瞬間的形態能帶給我玉石一般的視覺感受。我試圖通過材料實驗將這種型態定格，並將這種感受通過我的首飾作品傳達給外界。

實驗的過程中，有挑戰，有驚喜，有期待也有風險，而這也更加充實了作品自身的那份價值。相比於付出的時間和努力，那份對於未知的期待更讓我沉迷。我希望這分專注的能量能吸引更多的人去關注我的首飾，去觸摸、配戴、感受、進而思考，首飾對自己來說究竟意味著什麼？

琢 /zhuo/ is a Chinese word especially used for describing the process of jade carving and polishing, it also has a metaphorical meaning of transforming something common to something special and precious.

My work is mainly about the transformation from non-precious to precious in the metaphysical sense. As a former industrial jewelry designer, I made the turnaround to my contemporary jewelry journey. I have dedicated myself to bottle glass, a common material that gives me a strong visual feeling of jade, my cultural origin.

During the process of transformation, I put love, care, time, effort and also risk into my piece.

I hope this kind of concentrated energy can attract people to touch it, to wear it, to feel it, wondering "what is jewelry for me?"

Lucia Massei

(IT 義大利) 

1. 'Hao Dong東昊' 

Necklace項鍊｜yellow gold, pure gold, steel, silk, cotton /  黃金，純金，鋼，絲綢，棉

2. 'Indigo song靛藍之歌'

Brooch別針｜silver, copper, steel, silk, cotton, lapis lazuli, glass beads / 銀，銅，鋼，絲，棉，青金石，玻璃珠

'東昊'

古老的威尼斯傳說：在某些夜晚，如果您沿著運河散步，可以聽到東昊為他心愛的丈夫馬可·波羅（Marco Polo）唱歌的優美聲音。*

傳說......介於分隔想像與真實的細線之間，我喜歡在這充滿詩意的邊界上遊走。

＊註：傳說中馬可·波羅在中國時愛上了忽必烈的女兒東昊（音譯 Hao Dong）。東昊以美妙的歌聲而聞名，並且長期追隨馬可·波羅周遊世界，但最後卻在威尼斯抑鬱而死。

'Hao Dong'

An ancient Venetian legend says that on certain nights, if you are walking along the canals, you can hear the beautiful voice of Hao Dong singing for his beloved husband Marco Polo.*

Legends.... A fine line between imagination and truth, in this poetic border I like to walk.

*Legend has it that Marco Polo fell in love with Kublai Khan's daughter, Hao Dong, during his stay in China. Hao Dong was known for her beautiful voice and has followed Marco Polo to travel around the world, but eventually died tragically in Venice.

Carla Movia 

(IT 義大利)

1-3 Brooch別針｜steel, silver / 鋼，銀

'球勺匙 1/ 2/ 3'

勺匙、氣球、鐵、鎚子 ; 餵養的器具、慶祝的玩具、工業的材料、重型的工具。 這四個詞之間的關係或許一時很難理解，但它們之間也充滿了可能性。也許它講述的是氣球不再是玩具的橋段，或關於(被)餵養的喜悅，或追憶起在一個荒涼的地方撿到一個破碎的勺匙，亦或是關於那無憂無慮的童年，也或許是這所有小片段的結合。兒童、武器、食物 - 這之間的空間由你自己來填補，你可以任意想像。

'Ballspoon 1/ 2/ 3'

A spoon, a balloon, iron, a hammer. A utensil used to feed, a toy to celebrate, an industrial material, a heavy tool. The link between these four words is hard to grasp, yet the space that lies in between them is full of possibilities. Perhaps it talks about a place where balloons are not toys anymore. Or about the joy of feeding or being fed. It reminisces about that desolated place, where between some junk, you once found a broken spoon. It's the memory of the light heartedness you had when you were a child. Or perhaps it's a combination of all of these thoughts. Children, weapons, food. The space in between is yours to fill, it is yours to imagine. 

Deema Murad

(JO 約旦)

Sculpture necklace項鍊雕塑 ｜iron nails / 鐵釘

'我願意接受，打開胸膛，呼吸，感受幸福'

平靜: 一種寧靜的心理狀態。在過去的兩年中，我嘗試使用釘子，釘書針和螺絲釘之類的扣件，來轉換為可穿戴的首飾。鏈條的使用可以追溯到公元前4世紀，是戰爭中的有效防禦機制。在我的作品中，它們象徵著保護及力量。

通過有節奏的重複性工作練就決心和耐心，使用堅硬的材質和近乎冥想的動作營造出控制感和滿足感。這些扣件象徵著感覺和思維的單元連結，連接一個釘子，兩個，然後三個，直到兩千一百三十三個以建構一件作品。女性與男性的特質交織在作品中，反映了平衡在我們生活中的重要性，無論是好與壞，積極與消極，軟弱與堅強，愛與恨或生與死。

人們都渴望擁有控制權，希望實現完美，能擁有改變事件的能力與預測未來。但我們永遠無法完全控制一切，要學會接受生命的缺陷並保持內心平靜，更重要的是，能夠在所有缺陷中找到美麗。

'I am willing to accept, freeing my chest, I am breathing, I am blessed'

Equanimity: A calm mental state. During the last two years, I've been developing the use of fasteners, e.g. nails, staples, and screws to transform into chains and wearable ornaments. Chains date back to the 4th century BC as defense mechanisms in wars. In my work, they symbolize protection and demonstrate power.

Determination and patience are gained through repetitive work. The sturdy material and meditative movements create a sense of control and satisfaction. Connecting the nails one by one till 2133 nails to create one piece. Both feminine and masculine qualities are intertwined, reflecting the importance of balance in lives.

We crave to have control, to achieve perfection, to be able to alter the present and predict the future. But we will never have full control over everything. Learning to accept the flaws of life and be at peace with ourselves, we find beauty in all imperfections. 

Evert Nijland

(NL 尼德蘭)

Necklace項鍊｜silver / 銀

'黑花'

「籠」

在過去，開放式金屬結構經常用在珠寶的基礎結構，也被用於服裝上如裙撐或馬甲。我想以廣義「籠」的概念（如圍欄、鳥舍、鷹架），詮釋成一系列的手環，項圈和項鍊。於是這些運用鉸鏈開關的金屬結構首飾，有如隨身攜帶/配戴的籠子，在開放結構之間則以易碎材質（如瓷器、玻璃）加以裝飾。

在這個系列中我想表達的是對比：內與外，明與暗，囚禁與自由，美麗與衰敗，吸引與排斥，男性與女性，堅硬與柔軟。

'Black Flowers'

CAGE

In the past, open metal constructions often formed the basis of jewelry and were also used in clothing such as the crinoline or the corset. I wanted to take the subject 'cage' in a broad sense (fencing, aviaries, construction scaffolding) and then translate it into a series of bracelets, chokers and necklaces. By doing so, the jewelry becomes a portable cage; a metal construction that can be opened and closed by means of hinge systems. The open metal structures are then decorated with fragile materials such as porcelain and glass.

With this series I want to express the contrast between captivity and freedom, beauty and decay, inside and outside, attraction and repulsion, male and female, light and dark, hard and soft.

Sarah Ordóñez 

(MX 墨西哥)

1. 'Viva la vida生命萬歲'

Necklace項鍊｜iron, silver, copper, wool, cotton thread /鐵，銀，銅，羊毛，棉線

2. 'Existimos我們存在'

Ring戒指｜iron, silver / 鐵，銀

生命萬歲 / 我們存在

看似矛盾的概念，但他們不是，他們其實是互補的。

沒有一個另一個就不存在，他們彼此需要就像白天和黑夜，光明和黑暗，也就像生與死，只有活著的東西才會死亡，死亡是生命的一部分，是活著的證明。

也許這一切都關於「動」，沒有事物會停滯不前，動是生命的象徵。

Viva la vida / Existimos

Concepts that seems contradictory. They aren´t. They complement each other.

There is no existence of one without the other. It can be easy to understand when we think about the day and the night. They need each other. Light needs darkness. Only what has been alive can die. Death is part of life, it is manifestation of living.

Maybe is all about movement. Nothing can remain still, Movement is a sign of life.

Alessia Prati 

(IT義大利)

1. 'CHOKE 嗆'

2. 'STOP 停'

Object/ glove物件/手套 ｜silk crepe, cotton, 925 silver /  真絲縐紗，棉，925銀

關於痛苦和愉悅：這兩種相反感覺從身體到大腦的路徑會在某處重疊並合為一體。

我試圖質問和尋求，想顛覆這肇因於痛苦-愉悅-受虐-施虐的二元美感。

不再令人厭惡，而是引人注目；不再刺耳而堅硬，而是柔軟而多彩。

手與手勢是此探索的重點：約束與強制動作，以手定義距離和空間，引導兩個身體互動演出。

這系列作品提供了三種不同的詮釋層次：

- 美學的革命

- 以侷限空間來限制佩戴者

- 因互動創造的空間

About pain and pleasure: the path from the body to the brain of these two opposite sensations is somewhere overlapping and merging into a "Unicum". I'm questioning and seeking for this moment, starting from a subversion of the fixed aesthetic that is commonly attributed to the pain-pleasure - Sado-Maso dualities. Not anymore repulsing, but attractive, not harsh and hard but soft and colorful. The hand and the gesture are the focal point of this exploration: restraining and forcing the movement, describing distances and space with the hands, asking a performance between two bodies, creating an interaction.

The collection presents 3 different levels of interpretation:

- the aesthetic revolution

- the space taken away restraining the wearer

- the space created by the movement of the interaction

Enrica Prazzoli  

(IT 義大利)

Headpiece/ Neckpiece頭飾/頸飾｜walnut wood, brass, brown leather, hardware / 胡桃木，黃銅，棕色皮革，金屬五金

'資訊流量過剩調節器'

穿越時空的奇怪機器； 很久以前製造的，但卻只有幾周大。只是因為可以看到它的內部結構，並不意味我們了解它的用途，就像看不懂電腦裡的積體電路一般。有人製造了它們，就有人必須使用它們，它們自己不會動，不會解決問題也不製造問題。透過理解曾經的過去，我試圖思考這些每天與我們互動的事物可以有什麼不同，而反應又是如何相似。

天才與瘋子，堅決和迷惑，都只有一線之隔。

'Device to regulate the flow of excessive information we are subjected to'

Strange machines traveling through time; made a long time ago but only a few weeks old.

Just because we can see their inner mechanism it doesn't mean we understand what they are supposed to do, any more than we understand what's going on inside a computer chip. Someone made them, someone has to use them. By themselves they don't move; they do not solve problems, nor create them. By trying to make sense of a past that could have been, I think about how different the things we interact with every day would be; and how similar the reactions.

There's a fine line between brilliant and lunatic; determined and deluded.

Lucy Sarneel

(NL 尼德蘭)

1. 'Blueprint #2 藍圖 #2'

Necklace項鍊｜zinc, permanent marker ink, varnish / 鋅，永久性墨水，清漆

2. 'Private Territory #4私人領域 #4'

Brooch別針｜zinc, microwood, gourd, epoxy / 鋅，薄木貼面，葫蘆，環氧樹脂

*藍圖＃2

藍圖是細節的設計圖。樹枝知道如何以特定的形狀和結構生長。每個人的生命都是獨一無二的；我們有既定的命運嗎？還是我們可以自己掌握？有時我們需要更關注，而其他時候或許不需要。

*私人領域＃4

關於創作者與觀看者/佩戴者的私人和公共領域之間的互動。

首飾作為領土，屬於某人的特定區域，以個人元素做標記。

* +＃1

方向相反的兩條線平衡地相遇。

* 掛上

"hang on"一詞的意思是"稍等片刻"或"堅持下去"，同時也指實際掛上東西。人們的生活並非沒有苦難，從搖籃到墳墓，我們會遇到不幸，例如情傷，疾病，戰爭和哀悼。這些首飾旨在鼓勵人們永不放棄，堅持下去。

* Blueprint #2

A blueprint is a detailed design of a plan. A branch knows exactly how to grow in a specific shape and structure. Everyone's life is unique; do we have an inevitable destiny? or are we in charge of our own life? Sometimes we need some extra eyes and other times we can do without.

* Private Territory #4

is about the interaction between private and public for both creator and viewer/ wearer.

A jewel as a territory, a certain area belonging to someone, marked by personal elements.

* + #1

Two lines in opposite direction meet in balance.

* Hangonhanger

The words "hang on" mean "wait a minute" or "keep up" and at the same time literally to hang something on. People's lives are not without suffering. From the cradle to the grave we encounter misfortune such as lover's grief, illness, war and mourning. These jewels are meant to encourage to not give up, to Hang On. 

Yanis Turcarelli  

(LU 盧森堡)

Object物件｜brass, steel, copper, silver, gold, rubies, plexiglas / 

黃銅，鋼，銅，銀，金，紅寶石，壓克力

'時間盒子'

放入口袋，一個人的時間。

我們都需要身體上的休息和精神上的平靜，讓我們變得更強大。

我創造了這個隨身的自我力量賦予設備，來當作日常生活的避風港。這個親密的小空間提醒你抽出時間來放鬆自己，釋放日常壓力，補充活力和自信。在需要的情況下隨身攜帶這個物件，會使你慢慢感受到賦權的作用並強化心智，直到不再需要它為止。

'Time Box'

Empocket, on one's own time.

We need physical rest and mental peace to be fully functional and grow stronger.

I have created a portable empowerment devicefunctioning as a safe space for daily life.

This intimate space reminds you to take time for yourself, release your mind of everyday stress, which recharges you with energy and confidence. Carrying the piece on needed occasions will slowly make you feel the effect of the empowerment and strengthen your mind, until the day you don't need it anymore.

Gabi Veit 

 (IT 義大利)

1-3 'macrophylla'

Ring 戒指｜sterling silver / 925銀

4-8 'creatura | Geschöpf'

Spoon匙｜sterling silver / 925銀

'繡球'

這是網子還是火山口景觀？ 地衣還是繡球花序？ 是黃蜂的巢穴還是一片珊瑚，一塊岩石或一張衛星圖像？ 生長，包覆，穿孔和挖空。

'生物'

Gabi Veit 以世界上最基本的文化物件之一：湯匙來創作。從最基本簡單的幾何形 - 手柄為線條，勺子為圓形 - 發展出琳瑯滿目的多樣形式。

Macrophylla

Is it a net or a crater landscape? Lichen or in orescence of a hydrangea?
Is it a wasps' nest or a piece of coral, a rock formation or a satellite image? Grown, encased, perforated and hollowed out. 

creatura | Geschöpf

Gabi Veit deals with one of the most elementary cultural objects in the world: the spoon.
From the basic geometric simplicity - the handle as a line and the spoon as a circle - she develops an overwhelming variety of forms.

Robean Visschers  

(NL 尼德蘭)

Object物件｜silver, plexiglass / 銀，壓克力

'想像的別針'

從一開始我就很喜歡這個展覽主題。「想像」帶著我們遠離現實或解決問題，或當我們戀愛時，想像著與那愛人享用浪漫晚餐，想像帶著我們進入一個比現實更美好的世界。

我飛翔在自己的想像中，這是我做了一隻蒼蠅的原因*。這蒼蠅是別針，由金屬線和翅膀製成，但它缺少了可以配戴的胸針背針，因此你只能在自己的想像中配戴它。

現在請想像你戴上這個別針而成為了蒼蠅，飛到了你最想去的地方，當再次回到現實中，你完成了一次美麗的想像之旅。這個旅程是想像的，但回憶，是真實的。

＊英文中「飛翔」與「蒼蠅」都是同個字'fly'

'Imaginary brooch'

From the start, I really liked the exhibition title 'Immagina.' To imagine is something we do when we like to escape reality or to solve problem or when we are in love, we imagine this fancy dinner with this love that is not there (yet). We enter a better world than in reality.

I am flying through my imagination and that's the reason I made a fly. The fly is a brooch. Made out of just wire and wings. Only one thing is missing. The brooching system, so you can only wear the piece in imagination.

Please imagine you wear the fly and become the fly. You fly to the best place you can imagine. When you come back into reality again you have made a beautiful Imaginary journey. The journey was imagination, the remembrance though, is real.

Shuang Yue 岳艭

(CN中國)

Object 物件｜zinc / 鋅

'失聲症'

「失聲症」是我以「異化的身體」為主題創作的日常物件系列中的其中一件，這個系列始於對我所身處的現實世界的質疑-- 社會的組織過度膨脹和人類自主權的喪失。

這個物件/牆上裝置試圖反映人們的聲音是如何沉沒在這個龐大精妙的社會系統中。相較於直接對現成品外觀形態的改造，我最終選擇完全使用金工技術來構建整件作品，因為對於我來說，花時間製作非實用物件這件事本身，也是對於批量生產工業以及效率第一的社會的一種安靜的反抗。

'Aphonia'

"Aphonia" was one of the series of everyday life objects that I have developed within the theme Alienated Body, I started this series through questioning the reality - the over-organization of society and human beings' loss of autonomy.

This object/wall piece reflects that human voice has been so silenced in this large and compact social system. Instead of using the actual ready-made object, I took metalsmithing techniques to build up the whole piece, for me dedicating time on making unpractical objects is also a quiet revolt against the mass-production industry and efficiency-first society.