The ongoing project “Yàn” started with two pieces of inkstone that I used for my calligraphy class when I was a child. Although calligraphy is still an important tradition in Sinosphere, nowadays we almost don't practice it in our daily life anymore. In the beginning, I just cut, carved, faceted the inkstone intuitionally, and tried to work with it experimentally. Gradually some subtle outlines emerged and also resembled the structure as well as textures of calligraphy characters in a way. Deconstructed functionality and interpreted materiality of inkstone encountered the materiality of calligraphy with inter-reference through the working process. As a result, inkstone is made into a piece of jewellery that also becomes a carrier. What it carries is no longer water or ink but intertwined memories, traditions, and identities.
Ausbildung
| 2015-2018 | Master of Fine Arts, Edelstein und Schmuck, Hochschule Trier, DE |
| 2016-2017 | Erasmus Study, Jewelley and Blacksmithing, Estonian Academy of Arts, EE |
| 2008 | Vocational training with certificate in silversmithing and jewellery, TW |
Berufliche Stationen
| since 2009 | Personal Studio in Taipei (TW) and now in Vienna (AT) |
Bedeutende Ausstellungen
| 2025 | Solo, "Yàn(2016-2025)", Format, Oslo, NO |
| 2023 | Duo Solo, "RESONANCE", SCHMUCKE-GALERIE, Berlin, DE |
| 2019 | Duo Solo, "Writing", Galerie Door, Mariaheide, NL |
Auszeichnungen
| 2023 | Grassipreis der Carl und Anneliese Goerdeler-Stiftung, Leipzig, DE |
| 2022 | Förderpreis, Justus Brinckmann Gesellschaft e.V./ MK&G Freundeskreis, Hamburg, DE |
| 2022 | Staatspreis, Staatspreis & Förderpreis für das Kunsthandwerk Rheinland-Pfalz, Mainz, DE |
Other works by Jiun-You OU
Grassimesse 2022
The ongoing project "yàn" started with the two inkstones that I used for my calligraphy course when I was a child. Although calligraphy is still an important tradition in the East Asian cultural sphere, nowadays we don’t actually practice it in our daily life. Because of the absence of calligraphy in my current life, I came up with the thought to cut, carve, facet the inkstones intuitionally and spontaneously. Gradually the forms and textures accidentally resemble the characters of calligraphy in a way. Thus, deconstructed functionality and interpreted materiality here deviously become carriers of intertwined traditions, memories, and even identities.
