the word to the worLd。囍。

「......眾裡尋他千百度；驀然回首，那人卻在，燈火闌珊處。」

the word to the worLd, the word with Love.

在大學時期的某項作業是與鑽石公司合作，設計婚戒，優勝者的設計將會被實際製作成實品，上市販售。幾年前好友結婚訂製了一組指戒，在設計、製作、與參加婚禮的過程中，許多想法在我的腦海中磨擦碰撞。其中一點是：與其用所謂的代表性物品（例如鑽石）象徵承諾、製作「婚戒」，以兩人之間的故事為設計的靈感起源，應該更有意義！

於是，我開始了這個系列：the word to the worLd。囍。那個大寫的L，是Love。第一個故事就是好友的故事，接下來是......。

插播個小故事。

They were named 'twiSt。轉．圈。' because of the design / making of the ring, and the contribution of its concept.

這二只／一組的作品被取名為「twiSt。轉．圈。」，不止是因為它們的造型，也因為它們的際遇。左邊的相片是它們剛出生的模樣。它們是屬於某創作系列裡的一件，可以當袖釦或指戒佩戴，雙用途的物件。指戒是以一條銀線扭轉，繞圈回到原點焊接成型，也就是名稱的由來；指戒表面用銀粉銀粒做點綴，除了豐富指戒的質感與製造反差，也象徵著碎石子路。

就像人們尋找伴侶，有些時候繞了好大一圈，回到原點，才發現對方一直在那裡。

People have been searching for the other half, but it hasn't been always easy to find the one. Some people have gone through a long time and rocky roads and finally found theirs, and some still have not - since theirs have been always in there and never leave.

這對指戒在盒子裡待了好久好久，前些日子整理作品想起它們，想起這個系列，便將它們重新整理，讓它們成為系列故事的主角。我為它們焊上18K黃金小珠，象徵尋尋覓覓的兩個人，終於找到最珍貴的彼此，相知相守。

它們的故事算是番外篇，介紹這個系列的概念與由來的番外篇。於是它們目前沒有編號，「twiSt。轉．圈。」也只是它們暫時的名字。也許哪天，當它們遇見彼此有著相同故事的伴侶，找到了主人的時候，會得到真正的名字，就像Amber and LingHua一樣。

Rocky, and precious.

To be continued.

Reborn。延。

Reuse of an old piece, rebirth of the soul, with preserving love.

重生。

14PCS。金工一四。

鑄：金字部，十四劃。鑄造：將金屬熔化倒入模型中冷卻凝固，做成各種器物。

即將登場。

Fourteen plaster cast series, fourteen pieces.

GuanYin。觀音。

Taiwan Jade from my mum, GuanYin for her.

auntie Mei。三。

The little HUAN doesn't associate with the shape of a ring directly this time because I have found something more interesting than the object itself.

前陣子老照片全部被掃瞄進電腦，看著「長輩們的小時候」的照片，有另一種趣味。

這枚小鐶，是從另一邊聯想回來的。

Auntie Mei is my third auntie, my grandma's third daughter, and the sixth child. She is sixty years old (an important age in Chinese culture) this year, and her star signs are Snake (Chinese calendar) and Cancer (Greek Myth). I thought of the numbers and symbols immediately and connected them to each other, then I have got the elements and ideas for the HUAN.

The symbol of Cancer, the symbol of Snake; the star of Cancer, the specific Chinese character of Snake; the image of earth, and the image of mother(land).

外層的♋，是巨蟹座；夾層的月亮，是守護星；

外層的圓，環抱著六個孩子，是地球，也是阿嬤。

9 karat yellow gold: the Cancer; fine silver: the Moon; 18 karat yellow gold: the Earth, and the mother / my grandma.

不同的角度，不同的風景。

The little HUANs, grandma's children.

小鐶系列，是阿嬤的孩子。

Carol。心上。

She was born in the year of dragon, she is a chamaeleon; she is a hearty person. She is Carol.

RFKStudio Exhibition｜Objekt in Space: Thinking Through Mould

RFK Studio exhibition 'Objekt in Space: thinking through mould', Treasure Hill Artist Village / Cross Gallery, Taipei City, Taiwan.

「台灣與荷蘭．當代材質與藝術．交流展」展覽以創作的過程為概念主軸，內容除了Peter HOOGEBOOM與ShuLin WU吳淑麟兩位藝術家在台駐村期間的共同創作過程之外，同時也將展出冶器物件工作室所舉辦的「陶瓷首飾工作營」之創作過程與成果。歡迎前來寶藏巖國際藝術村十字藝廊現場參觀感受！

展覽開幕：2013/03/16（六）1600～1800
展覽期間：2013/03/16（六）～03/30（六）1300～1700，週一休展。

展覽時間03/14補充說明：每週四、五採預約制，若欲前往請先去電02 2364 5313*308洽詢。不便之處敬請見諒。

Experiment，PNP papers。

以PNP紙（press-n-peel blue transfer film）為保護層，進行金屬表面質地效果處理的蝕刻法，除了官方網站有詳細的使用方法介紹之外，在網路上也有許多金工創作者的P N P paper心得分享。

這裡寫的是稍微特殊一點的使用經驗。

I have been checking the internet and trying to find if there is a possibility that I could transfer PNP image onto a curved surface. I have found nothing, but I have to have it - both the chance and the surface. The piece I am working on needs plenty of forging. If I etch→forge the piece, the patterns and textures would be changed, maybe even flattened or gone; if I forge→etch the piece, which is what I have done, I would have to find the answer to the question: how to transfer a PNP image onto a curved surface?

Therefore, I did some tests.

一般來說，PNP paper只能用於平坦的金屬表面上，因為它需要熱、壓才能有好品質的轉印，所以任何無法與PNP paper貼服的部份，都可能影響蝕刻圖案的效果。目前正在製作ing的此物件，我需要的圖案只能使用PNP paper進行轉印，才能滿足精細度的需求。然而先將圖案轉印到金屬上，在腐蝕之後再進行塑形，蝕刻的圖案很可能會在鍛敲的過程中扭曲變形，甚至凹陷；反之，如果各大小零件的形狀、尺寸、嵌接都定型之後才進行蝕刻，我要面臨的就是「PNP paper的圖案能否被轉印到彎曲的金屬表面上呢？」這個問題了。

Certainly I started with a clothes iron. Although the metal sheets were forged to metal bands, they still have smooth surfaces and the PNP papers seemed to be placed nicely on the surfaces.

首先試老方法：熨燙。雖然金屬片已經變成金屬圈，但是表面還算平整，於是我抓著剩下的一絲希望，拿出熨斗。然而，無論我將熨燙的溫度設定在適溫或是高於適溫，都無法將圖案漂亮地轉印到金屬表面。接觸面積不夠，壓力就不夠，溫度更不夠。圖案支離破碎，效果不優。

However, the contact areas were far too small so the pressure and temperature were not enough and even, therefore, the images were not successfully transferred. The result was bad.

Then, I thought of using a hair dryer.

接著試吹風機。轉印PNP paper的熱源必須是乾熱，加熱的時候遇上的液體或水汽都可能毁壞圖案。有熱源也要有壓力，我用的是不鏽鋼尺－的尺面（不能用尺緣，否則刮破膠膜又損壞圖案就......）。不過，即使把吹風機放在再怎麼樣近的距離加熱，溫度還是太低；人工手施的壓力也太不穩定，加上接觸面積仍然太小，效果更差。

The result was even worse. The temperature and pressure were too low and weak, and not stable either: I applied the pressure with a steel ruler (flat side), and it caused the friction.

There are people using rub-on transfer stickers for the protection.... I did consider to order custom-made rub-on transfer stickers, and I made phone calls to the companies.... no way, they are ink-based images.... .

就在我開始考慮是否應該訂製轉印貼紙的時候，突然靈光一現：烤箱！如果我能將PNP paper緊密覆蓋在金屬表面送進烤箱加熱，是否會成功呢？

Ha, OVEN!

I placed the PNP images on the surfaces and fixed them with masking tape for the first try, and the result was.... not too bad, no burning masking tape, and the images were transferred quite nicely. But the masking tape stuck to the metal and left stains, which couldn't be removed by scratching - the transferred images would be off either.

一開始我用紙膠帶固定PNP paper。紙膠帶雖然不會燒起來，但是會烤得脆脆硬硬地，巴在金屬表面，要摳摳摳。一陣翻箱倒櫃，我翻出一卷磁鐵帶。PNP paper定位，拉緊，頭尾用磁鐵帶覆蓋、壓緊（並非為了磁性，是為貼服與加壓的效果），用金屬夾固定，送進烤箱，以200℃的溫度加熱......最少二十分鐘。件數增加，溫度也要拉長（比較保險）。

I found a magnetic tape. I placed the PNP images on the surfaces again, and covered them with the magnetic tape (for the protection, not the attraction), then hold them with metal clips. The oven temperature was set to 200℃ and baked for at least 20 minutes (longer time if more pieces), and it came out....

結果......

Hurray!!：D

It might be working too with baking paper + binding wire. I presume.

ps. Do not quench the whole piece after baking, otherwise the PNP film could become crispy and crack up when peeling, which would cause more problems. Just leave it and let cool.

後來我又想到，如果用烘焙紙包覆＋金屬絲纏繞綁PNP paper，應該也有機會。

另外，加熱完畢取出之後，請勿將物件入水想急速降溫，PNP paper的膠膜會脆化，然後巴在金屬表面......摳摳摳......轉印圖案就一起摳掉。請讓它們自然降溫。謝謝。

coral bits，and beads。粒粒棵棵。

Red beads and Pink bits.

改頭，換鍊。

a bit of coral。水底の森。

Under the sparkling water, it sparkles.

水面，波光粼粼；水裡，寶石森林。

Filigree workshop 頭一遭。

前陣子參加了學學文創志業的「苗族銀飾創作交流工作坊」，請到的是中國貴州苗族的潘俊忠師傅，示範絲線細工的技法。

I went to a metalsmith workshop and joined Mr. Pan's Miao style silver jewellery course last week, and I immediately fell in love with the filigree of Miao's bronze drum pattern. Mr. Pan is from GuiZhou, China, who has been working as a silver craftsman more than 25 years and has made numerous of Miao style crafts and jewellery. Miao's bronze drum pattern varies in different Miao tribes and families, and it shows not only the fineness and beauty of the pattern itself, but also contains historical and traditional meanings and messages.

以前從來沒有特別注意filigree，即使看到它的物件，也並不會特別留意。並非不喜歡它，而是我對於物件本身的3D造型與結構的興趣，遠超過物件表面的2D裝飾圖樣。至於為什麼被潘師傅的filigree作品吸引，我想除了是苗族特有的圖樣之外，花紋的精緻度，令我這個第一次接觸filigree技法的孤陋寡聞鬼大大開眼界！

上課，就會有作業，就……。

After Mr. Pan's demonstration, it's our turn.... .

i・m・b・a・l・a・n・c・e。秤・不平。

（i'm balanced。平。）

（imbalance。不平。）

I didn't take the photo of the set of two - it's a scale. The two plates are different to each other in all aspects - the length, the shape, the weight, and the distance to the fulcrum. As well as this, the lever has contrasting ends too - a straight, well-shaped end, and a forged, descending end. Even the fulcrum location would change if making the hanger (for the lever) with a different material (and I couldn't figure out why)!

它們倆是一對，是一組秤，應該是要掛上秤桿一起拍；不過瞧瞧設備……以後補上：P

它們是一組平衡的不平衡秤，秤盤的形狀與重量都不一樣，垂吊的長度與支點的距離也都不對稱；而支點的平衡位置刻度，竟然也會因應掛勾的材質而變化……

「沒有什麼是絕對公平的，於是人們不停地衡量計算，維持著那微妙也危險的平衡。」

從10月21日起，在學學文創志業的「百年記藝特展」，將可以一覽潘師傅所帶來的作品；而交流工作坊的學員們，也將會展出這次的學習成果。展期到11月。之後南下，會在嘉義鐵道藝術村展出。

Hopefully I could take some nice photos of the scale in the exhibition. Here's the original look of the plates:

秤盤剛成形的樣子。

SanDIY casting, attempt 3。

Liquid glass / water glass (sodium silicate / Na₂SiO₃) is another choice for making a sand casting mould. The seller told me that after mixing the substances, they will harden the mould by injecting CO₂ to it for industrial use, but in my case he wasn't sure if it would work as my mould is tiny and I haven't got CO₂ and the tools.

I am going to give a try anyway. I didn't inject CO₂ to the first mould either and it worked.

水玻璃（矽酸鈉）是沙／砂模鑄造製模的另一種材料選擇。一般工業使用的沙／砂模，在成型之後會注入二氧化碳，讓模具硬化再進行灌模。

就算我呼一包二氧化碳也沒有工具注進模具體。先試。

矽砂：水玻璃＝10：1，效果尙可，不過沒有經過硬化的砂模的確小鬆軟。壓入模型物的時候比起壓入黏土粉配方模輕鬆，不需要用槌子。可能是因為水玻璃的質地黏滑吧。分離上下模的時候有些矽砂掉落。

I mixed the silica sand and Na₂SiO₃ in the proportion of 10:1 for the first try. The mixture was soft and had a greasy texture, and little silica sand fell from the mould when I separated the top and bottom rings.

I decided to make another mould and leave it for a while, in order to see if a 'hardened' mould would be a better one. I came back after 15 minutes. It looked quite close to the first mould but harder and crispier, and about the same amount of silica sand fell from the mould.

未經過硬化程序的砂模質地比較鬆軟，稍微有外力擠壓就有破碎的可能（還沒製作氣孔與澆鑄通道呢！）。於是我製作第二個砂模，室溫乾燥十五分鐘之後將上下模分開……稍微乾燥之後，砂模硬了一點，不過比較像是心有餘而力不足的硬化～質地變得比較脆些，掉落的矽砂量與第一個砂模相差不多，但比較像是「剝落」而不是「掉落」。

再試。以10：2的比例混合矽砂與水玻璃，第三個砂模的質地，與第二個相差不大，不過質地較黏，分離上下模的時候不夠乾淨俐落（無論是否經過室溫乾燥都是如此），連模型物都黏。

I made the third mould with silica sand and Na₂SiO₃ in a proportion of 10:2. It was not so different to the previous ones, except the texture is stickier so that the mould was not neat and tidy. CO₂ is absolutely needed.

我想我暫時先回到最初的配方吧。

SanDIY casting, attempt 2。

I have learnt that Delft clay is a substance that is like a sand mixes with oil, so I mixed the silica sand with oil this time - without the clay powder.

沙／砂模鑄造第二試。Delft clay是金工沙／砂模鑄造使用的一 種……油性「土」，是一種類似沙／砂與油混合的物質。於是這次我用油取代水，開模。

 

I made a proportion of 10:2, silica sand and oil for the fist try, and the mixture was too greasy and it slipped down from the aluminium ring. Oops.

第一次我沒有加黏土粉，而是把黏土粉的比例給了油，因為它是「沙／砂＋油」的組合（偏執），所以矽砂：油是10：2。結果就是沙／砂模整個從模型裡滑下來。NG。

第二次以之前的比例（矽砂：黏土粉：油＝10：1：1）加入黏土粉混合。沙／砂模沒有從上模型裡滑落，倒是與下模型裡的沙／砂黏住。

看來，黏土粉與油的合作關係，並沒有與水那樣好。

待續。

I then went back to the formula with silica sand, clay powder, and oil, which in a proportion of 10:1:1. As shown in the photo, I presume that oil may not be a good friend as water to clay powder.

To be continued.

a golden rim。金與玉。

出入工地，騎乘機車，請戴安全帽。

 For a chip at the edge.

SanDIY casting, attempt 1。

The first cast, the second type of sand, with the third formula for the mould - a mixture of silica sand, clay powder, and water, in a proportion of 10:1:1.

To be continued.

沙／砂模鑄造第一試。矽砂：黏土粉：水＝10：1：1。再試。

Series of mOOn。月の系列。

「mOOn。月」系列是以火山岩為主要材質，搭配925銀設計的作品。火山岩有著與一般切割寶石極不同的外觀。暗黑、無光澤、粗糙的表面質感，無論是在形象或視覺效果上，都十分貼近我對於月球的想像。

I fell in love with Lava when I first time saw it. The dark, dull, and rough surface gives it a very different appearance to other stones, which makes it so extraordinary in those jewels.

moonlight。陰盈影映。

under the moonlight。方寸之間。

the rocks。天上的圓，地上的方。

Earth and Moon。天球與地球。

the phases, the faces。旬・循。

wander, and wonder。徑・靜・境。

待續。

To be continued.

Waxy Nephrite。蠟光閃玉。

I love the greyish / dark green colour of Taiwan Jade (Nephrite), and these waxy babies really caught my eyes!

to dear wife。吾妻。

of a couple。百年・好合。

蠟光玉，閃玉類，台灣玉的一種。閃玉也被稱為軟玉，不過它的硬度並不比輝玉（硬玉）低。我十分喜歡台灣玉略深、類似墨綠的綠色調；這次遇到的蠟光玉，稍微藍灰色調的綠，更是令我目不轉睛！

wAteReveR，H₂0。

liquid。液。

SHE U，Carolynn。許 佳琳。：connecting bangle。

The flights make drawings when flying from and to, inbound and outbound between the cities. I took the drawings that Carolynn has for the design of this piece.

從一個城市到另外一個城市，交通工具們在天空，在海面，在地表，畫出一條條的線，連結一個個的點，繋著無數的心。

 home around。環・鐶。

I asked Carolynn for her travelling routes between Taipei and Ottawa and connected the transfer cities for the shapes of the pieces for the bangle, and soldered the ends of the inner piece to form a circle. Then I cut the pieces of a set of mortise and tenon, which was found in the basement of grandmother's apartment, to fit the ends of the inner and outer piece, and joined the wooden pieces to the inner circle at the joint.

佳琳系列的最終件。我在地圖上畫出台北與渥太華之間的航線，拼出各轉機點所組成的圖塊，製作出這件帶著紀念意味的腕環。銀片的兩端，代表的是台北與渥太華；中間的木片，是老家的傢俱的榫與枘；㚒層的米珍珠，是mee，也是米。

I then riveted the ends of the outer piece to the mortise and tenon / inner piece, and all is connected.

 

This is a commemorative piece to our grandmother, and a emblematical piece to the HSUs. This is a piece about connection.

SHE U，Carolynn。許 佳琳。：chopstick ring。

family。依。

A pair of chopsticks is considered as a symbol of good fortune in Chinese culture. It is not only because a set of two (things that are used together or regarded as a unit) is regarded as lucky (especially for married couples as 'a pair' ), but also the pronunciation of chopsticks in Chinese language is similar to 'welcoming the babies soon'.

在佳琳的作品裡經常出現的元素，除了米粒之外，還有竹子。竹子是製造筷子的原料，是與米有著密切關係的物件；在翻閱中文字典的時候，我偶然發現「竹」與「米」正好是前後相鄰的兩個部首；而在科學分類之中，竹子與稻，是同科（family）的植物。

筷子總是成雙成對，在婚嫁娶習俗中又是「快快得子」的吉祥象徵；那麼，再沒有誰比它更適合出演父母親的角色了!

Bamboo is another vital element, which appears frequently with rice, in Carolynn's art works. In scientific classification, bamboo and rice have close relationship to each other as they are in the same family, as well as chopsticks to rice in Chinese culture. So I used a pair of chopsticks and a rice pearl for the piece, as they are representing parents and the child(ren).