“I see my work as a sculpture you can put yourself inside,” says Thai jewelry maker Jittrakarn Bunterngpiboon. As an artist with a background in design, she feels the need for her work to have some sort of functionality or it doesn’t satisfy her. To appease that deep urge, she makes wearable art. Sleek, gleaming angles rest weightlessly on the wearer, transporting them to an imaginary future. Looping circles orbit a head or shoulder, infinity mirrors expose and warp the eyes, and circular blades seemingly slice through the soul.
“我的作品是可以穿上身的雕塑，”泰国珠宝设计艺术家 Jittrakarn Bunterngpiboon 说。对于设计专业出身的她来说，具备一定功能用途的作品才算是合格的创作。带着这一理念，她打造出自己独具一格的可穿戴艺术。她手下的珠宝首饰设计简约俐落，拥有轻盈的科技感。从环绕于头部和肩膀的圆环、折射双眸的镜像以及质问灵魂的圆形刀片，仿佛佩戴这些首饰，便可穿越未来。
Bunterngpiboon views her jewelry as a form of storytelling, a recollection of her younger years spent buried in manga comics and anime like Ghost In The Shell or Altered Carbon. “When I read, I put myself into the character’s place. I feel like I can be anything, there are no limits.” The pieces even resemble otaku fashion mixed with a touch of Asian science fiction vibes.
She wanted to be a manga artist as a kid, but to compromise with her parents she studied industrial design instead. Jewelry making was an elective at her university, and the freedom to design without limits at these classes captured her imagination. That ability to start with no direction and figure out where she’s going along the way is at the core of her creative process: “I start with an idea about the shape and form, then explore materials to achieve what I’m looking for. The story comes later.”
Prior to attending jewelry classes, she had no interest in fashion. This was an unexpected pivot for Bunterngpiboon. “I don’t dress up or even wear jewelry; I never understood people who wore it,” she laughs. “I want people to see my jewelry as culture or art.” But she’s also started making the effort to appeal to the masses, with a brand that carries more everyday-appropriate accessories. “Those pieces are much more simple, smaller things with brass, crystal, and synthetic stones compared to the stuff I’m known for.” Her art-driven jewelry is most popular with stylists, who use them for television shows or for celebrities and singers, which in turn promotes her brand.
Originally, Bunterngpiboon’s style was more traditionally feminine, with fairy tale and vintage references. But when she started using 3D programs like Rhino, sharp edges and a futuristic aesthetic began to take hold. The bigger, sculptural headpieces are made with 3D printers. New features she’s discovered within Rhino have inspired her to consider the possibility of creating horror-themed, organic designs.
其实 Jittrakarn 的早期风格更倾向于具有当地特色的传统女性气质作品，揉合各类童话故事和复古元素。但当她开始接触 Rhino 等 3D 造型软件之后，她的作品也逐渐发生转变，锐利的线条设计与未来主义的美学风格开始显现。她用 3D 打印机制作大体积类雕塑头饰。而 3D 打印软件也为她带来恐怖、有机感设计的可能性。
Now that she’s an established designer, Bunterngpiboon gives lectures at the university she attended. One of the lessons she tries to impress on the students is one she never took to heart when she was still a student: you can start with your passion. “Design students want to save the world, but you can be selfish,” she argues. “Your designs can be useless when you start, as long as you truly have passion. It can just be fun or silly. It will lead somewhere eventually.”
She breaks down the three values to consider when beginning a design: that it be good for the environment, support your local people, or promote your local culture. Environmental, social, and cultural. “But I think you can be freer than that, it’s restricting. When you create something new and unique that the whole world notices, that adds to the culture anyway.”
现在，成为资深设计师的 Jittrakarn 回到大学母校里授课。她希望让学生明白一个自己曾在学生时代忽视的道理：从个人的激情出发设计。她说：“设计专业的学生总想着要拯救世界，但其实我们可以自我一点。刚起步时，即使你的设计毫无用处也没关系，重要的是你对设计充满热情。你的作品可以是有趣的，也可以毫无用处，但你可以在这个基础上逐渐琢磨出理想的作品。”