10 Questions with Ning Chang

A jewellery artist based in Birmingham with a background in graphic design and illustration, Ning Chang has earned her graduate diploma and master's degree from Birmingham City University School of Jewellery. Presently, she holds a residency artist position there. Her artistic expression primarily involves metal and draws significant inspiration from personal experiences. She previously showcased her work at the 'Nineteen' residency artist exhibition at BCU School of Jewellery. Currently, her collection of jewellery pieces, titled 'Screw Femininity,' is on display at the 'Crafted Elegance: A Fusion of Tradition and Innovation' exhibition at the Blackdot Gallery. In the coming months, she plans to exhibit her cloisonné pieces at the 'July: Watermelon Sugar' exhibition at Forge and the 'Future Stars' at The Holly Art Gallery in August.

www.behance.net/chgning7eb3 | @ningc2021

ARTIST STATEMENT

In her work, symbolism deeply compels her, drawing inspiration from personal experiences and social issues to forge a profound connection with the audience. Specialising in designing exquisite jewellery, they employ enamelling and cloisonné techniques to create intricate illustrations that imbue each piece with a unique charm and character. Additionally, she integrates various materials with metal to craft pieces that reflect their perspective on pressing issues. This approach often yields thought-provoking and captivating works of art that resonate deeply with the audience.

Screw Femininity, brass, lace, plaster, 8.5x5x6 cm, 2022 © Ning Chang

INTERVIEW

First of all, let's talk about your background. How did your training in graphic design and illustration influence your transition to jewellery design?

Having a background in graphic design and illustration, I possess a deeper understanding and appreciation for colour, structure, and form. This has greatly influenced my artistic approach to making jewellery, enabling me to design and craft visually appealing pieces with a unique perspective and innovative techniques.

And how did your studies at Birmingham City University School of Jewellery shape your approach to jewellery making?

My studies at Birmingham City University School of Jewellery had a profound impact on my approach to jewellery making. It was my first time studying in Europe and delving into a completely different field. Unlike the result-oriented educational model in Asia, I found that the teachers and schools here place great emphasis on the process, requiring thorough documentation and evidence for every step of our thinking.
The school demands extensive research and ensures that all possibilities are listed and tested. Through this rigorous training, I learned how to systematically document my creative process. Now, I continuously record my design and production steps, and I consult a variety of sources, including both online resources and books, to enrich my perspective.
In terms of practical work, I was greatly inspired to explore different materials. Besides traditional enamel, I began experimenting with other materials in my creations. This not only broadened my range of work but also allowed me to incorporate more innovative elements into my designs.
These experiences have made my creative approach more comprehensive and meticulous. I am now able to think and solve problems from multiple angles while maintaining a high level of creativity and flexibility in my design process. This period of study has been incredibly beneficial, enhancing my professional skills and shaping my design philosophy and creative attitude.

Screw Femininity, brass, lace, plaster, 11x5.5x7.5 cm, 10x7.5x7.5 cm, 6x5.5x7.5 cm, 2022 © Ning Chang

How did you become skilled in enamelling and cloisonné techniques, and what drew you to these particular methods?

I became skilled in enamelling and cloisonné techniques after graduating from university. I attended a workshop where I learned basic bench skills, and it was there that the tutor introduced me to these techniques. I found that enamelling and cloisonné possess a distinct beauty and artistic appeal, significantly enhancing the visual effects of my jewellery. By carefully matching colours and positioning cloisonné threads, I can create intricate patterns that, when combined with my illustrations, add to the overall charm and allure of the piece. Although enamelling and cloisonné are traditional techniques, my approach incorporates them into my designs in a way that infuses them with a fresh, modern style.

What attracts you to working with metal in your jewellery, and how do you select the materials for each piece?

Initially, as a student, I tended to avoid using precious metals in my work due to my need to master various techniques. For enamelling, copper was a practical choice because it can be fully covered front and back. Over time, I grew to appreciate the unique qualities of copper, especially the way it develops a dark pink patina when oxidised, adding a different kind of beauty to my pieces. This characteristic has become an important factor in my design process.
For my master's degree project, I chose brass because it is a sturdy metal with a long history in jewellery-making. Its warm colour and texture can impart an ancient, timeless feel to any piece. I enjoy experimenting with different metals, selecting them based on their colour, texture, and the unique atmosphere they bring to my designs.

In your statement, you mention how you are influenced by personal experiences. Can you share some of these personal experiences that have significantly influenced your jewellery designs?

I create most of my jewellery based on personal experiences. For example, in 2019, I created a cloisonné piece titled 'Why Do We Need to Wear Gender?' which explored themes of identity. In 2022, my collection 'Screw Femininity' was inspired by personal criticism regarding my dress, behaviour, and personality, which deemed not feminine enough. This theme also resonated with discussions I had with friends and the public in Taiwan, revealing that many others share similar experiences. Through my jewellery, I aim to build connections with people, allowing them to empathise and relate to my experiences when they see my pieces.

What kinds of symbols do you find most compelling, and how do you incorporate them into your work?

The symbols I find most compelling vary depending on the topics I am exploring at the time, as I view my creations as a journey of self-discovery. Through making jewellery, I aim to have an emotional output and share my experiences with the audience. My work often focuses on themes such as gender, identity, and stereotypes. Recently, I've also been delving into psychological theories.
Rather than using specific symbols consistently, I tend to create an overall picture that encapsulates the theme I am exploring. This could involve multiple symbols or sometimes none at all. For instance, when addressing themes of gender and identity, I might use abstract shapes, colour gradients, or traditional patterns to convey the complexity and fluidity of these concepts. Each piece is designed to evoke thought and connection, allowing the viewer to engage with the underlying message and reflect on their own experiences.
In summary, the incorporation of symbols in my work is flexible and evolves with the themes I explore. My goal is to create jewellery that not only tells a story but also resonates on an emotional level with those who encounter it.

Can you walk us through your creative process from concept to finished piece?

My creative process from concept to finished piece involves several distinct stages, each crucial to ensuring the final jewellery piece is both meaningful and well-crafted.
Inspiration and Conceptualisation: My creative process often begins with inspiration drawn from personal experiences, societal issues, or themes I am passionate about, such as gender, identity, and cultural heritage. Sometimes, psychological theories or specific events also spark my creativity. Once I have an initial idea, I spend time brainstorming and sketching out rough concepts. This helps me visualise the theme and explore various ways to express it through jewellery.
Research and Exploration: I conduct thorough research to deepen my understanding of the chosen theme. This might involve studying relevant symbols, historical contexts, or cultural references. I also research suitable materials and techniques that can best bring my concept to life. For example, I might look into different enamelling methods or investigate the properties of various metals.
Design and Planning: I create detailed sketches and technical drawings of the proposed piece. This stage includes considering the piece's dimensions and aesthetic elements. Sometimes, I create prototypes or models to experiment with shapes, materials, and techniques. This allows me to refine the design before moving on to the actual piece.
Material Selection and Preparation: Based on my design, I select the appropriate materials. This could include metals like copper, brass, or silver, as well as enamels, or other embellishments. And then I prepare the materials, which might involve carving some waxes, cutting cloisonné wires, or mixing enamel powders.
Creation and Crafting: I start by forming the base structure of the piece, shaping and soldering metal components as needed. If the design includes enamelling, I carefully apply the enamel and fire the piece multiple times to achieve the desired colours and finish. For cloisonné, I meticulously place the wires to create intricate patterns. Once the main elements are in place, I assemble the piece and add any final details, such as polishing the metal or adding clasps.
Evaluation and Refinement: I thoroughly inspect the finished piece to ensure it meets my standards for quality and craftsmanship. If necessary, I make any adjustments or refinements to enhance the piece's aesthetic or functionality.
Presentation: I photograph the finished piece for my portfolio and document the process and inspiration behind it.
Through this structured process, I strive to create jewellery that is not only visually appealing but also rich in meaning and emotional resonance.

Lithromantic, copper cloisonne, 8x7x1 cm, 2020 © Ning Chang

Moody, copper cloisonne, 5x4x1 cm, 2021 © Ning Chang

What are some of the most challenging aspects of jewellery design, and how do you overcome them?

The most challenging aspect of jewellery design, in my experience, lies in the initial stage of finding inspiration. When faced with this challenge, I adopt a multi-faceted approach to overcome it.
Firstly, I turn to various sources of inspiration, including online articles, books, and art galleries. Immersing myself in different perspectives and artistic expressions helps stimulate my creativity and spark new ideas.
Next, I engage in active reflection and visualisation. I take the concepts and themes I encounter during my research and mentally translate them into visual representations. This process involves sketching out rough illustrations to flesh out the initial spark of inspiration and give it tangible form.
Additionally, I seek inspiration from my own experiences and observations. Whether it's a fleeting moment of beauty in nature or a thought-provoking conversation with a friend, I draw upon these personal encounters to infuse my designs with authenticity and depth.
Finally, I embrace experimentation and playfulness in my creative process. Sometimes, the most unexpected combinations or techniques lead to the most compelling designs. By allowing myself the freedom to explore without constraints, I often discover innovative solutions and uncover hidden sources of inspiration.
In essence, overcoming the challenge of finding inspiration requires a combination of research, reflection, experimentation, and openness to the world around me. By integrating these strategies into my creative practice, I navigate the complexities of jewellery design with resilience and ingenuity.

Do you have a favourite piece or collection that you've created? What makes it special to you?

My favourite collection undoubtedly remains 'Screw Femininity.' Its significance is multi-faceted and deeply personal.
Firstly, it emerged from one of the most impactful experiences of my life. The collection was born out of a profound introspection prompted by critiques of my femininity from those around me, including my own mother. This deeplyresonant experience fueled my determination to challenge societal norms and expectations through my art.
Moreover, the positive reception and feedback from the audience during the exhibition of this collection affirmed its impact and relevance. Witnessing the emotional resonance it evoked in others validated my creative vision and reinforced my belief in the power of jewellery as a means of social commentary and personal expression.
From a technical standpoint, the 'Screw Femininity' collection presented a significant challenge for me. I deliberately chose to explore techniques, materials, and design methods that were outside my comfort zone. This decision pushed me to expand my skills and creative boundaries, ultimately leading to a collection that surpassed my own expectations.
Perhaps most importantly, the creation of 'Screw Femininity' marked a transformative journey of self-discovery and empowerment. Through the process of crafting these pieces, I confronted and ultimately transcended the weight of others' perspectives and judgments. In doing so, I liberated myself from the constraints of societal expectations and found a renewed sense of confidence and authenticity in my artistic expression.
For these reasons, 'Screw Femininity' holds a special place in my heart. It encapsulates not only a pivotal moment in my artistic journey but also a testament to resilience, growth, and the power of art to effect meaningful change.

Screw Femininity, silver, lace, plaster, 20x6x3 cm, 2024 © Ning Chang

And lastly, what new themes or techniques are you excited to explore in your future jewellery designs?

Except for practising and creating with my pieces in enamelling and cloisonne, I plan to explore new materials and techniques for creating jewellery pieces, such as researching new organic materials or traditional engraving and applying them to my creations to open up new possibilities for artistic expression. Additionally, I am very interested in specific themes and issues such as gender, identity and psychological theories. I hope to delve deeper into these topics and convey profound thoughts and reflections to the audience through my artworks.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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