Artists generally begin their craft by relating to what is most familiar to them. It is in this comfort zone that my journey into painting began. From my first painting of the Chrysler Building in New York City to the countryside in Tuscany, my work tells the story of my travels. When I began to create jewelry that contained elements of my paintings, I expanded on the concept of documenting my travels. Further experimentation with new materials used in jewelry making allowed me to create a visual correlation between my paintings and my wearable jewelry.

Faith and family are the aspects of my life that bring me joy and inspiration. This joy is represented as light and is present both literally and symbolically in all my work. I use light or a flame in my ceramic pieces to represent warmth, love, and spirituality. Images of nature are employed to suggest life. My most recent ceramic work embodies aspects of family and the joy of motherhood. My paintings focus on my family and are centered on the moments or memories that are significant to them. I try to paint the light of their lives.

I see the moment of creation as a threshold, a fertile ground where anything is possible. My work combines an interest in science, mythology, cosmologies, and a childlike sense of wonderment to seek the unknowable. I create formless floating worlds that have a seducing, enlightening, and ultimately deceiving presence. Vibrant lusty clusters of candied opulence emphasize the wetness at the beginning of life. Dry folds give way to woozy nests and frenzied organisms while dripping crystalline structures puncture soft unknowable terrains. Through the process of making I indulge my desire to create an otherworld, one that bubbles, garishly drips, and slips slowly into lavish amalgamations. By combining artificial and organic materials with the rich traditions of metalsmithing, I am able to explore the infinity of tiny connections that make up the complex whole of the natural world. I make as a result of my own curiosity, drawing and building an imaginary world, from one layer to the next.

by Tung Man Kei. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves 82-83). / ABSTRACT --- p.ii / TABLE OF CONTENTS --- p.iv / LIST OF TABLES AND FIGURE --- p.vi / LIST OF APPENDIXES --- p.vii / PREFACE --- p.viii / Chapter / Chapter I. --- INTRODUCTION --- p.1 / Chapter II. --- ISO-9000 Standards --- p.4 / Recent Development of ISO 9000 Standards --- p.6 / Other Quality Standards and Awards --- p.8 / Influence of ISO 9000 --- p.11 / Implementation of ISO 9000 --- p.15 / Chapter III. --- CASE STUDY: PART (A) JEWELLERY INDUSTRY AND ABC JEWELLERY LIMITED --- p.18 / Jewellery Industry in Hong Kong --- p.18 / The ABC Jewellery Limited --- p.20 / Organizational Structure of ABC Jewellery Limited --- p.21 / Production Department --- p.22 / Stone Department --- p.24 / Human Resources Department --- p.24 / Quality and Technology Department --- p.25 / Management Information Department --- p.26 / Marketing Department --- p.26 / Export Department --- p.27 / Financial Situation of ABC Jewellery Limited --- p.28 / Chapter IV. --- CASE STUDY: PART (B) IMPLEMENTATION OF ISO-9002 CERTIFICATE OF A MANUFACTURING COMPANY - ABC JEWELLERY LIMITED --- p.30 / Quality Reform of ABC Jewellery Limited --- p.30 / The MANCOM - A Reform of Management Committee --- p.32 / The Implementation Plan of ISO-9000 of ABC Jewellery Limited --- p.34 / Step 1： Preliminary Goals Setting and Formulation of Action Plan --- p.35 / Step 2: Creation of Mission and Vision Statements --- p.37 / Step 3: Formation of Quality Team --- p.37 / Step 4: Education of Quality Concept --- p.38 / Step 5: Preparation of Quality Manual and Work Procedures - the Business Procedures --- p.40 / Step 6: Reengineering of Business System --- p.43 / Step 7： Registration for ISO-9002 --- p.44 / Problems faced by the Company --- p.45 / Dilemma --- p.53 / Chapter V. --- CASE STUDY: PART (C) LATEST SITUATION OF ABC JEWELLERY LIMITED --- p.54 / Quality and Technology Department --- p.54 / """Quality In Progress"" and Other Quality Improvement Projects in the Company" --- p.55 / Chapter VI. --- CONCLUSION OF THE CASE STUDY --- p.57 / TABLES AND FIGURE --- p.59 / APPENDIXES --- p.63 / BIBLIOGRAPHY --- p.82

My journey starts off using photography as a tool to investigate materiality, body, object and space. During my trip I constructed a photo, or as I see it, translated a 2D photo into a 3D form. I travel through material values and the relationship between material and form, encountering questions on legitimacy and hierarchy: Why does some material become more real? What charachterizes these material and gives them more credibility? Why do we value material differently? The path I follow consist of fused material: digital, traditional and unknown. My expedition challenges craft, the definition of the handmade, and the concept of the final piece.

A presente dissertação se baseou no percurso da história da arte, para compreender as manifestações da história da joalheria, pois a joia com seu valor material é um patrimônio impregnado de simbologias e de significados estéticos. Este trabalho utilizou a pesquisa histórica, baseada na pesquisa bibliográfica ou de fontes secundárias. Estabeleceu-se um painel cronológico do caminho percorrido pela humanidade para desenvolver a arte da joalheria, desde o seu surgimento, procurando fazer relação entre suas descobertas, necessidades de novos materiais, o aprimoramento de técnicas ou ainda a capacidade de desenvolver habilidades para executá-las. A sua relação com as artes plásticas, que nas últimas décadas levaram a arte e a joia a romper paradigmas. Atualmente, a joia é mais despojada, enfrenta novos desafios como a preocupação com o meio ambiente e a utilização de sementes, madeiras, entre outros materiais naturais, criando objetos com design diferenciado e contemporâneo. / This dissertation is based on the course of art history, to understand the manifestations of the history of jewelry, as the jewel in its material value is a heritage steeped in symbolism and aesthetic meanings. This study used historical research, based on literature or secondary sources. Established a panel chronological path for humanity to develop the art of jewelry, from its inception, seeking to make the relationship between their findings, need for new materials, improvement of techniques or even the ability to develop skills to execute them. His relationship with the arts, which in recent decades have led to art and jewelry to break paradigms. Currently, the jewel is more casual, faces new challenges such as concern for the environment and use of seeds, wood, and other natural materials, creating objects with different design and contemporary.

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What is the very first thing you notice about a person? Appearance? What if the first thing you saw was everything that they were trying to hide? We would see every flaw but we would also see every truth. What Lies Beneath is an exploration of interior and exterior and an exposure to the dark and abject inside all of us; the parts we keep hidden and the things that build up until they have no place else to go. Rooted in an examination of the human psyche, my thesis explores the difference between the facade we project to the world and the truth within ourselves.

I create my artwork using a variety of media to explore and define my concepts. My concepts involve the body and are also integrated into a larger environment to tell a story.

Creatures of the sea, creating wearable adornment to protect the body and unique materials, inspire my artwork. Through research and examination of sea creatures, I look to their defense mechanisms and imagine what it would be like if humans had similar qualities or if we could borrow from these beings and transform the way we physically protect our bodies. Through mixed materials I form adornment that acts as armor and the human being and the sea creature merge. The following pages will give you access to my thought process, accounts of technical experimentation, and my body of work.