This log details a pivotal shift in my necklace design, driven by a critical re-evaluation of its visual coherence and my project’s overall scope. I initially found that despite numerous arrangement attempts, the lower pendant section of the necklace remained “messy” (很乱). The individual shapes, though seemingly “rich” (很丰富), were too disparate, making the entire section appear “too independent” and chaotic when combined. In response, I implemented a significant subtractive strategy: I “deleted many components,” retaining only two of my most preferred shapes as core elements. Crucially, I then integrated two skeletal hand forms (手骨) at the top, which effectively brought back my core “human bone church” concept and reinforced the “feminist” (女权) narrative I intended. This strategic refinement allowed the necklace to achieve a more unified and impactful aesthetic.
A major practical decision was made at this juncture: with only three months remaining, I recognized I couldn’t realistically complete both the doll and the necklace to the desired standard. Consequently, “I essentially abandoned the doll” to dedicate the majority of my remaining time to the necklace. This decision also influenced the necklace’s final concept; finding myself drawn to the “feeling of the skeletal hands grasping the body” from the doll experiment, I extended this idea, using these skeletal hands as the primary motif to compose the main body of the necklace. This ensures that even with the doll’s abandonment, the strong conceptual and aesthetic elements are fully realized in the final, focused piece.
chuyun lu‘s 