chuyun lu‘s

（Cultural Context of Materials）

1. The purpose of the experiment: to enrich the layers of materials In order to explore more possibilities of my 3D printing works, I tried to combine them with a series of traditional jewelry materials (as shown in the figure). This includes all kinds of metal chains, colored natural stones/raw stones (such as turquoise, powder crystals, tiger‘s eye stones, etc.) and pearls. My hypothesis is that these materials may add richer texture and color layers to my Gothic bone parts.。
2. Discovery and Conflict: The ”Awkwardness“ of Colorful Gems The experimental results are very clear: most of the materials, especially those brightly colored natural gemstone beads, have a strong visual conflict with my 3D printed parts, which looks ”out of place“ and ”abrupt / out of place“.
3. Critical Reflection: The Aesthetic Context of Materials This failed experiment made me reflect more deeply. I realized that the ”natural“, ”simplicity“ or ”traditional decorative“ context of these colored gemstones is fundamentally opposite to the core aesthetics of my works (gothic, skeleton, grotesque, metallic).

• About raw stones: I especially reflected on the possibility of raw stones. I realized that they may be very suitable in another design context – for example, a theme that emphasizes ”Zen“ or ”Chinese aesthetics“. However, under the framework of my Gothic feminism, the appearance of them (colored gems) will only dilute and interfere with the narrative I want to convey.

1. Conclusion: Pearls as the ”only exception“ Among all these experimental materials, pearls are the only element that I think can be absorbed.

• Why pearls? Because pearls are dual. It is not as ”lively“ or ”natural“ as colored gemstones. On the contrary, the ”cold lustre“, ”organic form“ and ”pale color“ of pearls can be perfectly re-contextualized. In Gothic aesthetics, pearls can symbolize the splendor of tears, bones, moonlight or decay, which not only does not conflict with my silver skeleton parts, but can form a conceptual echo.

1. Final decision: This practice allowed me to finally determine my material boundaries. I will refuse to use any gemstone materials with strong colors that will disperse the theme. If non-printed materials are to be introduced in the future, it must be like pearls and can be conceptually ”assimilated“ by my Gothic narrative, not just as a decoration.