chuyun lu‘s

For this stage, I explored surface treatments, referencing other artists’ techniques for creating ceramic-like illusions on white objects. I conducted several practical tests on my 3D-printed parts, experimenting with translucent coloured glazes (as seen in the red and green examples) and, separately, with silver pigments. This process was critically important as it solidified my core aesthetic position. I found the addition of arbitrary colour to be ‘meaningless’ and unacceptable for my work; my investigation is not about simple colouration, as I would have used coloured materials for printing from the outset if that were the goal. Instead, these experiments served as valuable ‘negative tests.’ They confirmed that my focus is on material transformation—such as making resin mimic metal—rather than decorative colour. This process affirmed my decision to maintain a strict and conceptually deliberate palette of black, white, silver, and gold, as the silver pigment test felt far more integral to my design language than the ceramic imitations.