Jewelry and Objects

2004

Professor of metals and jewelry, Savannah College of Art and Design, 2005-present; adjunct faculty, Savannah College of Art and Design, 2004-05; owner, PJ Chen Studio, 2003-present; goldsmith and jewelry designer, Levy Jewelry, 2002-05

Intermediate Matrix Certificate Course, Gemvision Training Center, Moline, Illinois, 2010 Intensive Certificate Course: "Jewelry Engraving," GRS Training Center, Emporia, Kansas, 2008

NICHE Professional Awards finalist, hollowware, 2009; SJTA/SCAD Design Contest, third place, 2004; SNAG & 3M Innovative Tools contest, third place, 2002; American Craft Museum Horizon Award competition finalist, 2002; Outstanding Achievement in Metals and Jewelry Award, SCAD, 2002; Wayne Art Center Craft Forms finalist, 2001; May Poetter Gallery Award, SCAD, 2001; NICHE Student Awards finalist, fine jewelry, 2001; The Best of Degrees Project, department of visual communication design, National Yunlin University of Science and Technology, Taiwan, 1998

Society of North America Goldsmiths, Crafthaus, American Craft Council

Presentations
Lecture: "Contemporary Metal Working," Gallery S.P.A.C.E., Savannah, Georgia, 2008

Exhibitions

• "Year of the Rabbit" group exhibition, Moot Gallery, SCAD Gallery, Hong Kong, China, 2011
• "The Story of Silver in Savannah: Creating and Collecting Since the 18th Century," Telfair Museums, Savannah, Georgia, 2010
• "Ever Present and In Motion" group exhibition, ACA Gallery of SCAD, Atlanta, Georgia, and Pei Ling Chan Gallery, Savannah, Georgia, 2009
• "Design Thinking," group exhibition, Red Gallery, Savannah, Georgia, 2009
• "Five Start," group exhibition, Hall Street Gallery, Savannah, Georgia, 2007
• "Art Jewelry," solo exhibition, Chroma Gallery, Savannah, Georgia, 2004
• SJTA Atlanta Jewelry Show, group exhibition, Atlanta, Georgia, 2004
• "Precious Metals," group exhibition, Pinnacle Gallery, Savannah, Georgia, 2003

"My personal motivation for working with students involves two aspects: I enjoy seeing them improve technically and aesthetically with the skills and creative problem-solving techniques I use; and I enjoy seeing them network intellectually and begin exchanging ideas about the discipline of jewelry design. This combination of mastery of the disciplines is what inspires me to give to the next generation.

"I believe in a balanced approach. An outstanding artist and designer should have both great concepts and techniques. Professional work cannot be perfectly presented without a practical technique, which is also a tool for an artist and designer to transfer the intangible concept into a visual object.

"My experience as an instructor for whom English is a second language gives me empathy for students from varied levels of talents and backgrounds with different understandings. Some of them may face obstacles in absorbing different techniques or personalizing practice and theory in a meaningful way. I help my students overcome these obstacles with patience in order to stimulate their desire for making art. Moreover, they can apply all ideation, technique and practice freely and use a variety of all of these tools to visualize their concepts in their future careers."

• MTJW 205 Rendering for Metals and Jewelry
• MTJW 255 Metals and Jewelry Studio II: Design and Fabrication
• MTJW 300 Metals and Jewelry Studio III: Forming
• MTJW 310 Light Metal Casting
• MTJW 320 Jewelry: Mechanisms and Devices
• MTJW 330 Working with Gold and Platinum
• MTJW 345 Advanced Computer-aided Design for Metals and Jewelry
• MTJW 411 Idea Visualization for Jewelry Industry
• MTJW 413 Professional Practices in Metals and Jewelry
• MTJW 702 History of Metals and Jewelry as Source
• MTJW 730 Objects and Desire
• MTJW 770 Professional Development in Metals and Jewelry

"I think of jewelry as a process of deconstruction and reconstruction. It helps to form ideas and solve or even provide questions. I am interested in transforming ordinary objects into a conceptual subject matter or the reverse, challenging viewers' perceptions of objects and forms. I elect to collaborate materials, forms and methods that will lead viewers to question each original meaning. My work has taken inspiration from Buddhism - the concept of pure mind as the source of everything. I am interested in how the rapidly changing mind shapes unlimited imagination. My intention in making jewelry is to create an environment that fosters mind changing. Therefore, jewelry is not only a simple ornamentation; it provides an opportunity to examine the existence and meaning of objects and surrounding environment."

pjchenstudio.com

1999

Moderator, "Making Meaning in the Marketplace: Craft and the next generation of thought" symposium hosted by SCAD and the American Craft Council, Savannah, Georgia, 2009; chair of SCAD metals and jewelry department, 2000-05; visiting artist, Lamar Dodd School of Art, Athens, Georgia, 2002

Conference co-chair for 2008 annual conference for the Society of North American Goldsmiths, "Crosscurrents: Diverse Solutions in a Global Environment," hosted by SCAD

Juror's Award, "Materials: Hard & Soft," Greater Denton Arts Council, Denton, Texas, 2003

American Craft Council, Art Jewelry Forum, Society of North American Goldsmiths

"I am inspired to teach by the dynamic environment of the classroom where creativity and curiosity meet - where students synthesize knowledge and create innovative solutions for the future."

• MTJW 102 Introduction to Metals and Jewelry
• MTJW 306 History of Metals and Jewelry
• MTJW 360 Metals and Jewelry Studio IV: Design Processes
• MTJW 413 Professional Practices in Metals and Jewelry
• MTJW 702 History of Metals and Jewelry as Source
• MTJW 708 Concept Development for Metals and Jewelry
• MTJW 724 Contemporary Issues in Metals and Jewelry
• MTJW 730 Objects and Desire
• MTJW 739 Theory and Criticism for Metals and Jewelry
• MTJW 765 Metals and Jewelry Applied Theory and Practice

"Adornment is embedded in culture - it exists in a continuum of history that is linked to the maker, the wearer and society. Looking to the lineage of jewelry, my latest work contextualizes traditional jewelry forms and material to create cultural commentary. Conventionally, the framework in which the materials are used allow contemporary jewelry to act as identity for the maker, yet that identity is altered when it is taken into society by the wearer. Utilizing material and process as a metaphor, my work creates a dialog on the meanings of adornment through the lens of the maker."

1993

Dean, SCAD School of Design, 1996-2005; chair, SCAD metals and jewelry department, 1994-95; part-time instructor, Ohio Wesleyan University; practicing goldsmith, Weidinger Jewelers

Leadership in the development of curricula for all majors and minors in the SCAD School of Design and hiring and development of faculty in those areas during tenure as dean of the school; continuous teaching within the metals and jewelry department in both the undergraduate and graduate programs

Who's Who Among American Teachers, 1999, 2001; Greater Columbus Arts Council Grant

Society of North American Goldsmiths, Enamelists Society

"As an educator, there is a sense of tradition and legacy for the discipline that is the impetus for personal studio work, sharing of knowledge and a striving for excellence in all aspects of teaching and preparing students to meet their personal goals. An insatiable curiosity drives a commitment to lifelong learning and problem-solving. Finally, the satisfaction in seeing students become proficient and successful designers and studio artists whose thinking has been profoundly influenced by the work undertaken in their program of study."

• MTJW 102 Introduction to Metals and Jewelry
• MTJW 301 Enameling
• MTJW 360 Metals and Jewelry Studio IV: Design Processes
• MTJW 502 Contemporary Processes in Studio Practice
• MTJW 705 Technical Research for Metals and Jewelry
• MTJW 708 Concept Development for Metals and Jewelry
• MTJW 739 Theory and Criticism for Metals and Jewelry
• MTJW 755 Integrated Solutions for Metals and Jewelry
• MTJW 765 Metals and Jewelry Applied Theory and Practice
• MTJW 790 Metals and Jewelry M.F.A. Thesis

"The studio dialog is often initiated by materials and processes that provide the language and form for content and concept expressed as thematically related to ideas surrounding personal irony and formal juxtaposition."

2011

Visiting artist, SCAD; visiting artist, Penland School of Craft; visiting artist, Kon-kuk University; artist in residence, McColl Center for Visual Art; instructor, Rhode Island School of Design; jewelry designer, Robert Corio Design; jewelry designer, C&J Jewelry Co.

A commission for the Vilcek Foundation. Solo exhibitions at Arcade Gallery, Providence, Rhode Island, 2003; Christa Faut Gallery, Cornelius, North Carolina, 2008; Works Galleries, Philadelphia, Pennsylvania, 2010; Hyart Gallery, Madison, Wisconsin, 2010

Award of Excellence, Bellevue Musuem Art Fair, 2007; Best of Show Award, Craft Boston Show, 2007; Spotlight Award, ACC Baltimore, 2007-08; Award of Excellence, ACC San Francisco Craft Show, 2006; Award of Excellence for Display, ACC San Francisco Craft Show, 2006; Collectors' Award of Excellence, West Palm Beach Craft Show, 2006; Award of Excellence, ACC Baltimore Show, 2006; Curator Recognition Award, The Palm Beach International Sculpture Biennale, 2006; New Face/New Works Award, Craft at the Castle, 2005

• Society of North American Goldsmiths
• American Craft Council

Numerous publications have showecased Lee's work, including RISD Views, Jewelry Artist Magazine, AsianWeek, SOFA Chicago Catalog, Ornament Magazine, 500 Pendants & Lockets, American Craft Magazine, Chicago Tribune and Providence Journal, among others.

• MTJW 225 Studio Practice I: Design and Fabrication
• MTJW 304 Rendering for Metals and Jewelry
• MTJW 325 Studio Practice III: Materials, Processes and Creative Solutions

My dream is to do art that has life and visual communication to all people. Sometimes, crafts are viewed as inanimate objects, however, through the use of the movement of light and objects, I believe art can inspire various emotions in people. Although we may not be able to touch art nor have any relevance to them, the heart and emotion of sedentary people can be moved by having a mutual feeling emanating from the work of art, and this is the type of art that I would like to create.

arshong.com

1999

Presidential Fellowship Award, Savannah College of Art and Design; Presidential Scholarship, Savannah College of Art and Design; Who's Who Among Students in American Universities and Colleges; NICHE Art Educator of the Year nominee, 2006, 2007, 2008

American Crafts Council, Society of North American Goldsmiths

Presentations

• Visiting artist, Rochester Institute of Technology Solo exhibitions
• "Spectator," Appalachian Center for Craft, Smithville, Tennessee
• "1761 Degrees: The Melting Point," Trois Gallery, Atlanta, Georgia
• "Nineteen Seventy-One Degree," Bausch & Lomb World Headquarters, Rochester, New York
• "Han," Pinnacle Gallery, Savannah, Georgia
• "Beyond the Surface," Burgan Gallery, Savannah, Georgia

Group exhibitions

• "Korean Contemporary Metal and Art Jewelry," KORUS House, Embassy of the Republic of Korea, Washington, D.C.
• "Memphis In May: Contemporary Korean Metalwork," National Ornamental Metal Museum, Memphis, Tennessee
• "The Story of Silver in Savannah: Creating and Collecting Since the 18th Century," Telfair Museums, Savannah, Georgia
• "Wedding Rituals," Tong In Gallery, Seoul, South Korea
• "New Makers/Fresh Visions," Facere Gallery, Seattle, Washington

"Teaching is a creative act. Both teaching and artistic practice require determination, creativity and hard work to be successful. As an educator, I am committed to helping students establish personal artistic identities by enabling them to increase their skill levels and aesthetic awareness. When I assist students, to shape and inform them as artists, it brings me the same satisfaction and sense of accomplishment inherent in creating artwork.

"The goal I have for my courses is to create an environment where students acquire a strong technical foundation so that technical shortcomings never hinder the execution of ideas. Secondly, I emphasize the importance of research, sketches and models to better visualize and articulate the ideas. Third, I make students aware of the artist's responsibilities with respect to materials and content. Lastly, I foster a studio atmosphere where open discussion and the free exchange of ideas can occur without intimidation. Having a classroom with a supportive peer group is one of the most valuable assets for students.

"As a teacher, my prime duty is to motivate and challenge students to spark their interest and lead them to find their own vision. I use the metals and jewelry curriculum to unite students' passion and abilities to their future professional livelihood."

• MTJW 102 Introduction to Metals and Jewelry
• MTJW 255 Metals and Jewelry Studio II: Design and Fabrication
• MTJW 310 Light Metal Casting
• MTJW 311 Stone Setting
• MTJW 320 Jewelry: Mechanisms and Devices
• MTJW 360 Metals and Jewelry Studio IV: Design Processes
• MTJW 403 One-of-a-kind Art Jewelry
• MTJW 409 Metals and Jewelry Senior Project
• MTJW 702 History of Metals and Jewelry as Source
• MTJW 705 Technical Research for Metals and Jewelry
• MTJW 708 Concept Development for Metals and Jewelry
• MTJW 724 Contemporary Issues in Metals and Jewelry
• MTJW 739 Theory and Criticism for Metals and Jewelry
• MTJW 749 Metals and Jewelry M.A. Final Project
• MTJW 755 Integrated Solutions for Metals and Jewelry
• MTJW 765 Metals and Jewelry Applied Theory and Practice
• MTJW 770 Professional Development in Metals and Jewelry
• MTJW 779F Graduate Field Internship
• MTJW 779T Graduate Teaching Internship
• MTJW 790 Metals and Jewelry M.F.A. Thesis

"Jewelry has always served as a way to interpret and express the complexity of my personal relationships through innovative rings. My current work has emerged by exploring lanterns as a communicative form. This new series of lantern rings is more intimate, in that the lanterns are meant to hang from hands that pray or meditate. The rings fit the fingers or hands of the wearer, letting the lanterns hang below. These pieces are not outright narratives, though they suggest a quietude that is, at its essence, personal. The lanterns utilize both the ceremonial and decorative functions. These lantern rings are not meant to isolate specific meanings but rather suggest a moment of thought where stillness, beauty and illumination can peacefully coexist. The brooches reference concurrent relationships and are perhaps even more direct than the lanterns. Each figure accesses a different path to the inner tangled relationships and is meant to hide the very deepest aspect of my subjectivity to which they point. More simply, a brooch worn over the heart suggests abundant, though virtually unknowable, content."

jaysongjewelry.com

1997

Presentations

• "Transitioning Students into the Workplace," CODA conference, Savannah, Georgia, 2010
• "Improving Assessment Through Teamwork," SAIR 2009 conference, Dallas, Texas
• Visiting artist, University of the Arts, Philadelphia, Pennsylvania, 2009
• Juror, Swarovski International Design Competition, 2006
• "Learning Curves," national student juried exhibition for the Society of North American Goldsmiths National Conference, Cleveland, Ohio, 2005
• "Technology and the Jewelry Curriculum," Society of North American Goldsmiths Education Dialogue, San Francisco, California, 2003

"As an undergraduate student, I volunteered at the Miami University Art Museum teaching Head Start programs and Girl Scout workshops. Through these experiences I became trained in asking questions that would allow people to draw conclusions and solve conceptual problems in understanding art. I enjoyed facilitating these interactions with art."

• MTJW 300 Metals and Jewelry Studio III: Forming
• MTJW 310 Light Metal Casting
• MTJW 345 Advanced Computer-aided Design for Metals and Jewelry

"The work I create advances the metals and jewelry field by building on historical concepts and interpreting them with contemporary tools."