Album review
In the bustling world of modern art, where colossal sculptures and expansive installations often dominate gallery spaces, the delicate intricacies of small-scale artworks and contemporary jewellery can find it challenging to capture the limelight. However, in London, there is a curator dedicated to showcasing and promoting these small-scale treasures. Enter Yiru Zhang, a visionary curator based in London, stands out as a visionary curator who is committed to shaping the landscape of modern art curation. With a robust academic foundation from the Royal College of Art, Yiru has dedicated her career to enhancing the visibility and understanding of contemporary jewellery and metalwork through her insightful exhibitions.
Yiru Zhang
As the director and curator of Alsolike Gallery in London’s dynamic Shoreditch area, Yiru has crafted a hub for artistic innovation and expression. Established in June 2022, the gallery quickly became a cornerstone for artists and aficionados of finely crafted small-scale art pieces. Yiru’s thoughtful curation ensures that each piece receives the attention it deserves, showcasing intricate details through specialised lighting and display techniques that highlight the craftsmanship and artistic vision behind each work. The pieces at the gallery have been instrumental in defining a new paradigm for how small-scale artworks are perceived and engaged with by the public.
With a background in jewellery and metalwork, she has a deep passion for metal craftsmanship. Following her successful planning and participation in Collect 2023, she has also maintained a long-term display of works by renowned metal artists such as Ane Christensen, Angela Cork, and Jessica Jue in her gallery. These three artists’ creations rank among her favourites, each piece resonating with her personal aesthetic and professional admiration.
Ana Christensen’s “Ghost Bowl with shadow” stands out as a prime example of her innovative approach to metal artistry. Christensen, whose works have been acquired by prestigious institutions such as the Victoria and Albert Museum, typically steers clear of using silver as her primary material. However, in “Ghost Bowl with shadow,” she embraces it fully, crafting the piece from silver but opting for an unusual finishing technique. Instead of polishing, she employs sandpaper to create textured, circular patterns on the surface. This method generates a captivating optical illusion, casting a halo-like glow around the bowl that shifts and changes depending on the light source and viewing angle. The base of the piece is made from copper, which contrasts with the main silver body, giving the impression of a shadow under the bowl.
Angela Cork’s “Wedge Vase” demonstrates the exceptional skill and craftsmanship inherent in her work. This vase is intriguingly designed as a two-piece ensemble where the water container can be removed from its frame. The entire piece is meticulously handcrafted, which allows for a precision fit within its frame, accessible only from one side. This design not only adds to the aesthetic and functional uniqueness of the vase but also offers a tactile experience of resistance when inserting or removing the container. This level of artisanal craftsmanship highlights the remarkable precision that can be achieved through traditional hand-making techniques.
Jessica Jue’s “Brush Stroke Beaker” utilises a traditional Korean metal gilding technique called “Keum Boo”, involving the application of gold foil to a silver base at high temperatures. This ancient method predates modern electroplating, offering a way to enhance metallic objects with gold—a testament to human ingenuity in metalwork before contemporary techniques took precedence. The “Brush Stroke Beaker” reflects Jue’s Eastern heritage, imbuing the piece with an Oriental aesthetic that resembles brush strokes, where the gold foil elegantly contrasts against the white silver, creating a striking visual effect reminiscent of classical Eastern paintings. This piece not only showcases Jue’s cultural background but also her mastery of combining traditional techniques with modern design sensibilities. These artists are regular exhibitors at the Goldsmiths’ Fair, providing an enduring space where their work can be appreciated beyond the temporal confines of an exhibition. She expertly guides visitors through the nuances of metal craftsmanship, enriching their understanding of the art form.
Beyond promoting contemporary jewellery and small-scale metal artworks, Yiru, as a Chinese expatriate in the UK, is also fervently building bridges between Chinese and British cultural scenes. In June of this year, she collaborated with How Art Museum to transport works by European artists to Shanghai for the JINJING Gallery’s The Wearable Boundary exhibition. This innovative showcase, exploring the concept of wearability, featured many artists debuting in China, such as Eve Balashova, Ruth Leslie, Isabella Bedlington, and Lois Lo. The exhibition was a resounding success, drawing coverage from over forty regional media outlets and attracting new collectors previously unfamiliar with contemporary jewellery and metalwork. Moreover, Yiru is committed to promoting Chinese artists internationally. She is currently planning a new media art exhibition in collaboration with Shandong Academy of Arts, which is set to debut in London in 2025 and participate in the Venice Biennale.
Yiru Zhang’s role as a curator not only showcases her innovative approach to art curation but also highlights her dedication to promoting small-scale artworks and her influential role in shaping the contemporary jewellery scene in London and beyond. Her forward-thinking exhibitions and community-focused initiatives are a testament to her commitment to redefining how art is experienced and appreciated in everyday life.
