She has exhibited at London Craft Week (2024, 2025) and London Design Week (2025), with works shown at Blackdot Gallery and AlsoLike. Alongside her studies, Yuan worked as a designer assistant at Sara Chyan.
Her practice has been recognised with the Brian Wood Memorial Medal 2025, awarded for exceptional craft, design, and innovation.
This collection originates in my early encounters with ikebana, the Japanese art of flower arrangement. What began as fleeting impressions grew into five years of study that deeply shaped my practice. The transient beauty of seasonal flowers and the quiet presence of water became central themes. Over time, my focus shifted from decorative florals to the stillness of water itself and the vessel as a space of containment, transformation, and meaning. Silver, with its reflective surface and history in domestic vessels, became the primary medium for this exploration.
The works include rings, earrings, bangles, and necklaces. A hollow silver signet ring holds water as a cabochon-like surface, evoking impermanence. The “watch bangle” measures time in rainfall, while “dimple earrings” allow droplets to rest briefly. Minimal in form, each piece rests quietly on the body, inviting reflection through touch and presence. By combining traditional handcrafting with digital 3D printing, I shape metal into essential forms that echo ikebana’s sensitivity to time and space.
Grounded in Buddhist aesthetics, the collection reflects impermanence and mono no aware—the quiet awareness of change. Influenced by the Heart Sūtra’s teaching that “form is emptiness, emptiness is form,” I see jewellery not as static ornament but as an open, transformative space.
This philosophy resonates with Kenya Hara’s writings on emptiness as potential: vessels gain meaning through capacity, and white space invites perception. Silver here becomes a medium for quiet interaction and imagination. Scandinavian modernism, especially Henning Koppel’s silver designs for Georg Jensen, also informs my language of simplicity, motion, and restraint.
By weaving East Asian philosophy with European modernist heritage, this collection invites stillness in daily life. Each piece captures traces of time, light, and presence, becoming both ornament and contemplative vessel.
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