Tina Jiao is a Chinese maker based in London whose practice centres on the innovative use of traditional jade carving techniques in jewellery and objects. She is dedicated to the continuation of these ancient techniques, which are an integral part of her cultural heritage. Her creations reflect themes of culture, collectivism, and identity, exploring these concepts through craft practice.
Growing up away from China, Tina Jiao was influenced by diverse cultures, which often conflicted with her traditional upbringing. Her collection, Of One, uses chain carving and ’devil’s work ball’ techniques to symbolise her transformation from a rigid cultural identity to a fluid, multicultural self.
For her material, she primarily used ’non-precious’ jade, which is typically intended for mass-produced tourist trinkets. She challenges perceptions of value and elevates these overlooked materials through her technical craftsmanship.
CO: What ideas or themes inspire your work?
TJ: My inspiration comes from my Chinese heritage and my interpretations of it. As a student of the intangible cultural heritage craft of jade carving, I represent these ideas through this traditional art form. During my apprenticeship with a master jade carver, I developed an intimate relationship with the materials and the carving process. I learned things that changed the way I work completely. The slow, meditative approach of creating allowed me to appreciate the beauty of the stone’s transformation in my hands, and became my biggest inspiration that informs my work. My work embodies this journey, valuing the process of metamorphosis as much as the final product.
CO: What are the biggest challenges you face in your practice?
TJ: I think the biggest challenge my work faces is finding a way to work more sustainably. There are many sustainability concerns when it comes to jade carving, including the tools and debris the process creates. The carving tools I use are coated with a thin layer of diamond to break through the stone. However, over time, the coating wears off and becomes unusable. I am currently in contact with a company that ’re-tips’ used-up diamond drill bits to repurpose them. Another big problem is the debris. A lot of fine dust is created when the stone is slowly shaped, and when it comes into contact with water, it becomes a paste. This paste is toxic to plants and animals and should not be poured down the sink. I kept this paste during the making of my collection, and I am interested in the possibility of repurposing it. I read a few articles suggesting that these pastes can be used as ceramic glazes, so I will be experimenting with this in the future.
CO: Could you describe your approach within the broader fine art field?
TJ: Growing up, I was always fascinated by jade as a form of jewellery. I’d always see my mom wearing jade bangles and beads, but as I grew older these pieces seemed less and less attractive to me. I believe that jewellery should be an external reflection of our individualities, and traditional jade jewellery doesn’t fully represent who I am anymore. This is a common problem with young people in China, it is difficult to find the balance between representing your culture and your individuality simultaneously. My work reflects on this topic by using traditional jade carving techniques with a contemporary approach. Reinterpreting traditions in different ways. By using popular traditional reference points like nature but at a cellular level and using non-precious jade, I hope to create new and exciting pieces that pay homage to the traditions whilst also challenging it.
Instagram @jiaosjewels
All featured images are courtesy of the artist and @oliver_jvbelll
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