Wing Yau – Earth Connection

Her jewelry sculptures reflect a connection to the people and country of provenance, to her team and finally, to those who choose her pieces from Wwake to create their own expression.

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The four carved granite faces of Mount

Rushmore may claim status as the world’s largest, but other forms of sculpture carry their own weight, remarkable texture, subtle meaning and private statement. Wing Yau creates moonbeams from seedlets of pearls and drops of rainbow from the confetti of opals she carefully sources. Her jewelry sculptures reflect a connection to the people and country of provenance, to her team and finally, to those who choose her pieces from Wwake to create their own expression.

Gwynned Vitello: You almost made a 360, in starting art school to study sculpture and then shifting to making jewelry. What did the younger Wing Yau have in mind when enrolling at the Rhode Island School of Design?

Wing Yau: This question brings back waves of nostalgia! I graduated after studying sculpture at RISD and wanted to make art in my studio—but honestly had no direction. In school we learned to weld and cast metal to make larger-scale sculptures and how to make video art with equipment from the school. After graduation, it was like a plug was pulled, no studio and the tools I needed to make what I’d made before. I knew how to work with my hands, so my work shrunk and I worked out of my bedroom with textiles, clay, and wax. These sculptures became wearables, then became jewelry—which I hear has been a natural transition for a lot of sculptors! Studying sculpture gave me a full understanding of the soldering process and casting within jewelry, and ultimately to become a better designer and communicator. It’s not just magic—there’s a lot of practical problem-solving in building sculpture, but I think it’s fun being both problem solver and artist!