Chen Yingze, manager of NANZUOKI brand, was born in August 1990 in Zhangzhou, Fujian, and graduated from Nanjing University of the Arts in 2013, majoring in jewelry design and metal crafts. He now lives in Jingdezhen and is engaged in design and artistic creation.

NANZUOKI Metal Art Studio was co-founded by Chen Yingze and Cao Hao in Nanjing on November 1, 2013, and has been in Jingdezhen since 2015. "NAN" is the aesthetic appreciation and fate of Chinese characters; "ZUO" is the instinct and creativity of craftsmen; "KI" is the perfect presentation of products. Drawing artistic and cultural accomplishments from tradition, it observes the people, events, objects and scenery around it, combining with personal aesthetics, and then is made after thinking. With several hammers to do some experiments on texture innovation and techniques, we summed up the techniques of "The Method of Hammering the Texture like Painting Brushwork", "The Method of Hammering the Texture with Large and Small Hammers Alternately", "The Method of Hammering Through and Welding the Hole from Inside" and so on. Repeated percussion echoes, exchanges the advancement of craftsmanship with time, and the confluence of ideas and craftsmanship gradually forms the current style. NANZUOKI, persistently pursues art language for handcrafts creation, regardless of any established principles of anywhere or anytime, with the ultimate aim of creating something meaningful out of metals.

year：2014

material：Sterling Silver / Wood

size：L 14cm * W 12.5cm * H 21cm

The first silver pot created by NANZUOKI, "Beauty lies in the bone, not in the skin", how to make the decoration of a pot not only on the surface but also more reasonable? "Rebellion" requires sufficient theoretical knowledge to support, so the creator has read a large number of graphic classics and here is a summary of his conclusions: most of the pot shapes have no obvious bone and the pot surfaces are as soft as skin. On the contrary, the decorative technique of "The Skeletons of Stone" deconstructs the bone points of mountains and rocks, and the rigid texture of large brush strokes collides over the soft lines of traditional pots, making a skeletal texture.