The robot figure became a fusion of symbols and ideas from the three cultures and formed a new thing, a new identity. It consisted of wearable jewellery including a brooch, a pair of earrings and ten rings. Each jewellery piece depicts ancient symbols and patterns. I started with a Bactrian pattern that I used to depict the knees of the robot figure (Figs 4-5).
The pattern in the Celtic cross was copied and superimposed onto the feet rings (Figs 6-7).
The one-eyed–three-bodied fish symbol embedded in the centre of the robot figure (Figs 7-8).
The completed design was created from the three different ethnic groups (Fig. 9).
The conglomeration of visual languages is arranged into a composite artwork. Henri Bergson’s conception of a composite is useful in framing the processes of the combination. The notion of composite is encouraged through the act of juxtaposition. This has the capacity to create innovative artworks. There are numerous potential mixtures of visual languages from the relics of Celtic, Bactrian and ancient Korean. My use of the composite assists with the development of models for jewellery and objects that can engage with differences in cultures, materials and techniques. These are capable of generating new transcultural content that can be recovered over the period of engagement with the work.
As understood from the above description, the jewellery and the object that has been designed is a model that is made up of components that are different in kind. This was an important finding that I became more aware of throughout the processes involved in generating the robot figure. The use of juxtaposition enabled me to consider and suggest transcultural experience in an artwork. By collecting and combining heterogeneous relics, symbols, and patterns into composite artworks I demonstrate how imagined artworks can present new readings of transculturality today.
