Toria Ya Tuo is a Chinese Mongolia textile artist, jewellery designer and maker. She founded her embroidery jewellery brand TORIA LONDON in 2022. She is a technique researcher as well as a storyteller. Inspired by her personal experience and the emotions we encounter in specific situations. She explores wearable textiles through embroidery, soft electronics and robotics, utilising these processes to recreate a sense of living movement and touch during her study at the Royal College of Art. Her work discusses the relationship between our emotions, body and materials.
She applied art and handicrafts as a medium to communicate with people with mental health issues in her current work. She will keep her passion for research based on emotion and specific requirements for vulnerable people, focusing on their psychological needs in her future studies.
“Textiles are the closest material to the human body. It is difficult to imagine something as fundamental to our body and behaviour. This influence is both physical and psychological. Premium products bring us comfort and emotional support, especially during tough times. How can we create this sense of safety or satisfaction? How can we add extra functions to textiles and redefine the role they play in our daily lives? What new methods can we discover that combine engineering with the intimate touch of handcrafting? In which ways can textiles be practical and yet bring us joy?”
——- Toria Ya Tuo
THE UNNAMED WORLD 1
50*50cm | Cotton Yarn | 2023
Art originates from life, but also nature. The inspiration from the natural world has never ceased. Commonplace scenery is radiant due to the passage of time, inaccessible places are fascinating because of the mystery. Human beings cannot live in the ocean, space or underground, however, the creatures and landscapes there are always attractive to us. We yearn for the kind of strange beauty, or maybe we are even more obsessed with the "feeling of yearning" itself. How to reveal the unknown mystery to the known world? How to express abstraction concretely without losing its authenticity?
THE UNNAMED WORLD is a soft sculpture based on embroidery. Materials such as cotton, nylon thread, silk thread, metal thread, and reflective thread are applied. The technique of water-soluble embroidery allows the embroidery to be separated from the attached fabric and maximize its independent display from two-dimensional to three-dimensional. The seamless connection of the embroidery pieces endows the embroidery functionality and unique texture. The speculation about the "unknown" leads to the blackhole centre shape in the sculpture. The layered embroidery pieces imitate the fins of mollusk or wings soaring in the sky, which are reflective subtly in the soft rhythm.
To see a world in a grain of sand,
And a heaven in a wild flower,
Hold infinity in the palm of your hand,
And intercity in an hour.
I believe that there are endless unknown creatures, and each of them represents a splendid world.
THE UNNAMED WORLD is a soft sculpture based on embroidery. Materials such as cotton, nylon thread, silk thread, metal thread, and reflective thread are applied. The technique of water-soluble embroidery allows the embroidery to be separated from the attached fabric and maximize its independent display from two-dimensional to three-dimensional. The seamless connection of the embroidery pieces endows the embroidery functionality and unique texture.
THE UNNAMED WORLD is a soft sculpture based on embroidery. Materials such as cotton, nylon thread, silk thread, metal thread, and reflective thread are applied. The technique of water-soluble embroidery allows the embroidery to be separated from the attached fabric and maximize its independent display from two-dimensional to three-dimensional. The seamless connection of the embroidery pieces endows the embroidery functionality and unique texture.
THE UNNAMED WORLD 2 is a conceptual development of THE UNNAMED WORLD 1. The first one is an experiment in embroidery sculpture, as a continuation of it, the second one expanded in size and scale and was more flexible.
Biomimicry has always been practical, both aesthetically and engineeringly. With a previous research background in biomimicry, the artist applied the method again to explore possibilities in different dimensions of fine art from a display perspective. Under the symbolic meaning of mollusk, combined with the soft characteristics of textiles, the shape of this piece is also organic. It can be twisted to be a sculpture, hung or overlapped to be an installation or wrapped around the body to be a part of clothing. The artist explored flexibilities in fine art from a display perspective, letting the textile itself adapt and interact with the surrounding environment.
THE UNNAMED WORLD 2 is a conceptual development of THE UNNAMED WORLD 1. The first one is an experiment in embroidery sculpture, as a continuation of it, the second one expanded in size and scale and was more flexible.
THE UNNAMED WORLD 2 is a conceptual development of THE UNNAMED WORLD 1. The first one is an experiment in embroidery sculpture, as a continuation of it, the second one expanded in size and scale and was more flexible.
“THE UNNAMED WORLD 1”
“THE UNNAMED WORLD 1”
“THE UNNAMED WORLD 2”
“THE UNNAMED WORLD 2”
