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Bic Tieu

Street Address
Sydney
+61 0412 345 280
Jewellery and Objects

Jewellery and objects

Bic Tieu

  • About
    • Content: Bio, Reviews, Teaching
    • Bic Tieu Bio
    • Studio
    • FEATURED ARTIST - IOTA24
    • Mentorship + Student-led New Visions in Object Design
    • An Orchid in the Desert by Kevin Murray
    • Catalogue Essay by Dr. Nicholas Bastin
    • Under the Surface - Lexus Magazine
    • Resolved - Journeys in Australian Design
    • Found in Translation: Jewellery Design that tells a Cross-Cultural Narrative
    • Creating Beauty Between Cultures
    • Lacquer Rises in the East
    • Japanese Lacquer Sponsor
  • Works
    • Circling Cabramatta | 2025
    • Re-ConFloral Series | 2024
    • Cabra Charms | 2024
    • Camillia Sinensis | 2023
    • Moving Magnolia | 2023
    • Charms of Fairfield | 2023
    • The Object Making Image | 2022
    • 2022 Robert Foster F!NK National Metal Prize
    • Objects In-between | 2022 - 2023
    • Objects In-between | 2017 - 2022
    • New York City Jewelry Week 2021
    • Radiant Pavilion 2021
    • Animation | 2017-2018
    • Bush Fauna & Flora | 2020
    • Thresholds | 2020
    • Moving Repositories | 2019
    • Home Geometries | 2019
    • Kangaroo Paw Brooches | 2019
    • Ideas Intersecting: Innovation & Design
    • Moon Light Sea Series | 2018, 2019
    • Shifts in Japanese Materiality | 2018, 2019
    • Bi-Cultural Floras | 2017
    • Connected Landscapes | 2017
    • Between Auspicious Forms | 2016, 2017
    • Japanese Lacquer Residency 2009-2011
    • The Garden Pots | 2008
    • Workshopped | 2008, 2010, 2012
    • Lacquer, Lustre, Laser | 2006
    • Seasons | 2005
    • Studio Lacquer Vietnam | 2004
    • Season Series Studies | 2003
    • Integrated Box Series | 2002
    • Alice's Small Objects | 2000
    • Projects
  • Words
    • Content: Articles, Essays, Research Papers
    • UNSW Art & Design Forum Series
    • Garland Magazine - Issue 34 The Street
    • The 8AAI Conference
    • Journal of Jewellery Research
    • Garland Magazine - Issue 26 Objecthood
    • Asian Art Research Now
    • IOTA21 Futuring Craft Conference
    • Book Review for The Journal of Modern Craft
    • Real Material Ethereal: The 2nd Annual Design Research Conference
    • Ligature Journal
    • The International Conference on Design History and Design Studies
    • MAKING an International Conference on Materiality and Knowledge
    • The Journal of the Asian Arts Society of Australia
    • Cross Pollination RED OBJECTS UNSW-COFA
    • 2008 JMGA Conference
    • Master of Design (Honours)
    • Metal & Lacquer Australia Council Grant
    • 2005 International Design Congress
    • 2004 JMGA Conference
  • BLOG
  • Shop
  • Contact

Studio

Bic Tieu Studio
It is located in the city's heart at 250 Pitt Street in the National Building.

Alongside exploring the realm of the contemporary jewellery and object scene, Bic maintains a parallel practice as a freelance commercial jewellery designer, commissions and maker. Bic has over five years’ experience in the jewellery designing and manufacturing processes. Working at the production scale, utilising computer-aided design and large-scale production and casting methods to facilitate the commercial jewellery world. Known for her attention to detail, Bic renders meticulous designs in 1:1 scale using Adobe Illustrator and Photoshop to articulate designs ready for production. In 2013, Bic started the Bic Tieu Studio range, consisting of small run, studio production base of contemporary jewellery design, honing in to reflect her specialty skills.

Bic's fascination with East Asian lacquer and her desire to recreate the characteristics of maki-e lead to the heart and origins of Asia's lacquering birthplaces. To further her knowledge, Bic first spent some time in Vietnam - where she created a body of works and authored dissertation titled 'Traditional Processes of Vietnamese Lacquer and Their Application to Contemporary Jewellery and Small Scale Body related Objects' coupled with an exhibition at the Kudos Gallery in 2006. Not long after the success of her exhibition, Bic was invited by Japanese lacquer master to take up a formal two-year residency at the world-famous Kitamura Koubou Studios in Wajima Japan where she honed her skills and craft of this wondrous tradition. She remains the only Australian practitioner one of the few non-Japanese to have gained knowledge of this traditional craft. In bringing maki-e into her own contemporary jewellery practice, she creates a wholly new hybrid art form.

Studio

Bic Tieu Studio
It is located in the city's heart at 250 Pitt Street in the National Building.

Alongside exploring the realm of the contemporary jewellery and object scene, Bic maintains a parallel practice as a freelance commercial jewellery designer, commissions and maker. Bic has over five years’ experience in the jewellery designing and manufacturing processes. Working at the production scale, utilising computer-aided design and large-scale production and casting methods to facilitate the commercial jewellery world. Known for her attention to detail, Bic renders meticulous designs in 1:1 scale using Adobe Illustrator and Photoshop to articulate designs ready for production. In 2013, Bic started the Bic Tieu Studio range, consisting of small run, studio production base of contemporary jewellery design, honing in to reflect her specialty skills.

Bic's fascination with East Asian lacquer and her desire to recreate the characteristics of maki-e lead to the heart and origins of Asia's lacquering birthplaces. To further her knowledge, Bic first spent some time in Vietnam - where she created a body of works and authored dissertation titled 'Traditional Processes of Vietnamese Lacquer and Their Application to Contemporary Jewellery and Small Scale Body related Objects' coupled with an exhibition at the Kudos Gallery in 2006. Not long after the success of her exhibition, Bic was invited by Japanese lacquer master to take up a formal two-year residency at the world-famous Kitamura Koubou Studios in Wajima Japan where she honed her skills and craft of this wondrous tradition. She remains the only Australian practitioner one of the few non-Japanese to have gained knowledge of this traditional craft. In bringing maki-e into her own contemporary jewellery practice, she creates a wholly new hybrid art form.

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