Objects In-between
Mixed Alloys of Copper, Gold, Silver, 2018-2021
Object 1, 20.8 x 10.8 x 10.8 cm, silver
Object 2, 15 x 15 x 14 cm, copper, gold, silver
Object 3, 21.5 x 15 x 14.5 cm, copper, gold, silver
Object 4, 20.5 x 19.5 x 10.3 cm, copper, silver
Object5, 17.5 x 10 x 3.7 cm, copper, gold, silver

2021 Cheongju Craft Biennale
Finalist in 2021 Cheongju International Craft Competition
Honorable Mention

ANU School of Art & Design Gallery
PhD Examination
1-14 April 2022

UNSW GALLERIES
crn of Oxford Street and Greens Road
Paddington NSW 2021
18 June - 14 August 2022

Opened by Vaughan Rees alongside
Liz Williamson: Weaving Eucalypts Project
Inoka Samarasekara: The Tangled Jewelled Maze

Sturt Gallery & Studios
Objects of Desire (Group exhibition)
2 April - 21 May 2023

MUZA Eretz Israel Museum (Invitation)
The Tel Aviv Biennale of Crafts & Design
31 March - 30 November 2023

Install Image: Installation view, ‘Bic Tieu: Objects In-between’, UNSW Galleries, 2022. Pictured: Bic Tieu, Object 2 2021; Object 3 2021; Object 4 2021; and Object 5 2021. Photography: Jacquie Manning.
Group Photo: (l-r) Liz Williamson, Inoka Samarasekara, Bic Tieu, Vaughan Rees, José Da Silva.

Objects In-between text from www.artdesign.unsw.edu.au/unsw-galleries/bic-tieu-objects-in-between

Bic Tieu is a Southeast Asian Australian designer, maker, and researcher interested in how traditional crafts methods and contemporary technologies can shape new perspectives of contemporary jewellery and object making. Her practice uses Vietnamese and Japanese Lacquerware in objects and wearables designated for the hand and body. Recent projects have used geographical mapping and graphic language to explore cultural identity and transnationalism in the form of jewellery and objects.

Tieu’s new body of work moves away from wearable form and into architecturally described objects. 'Objects In-between' explores notions of hybridity as a third cultural space informed by her experience negotiating multiple cultures, and how objects can shape and reflect identity. The five rectangular prisms in the series are formed from intersecting plant-based motifs made from semi-transparent metal alloys. The motifs are charged with meaning through the process of hand manipulation, defragmentation, and reassembling, resulting in a visual language that expresses ideas of interceptions, transgression, and intercultural negotiations.