painting process enables me to distance and to take a fresh approach to Western thinking and film and digital visualization practice , but at the same time using software tools that generally have been devised to create 2D and 3D artefacts from a Western cultural perspective avoids the pitfalls of echoing and imitating Chinese landscape painting too closely .
We have particularly appreciated the way you have created an harmonic combination between elements from Traditional imagery with contemporary digital techniques . We live in an age that ’ s saturated with a vast multitude of image and video making methods with all the variations and modifications that come with them . How does it affect us psychologically when we see an image that looks like it was made over a hundred years ago , even if it was made yesterday ?
‘ outside ’ from which to see more clearly the values and preoccupation of Western culture . my two video scrolls apply this philosophical concept - in the sense of Francois Jullien the art work is a ‘ detour via China ’: Emphasizing to some extent philosophical as well as pictorial concepts and practical aspects of the Chinese
It depends . If the manipulation is really well done no one probably recognizes that it ' s a new image . Hence I make sure that there are some twists , clashes and collisions in the work so that it ’ s quite obvious that it ’ s a newly and digitally manipulated and arranged work . I think only if you allow the viewer to be aware of the manipulation you can make them think and be astonished but also more critical about what ' s possible today to do with imagery and sound . I think , only then you allow people to reflect the old content and relate it to their own situation today .
Elements from environment are particularly recurrent in your imagery and they never plays the role of a mere background . Do you see a definite relationship between nature and your work ?
Yes I do . As I said before , travelling , the ‘ other ’ and the ‘ foreign ’ are important