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15
Hello Feixue and welcome to NotRandomArt. The current issue is revolving around the problem of communication and identity. Is there any particular way you would describe your identity as an artist but also as a human being in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics?
Yes, as an artist and live in this digital age. I think everything around me is instant, flexible, situational and unstable. We are surrounded by poor images and fuzzy videos; they are all plastic images. Social medias and different platforms online generate digital bodies that are a fusion of subjectivities and cybernetic simulations. These digital bodies are extensions of ourselves, they are unfinished and happening, an on-going process. I think everything is a performance, everything is in process, never end.
These concepts filled in my works. I care about people’s behaviors online and web culture, I care about the connection between virtual space and reality, I care about the multiple layers of interpretations. Since I am Chinese and I was a part of Asian fan-art community from a very young age. I always think of the relationship between fan-art and original work. Thriving anime fan-art spaces on the internet, especially Deviantart, are an example of characters’ subject to manipulation and reinterpretation. I also like to compare different cultures and think of issues around culture from an easterner perspective.
Would you like to tell us something about your artistic as well as life background? What inspired you to be in this artistic point in your life when you are now?
I was born and raised in Wuhan, China. I have been to many different countries and these experiences sharpened her appreciation for different kinds of visual design and art. My work has a strong connection to history, the internet and media, which defines contemporary culture. In the current climate where technology and internet have a profound impact on people’s lives, I found myself continually questioning the definition of institutional critique, the relationship between the truth and interpretation and people’s behaviors online. In my varied and diverse approach to making art, installations, publications and videos. I experiment different ways to discuss these issues and make viewers think more critically of these problems.
I was highly influenced by my father, he is a professor in a Chinese University and he is teaching sociology, therefore I always put my personal interests under sociology context and think of the deep meaning behind a particular phenomenon.
Another significance influence is during my undergraduate study, I spent two years in China and two years in USA, I transferred myself from eastern culture to western culture. From then on, I always think of questions in two culture context and discuss culture issues in different culture backgrounds.
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the visual culture?
I really like Alexandra Gorczynski’s mixed media works. Her works are always a mesh-up of multiple visuals, sometimes they are artist’s own works and sometimes they are found images. I like the messiness and chaotic feelings in her works. We all think of the relationships between digital body and physical body, our online identity as an extension on our real life. Are we leave in the reality? What is reality?
Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
Yes, I think memory is an important element in my thinking process. History is a collective memory, it has bias and it is recorded by victories. When I read historical documents I always think of the relationship between truth and interpretations. Interpretations is a never-ending process and there are multiple layers of the truth. Moreover, I like to get inspirations of my personal memory as well. When I start a new project, I always think of my past interest, my past works and my past experience and take all of these into considerations and generate new works.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
In my works, I tried to experiment every technique that I know and I am also willing to learn new technologies. But when it comes to my work, I always try to find the best way to express my ideas and I can always use the technics that I have already mastered to express my ideas. In my practice, I always treat my project as an on-going process, the same work changed a lot every week until the deadline. I never see my work as “done”, they are always keep going and turned into new inspirations for my next project. My thinking process is non-linear and I think technique is just a way of expressing, the core is always the concept, the idea, the experience that I created.