Because I launched my career by publishing drawings and woodblock prints in Yunnan, a rural mountainous region close to Tibet, my identity as a self-appointed artist away from the center of the art world necessitated a desire to remotely engage and moderate my ego. My fascination with productivity and expertise had opened multiple doors and guided me to unanticipated ways to combine discipline and freedom. As a result, a re-framing of the notion of “skill” in contemporary art informs my current practice: I am interested in the speed of artistic creation in terms of the expression of concept and the engagement with time. More precisely, I aspire to unpack and challenge pre-conditions of art-making, advocating the instability of my body as I incorporate movements in my paintings and drawings, the unconventional sites of creation as I dry vegetable-tanned leather al fresco, and the insignificant yet irreplaceable devices like push-pins as I diversify their functions for my sculpture. I am eager to call attention to a fluid re-imagination of expertise and artist responsibilities.

        Additionally, I critically envision how I can situate my practice globally as a Chinese artist in the United States. Recent artistic and scholarly projects examine the Shanghai Biennale in 2000, the first international art showcase in a state-sponsored Chinese museum, as both history and the present tense. My creation of paintings and drawings specifically address how I as a Chinese artist interpret this introduction of contemporary art in China and its ramification merely 21 years later. Moreover, I am increasingly interested in the medium of artist book, and am curious how this ambiguous medium can be activated to pose difficult questions both artistically and socially. As my past conceptual artist book projects enter collections such as the Asia Art Archive in America, I imagine how international relevancy can continuously impact my future work.

宁为太平狗,莫作离乱人。#skill #speed