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记 Memo

布面丙烯、树脂 Acrylic on canvas, Resin

150*131cm

2022

Q: 对卡通与漫画的兴趣从何时产生？什么样的情况下开始将其纳入你的创作系统？

A: 对于“卡通”的兴趣出生就有。这也是时代性，跟我同时代的人大部分对“卡通”都很感兴趣。而且我对二维世界（类似动画片）的场景语境有一种难以言说的亲切和寄生感。更神奇的是，某一次探索前世，我的某一个前世就是在二维空间，也就是动画片里，被告知这个消息我没有吃惊但是深深的感动，明白了我为什么“只能”做这样的作品；我也明白了，在宇宙大爆炸之后，二维世界（卡通）也是一个平行世界，它就像作为人类的肉体经验一样真实。所以我的作品是一些纪录片。

Q: When did your interest in cartoons and comics begin? When did you start to incorporate them into your creative system?

A: The interest in 'cartoons' was there from birth, and it was also contemporaneity, as most of my contemporaries were interested in 'cartoons'. And I have an indescribable affinity and parasitic feeling for the context of scenes in the two-dimensional world (like cartoons). I was not surprised but deeply moved to be told that one of my previous existences was in a two-dimensional world, i.e. a cartoon, and I understood why I was 'only' able to do such work; I also understood that after the Big Bang, the two-dimensional world (cartoon) was also a parallel world It is as real as the physical experience of being human. So my work is some documentary.

耳 Ear

Q: 如何看待作品中散发出的「幼稚力」，这仅仅是作为个人趣味/美学上的策略吗？还是有其他的考量？

A: 这个问题可以回到问题1。其实这是一种审美基因：有些人喜欢吃肉，有些人特别擅长算数，我特别擅长运用这些幼稚力。一直觉得“不得不做”，我“只能”做这种类型的艺术家。我最理想的状态：顺流而下，没有策略，没有杰作，只有杰出的状态和享受。

Q: How do you see the 'childishness' that emanates from your work? Is it just a personal interest/aesthetic strategy? Or are there other considerations?

A: This question goes back to question 1. It's an aesthetic gene. Some people like to eat meat, some are good at counting, and I'm good at doing this childishness. I have always felt that I "have to do it"; I "can only" be a typed artist. The ideal state for me is to go downstream, with no strategies, no masterpieces, just an outstanding status and enjoyment.

Q: 意识、灵体、能量、白日梦、神秘主义这些关键词作为你作品中的重要概念，它们在哪些层面上影响了你的工作？

A: 他们就是我的“真实”生活，哈哈。

Q: Consciousness, spirituality, energy, daydreaming and mysticism are key concepts in your work. On what level do they influence your work?

A: They are my "real" life, lol!

Q: 这些形象是如何在你的世界中「降临」的？你有什么习惯性的「创作仪式」？

A: 其实就是规律的生活，现在我搬到工作室里住了，非常享受。早晨吃完早饭画画，中午睡一下，下午继续，晚上喝一点酒，继续。不怎么看手机，经常记错日子，不怎么看表，就是跟随自然，好像一直在创作，也一直在生活。

Q: How do these images "descend" in your world? What are your habitual "creative rituals"?

A: It's just a routine. Now I've moved into the studio, and I enjoy it very much, I paint in the morning after breakfast, take a nap in the middle of the day, continue in the afternoon, drink a little in the evening and continue. I don't look at my mobile phone much, I often remember the wrong day; I don't look at my watch much, just follow nature. It's like I'm always creating and living.

Q: 从此前更多的集中在装置、手工制品与现场布置的环境作品，到此次展览中以布面绘画为主的创作，这种变化对你来说意味着什么？相比此前的工作，绘画是一个新的挑战吗？

A: 从“一个艺术家个体”的创作线索的历史角度来说，刚好去这个系列的作品只能在架上这种相对隆重的材料上进行，所以诞生了。材料就是一支画笔，我认为不应该用材料来划分“阶段”。挑战的话也确实是有，画布的布纹对我来说太有侵略性，花了很久的时间跟这些布纹相处，才诞生了这么多新图像。

Q: What does this change mean for you, from previously focusing more on installations, handicrafts and site-setting environmental works to painting on canvas in this exhibition? Is painting a new challenge compared to your previous work?

A: From the historical point of view of the creative thread of "an individual artist", it just so happened that the series could only be done on a relatively grand material like the easel, so it was born. The material is a brush, I don't think we should use it to classify 'stages'. There were challenges, too, the texture of the canvas was too aggressive for me, and it took me a long time to work with the linen to create so many images.

Previous Works

一个玩耍结构 A play structure

布面丙烯、毛绒、树脂 Acrylic on canvas, plush, resin

100*80cm

2020

Q: 在你的绘画作品中，「绘画性」并不以一种常规的方式体现，而是以一种更加个人化的，结合进你的图示与概念的方式显现，能否谈一谈你对绘画性的理解？以及你是如何在你的绘画作品中去处理这个「硬核」问题的？

A: 绘画性是一种身体的延伸的痕迹。它是基于长时间和无数次的练习之后形成的身体能量的延伸，从而在周遭的一切材料上形成的完全带有个人灵魂个性“痕迹”。所以“绘画性”不仅仅存在于“绘画”名词上面，这个痕迹也在不断探索自己的范围。

Q: In your paintings, 'painterliness' does not represent conventionally, but in a more personal way, combined with your iconography and concepts. Can you talk about your understanding of pictoriality and how you deal with this 'hardcore' issue in your paintings?

A: Pictoriality is a trace of bodyextension. It is an extension of the body's energy, based on long term and numerous exercises, which creates a "trace" of the individual soul on all the materials around it. So 'pictoriality' is not only in the term 'painting', but also constantly exploring its range.

它一咪  It's me