Not Random Art | Page 7

W e see it more like making a jigsaw puzzle. we right down things we thought about, and those are our first a few pieces of the whole puzzle. But these first few pieces normally are not enough to see the whole picture, we would just continue collecting materials, through researching, rehearsals, but most of time just waiting for it to come. Eventually when we have enough, we would just put them all down on a pin board, switch orders, trying to find the connection. Sometimes we will find the right order then put the puzzle together, but most of the time, there is something we are unhappy about, then we would just start over.

How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?

To us, it is very hard to tell those two apart, because we never thought there is a very clear boundary of those two in our work. Because most of them came from intuition, we try our best to trust our intuition, make decision based on what feels right and what we like. we think intuition represents both emotional and intellectual perception.

We like to create immersive work because we feel that is what audiences deserves. They deserves more than a screen or a proscenium that the passively receives information. And this is the answer coming from both our emotional and intellectual perception.

Lisa Kristine stated: My work is about the establishment of trust. For someone to share their authenticity with me is a soul-to-soul thing. It's not a lens-to-soul thing.

Can you relate anyhow to this words? Could you tell our readers more about your perception of authenticity, which seems to be the core concept in your work?

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time and space

are free ALIQUAM

"we try our best to trust our intuition."

quiet person. He did not speak much in his entire life, while my grand mother liked nagging. I did not have much to talk about with them, so I spent most of my time alone. every summer and winter vacation, i would take trains by myself back to my parents home, which was a 27 hour train ride. My father is a very quiet person, like my grand father, and my mother likes nagging, but both my parents worked in hospital, so i was often alone at home too. And I am very a quiet person, just like my grand father and my father.

Yao: I grew up with a lot of freedom, unlike most of my generation in China, my parents were very open and they didn’t seem to give me a lot of boundaries of what I should or should not be. A lot of Chinese parents when i was growing up thought the most important thing is to get a higher score in school exams, my parents did not really care that much, although I did well in school anyway. They tried to respect all the decision i have made, when i first decided in high school I was gonna go to film school for college, then they respected my time trying to find what I really love to do in my life. They supported me in very steps i have made. They don’t really understand what I make as an artist, but they still do their best to support me doing it.

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?

Our culture and life experience definitely is where our work come from. We are still trying to find out the connection between our experience and our work, since we are still in a early stage in our career. Hopefully we will have a more clear answer soon.

You descibe the stages of your artistic in a following way: first molding a part of the elements which form your model, then the installation in you atelier and the drawing in the final stage.What is the role of technique in your practice?Whar rules t you follow when creating?

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