Artist in conversation: Xixi Qian
“ I see creation as a redemption of the soul ”
Xixi Qian's work presents a botanical punk world, reflecting a subculture that transcends social norms to create a unique spiritual utopia. She delves into the social dynamics of China's second-tier cities, engaging with rhizomes and fungal habits in her artistic practice. By examining both macro and micro perspectives, she interprets the intricate relationships between socioeconomic culture, her parents, neighbors, and different generations.
Qian employs contrasting techniques like etching and aquatint to depict the controllable and uncontrollable aspects of printmaking, seeing it as a symbiotic relationship between machines and people. In her series "Vibrating Strings," she undertakes a microscopic exploration of utopia, inspired by the cooperative bonds between legumes and rhizobia. She envisions a botanical punk world where plants flourish in the mountains and rivers of her hometown—Yandang Mountain and Nanxi River—harmonizing naturally.
Set against the backdrop of her hometown, Wenzhou, Qian's work highlights the imbalanced economy and culture resulting from rapid industrial development over the past two decades. She underscores the importance of cultural development alongside economic growth. Her research draws from Deleuze and Guattari's "A Thousand Plateaus," which explores non-linear, polycentric, and non-hierarchical thinking and social structures. Additionally, anthropologist Xiang Biao, also from Wenzhou, offers insights into the city's characteristics and transformations. Integrating these perspectives, Qian examines her encounters and relationship with society.
What initially inspired you to become an artist, and how did you develop your unique style?
My interest in painting can be traced back to my kindergarten years when I began showing a strong interest in art. During elementary school, I participated in school painting competitions and achieved some impressive results. These experiences laid the foundation for my development in the path of art. As I gradually engaged in larger-scale competitions and gained recognition, my enthusiasm was further ignited, and I realized I had an innate passion and talent for art. During middle and high school, I chose to specialize in art, further solidifying my love and confidence in the field. I have always believed that I was born for art.
As for the development of my unique style, in the early days, I primarily used oil pastels and excelled in vigorous strokes, realizing that the denser the pigment, the more outstanding the visual effect of the work. This technique made my work stand out among many competition entries. Later, I began exploring printmaking, especially the etching technique, which taught me to create with more patience. I found that etching could better highlight my unique style, and my strong and precise brushstrokes made my work clearer and more vivid. As my art education deepened, I gradually clarified my creative direction. By creating over a hundred pieces, I gradually realized that my style was very unique. Influenced by China's exam-oriented education, I am fond of exquisite, complex, and rich in traditional Chinese elements, while also influenced by Baroque art and consumerism, which gives me a special preference for exquisite images.
In terms of subject matter, what themes or motifs do you frequently explore in your work, and what draws you to these topics?
In terms of themes, I often explore the relationship between individuals and society in my work. My work is inspired by the book "A Thousand Plateaus" co-authored by Deleuze and Guattari, which explores nonlinear, multi-centered, and non-hierarchical thinking and social structures. The anthropologist Xiang Biao provides deeper anthropological insights into the characteristics and changes of Wenzhou City, which deeply influences my work. I combine these views to examine my own experiences and my relationship with society. Specifically, my practice is based on the habits of roots and fungi, exploring the social dynamics of second-tier cities in China. I interpret the socio-economic and cultural dynamics and the relationship between parents, neighbors, and generations from both macro and micro perspectives. In my string series, I explore utopia from a microscopic perspective. Inspired by the collaboration between leguminous plants and root nodules, I created a plant punk world. These plants inhabit the mountains and waters of my hometown - Mount Yandang and Nanxi River - complementing each other. With my hometown of Wenzhou as the background, I emphasize the economic and cultural imbalances caused by rapid industrial development in the past twenty years. I believe that cultural development needs to accompany economic growth, and these themes stem from my life background.
How do you navigate the balance between self-destruction and re-creation as a way towards conscious Happiness?
I see creation as a redemption of the soul. When I feel inspired, I seize the opportunity to record my thoughts and inspirations and immerse myself in the state of creation. When inspiration is lacking, I engage in some technical work, such as pre-production preparation like grinding plates, as well as post-production organizing and shooting, which are additional tasks that artists need to do. I have always believed that my creative state is not much different from ordinary work. Although as artists, we must have creative output, I feel very happy to be able to do what I love. This balance makes me feel fulfilled and satisfied.
Can you discuss a specific piece or project that challenged you as an artist, and how did you overcome those challenges?
One of the specific pieces or projects that challenged me as an artist is the production process of my latest work "Firefly Monument" this year. In this project, I tried many different ways of expression in digital painting in the early stage. Since I am not particularly proficient in digital painting, I had to learn new techniques to realize my ideas. I believe that this attempt can better express my creativity. However, stepping out of the comfort zone to explore new abilities is a huge challenge. This means facing many issues in life. When you spend more time learning new skills, you may have to sacrifice some time that could have been used for other work. This may also lead to additional time costs.
How do you stay connected with other artists and keep up with new developments and trends in the art world?
To stay connected with other artists and keep up with new developments and trends in the art world, I participate in some art forums and regularly visit currently popular exhibitions that interest me. In addition, with the development of the Internet, acquiring new knowledge has become very convenient. I utilize the Internet to learn and understand the latest art trends by browsing art websites, participating in online discussions, and following artists and institutions on social media to keep up with the latest developments and trends in the art world. These activities not only keep me connected with other artists but also help me continuously expand my horizons and inspiration.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
Incorporating feedback from critics and audiences into my artistic practice is an important part, but it is just one reference. When I receive feedback, I immediately review it. I consider whether the viewpoints of the audience and critics are reasonable, and if there are constructive opinions, I consider incorporating them for improvement. I try to accept and implement valuable ideas because learning is endless. However, my artistic aesthetics are very subjective, and while I accept external voices, I also realize that my artistic aesthetics are shaped by my personal life experiences. Therefore, although I respect feedback, I do not easily change my artistic intuition. My work reflects my traits as a person, and I believe that this personality is unchangeable.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
Despite facing any setbacks or creative blocks, I maintain motivation and a source of inspiration through my beliefs. I see artistic creation as my duty and mission, hoping it can become a skill for me to survive in the UK. Therefore, I persist in creating because without artistic expression, I cannot sustain myself here. I will not allow myself to fall into a situation without livelihood, so I will continue to create art. For me, this is like my life's mission, and I naturally persevere.
My inspiration can come from conversations with friends or from reading through past journals because my creations are largely based on my emotional experiences. Whether it's joy, sadness, or plainness, I find it worth recording because these are all parts of my life. I believe that works must be sincere, carrying emotions and thoughts. I pursue the unity of knowledge and action, and my works represent my specific state and thoughts.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
I am thrilled and elated to have the opportunity to exhibit my artworks at The Holy Art Gallery. It's a rare chance for me to showcase my pieces in a location of East London that I haven't visited before. The gallery exudes an intriguing atmosphere filled with multicultural vibes, where various forms of art converge. Given my particular interest in East London's art culture, the significance of exhibiting my works in such a place is profound to me.
My exhibited pieces are positioned in a corner of the gallery, with a linear piece on the left, an oil painting on the right, and two vase-like works in the center. I feel that the curator deeply understands my creative concept, as my works are composed precisely of these elements. I emphasize the uniqueness of lines in my prints and often utilize color to render my compositions. Moreover, the elements of vases and flowers are themes I've previously explored. Hence, witnessing the seamless alignment of my pieces with the gallery's exhibition theme fills me with great surprise and satisfaction.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
As an artist, my long-term goals and aspirations revolve around developing my art career into a lifelong pursuit, continually engaging in creation. I aspire to maintain a creative mindset regardless of my life circumstances. Leveraging the internet, I aim to promote my personal intellectual property (IP) on a global scale, allowing more people to appreciate and recognize my work. I firmly believe that as long as I remain dedicated to creation, more individuals will come to admire and appreciate my pieces. For me, the act of creation itself isn't difficult; the challenge lies in sustaining that creative state. Nonetheless, I am willing to exert effort towards achieving my long-term goals.
