Artist in conversation: Yaming Zhu
“ I dread being confined (…) I simply wish to roam freely, leaving different marks at different stages, coexisting with the world in a unique narrative style.”
Yaming Zhu, a Chinese artist, derives his unique style from his inherent character rather than intentional design. He views art as an intuitive process of deconstructing and reconstructing concepts, akin to piecing together building blocks. This methodology enables him to express a wide array of ideas without adhering to a fixed style.
With sensitivity and thoughtfulness, Yaming reveres classical works to grasp the fundamentals of structure, which he then deconstructs and reassembles in his distinctive manner. This fluid creative process allows him to engage with the world through a unique narrative, leaving different marks at various stages of his life.
For Yaming, art is not an end in itself but a means to integrate historical contexts, creative backgrounds, and personal experiences into his growth and professional realm. His work resonates deeply with viewers, creating connections that transcend mere appreciation. Embracing a state of natural and spontaneous creativity, Yaming continues to evolve, driven by a profound passion for life and the limitless possibilities within art.
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Wind flower, Ceramic, 18cm*18cm, $7000
What initially inspired you to become an artist, and how did you develop your unique style?
Painting has a lot to do with my father's influence. He is a doctor who loves painting but doesn't know how to do it himself. He was very good at encouraging me when I was a child. When I was young, there were no teachers available. I used to read comic books such as "Romance of the Three Kingdoms," "Journey to the West," and "Water Margin." Whenever I had pocket money, I would go and buy them. I would use tracing paper to imitate and draw. My father often praised me. When I was a child, I made a paper-mache turtle following a craft project introduced in "Children's Literature," and my father praised it as if it were real. This gradually deepened my love for painting.
I grew up in a small town. When I was 15 and attending junior high school, I had to travel 45 kilometers to the county seat for classes. I had to get up at around 5 am, and it was very dark and dangerous, especially in winter. But my father always supported me to persevere. In the county seat, I began to systematically learn sketching, watercolors, and color, all of which were initiated by my father.
Uniqueness is not something to be pursued. I naturally possess uniqueness in my character. Artists aren't just about intuitive thinking; I am also a slow-paced individual. My foundation in art, since childhood, has been built upon appreciating and understanding classic works to grasp the structure of things. I often envision deconstructing and reconstructing them, much like building blocks. It's a process of dismantling and rebuilding, which is why I don't adhere to a fixed language paradigm. I dread being confined, much like how one doesn't need to modulate their tone when speaking casually or wear armor while walking. I simply wish to roam freely, leaving different marks at different stages, coexisting with the world in a unique narrative style. A piece of artwork can establish a relationship of revelation or resonance with the person appreciating it. Merely approaching art with a desire to extract or blindly idolize will not yield substantive meaning. Art didn't originally exist in the world, so I don't pursue art for the sake of art itself. Instead, I appreciate or interpret it in a non-coercive state, allowing the historical context, creative background, and the artist's life to naturally influence my own growth and professional field. This process generates personal enthusiasm for life and creativity, which continually extends and selects things I love, thereby creating diverse values.
Do you have any rituals or routines that help you get into a creative mindset when starting a new project?
I am an extremely sensitive person, in my creative inspiration, perhaps the impression hidden in my lifelong memory may burst out at some point in time, natural and comfortable.
I am also a slowcoach. When I was young, I built the foundations of painting by appreciating and understanding the classics and learning about the structures of things. I often thought about deconstructing and reconstructing things, like building blocks, a process of tearing down and building up. This is also the reason that I do not have a fixed language paradigm. Being bound is my greatest fear. Just as I don't need to speak with a certain tone or walk in a certain armor, I just want to live an unrestrained life, leaving different marks at different stages and interacting with the world in a unique narrative way.
Memories of Three Gorgers, Comprehensive material, 700cm*240cm, $300000
Can you describe your creative process from the initial idea to the finished piece?
In one spring, I went to Boshan Guiyan Ceramic Research Institute to fire a batch of ceramic creations. Charged by Mr. Zhu Yigui, a ceramic artist, the institute has a very large yard, a few peach trees at the corner behind the gate, a two-story corner building on the left. The first floor is the ceramic workshop where the grouting, drying and glazing of ceramics are all done here. The gas kiln is at the rear of the workshop.
The second floor is the pottery studio, with a huge space and complete facilities. At that time, I lived in the dormitory opposite the studio, which was very convenient, and meals would be served, tasting good. I didn't need to go downstairs except to go for a walk. So I had plenty of time to work until midnight every day, full of guts. I went into overdrive to get the processes of mud throwing, slab forming, blanking, rod forming, clay sheet rolling, trimming, glazing, kiln placing, and kiln discharge done, full of joy, and efficiency. The most interesting thing is to take the ceramic product out of the kiln, requiring two-day firing and one-day cooling. At that time, the simplicity can be considered a joy of returning to childhood. When taking the ceramic product out of the kiln, I imagined the finished product, like a young first-time parent-to-be waiting outside the delivery room.
Where do you find inspiration for your work? Are there specific themes, experiences, or artists that influence you?
In terms of the understanding of light, I always habitually look back to the stage of the birth of the Enlightenment. The skepticism about authority and rationality is one of the major symbols of postmodernism. Despite the limitations of human innate perception, our desire for light is an innate instinct. However, the two extremes, the rationalist and the empiricist, are like a fog that covers the sky. I see in the backlight the progress of mankind as the formation of a non-directional free expression by reorganizing and putting scattered, "rebellious", persistent fragments of thought. The perspective relationship between the light and the object is finally presented, both as a result of the use of comprehensive material and the lacquer painting creation process.
we can still overlook some fleeting moments. In my spare time after completing large murals, I am often drawn to the light and shadows in the studio and stop to think. Lifting my brush to capture the refraction through the window is a way of taking a break and enjoying myself.
In 2008, I completed the creation of Memory for Three Gorges as a task I had set for myself. At the time I visited Australia and I thought that I needed to spend time with my family and on self-cultivation. As I wandered through the fields and mountain streams, birds naturally became another series of cheerful subjects for me. I enjoyed that time. Cockatiels (corella) can almost have tea with tourists. When you take a cockatiel in or show it kindness, it will fly and stand on your head or shoulder, and even wait in front of your window for food. They are highly respected by the local people and no one will harm them. As I watched them fly around while I was sketching, I suddenly wanted to play a joke on them in my brushwork, assuming that in my growth environment, those birds might be living in another space and yearning for freedom in the distant mountains.
Can you discuss a specific piece of your art and the story or message behind it?
The spring when I was at Boshan Guiyan Ceramic Research Institute, I created a series of ceramic works, including "Family," which I completed during that time. I tried to create this piece using the simplest methods. After simple shaping, I used a bamboo knife to carve out the eyes and mouths. I applied bright red glaze to the lips of the females and gave the males cool hairstyles. After firing at 1200°C for three days, the artwork "Family" was born. The wrinkled lips of the grandmother, the blurry eyes, the mother's calmness and large eyes, and the father's resolute expression all conveyed the burden of the family. On the day of the kiln opening, Mr. Zhu Yigui returned, holding the small ceramic figures. Through his kind and wise eyes, he instantly noticed them among the many works. He held them in his hands, repeatedly examining them, and in his simple Shandong accent, he praised their vividness. Excitedly, I told him that these little figures represented a family, with a grandmother, parents, older siblings, and a younger brother and sister. I invited my friend Zhang Wendong to take a "family portrait" of them.
I was deeply attached to this series of works, perhaps because of my understanding and feelings towards "family." Regardless of whether the conditions were good or bad in the past, families were always together, enjoying harmony. Each family member's role and position within the family were clear, and children's self-awareness was straightforward. It seemed like a simple and genuine form of happiness. In my creative inspiration, perhaps the most profound impressions hidden in memory would burst forth at some point in time, naturally and comfortably. I am a very sensitive person, and the works created at this time felt healing even to myself. In 2012, while in the United States, I painted this ceramic artwork in my studio, perhaps due to homesickness and longing. The gallery manager I collaborated with saw this painting and suggested I exhibit it. It was showcased at the Art Benicia gallery's member exhibition in early 2014. During the exhibition opening, many viewers were captivated by the painting, asking about its creation. Each time, I had to ask a friend to help translate my experiences of making these ceramic pieces in Shandong. Everyone listened attentively and with excitement.
Two subsequent events left a deep impression on me. The first was when the editor-in-chief of the CONTRA COSTA LAWYER magazine in Northern California proposed using this painting as a cover. Ms. Josanna Berkow, the chief lawyer, resonated with my painting. She dedicated herself to protecting the rights of children and families, handling thousands of cases for children and vulnerable groups. She saw these little figures discussing and communicating, creating a good family atmosphere. She mentioned a quote by the 1980s actor David Ogden Stiers: "The meaning of family is that no one is forgotten or left behind." I strongly agreed with this statement, and this resonance answered my curiosity about why I had always been fond of the artwork "Family." The second event occurred in August 2016 when the California Crosspoint Academy in the United States collected this oil painting.
2019 42cm*28cm (Magazine Cover) Limited Edition Print
The pandemic has passed, and the rapid spread of ChatGPT has brought some concerns. Will it become a new species on Earth? Data experts are daily calculating which industries and job positions ChatGPT will replace. Are we moving quickly to promote ChatGPT's free will or to hinder its updates, iterations, and evolution? "Digital life becoming reality" seems imminent. I think this is a serious issue because this era is about to pass, and the shape of the world will undergo significant changes. How far will the relationship between material carriers and data develop? I cannot calmly imagine it for the time being. I am a bit anxious about the fate of humanity. But for now, as an organic being with emotions, the best way to address anxiety is to cherish the limited time that families may spend together.
Family 2005-2022, 8*4cm, High-temperature glazed ceramic artwork
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?
In the art world, criticism can guide the direction of artistic development, but I don't believe it should dictate the direction of artists. Artists should follow their inner voice rather than cater solely to market trends, which cannot be considered genuine art. Audience feedback is something artists can consider but should not be swayed by. With the explosion of information on the internet, if artists let themselves be dictated by it, they may become lost. Information should supplement their work, and artists should maintain their individuality and long-term vision.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
Creative blocks are common for artists; it's just a matter of how long they last. I am currently facing one myself. During such times, I pause to reflect. Rather than blindly creating, I believe in seeking inspiration through reading, researching, and listening to others' voices to find a breakthrough and break through barriers. Artistic expression is about seeking uniqueness and specificity. All artists in China face creative blocks; they seek different artistic concepts, material expressions, and ideological aspects. Have they truly broken through, or are they still on the path, seeking? Even those artists who succeed in the market are constantly seeking. Artistic creation is closely related to national ideology, economic growth, and international status. For example, the breakthroughs of artists in Rome, Paris, and New York are closely related to their respective countries' development, such as Leonardo da Vinci, Cézanne, and Picasso. Originally, I worked with oil painting, but I broke through in material expression, ideology (from subjectivity to unconsciousness), and artistic concepts (from Western to Eastern). I started with abstraction, followed by family themes, ceramics, and later, the Three Gorges. I received guidance from my mentor, which changed my creative approach. Environment greatly influences artists. Perhaps I will return to a more abstract and free creative concept from an academic approach.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
This is my first collaboration with the Holy Art Gallery, and it's a very good start. I attach great importance to this exhibition. I want to showcase the ethnic elements in my work to the world, and this is a good beginning.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
This is my first collaboration with an overseas gallery, The Holy Art Gallery, and it's a very good start. I attach great importance to this exhibition. I want to showcase the ethnic elements in my work to the world, and this is a good beginning.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
Artistic breakthroughs require a return to the self. My driving force is encouraged by pursuing uniqueness and following my inner voice. This is related to my faith; God creates each of us differently, and our creative expressions are bound to be unique. I need to look within and see how God has created me differently from others. Courageously and freely expressing myself, I firmly believe this is the way God wants me to express myself.
What role does emotion play in your creative process, and and how do you aim to evoke specific feelings or reactions from those who view your artworks?
Emotion plays a significant role in my creative process. For about two years, I persistently went to the 798 Art District in Beijing to worship. Previously, I insisted on creating myself, but humans do not have the ability to create; only God does. Where does an artist stand? An artist is much like a prophet in the Bible, conveying what God has created through performance and expressive art, guiding people in the world. Returning to oneself, what does God want us to do? What is the purpose of creation? As an artist, how do I convey that? God has already created everything, and we need to see and express it. A good artwork is a reflection of something from heaven; it steals the glory of God. The prophets in the Old Testament were great artists; they used performance art as a means of expression. The altar built by Abraham, made of stones, each one unique, is a work of art in itself. From nothing to something, it is a piece of art, including the design of the acacia wood, the golden lampstand, and the washbasin. Abraham received revelation from God. Good art comes down from heaven; it steals the glory of God.
Blue, Ceramic, 17cm*16cm, $5000
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
Artistic breakthroughs require a return to the self. My driving force is encouraged by pursuing uniqueness and following my inner voice. This is related to my faith; God creates each of us differently, and our creative expressions are bound to be unique. I need to look within and see how God has created me differently from others. Courageously and freely expressing myself, I firmly believe this is the way God wants me to express myself.
What role does emotion play in your creative process, and how do you aim to evoke specific feelings or reactions from those who view your artworks?
Emotion plays a significant role in my creative process. For about two years, I persistently went to the 798 Art District in Beijing to worship. Previously, I insisted on creating myself, but humans do not have the ability to create; only God does. Where does an artist stand? An artist is much like a prophet in the Bible, conveying what God has created through performance and expressive art, guiding people in the world. Returning to oneself, what does God want us to do? What is the purpose of creation? As an artist, how do I convey that? God has already created everything, and we need to see and express it. A good artwork is a reflection of something from heaven; it steals the glory of God. The prophets in the Old Testament were great artists; they used performance art as a means of expression. The altar built by Abraham, made of stones, each one unique, is a work of art in itself. From nothing to something, it is a piece of art, including the design of the acacia wood, the golden lampstand, and the washbasin. Abraham received revelation from God. Good art comes down from heaven; it steals the glory of God.