Page 118 - Winter Issue

How has your background in both architecture and visual art influenced your approach to creative
projects?
My education in architectural design has trained me in logical reasoning and critical thinking, while my experience in
visual art has encouraged me to think outside the box and ask myself, "What if artistic practice could be implemented as
constructed buildings?" I came across the concept of “high-tech architecture,” a type of late modernist architecture that
utilizes advances in technology and building materials. Consequently, I explored the idea of transplanting my
admiration for advanced technologies into my artistic practice.
Many of your exhibitions have centered on themes of wanderlust and nostalgia. How do these concepts
relate to your own experiences as an artist working across cultures?
The themes of “wanderlust and nostalgia” reflect my intense desire for self-development through experiencing the
unknown, and transitioning from a traditional Eastern culture to a diverse, heterogeneous society. This journey
occasionally triggers strong memories of the past. Similarly, in an era where artificial intelligence increasingly dominates
our daily lives, I see the challenge between technological advancement and traditional practices. My work not only
confronts these challenges but also blends traditional Chinese philosophy with the wider world.
Your work blends computational design and digital fabrication. Can you describe how these technologies
have expanded your artistic possibilities?
I often find inspiration in intriguing hidden meanings and details from my observations. Computational design enhances
my ability to unveil principles from phenomena or processes and allows me to manipulate simulations in a controlled
environment. Digital fabrication acts as an extension of my hands, enabling me to translate my ideas and simulated
phenomena into high-fidelity physical forms. Moreover, materials showcase unique expressions in digital fabrication
through a variety of applications, including concrete, ceramics, wood, and even biomaterials.
The integration of science and technology is central to your art. How do you see this relationship evolving
in the future, and what new possibilities does it open up?
Scientific research and technological endeavors expand the spectrum of art, promoting visual presentation and
perception for both artists and audiences. I am optimistic about the emergence of digital art and the impact of
technologies like 3D printing and artificial intelligence embedded within artistic mediums.
In a world increasingly shaped by digital orientation, what role do you believe artists have in fostering
connection and understanding?
I believe artists need to engage with the trend of digital dominance and leverage it to their advantage. Artists role as
storytellers or narrators, using digital media to create visual, tactile, auditory, and immersive experiences that foster
engagement and empathy for audiences, both explicitly and implicitly.
Can you tell us more about your manifesto for creating art in a rapidly changing world? How do you see
this guiding your future work?
Through a mathematical and rational framework, I employ computational design methods to decode mysteries from the
natural world. Fractal geometry, for instance, can be seen as a universal language that quantifies "geometrical
complexity" and the "space-filling properties" of an object. By utilizing 3D printing technology, I achieve remarkable
dimensional accuracy and structural integrity. The spirit of science and technology guides my future endeavors toward
cross-disciplinary exploration across a diverse range of scientific subjects.
Architectural design often requires a balance between aesthetics and functionality. How does this
balance translate into your visual art practice?
I find it valuable to modify my creative process by activating the two disparate elements of architecture and visual art.
Although I sometimes struggle with prioritizing functionalism or expressionism in my visual art practice, I believe
prioritization may vary in different scenarios. Ultimately, the synthesis of aesthetics and functionality enhances effective
communication and engagement, especially when considering user experience.
Exhibiting work in both the USA and China, how has your work been received differently in each context,
and how have these responses influenced your creative direction?
In the USA, curators and visitors tend to focus more on digital techniques, physical appearances, and the overall visiting
experience of my works. In contrast, Chinese visitors exhibit greater curiosity about the philosophy and motivations
behind the artworks. For instance, viewers may find a blank space within a piece intriguing and discover clues related to
this “intended blank,” which is referred to as "Liubai" (留⽩) in Chinese philosophical and aesthetic theory. While I cannot
articulate exactly how these responses influence my creative process, I strive to remain open-minded and adaptable.

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