Can you tell me a little about your background and how you got into visual arts?
I’m Canadian-born, Chinese-raised, and I’ve been based in New York for the past 8 years. I suppose from my childhood I had an innate sensitivity to form and abstraction; it just so-happens my earliest experiences of artfulness were inextricably linked to sound and the violin. I recall the hours I spent as an adolescent honing in the expressive immediacy of my instrument, though performances and independent studies in the form of études. When I later found an interest in visual arts, it came naturally that much of my development in drawing was grounded in trying to achieve a similar immediacy and fluidity. To some extent a component of my process involves transmuting the creative experience of one medium to another; I’ve come to suspect that’s where interesting things happen.
What’s taking up your time right now? What projects/clients are you working on? Do you have a day gig, too? Or do you work for yourself?
Well, at the moment I’m working on a few commissioned projects for the beginning 2014. Installation, audiovisuals, performance, sculpture, and painting mostly. My art practice is increasingly self-directed over the past few years, it’s allowed me to consider how my shared values and principles can make for advantageous collaborations with cultural institutions, clients, patrons and other artists working in adjacent fields.
Do you consider yourself a fine artist, illustrator or both? Why?
Don’t we live in a cultural moment in which those categorical considerations matter less and less? I like that creativity is becoming more amorphous, more adaptable, more interdisciplinary.
How would you describe your artistic style?
You mention in your bio that you’re primarily exploring contrasts. Why is that so important to you?
I simply explore what I see.
Where are you finding inspiration for your current work?
Sojourns, aesthetics of silence, light refractions, incendiary texts, ecdysis, granular synthesis, finite loops, commuting by train, unfamiliar geographies, cosmic permission.
Can you tell me about one or two of your favorite pieces? And why it’s so meaningful to you?
I showed my installation, Chiaroscuro, at the Museum of Contemporary Art in Geneva last May. The piece itself was an illuminated sculptural drawing form that filled the space of the museum, with music composed by the prolific Brooklyn-based composer Praveen Sharma. The installation utilized layers of light and shadow to showcase the expressive capacity for organic abstraction to entrance and captivate an audience. It communicated genuine moments of surprise and wonder within a vertiginous spacial environment, for myself and the audience, I think.
What’s the best piece of art/career advice you’ve ever received?
"Allow yourself the fullness of time."
Where do you hope to be in 10 years? What’s the big-picture goal(s) driving your work?
I aspire to create a body of work that evolves my own experience of process and place, something to share with an audience, ideally. I find the thought of creating permanent installation in some remote area of the world that evokes a resonating but ephemeral response rather compelling. Wherever that may be…