california | visual
Graduate Fellowship Program 2016—2017, San Francisco Art Institute
As I grew up in China, I was trained with techniques from traditional Chinese ink painting and calligraphy. Those techniques are deeply rooted in a tradition where language and visuality have a close, and perhaps very unique, relationship, and where thoughts are expressed through physical movement. It is my intention to reconsider this relationship. I aim to create a language that incorporates the visual traditions of the East and the West into a hybrid form, and put it in a global context. In 2015, I started a long-term project titled The 16 Cun Project (十六皴). Cun (皴) is a term that is used in traditional Chinese painting to describe the results of different movement of the paint brushes. The 16 Cun Project is rooted in my childhood memories of conducting repetitive movements when trained as a painter, and interprets my sensation to the natural features of my homeland—the river, trees, and rocks.
While At Headlands
I will continue the Ghost Face Cun project, and expand my hiking range in the recreation area. I also aim to finish The 16 Cun Project during the following year. I am drawn to the diverse geological features of the Marin Headlands, and will greatly appreciate the chance to reside in such a landscape while creating work. Another important reason why I am interested in the fellowship is that a large number of the artists in residency at Headlands come from different fields and backgrounds. They will bring great creative energy and resources to my work. Collaboration has always been an important part of my practice. In the past I have collaborated with filmmakers and composers, and I am looking forward to collaborating with musicians and dancers from the culturally-diverse Headlands community.