Interview x Axash

艾玺：用“无色的颜料”，挑衅“好色”的眼球

Axash: Using "colorless pigment" to provoke the "color-loving" eye.

[Dongjiang Granary - Art Chat Room] Axash

Introduction: Artist's Self-Narration

• Starting with "Me" (Please briefly introduce yourself. How did you embark on the path of artistic creation? How did you come into contact with "frame painting," a nearly lost art form? In your growth or learning experience, what key moments or figures had a decisive influence on you?)

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For me, embarking on the path of art was both inevitable and accidental. Inevitably, given my naturally solitary and eccentric nature, art would inevitably become my lifelong friend; accidentally, given my introverted and withdrawn nature since childhood, art would become my lifelong career. My undergraduate major was painting, leaning towards oil painting, but at the time I didn't really have a concept of contemporary art, so I spent more time creating meticulously detailed works in the printmaking studio. Even my undergraduate graduation piece was primarily line-based. During my graduate studies, like most people, I thought about work, so my first choice was art valuation related to auction houses, followed by animation and design. Later, I studied both, and while working as a designer, I already had a relatively decent income. I've done commercial design work in most categories, but I'm best at graphic design, perhaps because it's related to painting. Later, through my design work, I met friends in the contemporary art world. I casually showed them my work from my fine arts studies, and many encouraged me not to give it up. Perhaps drawn by the many things I witnessed, the contemporary art scene, in my eyes, is indeed a rich world full of humanity and bittersweet experiences. I hope that in ten or twenty years, I can also find a friendship and bond as profound as those of my predecessors, because art is indeed a compelling subject, and those willing to forgo many business opportunities and conventional paths are generally quite meaningful and hard to be hypocritical.

Regarding "frame painting," I actually learned about it by chance. This field is rarely studied; even AI couldn't find any information. At the time, I was studying "soft sculpture," so I thought, since there's "soft sculpture," why can't there be "soft murals"? This question lingered in my mind for a long time. Later, while writing a book on comparative studies of world mythology, I read Professor Wu Hung's book to research the Chinese mythology section, and I was immediately captivated by the concept of "frame painting." Furthermore, having previously created works on canvas similar to "silk paintings," I'm particularly interested in the connections between these different painting genres.

Key turning points in my life might be considered as a near-death experience, a return to art from design, and a return to easel painting from art. Before 2020, I suffered from a strange illness (perhaps due to years of ignoring and disregarding pain, I was completely unaware of the severity of the condition). I was in intensive care for five hours, and when I was wheeled off the operating table, it felt like the first time I truly understood what "living" meant. Because I needed to contemplate the meaning of "living," I also needed to consider the meaning of money—how much money should one earn in a lifetime? How much is enough? —I used to be quite concerned about money, and it's not that I don't care now (laughs), but doing what I truly desire and earning enough to survive is sufficient. So, returning to art from design might seem silly to others, but it made me quite happy. However, art has many forms. Before returning to easel painting, I explored sculpture and installation, and these explorations made me realize that less is more. This isn't about formal minimalism, but rather about the question of "how I truly want to transform my life in various ways." It might sound abstract, but it's okay if you don't understand it. I believe that the great artists of history never truly died; their souls reside in their core works.

Regarding figures, my understanding of "line" mainly stems from Professor Li Naiwei. I studied meticulous brushwork with him, and he supported my choice of a different path, always telling me that painting initially involves the eye following the hand, and later the hand follows the heart. Zhang Jie, Brother Jie, is also a very important figure. We often exchange ideas about our work and life issues. He also told me that the most important thing in art is the courage to defy everyone and youthful spirit. In him, I saw the gains and losses of life choices and the resilience to stick to one's own beliefs. Professor Lu Hong was essentially my mentor in the history of contemporary Chinese art. Through his perspective, I always saw genuine anecdotes of youth in the art world, whether it was his friendship with Professor Fang Lijun or the banter with Professor Sun Zhenhua—it was always very vivid. When I was creating my "Han Opera Punk" and "Metamorphosis" series, Professor Ji Shaofeng reminded me that art shouldn't be "too pretty," and he also introduced me to the concept of the Japanese Mono-ha school. So, it was basically because of him that I was motivated to read some original works on contemporary art and philosophy. My enlightenment about sculpture was actually Professor Fu Zhongwang, although we mostly chatted... but he taught me the logic of sculpture from structure to completion, and I often consulted Professor Fu about materials. Professor Wang Xinyao supported my "Different Realms" exhibition. It was in this exhibition that I saw the effect I hoped to present in my work more three-dimensionally, and I also completed for the first time my previously unattainable line drawing animation and original text project. Because of the Tanghu exhibition, I forced myself to do some works that I always thought I would "do in my lifetime." Professor Wei Guangqing and Director Chen Yongjin always criticize me for lacking ambition, complaining that I only show mediocre works in group exhibitions, and only in solo exhibitions do they understand my creative level. They always tell me that art shouldn't be afraid of offending people... Okay, I'll be stronger in the future. Of course, there's also Li Lei, the person who introduced this exhibition. We share many similarities, yet we express ourselves so differently. Beneath her beautiful works and appearance lies a deep, indescribable pain, yet she still bravely blossoms. In a way, we are like stars watching over each other, sharing joy for each other's further progress in life. If I were to mention everyone who has influenced me, there would be too many to list. After all, I only visited the Hubei Academy of Fine Arts campus for the first time last year, but I'm often mistaken for a member of the Hubei Academy of Fine Arts family because I frequently attend their events. I can only say that I'm lucky to have met so many wonderful people in my hometown.

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• Core Artistic Attitude and Creative Philosophy (How do you understand "art"? In your opinion, what role does art play in today's society? What is the core driving force behind your continued creation?)

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"Art," in my view, is something that has only personal significance in the short term. I wouldn't say that I create art to change contemporary society, but I believe that if I truly understand a common human problem through the medium of my individual work, my creations will inevitably convey that answer and be understood by the world with a lingering effect. My core motivation for creation is that I don't need motivation, because creation is like breathing; you can't force something. If I had to say, I'm searching for something I've lost, but I don't know exactly what I've lost, like a perfumer's obsession with perfume.

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• The title of this exhibition is very meaningful. You reinterpret "mirage" as "displaced reality," connecting it to the historical connotations of "the market of the giants" in the Classic of Mountains and Seas, while also carrying illusions and ideals in the modern context. How is this dual interpretation presented in your works?

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"Miracle" in English is indeed a mirage. The scene in a mirage doesn't not exist, but rather exists in a location offset from reality. This dual interpretation is first reflected in the selection of materials for my works: I chose symbols corresponding to real civilizations and names that are not real. This motivation is merely a personal quirk, because I believe that all words, even randomly pieced together, will form meaning, like the arrangement of characters on a keyboard, as long as enough time and stories are woven together. Furthermore, regarding the materials, I wanted a subtle, ethereal effect, one that seemed to sway with the wind in the open exhibition hall. Therefore, I used multiple layers of gauze and transparent paint that was actually colorless to create a realistic space. However, photography is fundamentally difficult to reproduce accurately from the original work. When painting the "Metamorphosis" series, I dissected butterfly wings… okay, this method is old-fashioned, but I also discovered that the color in butterfly wings isn't truly blue, but rather an optical illusion created by their structure. That's why I later came up with the idea of using colorless or natural-colored materials as paint. Of course, I also wanted to awaken my Eastern soul and provoke the "color-loving" eyes of those Pop Art enthusiasts, hehe!

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• "Line" is a very core material in your work, whether it's the line in your paintings or the weaving in your installations. In your opinion, what exactly does "line" mean?

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"Line" in your paintings is the line of ideas, a projection of free will. "Line" in your hands is a real line, a binding force that can cut, possessing the characteristic of entanglement. "Line" in culture is also about fate and blood ties, clues and cause and effect. Although we live in a wireless age, surrounded by Wi-Fi and radio, we are still bound by cultural threads. These threads can also form fabrics, just as muscles weave our bodies; time and culture weave our selves.

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• You once mentioned in your self-description that "masks both conceal and reveal." Of all your "masks," is there any work that most closely reflects your inner self?

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The bird-head mask, perhaps, since I want to be a penguin in my next life (just kidding). If I had to choose, it might be those masked figures on the canvas with legs that look a bit like spiders, because I see spiders everywhere I go, and spiders symbolize the sun… Sorry, my associations are a bit too strong.

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• For viewers who are new to "frame paintings" and encountering art related to the Classic of Mountains and Seas for the first time, what simple and easy-to-understand viewing advice do you have? If you were to summarize the core feeling you hope to convey to the audience through "The Mirage of the Wild Classic of Mountains and Seas" in one sentence, what would it be?

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You'll see different scenery through the back window and the front door; different colors will appear in the distance and up close. Only by standing far can you see clearly, and only by getting close can you see the true nature—sometimes life is about finding a distance between far and near, a distance from which you won't be hurt by "seeing."

The Classic of Mountains and Seas isn't just about the stories that exist within its pages; the same applies to A Perfect Life. May every viewer have their own customized Classic of Mountains and Seas, and their own perfect life. Being present is more important than the ending.

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A message to creators:

For many creators who also try to express their inner world through their work but feel lost in the torrent of technology, what insights based on your own experience can you share?