Interview with Tang Xiao
He Art Museum (hereinafter referred to as H)
Tang Xiao (hereinafter referred to as T)
H: What are the works you are exhibiting this time?
T: This exhibition is a continuation of the three-dimensional works created over the past 13 years, and they are all my new works this year.
H: How is it different from previous works?
T: I set different shapes and colors. Since the previous shapes were more architectural, I hope this new shape system will be more like painting. As I mentioned in my self-report, I hope it can be like The feeling of plants is to think of architecture as the skin of a plant, and my works are parasites of the skin of the plant.
H: This time you also designed and created an installation work based on the conditions of our exhibition hall. Can you briefly introduce this work and is it related to your previous three-dimensional works?
T: It is actually a series of things, but the volume will be larger. The size of the volume is closely related to the display space, and this installation is specially made for the space of the art museum, allowing the use of paintings. The architectural theme is executed more thoroughly.
H: In recent years, you have begun to explore the visual presentation of this kind of abstract work in this three-dimensional space. What is your creative inspiration or motivation?
T: I am not the kind of artist who relies too much on inspiration. My production method is rational, and to a large extent requires collaboration from many aspects. It is a semi-open production method. The characteristics of the material and the production process give I have a lot of restrictions. Among these restrictions, I hope to find the maximum expression space within the existing tools and conditions. This kind of handcraft has a heavy trace in my works. My motivation is to explore the possibility of painting from the perspective of painting. If I put the same work in different places, the content of the painting will also change greatly. Based on this original intention, I hope that my painting and the wall will be a kind of dependence or dependence. Relationships that destroy, coexist, or destroy. All in all, it mainly explores the relationship between architecture and painting.
H: Does your work provide meaning or concept?
T: Because I classify myself as a relatively traditional painter, although the presentation of my works is very different from what everyone usually understands as painting. But I think painting has several meanings. It is human handiwork, people apply paint on a surface, make it, and finally present the state of a painting. From this perspective, my concept is traditional, and I do not expect or want the work to lead in other directions. I hope everyone will focus on the understanding of the picture, even though it incorporates architectural factors. Because I feel that painting still has to move forward, always keeping the attention on the canvas, and the possibility of moving forward is very small. How can I continue to move forward? I think it should find a new form, so this form should also Including three-dimensional attempts, I am doing experiments.
H: Some people say that your works tend to be minimalist and abstract. Do you think that is the case?
T: In terms of its external form, it is actually a different concept from the original minimalism, Malevich, and suprematism. In that concept, hard edges and geometry exist in the plane, and mine is a spatial structure. Although I also use hard edges, mine is not a hard edge virtualized with a brush, nor is it made up of two pieces of color. The hard edge that comes out of the collision is a hard edge that I rely on the twists and turns of space physics. If you include this kind of hard edge in the category of minimalism, it may be a bit reluctant because the concepts are different.
H: I know you studied abroad in Germany in your early days. German Neo-Expressionism was also a very mainstream art style in the late 1980s and early 1990s. There were also many abstract art masters, such as Baselitz and Richter. Has your experience of studying in Germany influenced your abstract creation?
T: Different environments will exert psychological hints on artists. In the early days of studying abroad, I actually felt a little inferior. Because I didn’t know much about it, I felt a distance. However, this lack of confidence actually promoted something else. It is very strong, that is, I hope that some Chinese symbols will appear in my paintings, and I hope that Chinese icons will support my oriental identity. This oriental identity will have some advantages in such an atmosphere. Initially, I had a batch of works like this, and the response to these works was relatively good, because it is a kind of unfamiliar thing, and few people in my class or circle would do this. After a while, I got to know this culture better. At that time, I started to study some hard-edged things, gradually understood it, gradually discovered problems, and tried to explain some problems. This was the situation I faced at the time.
H: What do you think are the key points that test an artist’s abstract creation ability?
T: First, you must have a strong understanding of space; second, you must have strong control over the picture. Moderation is a very important quality. You know where to stop, especially for abstract artists. Pictures are not used to solve problems. The purpose of painting is to present problems, and abstract painting should be in this state.