Graduate Said

ART.ZIP: Could you talk about any of your projects? In which area do you think that the RCA influences you the most?

ZH: My project ‘Imitation/Imitation’ uncovers the social, political and economic implications of Chinese imitation culture and stimulates a positive future through my direct interventions. I have taken on the guise of an agent and am managing two research-practices simultaneously under different social contexts. In China, I have proposed a new production model for craftsmen in Dafen village and Jingdezhen to imitate and create at the same time. Together, we co-produced a series of improvised products that sought to inspire the imitators to explore their imagination and creativity. In London I introduced Chinese imitation culture through a workshop with the absurd aim of drawing perfect circles by repeatedly drawing circles freehand. This is similar to millions of workers’ and craftsmen’s daily jobs in China- making the impossible possible.

It seems like I’m doing an artistic project rather than designing a project that I’m studying in. RCA and my friends give me lots of support and help. My lecturers guide me through how to discuss a thing in depth, it doesn’t matter how I do it. This is the biggest support I’ve got.

ART.ZIP: 能聊聊你的個人藝術項目嗎?你覺得皇藝在哪方面給你最大的影響?

ZH: Imitation是我在皇藝最主要的一件作品,意在揭示中國模仿文化在新的社會背景下的政治,經濟以及社會意涵。借由‘中介’的身份通過參與式的調研與景德鎮以及大芬村的手工藝人共同呈現出中國模仿文化的不同面向。整個項目是通過‘買賣關係’完成,在對這些手工藝人進行深入了解之後我根據每個人的經歷和技能為他們設計了特殊的‘訂單’,完成這些訂單的過程中,制作者潛意識地把他們自己的創造力放到作品中,同時也把他們的故事和生活一同加到了作品裡面。最後我又將中國式的模仿文化和教育系統帶回到英國,通過一系列的徒手畫圓課程介紹給大家。徒手繪制一個完美的圓是看似荒謬,無法完成的事,但是通過模仿和重復的訓練徒手畫圓變成了可能,這代表著千千萬萬的中國工廠工人和手工藝人每天都在做的事--讓不可能變成可能。

說到這很多人一定會問:“你不是學習產品設計的麽?怎麽感覺像是在做藝術品?” 對,這就是我在皇藝學習得到的最大支持,我在皇藝得到了非常自由的空間,不會被學院派的傳統思維影響,導師對我的引導就是如何更自由和深入地思考和討論一件事,怎麽做、什麽手法並不重要。當然了,除了這一點導師和同學們給與了我很多其他的幫助,但是這一點是我最受益的。

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