Because I launched my career by publishing woodblock prints in Yunnan, a rural mountainous region close to Tibet, my identity as a self-appointed artist away from the center of the art world necessitated a desire to creatively ask questions and to reasonably moderate my ego. Maybe it appears unsurprising and natural to me now, but my fascination with productivity and expertise then had opened multiple doors and guided me to unanticipated ways to maximize freedom between polarities. As a result, visualization of the problematic position of skill informs my current practice: I am interested in the speed of artistic creation in terms of both conceptual works which can be staged swiftly and extensive projects which reveal the unpretentious palimpsests of artistic elements. More precisely, I aspire to unpack and challenge pre-conditions of art-making, advocating the instability of my body as I incorporate movements in my drawings, the unconventional sites of creation as I dry vegetable-tanned leather al fresco, and the insignificant yet irreplaceable devices like push-pins as I diversify their functions for my sculpture. These intentional moments of instability, together with my conversation with speed, pave the way for a re-imagination of skill and “work,” which emphasizes their cultural and social dimensions apart from an ostensible artistic merit.

#skill #speed