1 What is/are the primary reason(s) for you to make work in the first
The main reason that keeps me producing works is I believe there is still hope in art in terms of resisting being assimilated and in this highly capitalistic society.
2 What do you intend your work to convey to an audience?
Most of works function as propositions of questions.
3 Why do you work in your chosen medium and format?
From my personal viewpoint, part of art practice is still in the regime of conceptual art, which means choosing medium and format is an issue for concretising ideas. The reason of using drawings, video projection, installation and light projection is also a way to adapt the circumstance and to express ideas more clearly.
4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
Theoretically, there is no technical issue while construction my work; however, I do use diverse materials such as hand-made drawing, video camera, computer graphic, light projection etc. and the technical problem always accompanies aesthetic decision.
5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work?
As I mention before that I located my practice as one of descendant of conceptual art and this manifests on my decision while choosing medium and subjects. Some of most influential for me are Chritian Boltanski's rare video work, Martin Kippenberger's "The happy end of Franz Kafka's America", Fancis Alÿs' When the faith could move mountains and "The ways things go" from Fischli and Weiss. They all show an enormous energy of creativity and the clearance between idea and medium.
6 What stimulates/informs your work from the world around you?
I could say that I knew (or experienced) very small portion of the world around me; nevertheless, this limitation of time and space allows me to use assumption and fiction to affect others' recognition of their world.
7 What stimulates/informs your work from your own personal experience?
Since I have been living in foreign countries for seven years, this becomes an important issue I am interested in, especially on the fact that why I need to learn and start my career abroad. Also, these nomadic experiences bring me to the issue of language and its affect on the power relationship.
8 From where do you derive your other visual source material (i.e. non art historical) and how do you implement this material within your work?
I usually collect materials while moving from one place to another, from others' conversations in the tube, porn advertisement in the phone box, snap shot by my own...etc. Basically they are traces of human activities in the cities.
9 What are the main problems that you face in making your work?
Basically it is the time and physical strength, which might be sorted out or worsen by financial aid.
10 Where do you intend to take your work from here?
I see art practice is the essential force of differentiating from one culture to another. Without this, some value might be disappeared because of the strength of globalization moved by post-capitalism.