Xingrui Xu
"For me, the concept of tradition is not fixed but rather a dynamic engagement both in time and conceptually."
Interview by Richard Starbuck
Could you tell us a bit about yourself and your background? Where did you study?
I am an artist specializing in contemporary practice, driven by a passion for exploring the intersections of cultures through art. My journey as an artist has been deeply rooted in my upbringing, particularly influenced by my grandfather, who regaled me with stories from my childhood. Graduating with an MFA in Ceramics from the School of the Art Institute of Chicago has further honed my skills and expanded my artistic horizons.
Your work involves a process of 'blurring' to merge multiple perspectives and challenge traditional thought patterns. Can you discuss how this approach informs the interplay of tradition and anti-tradition in your creations, and the reaction you hope to elicit in viewers?
In essence, every artist has their unique focus and themes they wish to explore. Due to my personal experiences, I am particularly passionate about uncovering the boundaries between diverse cultures and delving into those nuanced intersections. I aim to convey these discoveries through my art, using my personal language to express them to the audience. For me, the concept of tradition is not fixed but rather a dynamic engagement both in time and conceptually. I strive to immerse the audience in the narratives I present, encouraging them to ponder the questions I raise and to explore their own inquiries.
With a practice that spans ceramics, painting, sculpture, and land art, how do you navigate the interrelationships between these mediums, and what do you find most compelling about working across these diverse forms of expression?
While I explore various mediums, my artistic focus remains steadfast. I am dedicated to contemporary practice and employ my unique artistic language to depict the interplay of diverse cultures, offering both visual delight and intellectual engagement to the audience. One of my current experiments involves ceramic earth art, where natural materials undergo firing to trigger chemical reactions. Through this process, not only do the properties of the substances transform, but also the very essence of presence undergoes a profound shift.
Considering your aim to push the boundaries of ceramics within contemporary art, how do you experiment with natural substances and materials to innovate and expand their artistic possibilities?
Indeed, ceramics can be seen as a form of alchemy, much like art itself. It involves the careful blending of natural and human-made materials, finding the perfect balance and proportions, and subjecting them to the transformative process of firing. Through this alchemical process, disparate elements come together to create something entirely new—a piece of art that transcends its individual components.
YellowSprings, 2023
One of Yellow Springs, 2023
Palimpsest, 2023
No.10 Buddha, 2018
Stranding, 2018
Well, 2020
Tell us a bit about how you spend your day / studio routine? What is your studio like?
I maintain studios in both Chicago and Shanghai, with Chicago serving as my primary workspace. While my daily routine may seem mundane at times, when I'm deeply immersed in a project, I dedicate myself to long hours, often exceeding the standard 8-hour workday. Ensuring the proper preservation of materials is a crucial aspect of my work, demanding meticulous attention to detail to avoid any complications that may arise.
What artwork have you seen recently that has resonated with you?
Recently, two artworks have left a strong impression on me: Carl Andre's "Dada forgeries" series from the 1950s and Judy Chicago's "Immolation" from 1972. Andre's series challenges traditional notions of authenticity in art, while Chicago's piece confronts issues of gender and violence. Both artworks resonated with me for their thought-provoking content and emotional impact.
Is there anything new and exciting in the pipeline you would like to tell us about?
Recently, I've been engaged in two projects that hold significant meaning for me. One project involves creating ceramic topography, where I translate my three-dimensional work onto a flat surface. This endeavor challenges me to explore new dimensions of my artistic expression and pushes the boundaries of traditional ceramic artistry.
The second project, Yubu, draws inspiration from an ancient Taoist practice. Rooted in powerful convictions, this project delves into the timeless wisdom of Taoism and seeks to manifest its essence through contemporary artistic interpretation. Embracing the profound teachings of Taoism, Yubu represents a harmonious fusion of ancient wisdom and modern creativity, inviting viewers to contemplate the enduring relevance of spiritual philosophy in our rapidly changing world.
All images courtesy of the artist
Interview publish date: 04/03/2024
