“扒皮”艺术中的虚无空间 | 李欣芮 Xinrui Li 「艺术访谈」
欢迎来到木牙Make Unique Young Arts，今天让我们以空间作为媒介来探索事物的边缘性与可能性～
今天我们邀请了李欣芮 Ariel Li来到木牙MUYA带我们进入一个材料的虚无空间，她通过装置和实验艺术的表现形式进行探索多重材料性的“去表皮化”，粒子状，金属网格状的无边界感的虚无与混沌。
Nothingness is used by Taoists to refer to the noumenon of "Tao". That the Tao body nothingness, so it can contain all things; Nature is in harmony with Tao, so there is and if not, real and if not. Through the ages, explanations and discussions of nothingness have permeated literature, philosophy, and science. Our real perception of nothingness, like that of nothingness itself, has the vagueness, the gauze, the particle, the looming, the plastic transparency of invisibility.
Living in an abstract space, we are always exploring a sense of nothingness and boundlessness, which may be a state of life, or a life experience, or a kind of emotional perception.
We invited Xinrui Li to MUYA to take us into a material nothingness space. She explores the "de-epidermization" of multiple materials through the expression form of installation and experimental art, the nothingness and chaos with no boundary in the form of particle and metal grid.
Xinrui Li, graduated from the university of the arts London Chelsea college, at present for the royal college of art, interior design graduate students reading independent interior designers, artists, and cross-media narrative, devotes to the borderline and possibility of space as a medium to explore things and focus on digital after factors, social factors, women/class factors, etc.
Life is a very interesting thing, it will give you many moments of surprise and inspiration, seriously live, seriously feel the vitality.
In the space design of Xinrui, visual materials such as particle and gauze are used. In Xinrui's opinion, how do you use materials to convey the sense of nothingness, chaos and fuzzy spatial boundaries?
Materials in large part the space perception and empathy, is an important bearing object, space narrative about this sense of the boundary of the chaos, I actually pay more attention to my personal and material in some kind of connection on the level of perception, the material is own emotional attributes, the emotional attributes may be different for everyone, for example, may think cotton conveys a feeling of fear, Concrete feels warmth, it is a kind of personal and personal thing, I cherish such a moment, a moment when the material and the non-material are in the same dimension of mutual communication and perception, it is a kind of perception.
➤ 木牙MUYA: 欣芮如何看待，室内设计，建筑设计和装置艺术之间的学科交叉性？
How does Xinrui see the interdisciplinary intersection between interior design, architecture design and installation art?
The reason why we classify subjects is that there are professional skills, and people's ability and energy are limited, so they can be divided into different "majors". But I think there are only two types of "rational" and "perceptual". In fact, there is no obvious boundary between space and art, which depends on how you view your role. I think we should deal with this kind of "intersectionality" because nothing is completely independent, and it is this kind of intersectionality and interconnectedness that creates the "spark" at some mixed boundary.
➤ 木牙MUYA: 随着时代的不断进化和发展，欣芮觉得未来的空间设计会演变成什么样子的呢？
As The Times continue to evolve and develop, what does Xinrui think the future of space design will be like?
If to see with my own ideas, I more hope can to some extent become the carrier of human emotional level can rely on, I think it has such potential, but currently only regard it as more of a physical carrier of the space, because the meaning of human space since ancient times is different, it's activities, is also a "home", apart from life, Survival, basic activities, I hope that the space in the future can carry more spiritual and spiritual things, and become an important carrier of human emotional communication.
➤ 木牙MUYA: 在很多当下当代的造型设计中，非常注重线条感和流动性的美感。可以与我们分享下，在空间设计或是装置艺术中，哪些方面是在创作的过程中比较侧重关注的呢？
In many contemporary modeling designs, great attention is paid to the sense of line and the beauty of fluidity. Could you please share with us what aspects of space design or installation art are focused on in the process of creation?
I think this is related to the focus of creation that everyone pays attention to. Taking my own example, I think the most important thing in a creation is the spiritual core, what the creator wants to express in the work, and the connection between the creator and the work. The work is created by the creator. Each of us to a certain extent, is based on previous experiences in life, insights and experience as defined by a "field", the creators of "field" so far the life accumulation and some potential direction, to create the connection between the work is very important, I think can feel part of the creator of life from the work, Therefore, endowing the work with the spiritual core is also a part of self-exploration.
➤ 木牙MUYA: 2021年艺术的边界逐渐被打破的局势越发明显。欣芮认为是什么样的发展方向促使着这样的局势？与现有的国内情况结合看待这一类发展？
It is increasingly clear that the boundaries of art are being broken in 2021. What direction does Xinrui think driving this situation?
I think this is historically inevitable, is also the human must, on the basis of the food and clothing and basically solve the economic problems will seek spiritual satisfaction and pleasure, a new generation of 90/00 generation is also the main force of the development direction, from slash youth to various broken world cooperation from all walks of life, I think is entered a state of exploration and fusion, This will lead to more interesting things and maybe some new fields. I'm looking forward to it. The world itself is interesting.
➤ 木牙MUYA: 疫情的出现加速了人们开始进入人工智能全面发展的社会，自动化的生活方式会全方面的覆盖到我们的日常中。欣芮如何理解和认知人性与机械性发展的？
The emergence of the epidemic has accelerated people's entry into society with the comprehensive development of artificial intelligence, and the automated lifestyle will cover all aspects of our daily life. How does Xinrui understand and perceive human nature and mechanical development?
Now a lot of school, literature, art and other songs are written on this topic have had a lot of the future direction of exploration and guess, I think the future may produce bigger dispute or conflict point still lies in the emotional level, I wonder how will the artificial intelligence to understand human emotions, in other words, human beings will be how to understand and analyze our emotions, There are still so many unknown areas in our understanding of the brain. Artificial intelligence may be the reflection of our spiritual/emotional exploration.
➤ 木牙MUYA: 研究生后准备做什么类型的工作？除了室内设计师之外还有哪些具体的就业方向工作类型？有什么工作方向是让人意想不到学室内设计也可以考虑的呢？
What kind of work do you plan to do after graduate school? What specific employment direction besides interior stylist work type still have? Are there any unexpected career directions that you might consider studying interior design?
I may be interested in research work, and I am currently committed to exploring the empathic power of space. In fact, I have not set a limited framework for my specific employment direction. As long as it is in line with my exploration interest and direction, I can do it whenever I have the opportunity. At present, there is no field that makes me feel like this. I think major is not a framework, it does not say that you are restricted to what field of work, it is a foundation and bonus, on which you can explore many fields based on your interests.
➤ 木牙MUYA: 最近在读些什么书？有没有特别值得推荐的？可以大概讲一下内容怎么发现这本书的和为什么读吗？是否和室内设计相关？
What are you reading these days? Do you have anything in particular to recommend? Can you tell me a little bit about how you found the book and why you read it? Is it related to interior design?
In Prasie Of Shadows is a book about Japanese culture, a book is more like a long poem, I think can make people had a deeper understanding on the culture and cognition, it may not be so popular, in general is a celebration of precipitate and details, I think it is worth to get to know a kind of culture, it can be related to interior design, It can be about anything, actually.
“Ground control to Major Tom”