陈荣义(以下简称陈)：近些年我一直都有关注你的艺术创作，但很少给予评论。我始终认为艺术创作是艺术家个人的事情，别人可以在艺术家创作的过程中给出建议，但是效果有限，最终作品的成型还是看艺术家自己的思路和能力。评论通常都是面对艺术家创作的成品进行的，好与坏已经是个定数。通过此次的个人展览，观者可以对你艺术创作阶段性的总结作出合理的评论。

何玲（以下简称何）：首先要感谢你这些年的关注。我也觉得艺术创作是相对个体的工作，思维的轨迹决定个人创作的行径。不过，就当下很多作品而言，作品发生过程的意义与价值其实比“成品”与结果更为重要。当然，艺术最终都会以某种方式来呈现或传播。但我有时觉得艺术创作一但由“思维”转换并催化成某种“物质”呈现，其实已与原有的“思维”产生了某种隔阂。如果要来深入剖析一个艺术家，这些被“思维”催化成的“物质”即你所指的“成品” 只能作为一种“佐证”。相对而言，艺术家本人的生活与思维轨迹其实比所谓的“艺术品”要鲜活。

 

陈：现在看来你的艺术创作共分成四种形态：表演（行为）艺术、装置艺术、绘画艺术和雕塑艺术。而且是把表演（行为）艺术作为从事艺术的第一个切入口，为什么？

何：其实自03年以来我一直未曾停止过架上绘画创作，只是我很少对外展示。行为艺术作为一种新的媒介，从其工作方式与表达形式在某种程度更能勾起我的兴奋点与表达欲，也存在更多的可能性与探索空间。但我并非特意设定以行为艺术这一媒介为切入点。其实我很不乐意别人根据艺术媒介来把自己划分成某一领域的艺术家。如“行为艺术家”、“画家”等。我一直觉得艺术创作应根据具体需要而选择适合的媒介表达。我对各种媒介都有兴趣，可能起因于我教育背景的缘故，职业工艺美术中专时我系统学习多种绘画媒介，雕塑、版画、染织等门类。大学本科是比较混杂的视觉传达专业，最后在中央美院又是实验艺术工作室，什么都学，什么都想去涉足，都想尝试。我一直希望自己能凌驾各种媒介的表达语言，也一直处于不断实验与探索的状态，并自得其乐。

 

陈：在你的行为表演艺术的作品中我觉得有两个倾向，《窒息》、《鸟人日记系列》、《我的最高尺度》、《吻冰》、《倒》、《被封存的一次排泄》等是身体对自身系统的体验，挑战极限，产生意义；另一种是身体的在场辐射，与现场环境的元素互动发生效果，比如，《观-未来考古》、《皮条》、《你的一元钱与我的三小时》等。你如何看待关于表演 (行为) 艺术中与观众的“互动”？你对我所谈的这两个方向的感受有何不同？或者说你本来的方向与思路是什么？

何：关于“互动”我觉得其实一个作品的产生在某程度或多或少的都已存在有互动的成份。这种互动有的是观众在现场观看作品过程中心理或情绪上受到感观上的冲击，从而也必将与自己产生或多或少的心理互动。这是放在关于观众心理学角度上的一种必然的心理体验与反馈。当然只是每个观者的感知强度与互动的层面是不一样的。当然我们通常意义上的“互动”可能更多的是指在有些作品呈现时与现场的观众发生直接的身体与语言上的互动。以求在作品过程中的观众直接参与到作品之中来，共同构成作品完整理念的原素之一。

在我的行为艺术作品中，我把以自身身体出发，强调体验，尽可能消解附属观念的固有及已有的概念，尽可能回归行为艺术语言实践，寻求行为艺术拓展的可能性，称之为“身体诗学”。如作品《倒》，我只是尝试身体在非正常生理状态与压强之下的正常生理反应，在颠倒的重心与压强之下尝试呕吐与排泄等这些正常的生理反应。《我的最高尺度》是对个人成长记忆中某些阴影与自卑情结的重新审视，某种程度类似于个人的心理理疗方式。并把这些相对个人化的行为与方式在视觉系统中赋予某种诗性，由于不同的环境与身体机能的表现不同导致我的“最高尺度”这一“评判体系”的悖论，从而隐射另一语境。

而我把注重在场辐射与现场人、周边环境、社会的其它元素有更多表象上的“互动”发生效果与意义，并希望引起某些话题与讨论的行为称之为“身体测量”。如《皮条》实际上暗示的是人与人之间某种微妙的关系。前者是解决作为个人、作为一个生命体的内在问题，类似于自我修炼与心灵治愈的一种方式。后者的“身体”适当赋予某些社会的身份与责任感，试图提出或讨论某些话题。两者其实是在不同方位与角度相互观照，并试图更多地了解我们自己的“身体”及在不同语境下的意义。

 

陈：我之所以把你的艺术称呼为表演艺术而不用行为艺术，是觉得你的艺术更符合理查德· 谢客纳创立的表演研究学科范畴。你的艺术行为是有目的性的策划和强化在看似乎日常的行为中寻求意义，有很多的表演特征，但又不需要事先准备好完整的剧本，行为过程不是戏剧的再现性说事，而是强调身体的在场性，在事先设想控制的情况下带有瞬间爆发的偶发性行为，也就是你在行为实施的过程中有即时的控制和放纵身体。你认同我这种判断吗？同时我想问你怎么定义你的“行为”就是艺术？

何：当然，在具体作品方案时肯定会有目的性的预设，从观念指向到有效表达。但在具体作品实施过程中却始终在不可预料的现场中来平衡控性或放纵自己的“身体”。这让我在每次作品过程中都充满激情但又得保持理性与冷静。

虽然“行为艺术”作为现代艺术的表达形式之一出现已有近五六十年的历史，至今仍只有一些相对的概念与认知。作为一种相对小众的艺术样式这恰恰是好的，因为在模糊的概念之下有更多的可能性与延展空间。我不是很关注别人怎么来定义我的行为，我甚至希望我的行为作品本身就无法以以往思维经验与知识系统来定义，这样才能激发观者在阅读中的某种思维惰性，同时也把自己带到一些未知的领域。而那种无法定义的“行为”不正好可以以“艺术”之名吗？呵！

 

陈：在你注重身体体验的表演艺术作品中（为了连贯性，我以下仍然以表演艺术一词称呼你的行为艺术），尤其《新寓言-乌鸦喝水》、《鸟人日记系列》、《倒》、《我的最高尺度》等，这些作品身体在内外力的作用下，一方面清晰地呈现给观者极限的状态；另一方面身体在承受极限压力下形成自然的弯曲的轮廓线。这些造型甚至给观众有一种美感，它们和痛苦、紧张的氛围等一起，在造型和气氛两方面达到高潮，给观众极强的感染力。总之，我觉得这些作品在形式和内容上更加统一，视觉效果也更为理想。但是其他的作品，我觉得内容和形式及视觉效果相对松散，不像前面那些作品，一看就是何玲的作品。我不知道你是否认同我的说法？

何：就从事视觉艺术的艺术家而言，我们都渴望找寻自己独特的标识，好让观者在第一时间就能在这个视觉图符如此多样的环境中辨析出自己的独特与个性。艺术创作有时就如视觉图像营销，我一度深陷其中。特别在《鸟人日记系列作品》中是比较明显的，08年我做完《鸟人日记——消失在地表》后，其实在有意识地剃除这种视觉表象上的所谓独特与固定符号。因为很多艺术家因为固守自己已成功营销的“视觉图符”，开始变得平淡，从而创造力也在逐渐消退。我觉得一个艺术家要随时有勇气瓦解自己。

 

陈：我觉得你到目前为止，表演艺术是你创作的重头戏，但装置艺术的创作几乎是和表演艺术同时开始的。在装置艺术中，有时身体还会介入，但最后身体还是抽离了，留下了装置，这样的作品我仍然把它归为你的装置作品，而不是表演艺术。不知道你怎么看你这些作品？

何：我的很多作品既有行为的成份又有装置语境，我觉得没必要非得以某种媒介来限定划分。如04年《自母体H.16》我用红色毛线花了一周时间把一楼盘架空层中间的某一段编制了一个内圆外方的蚕茧形状。红色毛线的“蚕茧”以装置的语言与形态来呈现。在活动期间我仍然在不停的编制并往外围扩散：一方面加强观众对我装置作品制作过程情境还原的阅读想象空间；另一方面我的现场方式也构成一件单独的行为艺术作品并赋予了新的寓意并拓展了这件作品的语境，使之更为丰满。还有《一包中国盐》、《一颗鱼牙的故事》、《讨厌的白鸡毛》等都是这种类型的作品。我经常会被行为的遗留物所吸引。

 

陈：你07年在德国创作的《一包中国盐》、《一张纸与一支铅笔》、《一根我带来的绳子》、《风景依然在，人却不长留》与近年创作的《佛尺》、《佛界》、《讨厌的白鸡毛》、《关于我的射程》这些作品在形式和内容上达到高度统一，并在形式和视觉背后有东方禅意的智慧。作品的气质除了形式的优雅外，偏向理性的控制和强调思想与物的另外的意义，与表演艺术中的原始气质大有不同。这两种艺术的不同气质是你无意识还是有意识的结果？

何：其实我觉得艺术创作都是在“无意识”中寻找“有意识”，又在“有意识中”让自己尽可能变得“无意识”。

 

陈：请简单概括一下你自己对你绘画之外的作品的创作思路。

何：我的作品通常会在个人成长经历与生存环境中去挖掘素材。从某种角度是对个体经验的突显；对身体的直视与重新认知的过程。同时也希望能引导人们思考自我，思考生活及其所属社会、文化的各种信息与矛盾。生活中各种细微物件存在的状态与物体之间的联系也是我的兴趣与关注焦点，我通常以行为的方式介入，将物件从普通的状态下剥离。试图探讨物质的“存在状态”。并赋予物一种新的，内在潜伏的关联。

 

陈：我们再来谈谈你的画与你在绘画作品中那些古怪的动物形象。

何：因兴趣所至，近年绘制了很多鸟类与动物及基因变异有关的形象，这些形象有的是纯粹对物象的机械描绘，有的是源自网络对生物变异的真实记录或是虚构的图片，更多是我对各物种的嫁接与重组处理。生物的变异与新生物种的产生是一种必然。人类对生物变异的认识史，其实也是人类干预自然、改变自然的历史。遗传工程技术的兴起，使人类拥有改造自然的新手段，开创了直接操作遗传物质、改造旧生物和创造新生物的时代，从而使定向改造生物成为现实。而进化的根基却是纯粹偶然性的，科学的发展证明，进化是一个复杂的过程。它是不同的环境下以不同的方式发生，而且各种规律相互作用的结果。而这些新物种进入整个生态系统后，最后由“物竞天择”决定取舍。 我们暂时无法判断这些进化与变异现象是积极的还是负面的？大自然中的生物在不断的异化，新生生物的不断出现，基因的变异等等这些问题是当下正在发生的，随着时间的推移，社会科技的进一步发展，后工业带来的环境污染等等一系列问题是否会让自然各物种包括我们人类本身产生更多的变异？自然界的生物链是否也会形成新一轮的演变？在我现有的知识系统中还只能是一种天马行空的遐想。

 

陈：那你为何放弃画笔这种传统意义的作画工具，而选择用注射器这一陌生且操作较难的工具？

何：这让我想起07年在德国入驻时做过一个作品《100001个点》，那时因为语言不通，也是我最长保持独处状态的一段生活。我每天晚上都在一张长5米，宽1.2米的纸上点墨点，同时一边点一边数数并记录墨点数量，直到10天后把这张纸上点满了共计“100001”个墨点。我把绘画的目的变成一种强迫理性计数的方式。作为绘画本身的绘画性得以消解,精神性变得重要。过程类似于修行的功课。我想那件作品在某种程度与现在我的画也许有某种潜在的关联。其实我现在作画一但构思后在制作过程中只是简单、重复的肢体动作。因为是针管、在特定的某一段时间我不需要在一边画一边考虑调色或者笔触之类的问题。

还有，我出生在一个三代行医的家庭，从小便生活在医院院子里，医院的药房便是我的“百草园”，医用的各个废弃物便是儿时我最酷最炫的玩具。注射器便是我儿时最爱不释手的玩具之一，我通常会把它代替水枪打水仗或者注入尿液射人，也用它给活青蛙体内充水及虐待其它的小动物等、总之肆无忌惮的做了很多调皮捣蛋、缺德的坏事情，像我这样的德性也无法遵从“行医”的父母之愿。重拾儿时这一玩具并注入五彩颜料，对上述种种可能的生命迹象通过每一个点、一丝线作出最详细的描绘。光怪陆离的形象产生是在相对强迫式挤压注射器的过程中产生的。而单一、重复、静默的劳作能让我达到内心的沉寂！也算是又找到一种新的玩法吧！

 

陈：也就是说你的绘画又往你之前的表演艺术方向扯回了一点。我也觉得你近期的绘画作品，无论是用针管笔画在纸本上的作品《百鸟图》等，还是用注射器描绘的作品《生物图录》、《异禽图》等，由于要长时间且重复单一的绘画手势，身体长时间的与画布厮守，贯穿了前期艺术的精神和性质。所以在画布上美丽的图像背后是身体承受极限的体验。

总的说来，我觉得你的艺术创作自始至终有一条暗线贯穿其中，那就是你不断把你的身体作为艺术创作中最为重要的媒介，通过对身体的不断控制和放纵，来努力实现属于自己的艺术面貌。祝你越走越远！

何：呵，谢谢！

 

 

Revised Edition

 

The Control and Release of the Body - A Conversation Between Chen Rongyi and He Ling

 

Chen Rongyi (Director of Meilun Art Museum under Hunan Fine Arts Publishing House, Artist, Editor, Artistic Commentator and Curator)

Recorded and collected by: Li Hui

Conducted in He Ling’s studio in Liuyang River Art Zone in October 2012

 

Chen Rongyi (hereinafter referred to as Chen): I have paid close attention to your artistic creation in the recent years, but I’ve seldom made any comment on your works. I think the artistic creation is the business of the artist himself, the advice given by others may have a limited effect and the final works depend on the thought and ability of the artist. Usually, comments are made on the finished works of the artist, but the qualities of the works have been determined already. Through this personal exhibition, the viewers can make some reasonable comments on your artistic creation.

He Ling (hereinafter referred to as He): At first, I’d like to thank you for your attention. I agree with you. The artistic creation is a relatively personal job. The thought of the artist determines the personal creation. But for most works at present, the process of the creation is more meaningful and valuable than the “finished works” or the result. Of course, the art will be presented or spread in a certain way finally. But sometimes I think there will be a gap between the artistic creation and the original “thought” when the artistic creation is presented in a way of “matter” after being converted by the “thought”. Such a “matter”, i.e. the finished works you mentioned, can only be considered as a “proof” if you want to make a deep analysis of an artist. Relatively speaking, the life and the thought of the artist are more alive than the so-called “artistic works”.

 

Chen: Your artistic creation can fall into four categories: Performance (action) art, installation art, painting art and sculpture art. But why did you choose the performance (action) art as the breakthrough point when you stepped into the artistic circle?

He: I’ve never stopped producing the easel painting since 2003, but I rarely exhibit those paintings. As a new medium, the action art can stir my interest and desire for expression to some extent from the aspects of its working method and expression form and it has greater exploration potential. But I didn’t choose it as the breakthrough point for a special purpose. Some people classify the artists into a certain filed according to the artistic medium, e.g. they may use the “action artist” or “painter”, but I don’t agree with them. I think an artist shall choose an appropriate medium for the artistic creation as required. I’m interested in all kinds of media. The possible reason is my educational background. I learned various media such as sculpture, print and dyeing and weaving in the vocational arts and crafts school, majored in the visual communication in the college and attended the experimental art studio in China Central Academy of Fine Arts. I wanted to learn all kinds of artistic media. I always hope I can master the expression forms of different media, and I’ve carried out a lot of experiments and explorations. I feel quite content.

 

Chen: I find two tendencies in your performance (action) works. One is the experience, challenge and meaning of the body’s system which is reflected in Suffocation, Birdman’s Diary Series, My Maximum Scale, Kissing the Ice, Standing Upside Down, A Sealed Excretion, etc. The other is the interaction of the body and the on-site environmental elements which is expressed in Observation - Future Archaeology, Strap, RMB One Yuan of Yours and Three Hour of Mine, etc. What’s your opinion of the “interaction” between the performance (action) art and the viewers? What do you think of the two tendencies I mentioned? Or what’s your original tendency and thought?

He: I think a piece of work can produce the effect of the interaction to some extent. Sometimes, the interaction is psychological because the mentality or mood of the viewer is affected by the visual perception when he or she appreciates the works on the site. Such an interaction is an inevitable psychological experience and feedback from the perspective of the psychology of the viewer. Of course, different viewers have different perception degrees and interaction levels. But the “interaction” in the usual sense refers to the direct physical and linguistic interaction with the viewer when the works are exhibited. In this way, the viewer can be part of the works and be one of the elements of complete works.

My action works are based on my body and experience. I try to discard the inherent and existed concepts, perform the linguistic practice of the action art and explore the possibility of the expansion of the art. I call it the “physical poetics”. For example, in the Standing Upside Down, I try to experience the normal physiological responses such as vomit and excretion under the conditions of reversed center of gravity and intensity of pressure. In My Maximum Height, I review the shadow and the inferiority complex during my growth, which looks like personal psychological therapy to some extent. I give these personal actions and patterns some poetic features in the visual system. Different performances of the environments and the physical functions result in my “maximum height” - a paradox of “evaluation system” to hint another situation.

I call the action which emphasizes the effect and meaning of the presentative “interaction” between the body and the surrounding environments or the other social elements and leads to some topics for discussion the “physical measurement”. The Strap implies a delicate interpersonal relationship. The “physical poetics” solves the inner problems of the individual and provides a method for self-cultivation and spiritual therapy. But the “physical measurement” gives the body a certain social identify and responsibility and tires to propose or discuss some topics. Those two concepts supplement each other in different directions and from different angles and make us understand our “bodies” and their meanings in various situations.

 

Chen: The reason why I call your art the performance art rather than the action art is your art belongs to the performance studies established by Richard Schechner. You plan and strengthen your artistic action on purpose, seek the meaning in the seemingly daily actions, show many performance features but don’t need to prepare the complete scripts. Unlike a drama, your action isn’t the reproduction of the reality; instead, it emphasizes the presence of the body and the instant occurrence under the planned control. That is to say, you control and release the body immediately during the action. Do you agree with me? And how do you define your “action” as art?

He: You’re right. I plan the concept orientation and the effective expression for specific works on purpose. But I control or release my “body” during the creation of the works because the site is full of unexpected events. Thus, I can keep passionate as well as calm during each creation.

There are only some relative concepts and cognitions of the action art although it has existed as one of the expression forms of the modern art for five or six decades. But such a situation is beneficial to the minority artistic form because there are greater potential and space for the development under the fuzzy concept. I don’t care how others define my action. I hope my action works can’t be defined by the existed thought and knowledge so that the viewer can eliminate his or her intellectual laziness and step into an unknown field during the appreciation of the works. And I think the undefined “action” can be called “art”. Hehe!

 

Chen: In your performance works stressing the physical experience, especially in the New Fable – A Raven Drinking Water, Birdman’s Diary Series, Standing Upside Down, My Maximum Height, etc., the bodies in the works can show the ultimate states to the viewer and form natural bent contour lines under the ultimate internal and external pressures. (I’ll call your action art the performance art hereinafter for the purpose of coherence.) Those images are beautiful and attractive for the viewer from the aspects of modeling and atmosphere since they merge into the painful or nervous atmosphere. In a word, I think those works are more unified in the form and content and produce ideal visual effects. But the other works are relatively loose in the form and content. The viewer can easily know they are created by He Ling upon seeing them. Do you agree with me?

He: As an artist engaged in the visual art, I’m eager to develop the unique identification so that the viewer can identify my specialty and personality among the diversified visual symbols as soon as he or she sees my works. I once believed that the artistic creation was like the marketing of visual symbols, which was especially obvious in Birdman’s Diary Series. But I began to get rid of the so-called unique and fixed visual symbols after I finished Birdman’s Diary – Vanishing from the Earth in 2008. Because many artists produce nothing special and their creativity fade away when they stick to the successfully marketed “visual symbols”. I think an artist shall be brave enough to make a breakthrough at any time.

 

Chen: In my opinion, the performance art has been the key point of your creation, but you started the installation art and the performance art almost at the same time. Sometimes, you involved the body in the installation art, but gave it up finally. But I still want to classify such works into the installation art rather than the performance art. What do you think about those works?

He: Many of my works contain action and installation elements, so I don’t think it is necessary to classify the works according to a certain medium. In the From the Mother H.16 in 2004, I spent one week using the red woolen yarn to weave one section in the middle of the empty space of a building into a silkworm cocoon with round inside and square outside. The “silkworm cocoon” wove with red woolen yarn is presented in the form of installation. I continue to weave and spread it during the exhibition for the following purposes: One is the viewer can know about the process of the creation of my installation works; the other is weaving the silkworm cocoon on the site constitutes individual action works, gives the installation works a new meaning and extends its context. Such works include A Packet of Chinese Salt, A Story of the Fish’s Teeth and Troublesome White Chicken Feather. I’m often attracted by the remnants of the action.

 

Chen: The works you produced in Germany in 2007 such as A Packet of Chinese Salt, A Piece of Paper and a Pencil, A Rope Brought by Me, The Landscape Remaining but the Person Having Left and those you created in the recent years including Buddhist Rule, Buddhist Realm, Troublesome White Chicken Feather, About my Range are highly unified in the form and content and imply the wisdom of the oriental Zen. Unlike the original atmosphere in the performance art, the atmosphere of those works includes the elegant form and the relatively rational control of and emphasis on the other meanings of the thought and the matter. Are the two different atmospheres the result of your unconsciousness or consciousness?

He: I think I seek the “consciousness” among the “unconsciousness” and verse vice during the artistic creation.

 

Chen: Will you please give a brief summary of your thought of the creation of the works except the painting?

He: I often find materials for the creation of the works from the personal experiences and in the living environment. To some extent, I want to highlight the personal experiences and review and re-cognize the body through the works, and I hope the works can guide people to think of themselves, their life and the social and cultural information and contradiction. I also have an interest in and pay close attention to the relationship between the subtle matters and their existing states. I usually separate the matter from their normal states by the means of the action, try to explore their “existing states” and give them a new potential internal relationship.

 

Chen: Now, let’s talk about the paintings and the weird animal images in those paintings.

He: I’ve painted many animal images including birds and genetic variants due to my interest. Some paintings are the mechanical depiction of the images, some are the true or imaginary pictures of the biological variation from the network and the others are the recombination of the species. The biological variation and the emergence of a new species are inevitable. In fact, man intervenes in the nature and changes it during the recognition of the biological variation. Man has developed a new method for changing the nature and stepped into an era of the direct control of the genetic materials, the transformation of the old creatures and the creation of the new ones so as to achieve the directional transformation of the creatures due to the emergence of the genetic engineering technology. But the base of evolution is purely occasional. The development of the science proves that evolution is a complicated process. It happens in different ways in different environments, and it is the result of the interaction of various rules. The survival of the new species is determined by the rule of “survival of the fittest in the natural selection” after they enter the whole biological system. For the time being, we can’t judge whether the evolution and the variation are positive or negative. In the nature, the creatures vary constantly, the new creatures emerge continually and the genetic variation occurs at present. But as time passes by, will the species in the nature including the human beings suffer from more variations due to the further scientific development, the environmental pollution caused by the post-industrial economy and other problems? Will the biologic chain undergo a new kind of evolution? It’s just a kind of imagination due to my limited knowledge.

 

Chen: Why did you choose the syringe rather than the traditional painting tool - brush since the former is a new tool and it is difficult to use it?

He: You remind me of the 100,001 Ink Dots created in 2007 when I visited Germany. I lived alone at that time due to linguistic barrier. Every evening, I drew the ink dots on a piece of paper 5 m in length and 1.2 m in width. I counted the dots and recorded the number when I drew them. After ten days, I drew “100,001” ink dots in total. Painting became a method for forceful and rational counting. And the spiritual feature was more important than the painting characteristic. It seemed that I cultivated myself in that period. I think the 100,001 Ink Dots is potentially related to my current paintings to some extent. In fact, I just repeat the simple physical actions when I begin to create the painting after I design it because I don’t have to think about the color mixing or the brush stroke at a certain period of time when I use the needle tubing to paint.

In addition, I was born in a physician family. I lived in the hospital from childhood. The pharmacy was my “Baicao Garden”, and the medical wastes were my coolest toys. The syringe was one of my favorite toys. I usually used it to have water fights, filled it with urine to hit others or used it to inject water into a live frog or maltreat the other little animals. In a word, I did many mischievous and wicked things. I didn’t follow my parents’ wish. Now, I pick up the toy in my childhood and inject colorful pigments into it to depict the above-mentioned possible life in detail through dots and lines. The bizarre and motley images are created during the relatively forceful extrusion of the syringe. And the repeated simple job makes me achieve the inner peace! Maybe it can be said that I find a new playing method!

 

Chen: That is to say you return to the performance art. In my opinion, when you produce your recent paintings including Hundred Birds which is painted by the needle tubing and Biological Image and Weird Animals which are created by the syringe, the body is kept in contact with the canvas because you have to repeat the simple gesture for a long time, thus you continue the artistic spirit and characteristic in the earlier period. So the beautiful images presented on the canvas are the fruits of the experience of the physical limit.

In general, I think there is a clue running through your artistic creation, and the clue is you always consider your body as the most important medium in the artistic creation. You try to develop your own artistic style through the continuous control and release of your body. Wish you a bright future!

He: Hehe, thank you!

作者：陈荣义