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Traditional skills or modern technics, they are the media and tools via which the concepts and ideas are expressed. Mian Wu interviewed by Klimt02

Interview  /  Artists
Published: 10.04.2019
Mian Wu Mian Wu
Author:
Klimt02
Edited by:
Klimt02
Edited at:
Barcelona
Edited on:
2019
Mian Wu. Object: Gold Necklace-Carpet used in jewelry factory contain 1.65 g gold, 2015. Carpet, brass, silver.. 65 x 65 x 0.5 cm. From series: Gold Jewelry. Mian Wu
Object: Gold Necklace-Carpet used in jewelry factory contain 1.65 g gold, 2015
Carpet, brass, silver.
65 x 65 x 0.5 cm
From series: Gold Jewelry
© By the author. Read Klimt02.net Copyright.

Intro
I have been asked about Chinese identity for years when talking with western audiences and artists. For many people, this means some visual identities like materials, elements and style. However, for my, Chinese Identity in jewelry is also rooted deeply in the current situation and industry that is carrying on around us.
What's local and universal in your artistic work?
I have been asked about Chinese identity for years when talking with western audiences and artists. For many people, this means some visual identities like materials, elements and style. However, for my, Chinese Identity in jewelry is also rooted deeply in the current situation and industry that is carrying on around us.


What do you expect when you show your work to the public (for example, with an exhibition)?
As many of my works originated from public issues about jewelry industry, like mass production, gold factory in southern China and Shan Zhai, so I would very much to discuss these issues with the public through my works.


How important is handmade for you in your development? What role does technics and technology play in your development?
I always remember that Kim Buck said: 3D print machine was just another hammer. when I was studying after him. He started to use 3D print, CNC many years ago, but this is never the essential and central content of his work. So no matter it is handmade, with traditional skills or it is made with modern technics, they are the media and tools via which the concepts and ideas are expressed.


Whenyou start making a new piece what is your process? How much of it is a pre-formulated plan and how much do you let the material spontaneity lead you?
I would like very much to cooperated with accidental. I will first set up the rules rather than thinking of the final and concrete shapes, and let the works come up or grow through the system that already settled.


Are there any other areas besides the jewels present in your work?
Most of my works focus on jewelry itself, but it doesn’t mean a limited and superficial area. From the original point such as mining, environmental problems, and labor issues to the last circle of the industry like consumers’ psychology and advertisement strategy, jewelry can reflect many things around it.


How important is wearability in contemporary jewellery? And in your pieces?
I think wearability is very important in jewelry as it is one of the main characters which differ jewelry art from other art media. However, it doesn’t mean that a piece of art jewelry is must be wearable, it indicates that whether it is necessary to wear or not, and how to wear it are significant contents to be considered during creating process.


The last work, book, film, city that moved me was...
I visited a 90-years-old man this spring festival, who showed me his crafts made in this year with used packages and boxes. He cut the characters out of them and made small sculptures with them. It’s true art for me because it’s true love from the heart.


What/who is the biggest influence in your career?
The torchbearer for me is Prof. Fei Teng who is the first one invited contemporary jewelry to China and started jewelry art education in China. Kim Buck, whose works inspired me a lot and I love to work with him.


Which piece or job gave you more satisfaction?
The job as a teacher keeps me learning and absorbing new ideas.


What is your source to get information?
I prefer theory books rather than albums because I ’m afraid to be trapped in visual experiences. And I got inspiration from the newspaper, internet, even from entertainment program. Last week I found that male actors are not allowed to wear earing on TV, and their ears with earing are pixelated. This is about the conventional cognition of gender role carried by jewelry and the government ‘s control of the public through dressing up and daily behaviors.


Considering the experiences you have had over the years...
I’m not a person with a well prepared and longtime plan. What I did is to do my best when the chance comes up to me. So I do appreciate all my experiences, and I believed that when I grasp each opportunity, that it will lead me to a good result naturally.


If you could go back and give yourself a piece of advice for the start-up phase, what would that be?
I feel I’m still a start-up and will always be.


Can you describe your personality in 3 words, describe your work in 3 words.
Personality: Two-side, sensitive sometimes, real to the surroundings.
Works: Reflection, Systematic, critical (maybe).
 
Mian Wu. Object: Step One, 2012. Brass. Variable. From series: Start from a Ring. Mian Wu
Object: Step One, 2012
Brass
Variable
From series: Start from a Ring
© By the author. Read Klimt02.net Copyright.
Mian Wu. Object: Gold Necklace-Carpet used in jewelry factory contain 1.65 g gold, 2015. Carpet, brass, silver.. 65 x 65 x 0.5 cm. From series: Gold Jewelry. Mian Wu
Object: Gold Necklace-Carpet used in jewelry factory contain 1.65 g gold, 2015
Carpet, brass, silver.
65 x 65 x 0.5 cm
From series: Gold Jewelry
© By the author. Read Klimt02.net Copyright.
Appreciate APPRECIATE