Mind Set Art Center (MSAC): Theatre of the Absurd and Wall of Muses constituted your first appearance on the stage since you work with MSAC, which included two exhibitions: the first exhibition, Theatre of the Absurd, exhibited series of new works, whereas the second one, Wall of Muses, adopted a unique approach. It included an entire wall and floor area, and there were various works and objects shown in the space. Please talk about the origin and the concept of Wall of Muses.
Jhong Jiang Ze (Jhong): When planning these two exhibitions, Andre (note: Andre Lee, Director of MSAC) proposed that, as the first exhibition was comparatively static, the second could be more open, presenting a possibility of extension, transformation and constant interaction, guiding the audience to better understand my art. His proposal at that time was closer to the concept of an open studio. I found the idea very good, but what came to my mind first was it would be weird to work in front of people. So, the plan was adjusted in a way that I would work here, but only when the space was closed to the public; this way, face-to-face communication would no longer be the point. What I was concerned with was how to make it mean something to my art practice in a project like this. I have always been pondering on an issue: many connections between works are not apparent and obvious. They form during the creative process, and usually in the studio. However, when the works are brought out of the studio space to an exhibition venue, the clues disappear. I consider these clues really crucial. Naturally, an artist always has his artist statement, but what substantiates the meaning and charm of the works often comes from the unexpected connections, clues, thoughts or inspiration while the works are being created. I generally call them “muses,” and it is the “muses” that accomplish the beauty of these works. I often fiddle around in my studio, so the connections might be quite random. Maybe I see a hat in the studio, give it a few glances, and then, something begins to come into play and starts to affect the work in process. This is actually the cause and effect behind my works. The inspiration seems random and spontaneous, but there is always a reason. I want to represent it, and to further discuss this process, in a way that requires minimum explanations and words. So, I thought I would revisit the idea of artistic creation with this concept of “muses.”
My original idea was to create a three-dimensional “box of muses”: it would be a giant box with six sides, containing a working site, which could be placed at any venues, meaning I could work anywhere, and I would be able to have a head start in the studio. Due to the limitation of space, this idea could not be realized at MSAC, but only constructed a space dependent on the existent walls and floor onsite. As a result, Wall of Muses became something like a box cut open from the middle, and precisely because of this, this project could only be executed in this way during the exhibition. This constraint of time, for me personally, was rather a challenge, giving me a sense of being rushed to finish.
MSAC: Can we say that Wall of Muses is your first work, transitioning from two-dimensional works to spatial installations?
Jhong: As a matter of fact, I did some small spatial installations, which were developed from my studio space and paintings when I was a student. I also created an installation last year. Memory is a Theatre of the Absurd). I would say that it is a state of artistic creation. I have never defined myself as an artist that only paints, so I do not feel compelled to be cross-disciplinary in a sense that it is simply a natural means, rather than an intentional one, to utilize appropriate media and expressive methods.
In terms of Wall of Muses, I viewed the entire artistic process as a piece of art that started from painting; therefore, Wall of Muses was not a work of installation art. Neither was it performance art or a simple representation of a studio in its existing condition, and it certainly was not performing art. If the element of performance got too much attention, the real crucial point and the issue I intended to discuss here might be obscured. Similarly, I tidied up the space after I finished my work everyday. A display like this would easily be taken as a simple representation of the studio if there had been too many traces of daily life. The project of Wall of Muses centered on the inspiration and clues in the process of artistic creation as well as how they grew into fascinating works. I spelled out the hidden clues through revealing the context of artistic creation instead of using verbal discourse. This is what art criticism could not achieve. In the meantime, these connections are really ambiguous most of the time and hard to detect. Even when you visit an artist’s studio, you might not notice them if without the artist’s pointing them out. Therefore, I attempted to demonstrate and enhance the clues and connections in this project so that the audience could essentially feel the presence of these “muses.”
MSAC: You brought a deck of tarot cards to the site of Wall of Muses. In what way does this relate to your previous Tarot series?
Tarot cards are also a source of inspiration. I started my Tarot series back in 2012. I have found it interesting to gain materials from things created by people of former times and converted these materials. I did not paint the images on tarot cards but used them as a kind of inspiration and nourishment. In the cards, there are a lot of unknowns, and the images are quite intriguing. The idea of Theatre of the Absurd actually stemmed from this series whereas the concept of Wall of Muses could be traced back to Gathering of Works in 2004, which staged the idea of placing many available works in a single space.
Not every single element in Wall of Muses has a clear reference or definition; I just put it up as it appealed to me. For me, many things do not possess of reasonable logic, and I do not particularly want it to be logical. I am not telling a story. In this work, intuition and inspiration are much more important.
MSAC: What is it like when you are working in the studio? How does it differ from the way you work on site at MSAC?
Jhong: My work and life co-exist. Previously, my living space was joined with my studio; now they are separated, but I still spend a lot of time in the studio. Apart from sleeping hours, I am probably there all the time. I spend hours observing my works and simply be with them. So, I live, read, watch TV, surf the Web in my studio. Sometimes, I would just dawdle all day and not paint anything. It was also like that at MSAC at the beginning, but I soon realized I was under time pressure because this project was not a live performance. When the gallery opened, I had to stop painting. Therefore I adjusted and started working immediately once I got in; no time for daydreaming anymore. It took me some time to adapt and get used to this mode, which was completely different from working in my studio.
MSAC: In this case, then, what are the differences we see in Wall of Muses from a visit to your studio?
Jhong: The site of Wall of Muses was not a representation of what my studio would be like. In the studio, you would not see so many clues. There might be a pile of things, but you would not realize it is a clue. In Wall of Muses, I make these clues the focal points so that when visitors were in the space, they could sense the connections between things. I painted the wall green to create a space that emitted a sense of warmth of life, dissimilar to that of a white box. It kind of resembles a salon, allowing a livelier way to exhibit works, such as hanging the works one above another that also brought a spontaneous tone into the scene as if it were a studio. I also purposefully brought some seemingly insignificant but meaningful trinkets from my studio including a few pieces of wood, three chairs, some frequently used books, a couple of works in process that were already presentable in a way. They were like seeds that would grow. Amusingly, the fact is just as I was talking to Andre that Wall of Muses could actually never be finished, and that it could be constantly altered and continued. Although the exhibition would end, the work would never be done. What I could do was to make it look completed to some degree when the exhibition ended.
MSAC: That is because it has always been on-going and continuous.
Jhong: Yes, and it could go on forever. When some parts were taken down, I would not throw them away, but saved them for some other time, some other changes. Wall of Muses could go on like this forever. There were just too many possibilities, and this was the quintessence of this project; that it would not stop. Comparing to paintings, I think the creation of Wall of Muses has been freer, unrestricted in terms of materials and shape. It was not simply two-dimensional but three-dimensional with a larger scale, which was more gratifying as well as demanding. It was quite thrilling for me.
MSAC: How do you perceive the relations among clues, the way your thoughts travel, themes in your art, and your inspiration?
Jhong: The clues are not necessarily logical; they might be absurd, disconnected and irrelevant. However, the absurd would become reasonable here and serve as necessary connecting clues. For instance, there are some geometric shapes in my paintings, which are actually inspired by some leftovers from when I cut paper and stuff. So, there are some things I leave untouched, simply letting them lie there, and they might trigger something in my mind. From this perspective, randomness becomes a part of the work. In this project, the element of randomness, which is usually shown on canvases, was displayed in the space of Wall of Muses on a larger scale.
In Wall of Muses, “faces” was another key point. From the gray paintings that were hung up earliest came these smaller round paintings. There was another painting I had planned to put up, but I saw another possibility when it was on the floor. Another inspiration arose, and then, the feet grew out from the canvas. Consequently, instead of hanging it on the wall, the work was integrated with the floor. Artistic creation is the accumulation of countless inspiration and ideas. One inspiration does not one painting make. I have always been paying attention to the message in the inspiration, trying to hold on to it, filtering it out. Observation is required in various aspects, and I must stay constantly alerted in order to capture the inspiration. Perhaps, the path to success is right in front of you without you realizing it. For instance, I was looking at a drawer on the cart where I kept my painting tools, and an image came to my mind with these cage-like drawers covering the painting. So I tried it out, got some lighting, and it worked out very well. Many ideas came to me all of a sudden like this. Another example was a painting I placed on an easel. I was working on it and saw the red and yellow behind as they were a frame of this work and made it solidified. That was why I made this frame for this painting. Nonetheless, if this painting were not in the studio, you would miss all that. This is what I have been talking about. This space really reveals the visual connections which is crucial to my creation.
MSAC: Your artistic style is quite versatile. You seem to avoid settling down to one particular style. Or, is it that you do not want to define your artistic style in a clear-cut way?
Jhong: If I am asked to define my style, I would say it must be obscure, and without any premise. I do not start a work with a topic in mind. In the exhibition, Theatre of the Absurd, there were certain topics, such as historical and classical materials, and the theme of characters that I liked; but it was not exactly singular when it cames to the way of expression. I value Wall of Muses more since the whole process gave everyone a chance to fully perceive the fact that artistic creation involves constant renewal, reset, and starting over. I did not have to deliberately make a breakthrough, but just be aware of allowing it to develop and progress. The fact is I do not knowingly avoid certain style. There is a sense of rhythm in my art perhaps. When a feeling sustains a few paintings, I might not be able to carry it further and would change. I guess I could account for this in a few possible explanations: first of all, I think artistic creation means breaking through. Secondly, I want my works to be embedded with feelings. That means I must stay true and embrace the moment. It also means that I could not preconceive what the work would turn out to be.
MSAC: Could we say that a work is created because you possess the desire to create, and when the drive has diminished, you could no longer paint the same type of works?
Jhong: Creating art is an everlasting challenge. I can never be satisfied with painting the same thing over and over again. I would feel no longer being challenged. The challenge also helps me to keep in a good condition. For me, “artistic creation” always refers to “the next,” the next work, the next stroke, instead of the previous one. Making art is a way to stay fresh.
MSAC: I feel that you are very intuitive. When you make art, you rely on how you feel and your honest emotions. Your creative state is similar to your art, constantly progressing, always associating freely, not very logical, an uninterrupted flow of inspiration. You once said that your brain is like a binding framework, obstructing the way you see or think.
Jhong: It means…one can always and only be oneself, like a computer can only work on the same CPU and motherboard to process data.
MSAC: So you are always trying to break through that framework?
Jhong: Self-destruction in a way. This framework restrains me from changing my point of view. I cannot see the world from your eyes. I can only be myself forever, which seems quite terrifying. Of course, people are like computers and can log online and connect to other computers. At the moment we talk, our information is exchanged. However, it is still the same computer that is processing the information. I am still the same person. Even if I could communicate with you until the point that we share the same ideas, we are still two individuals. I can never become another person. I have always had this idea in mind since high school or college. Even if I was not clearly aware of it, it still affected my art on a subconscious level. That is why I often try to confront it and look for a breakthrough, a kind of release.
MSAC: In your artistic career, whether as a student in schools or as an independent artist, have you ever felt being restricted in any way?
Jhong: No. Restrictions do not come from schools, which indeed give you much freedom. It is that feeling we just talked about, the fact that you are unable to change who you are. Taking mobility for example: if you want to take a glass, you cannot get the glass that is far away from you. While I am here, I cannot be somewhere else. This body itself is a framework. This is something…you are born with. So, it is a fundamental question instead of a systematic or a social one. As an artist, I would still prefer to examine the fundamentals.
MSAC: Is it less painful for you now when you feel like this, that it is predestined and could not be transcended?
Jhong: This is something you cannot change. One can only try to ignore it.
MSAC: Have you ever thought about the possibility that one could lessen the confinement of the brain through growth, the accumulation of experiences and expansion of horizon? Could the growth of wisdom improve this condition?
Jhong: Naturally, a computer can download information and grow in a sense, but its fundamental characteristics remains unchanged. I have tried to find answers through research in religions. I have studied Buddhism and quantum physics. The movie, Matrix, is actually talking about what I am saying. Various computers are all connected to one mainframe or one matrix, which might be a possible answer; but it is not a job to be done with simple steps. If one really hopes to be like that, it requires tremendous efforts for practicing; extremely difficult. On the other hand, artistic creation soothes your mind, providing a feeling of release, comfort or spiritual freedom. It is a kind of creation after all. In fact, it is possible to feel free in one’s mind even though the physical or psychological limitations cannot be changed. Artistic creation indeed provides a higher degree of freedom. However, one must pay attention to the fact that art and religion are two different matters.
MSAC: Do you think the experience of creating Wall of Muses brings you new illumination?
Jhong: Yes, and I think it is rather important. I discussed this with Andre, and laid down a basic rule. This project could continue without end, and to a certain level, it corresponds to some fundamental ideas in my art, allowing them to be shown in a concrete manner.
I have always hoped that artistic creation can achieve the goal of constant renewal and self-preserving. For me, Wall of Muses can achieve that and really embody this concept. Comparing to directly throwing my works together for an exhibition, in which the audience might miss all the connections and only judge me as illogical, Wall of Muses can really reveal the connections. This is substantiated by the visitors’ feedback during the exhibition. While we were doing the project, the wall opposite to Wall of Muses was a white wall of the gallery with my works on it. As long as the works were taken out of the area of Wall of Muses, it meant that they were out of the studio and in the exhibition space. The visitors did not need many explanations when they saw the paintings in Wall of Muses, but they did when they viewed the works on the opposite white wall. Even though the paintings in Wall of Muses were much more different from each other and largely varied in styles, you would not feel that it was weird to place them together. Why was it that the visitors were not confused when the paintings in multiple styles were juxtaposed? Perhaps it’s because the site allowed diversity, and could even integrate diverse elements. The connecting clues, the traces of labor and all the objects in this site have already provided an explanation. In reality, art is simply like that. It also brings out another issue regarding the mechanism of exhibition space. While all the works seem to be in unison in a studio, they may seem different from one another once in an exhibition space.
MSAC: So, was Wall of Muses also related to the subject of the framework of painting? Did you break the boundary set by the framework for a painting, in the attempt to extend the work outside the frame?
Jhong: Generally speaking, the artworks and the exhibition space are irrelevant. The artworks exist within their own frames or with their own volumes, unrelated to the exhibition space. This is why exhibition spaces are generally in a neutral tone to accommodate different works. There is a clear boundary between works on display and the exhibition space. However, the design of Wall of Muses since the very beginning has been to allow the works to be shown within a space formed by several walls, which meant it was possible to incorporate the exhibition space into the design, and to look upon the works, walls and space as a piece of art in a larger scale. It gave me more elbow room to reveal things in addition to the paintings. The paintings in Wall of Muses were different from the paintings that were created individually. They could be viewed independently, but could also break free from their own frameworks and be associated with one another, and referred to each other. When the paintings were freed from the frameworks, the boundary between them and exhibition space was also dissolved or blurred, and artworks could generate more meanings in this manner.