Artist Interview: Yi Ling Lai
An interview by Blackdot Gallery
Dive into the world of Yi Ling Lai, where tradition meets innovation in a captivating exploration of art, culture, and self-expression.
1. Please share your thoughts on the ways in which your Taiwanese background has influenced your artistic practice while living and working in London.
A: I believe that growing up in Tainan, a city rich in historical landmarks and strong traditions, combined with my education in traditional ink painting and Chinese calligraphy, has given me a diverse advantage in my creative thinking and critical perspective. These Taiwanese experience and background have led me down distinct paths of thought and critical viewpoints, prompting me to assess whether I possess the ability to reflect on and integrate these traditions and cultures into my art while bringing them to London.
Living here has also driven me to delve deeper into my cultural roots and the materials I often employ which I contemplate whether the chosen materials and techniques truly align with the context I aim to convey through art. This introspection propels me to consider how to evolve and enhance my artistic practice over time. Throughout my art process, I strive to remain faithful to my cultural background while fostering inclusive ideas that transcend cultural barriers, aiming to create a language that bridges divisions.
Moreover, interacting with various individuals in this environment, I've gradually realized that my background is not merely a reminder but a catalyst, propelling me to independently ponder the relationship between traditional thinking and innovation.
2. Could you describe the specific impact of collaborating with renowned brands like the British Museum, Prada, and Ffern on your approach to promoting Chinese calligraphy in the UK?
A: Firstly, I am grateful for the various collaboration opportunities that have come my way. These partnerships with different brands have opened up a broader avenue for me to connect with a diverse audience here in the UK. People from various backgrounds and age groups now have the chance to experience the art of calligraphy firsthand. This has been instrumental in breaking down any perceived barriers or intimidation associated with calligraphy, making it more accessible and relatable. Achieving this accessibility and approachability has always been a central goal of my efforts in promoting Chinese calligraphy in the UK.
To me, calligraphy is not merely about understanding the meaning of each Chinese character; it's a true artistic form. Especially nowadays, we can delve beyond the surface of the characters and incorporate their historical significance, drawing inspiration from their roots. By embracing the historical context of calligraphy, we are better equipped to truly appreciate this unique art form, and through that, we gain a profound sense of connection and inspiration.
3. In your artistic evolution, how have avant-garde movements like the Bokujinkai Japanese calligraphy group, Inoue Yuichi, and Morita Shiryū shaped your creative path? What distinctions have they highlighted between the 'painterly line' and the 'calligraphic line' in your work?
A: As I delved deeper into the exploration of my own art practice and sought to break away from the confines of traditional calligraphy, I encountered fresh concepts through my research into Bokujinkai. These concepts reshaped my perspective and compelled me to reconsider the ways in which I aimed to convey my artistic ideas.
Bokujinkai places a strong emphasis on free expression and the uniqueness of brushwork, which proved to be transformative for me. They fearlessly challenge the limitations of traditional calligraphy, embracing an art form that is uninhibited, dynamic, and profoundly personal. They encourage artists to transcend the established boundaries of calligraphic lines, those that follow certain rules and conventions, and instead, to discover new avenues of expression. This includes infusing abstract elements and the emotional essence of calligraphy into their works, embodied as the 'painterly line'.
The impact of Bokujinkai has led me to perceive calligraphy as breaking free from its traditional forms. Gradually, it sheds its historical constraints, evolving into a distinctive form of calligraphic line. This transformation signifies that calligraphy is no longer confined to conveying mere text; rather, it takes on the fluidity of painting strokes, imbued with emotions and spirits that forge a profound connection with the audience. Consequently, my artistic practice has evolved into an open language, inspired by this novel interpretation of calligraphy.