10 Questions with Aodan

Aodan (born in Hohhot, China) is a visual artist who is more willing to call herself an 'escapist' and 'art shaman'. She graduated from Oberlin College with a bachelor's degree in visual arts and the School of Art Institute of Chicago with a master's degree in fashion, body, and garment. Her works have been exhibited in multiple shows in the USA and included in magazines from Turkey, the United Kingdom, and Spain.

Aodan's body of work delves into the complicated tableaux with aggressiveness, gentleness, fragility, softness, toughness, struggles, emotions, and pain within femininity and female gender in delicate and cryptic looks. She digs into the neglected, unorthodox, forgotten, and hidden parts of "Yin" out of love, desire, and fear, utilizing forgotten ancient traditional craft techniques.

www.aodantheescapist.net | @kaamosl

ARTIST STATEMENT

Aodan's body of work delves into the complicated tableaux with aggressiveness, gentleness, fragility, softness, toughness, struggles, emotions and pain within femininity and female gender in delicate and cryptic looks. She digs into the neglected, unorthodox, forgotten, and hidden parts in "Yin" out of love, desire and fear.

In her way striving to explore, redefine, and externalize femininity and "femaleness", she takes multiple traditional craft arts, including Thread Wrapped Flower, embroidery, and Liuli as her tools.

There are times that she was told that her arts are "too crafty for modern art, too feminine for men, too unfamiliar to foreigners, too "Chinese" to the Westerns, and too time consuming for mass production, yet still she treasures it by carrying on perfecting it as it is a precious memory passed down to us with the remaining temperature from fingertips.

INTERVIEW

Who are you, and how did you become interested in art making?

I describe myself as someone who bridges the roles of artisan and artist, blending craftsmanship with artistic expression. My journey into art began with a set of fairy tale books gifted by my parents. The enchanting illustrations captivated me, prompting me to draw on any available surface, create doll clothes, and experiment with embroidery using sewing threads and needles.

What was your educational background, and how has it influenced your artistic practice?

I attended a liberal arts college, majoring in visual arts—a unique decision that remains a treasured experience. This diverse educational setting allowed me to draw inspiration from various disciplines, such as anthropology and geology. I grew up learning traditional art forms and limited myself to them when it came to art making, but my professors in college really changed my mind and showed me a broad world, so I knew art making was not solely about art. I turned to fashion design during my graduate school, where I began incorporating traditional craft techniques like embroidery into my work. My current focus on ancient crafts evolved naturally over time, driven by a deep-seated passion rather than a predetermined plan.

As you mentioned in your statement, you use ancient techniques such as Thread Wrapped Flower, embroidery, and Liuli. How do you select these techniques to use in your work, and what significance do they hold for you?

I am mostly self-taught in traditional craft arts like embroidery and Thread Wrapped Flowers (Chanhua). Whether through natural talent or keen observation, I quickly grasp the intricacies of these crafts. Chanhua, a traditional Chinese art form involving silk threads wrapped in paper cuts, originated in the Ming Dynasty and combines sculpture, embroidery, and paper cutting. It is recognized as an Intangible Cultural Heritage of China. Similarly, I create Liuli glass jewelry, blending traditional Chinese aesthetics with contemporary tastes. Liuli, an ancient glass art form, represents a fusion of artistry and craftsmanship passed down through generations.
Embroidery is another medium I frequently use. Although traditionally seen as a "feminine" craft, I taught myself embroidery out of pure interest. I do realize its cultural and social significance for women, but I have always viewed it as an art form rather than a gendered skill. My work with these media aims to challenge patriarchal norms and encourage a deeper exploration of women's identities and potential.

What challenges do you face when integrating these unorthodox and forgotten crafts into contemporary art, and how do you overcome them?

Working with traditional ethnic crafts like thread wrapped flowers and Suzhou style embroidery in a Western-centric art world as a diaspora artist presents significant challenges. These crafts are often perceived as too crafty for modern art, toofeminine for men, too unfamiliar to foreigners, too "Chinese" for Westerners, and too time-consuming for mass production. Despite these obstacles, I am committed to perfecting these art forms as they hold precious memories and cultural significance.
My dedication to these crafts is fueled by the rich cultural heritage they embody and the desire to bridge cultures through art. I strive to infuse new life and creativity into these traditional crafts while respecting their roots. My goal is to integrate these ancient beauties into daily life and secure their place in the modern art world.

Could you walk us through your creative process? How do you select the subjects you want to work with, and how do you go from the first idea to the final product?

My creative process is rather passive; I don't actively seek subjects—instead, inspiration finds me. Whether it's a flower, a tree, or a piece of music, these moments spark my creativity. I then combine them with the traditional crafts and materials I work with, allowing the process to lead me. In this way, the works create themselves, and I see myself as merely a medium through which they come to life. That's also part of the reason I see myself as an art shaman.

Your work delves into complex themes within femininity and the female gender. What motivates you to explore these themes, and what message do you hope to convey?

I want the unseen beauty to be seen, and I want the forgotten to be remembered. The traditional crafts I immerse myself in exude breathtaking beauty, and my genuine aspiration is to share the richness of underrated ethnic art with a wideraudience.
This endeavor extends beyond advocating for my own culture or a specific group; it is a stand for my gender. Many craft arts, once dismissed as "house-made invaluable pieces," were excluded from the art world simply because they were crafted by women. Despite being neglected and underrated, women throughout history persevered in their pursuit of craft arts. Even if it's just a mother teaching her daughter how to create delicate flowers with the simplest silk thread and cut paper, women have maintained an artistic legacy across generations.
Even in times when education was out of reach and abundant materials were scarce, women never stopped making art. The Thread Wrapped Flower, for example, was an art form traditionally passed down by women through generations. I aspire to channel the courage of these women and spread their artistic legacy, transcending the limitations imposed on their craft by societal norms.
There was also an ancient tradition in my hometown where crafting served as a rare sanctuary for women. In an era when women had few opportunities to escape household confines, they found solace and expression in nightly craft gatherings—a respite from abuse and the oppressive expectations of patriarchy.
Historically, many crafts dismissed as "homemade" were excluded from the art world simply because they were created by women. Despite this neglect, women have continued to persevere, passing down their artistic legacy through generations. Even in times of limited education and resources, women's dedication to art never waned.

In your biography, you describe yourself as an "escapist" and "art shaman." What does it mean for you, and how is it reflected in your work?

I am steadfast in my values and often retreat into my own world, seeing art creation as akin to a shaman communicating with deities and spirits. As an artist, I act as both a medium and my own mind, feeling as though the creative process has its own direction, independent of my control.
This shamanistic connection extends to my work with traditional crafts, where I feel as though I am conversing with the old souls and past eras. Tracing the history and techniques of these crafts feels like following the footprints and ghosts of arts that once thrived but have since faded.

How do you hope your work resonates with audiences? How do different audiences from different cultures react to your work?

I'm consistently excited to witness people of diverse races, genders, countries, and cultural backgrounds appreciating my art and understanding the craftsmanship behind each piece. It brings me great delight to see my Liuli or Thread Wrapped Flower adorning blond hair and my traditional Forbidden Stitch scarf complementing an African kaftan. While ethnic craft arts may have roots in specific cultures, there's no reason why they can't radiate their beauty on anyone else. The universality of art transcends boundaries, allowing these creations to shine across a spectrum of individuals.

What advice would you give emerging artists interested in exploring traditional crafts within contemporary art?

So far, I've been mostly working on Chinese thread-wrapped flowers (Chanhua), ethnic embroidery, and low-temperature glass floral making. I can never qualify myself as an expert who is eligible to give advice, but I put a lot of effort and dedication into these crafts. If I could offer any suggestions, I would say never be afraid of starting small and speak for yourself. My experience told me that even challenges may arise, including stereotypes or lack of understanding. I can always use those moments to reinforce my dedication and to acquaint those who may not be familiar with the crafts. What I do might be trivial, but it is always the first step to seeking recognition.

Lastly, what are you working on now? Any new projects or series you want to announce to our readers?

I am committed to revitalizing ancient beauty by incorporating Chanhua and embroidery into modern life. My studio, Not Kimono Studio, celebrates the beauty and craftsmanship of traditional Chinese arts. The name "Not Kimono" addresses the frequent mislabeling of Asian-inspired garments and emphasizes the distinctiveness of Chinese culture. My goal is to integrate traditional crafts into daily life, countering mass production and ensuring these techniques thrive in the contemporary world.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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