10 Questions with Mengjie Mo

Mengjie Mo, originally from Yunnan, China, now resides and works in Detroit, U.S. She completed her Master's in Fine Art at Cranbrook Academy of Art in 2023 and was honored with the 2022 Maxwell-Hanrahan Foundation Materials Award and AJF 2024 Top 10 Young Artist Award. Before her pursuit of fine art, Mo was a jewelry and industrial designer, as well as a Design Adviser in China. Her life experiences, from living in economically disadvantaged and ethnic minority areas to volunteering in African regions, coupled with extensive study and travel, have instilled in her a critical perspective on societal issues. Mo uses her art as a means to challenge patriarchal norms and blur the boundaries that separate individuals, advocating for a more interconnected and inclusive world.

www.silentdog.net | @mlikeadoor

ARTIST STATEMENT

“In my art experience, I've portrayed my inner journey through performances, jewelry pieces, and sculptures. I examine the various values of the color and concept of red and use my voice and tactile sensations to describe my inner experience. The oddity of randomness and the beauty of mathematical logic occurring in the same piece represent that I am using my work as an outlet to explore a random woman's adventure in this world. Textile and beading work throughout history have shackled women's lives but also contain women's magic. By using the tension of beads and thread, my practice calls back the memory of typical historical women's labor. But now women's traditional skills are my new weapon to fight patriarchy. While I am most familiar with such endeavors within feminism, my practice is also expanding into smoothing out self-other power struggles in other relationships, advocating for a more interconnected and inclusive world.”

— Mengjie Mo

INTERVIEW

Your biography mentions a shift from jewelry and industrial design to fine art. What initially sparked your interest in art, and how did your experience in design influence your artistic practice?

My father guided me onto the path of design, while Iris Eichenberg led me into the world of art. These two realms are like Disney World to me. Design addresses problems and always offers solutions. In contrast, art brings up questions and encourages me to think, often without providing any answers or even a conclusion. Art practice gives me a unique aesthetic, one that isn't dictated by trends, the market, or time—a pure and original perspective on life that I can truly see myself in. Design represents my logical side, whereas creating art reveals my sensual side. I allow these two aspects to intersect and influence each other.

You lived in China and the U.S. and volunteered in Africa. How do these cross-cultural experiences inform your perspective as an artist?

I believe that everything I see and experience will eventually meld in my mind, and one day, it will flow smoothly from my body and mind. Therefore, I keep my eyes and mind open to new experiences. Cross-cultural encounters have given me the chance to talk with people from diverse backgrounds, receiving help and love from strangers. These experiences inspire me to be a more inclusive person. They also help me understand that human suffering is universal, and art can be a bridge that transcends language barriers.

Ultimately, how would you describe yourself as an artist nowadays?

I believe everyone can be an artist if they embrace their humanity and trust themselves enough. Being an artist is not a title; it's something we are born with. In my culture, "artist" is a heavy name reserved for only a few individuals. However, in the U.S., artists are everywhere. I appreciate this inclusivity and enjoy being part of the artist community.

Your statement highlights the coexistence of randomness and logic in your work. How do you balance these seemingly opposing forces in your creative process?

Traditional beading is highly logical and rule-based; deviating from the rules often results in a disordered design. While traditional methods are full of "must-dos," I tend to follow the overall guidelines but enjoy rebelling with the details. This approach leads to surprising and unique outcomes. My beading reflects my life philosophy: life is chaotic, and that's perfectly okay.

Your statement also mentions a focus on the color red. Can you elaborate on the symbolic meaning of red in your work and how it relates to your inner journey?

Red is the color of revolution, mad, blood, and rose; I believe red is my soul color. The different value of red is the different moods of mine.It describes my story the best.

Unruly, Glass Beads, 5x4x2 in, 2024 © Mengjie Mo

Shifting to the themes you work with, feminism and women's empowerment are central to your production. Can you tell us more about this?

I was born with this body, and my experiences have been a mix of love and pain. As a woman navigating society, I've seen the challenges we are all facing. I know I have to do something or say something. Through my work, I hope other women will connect with my experiences and realize they are not alone. Together, our presence will ignite a spark.

You also mention using traditional women's crafts, like beadwork, to challenge patriarchal norms. How does the choice of material itself contribute to the message you want to convey?

I believe all women are connected, transcending the bounds of time and mortality. Textile and beading work, historically both a constraint and a source of empowerment for women, embody this connection. Through the tension of beads and thread, my practice seeks to evoke the collective memory of women's labor across history. By transforming traditional women's skills into tools of resistance, I aim to challenge patriarchy.

October 28, glass beads, 6x4x27 in, 2023 © Mengjie Mo

Swell, Glass Beads, 12x11x1 in, 2023 © Mengjie Mo

Your statement describes traditional skills as your "new weapon." Can you discuss how your use of these skills has transformed from a representation of women's burdens to a tool for empowerment?

I use beading to make fun of masculinity and use the same material to celebrate femininity. By employing the traditional women's skill of beading, I challenge the discourse system established by a patriarchal society. At the same time, I view beading as a spiritual moment that connects me with women throughout history. I believe this practice empowers women in the past, present, and future.

Looking ahead, is there anything else you would like to experiment with?

My next goal is to learn the art of making glass. I've always been fascinated by the idea of creating my own unique beads, as I believe they can enhance my self-expression. The intricate process of glassmaking and bead creation offers endless possibilities for innovation and personal touch. I also plan to delve deeper into the mysteries of my hometown, Yunnan. This region is rich in cultural heritage and is home to a minority group that still preserves the tradition of matrilineality. By researching and understanding these traditions, I hope to connect more deeply with my roots and gain insights that can inspire my art.

And lastly, do you have any upcoming projects or new work you would like to share with our readers?

Yes, I have two upcoming exhibitions in the next couple of months—one in Michigan and another in Philadelphia. Details on time and location will be announced soon. If you're interested in my work, please follow me on Instagram.

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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