10 Questions with Tianqi Liao

Al-Tiba9 Art Magazine ISSUE16
Featured Cover Artist

Tianqi is a visual artist with a Master of Arts in Arts Administration from Columbia University. As a photographer, she is intrigued by conversations that arise from the friction between societal norms and individual perceptions. Through her lens, she captures the subtle tensions and overt contradictions present in everyday life, employing a critical eye to examine themes of conformity, resistance, and the spaces in between. This approach allows her to highlight the complex dynamics of societal structures and their impact on personal experiences, inviting viewers to question and reconsider their own viewpoints and the world around them.

www.tianqi-liao.com | @tiann.qi

ARTIST STATEMENT

Tianqi is interested in blending the languages of conceptual and documentary photography to position banality within a lens of scrutiny. Her work seeks to extract seemingly mundane moments to amplify them into absurdity. In her photographic series, she offers reflective presentations that interrogate the interplay between permanence and transience, as well as reality and idealization, underpinned by philosophical inquiries.

***Untitled***, Inkjet Print on Paper, 68.6x101.6 cm, 2020 © Tianqi Liao

Utopian Visions | Project Statement

Coined by Thomas More 500 years ago, the notion of "utopia" has evolved through various permutations alongside societal advancements and shifting dominant ideologies. However, its essence endures, depicting a realm devoid of impurities and brimming with abundant resources.

"Utopian Visions'' represents an interrogation of the constructs that depict societal perfection, highlighting the tenuous divide between utopian ideals and dystopian outcomes. By crafting hyperrealistic scenarios that seemingly epitomize utopia, the work reveals the paradoxes and fragilities of these imagined realities. The series prompts critical reflection on the viability of such utopian dreams, examining their ramifications on individual and societal consciousness. It also illustrates the fine line between high aspirations and the actuality of their manifestations. This polarized framework is not employed to reinforce binaries but to emphasize the need for a dialogue on the potential and peril of pursuing utopia. By presenting this polarity, the work invites viewers to ponder the complexities of an ideal society and the intricate dance between visionary hope and the pragmatic challenges it entails.

***Untitled***, Inkjet Print on Paper, 152.4x103.1 cm, 2020 © Tianqi Liao

AL-TIBA9 ART MAGAZINE ISSUE16

INTERVIEW

How did you first become interested in art, and when did you decide to pursue this as your career?

If I had to name a time in which I realized my interest in art, I would say it happened during drawing lessons during elementary school. We were once instructed to draw a random assortment of kitchen items on a counter, and I was learning to observe and replicate items. This physical act of recording something I saw in front of me translated into a deeper appreciation for observing and understanding the world around me. As I progressed through school, this initial fascination evolved into a more profound connection with various forms of artistic expression, from drawing to textiles and then to photography. Each medium provided a unique way to explore and communicate my perspective, allowing me to delve deeper into the complexities of visual storytelling.

Why did you choose photography specifically as your medium? Does it hold any special meaning to you? And why did you prefer it over other mediums?

I had my first point-and-shoot camera when I was about fourteen or fifteen. Being hydrophobic since I was a kid, learning to swim was tough, and I figured the root of my fear could be traced to my inability to see where I was heading. When I got my waterproof point-and-shoot camera, I used it to record moments underwater, which helped me experience a sense of empowerment. At the same time, I used that camera to take close-ups of fruits and vegetables. These detailed shots were printed on paper before the specific patterns were then printed onto silkscreens. I enjoyed pouring paint onto the silkscreen, pushing down the squeegee, and then seeing the pattern print imprinted onto the fabrics.
Since then, I've been obsessed with recording the big and the small and using these frames to convey new meanings that are not otherwise always obvious. While I can't pinpoint the exact moment when I knew photography was my calling, I've felt for a long time that it's a part of who I am. I prefer photography over other mediums because it enables me to document the world with precision and authenticity, while also providing a platform for creativity and interpretation. The immediacy of photography appeals to me; I can see the results of my work almost instantly and make adjustments on the spot.

Living and working in different cultural contexts, such as New York, during your studies at Columbia University, how have these experiences influenced your artistic perspective and themes?

Living and working in New York during my studies at Columbia University has profoundly shaped my artistic perspective and themes. New York City, with its vibrant mosaic of cultures, has been a relentless source of inspiration. The city's dynamic environment—characterized by its diverse populations, iconic architecture, and myriad art scenes—pushed me to think deeply about the concept of identity and space. My initial experience in New York encouraged me to explore themes of urbanity through geometric sequences. I became fascinated with capturing the transient, often unnoticed moments that define the spirit of the city—shadows on a crowded subway, the interplay of light on towering skyscrapers, or the solitary moments of reflection amidst the urban rush.
As I grew more accustomed to the NYC environment, I experimented with different styles of documentation, moving beyond traditional street photography narratives. Living in such a culturally rich city, I was constantly exposed to a variety of artistic expressions and social dynamics. This exposure inspired me to delve into more conceptual work, focusing on how people interact with their surroundings and how these interactions reflect broader societal themes. Mytime in New York allowed me to experiment with various perspectives and techniques. I started incorporating elements of abstraction and surrealism into my work, using reflections, refractions, and unconventional angles to challenge viewers' perceptions of familiar scenes.

Your background in Arts Administration provides a unique perspective on the art world. How has this influenced your artistic practice and approach to your projects?

My background in Arts Administration has significantly shaped both the practical and conceptual facets of my artistic practice. This dual perspective allows me to approach projects not only as a creator but also as a curator and manager, understanding the broader implications of art within societal and economic contexts.
One of the key influences of my administrative background is in strategic planning and execution. Arts Administration has taught me the importance of meticulously planning everything from concept development to logistics, funding, and audience engagement. This ensures that my projects are not only creatively ambitious but also viable and accessible to the public. Possessing this practical skill set allows me to bring complex projects to fruition, striking a balance between artistic integrity and practical constraints.
Moreover, understanding audience development strategies has profoundly influenced how I approach the viewer's experience. I am adept at considering how audiences interact with art and tailoring my projects to enhance engagement, provoke thought, and encourage dialogue. This sensitivity towards audience reception ensures that my work resonates deeply, fostering a meaningful connection with the viewers.
Overall, my administrative skills enrich my artistic practice, enabling me to navigate the complexities of the art world effectively and create works that are not only visually compelling but also socially and contextually relevant.

***Façade of Fortunes***, Inkjet Print on Paper, 76.2x46.7 cm, 2020 © Tianqi Liao

***Untitled***, Inkjet Print on Paper, 52x36 cm, 2020 © Tianqi Liao

Speaking of your projects, your photography blends conceptual and documentary styles. How do you balance these two approaches, and what do you find most challenging about this fusion?

Blending conceptual and documentary styles in my photography involves exploring the dynamic interplay between constructed narratives and spontaneous realism, a process that is both challenging and enriching. My approach typically begins with a conceptual framework—a specific theme or message I aim to convey. Within this framework, I actively seek out real-world scenarios that both align with and challenge these concepts. This requires a deep understanding of the subject matter and a keen eye for moments that can symbolically represent broader ideas. For instance, in a project exploring themes of urban isolation, I might capture solitary figures in crowded settings, using the documentary style to catch genuine moments that resonate with my conceptual goals.
One of the most challenging aspects of merging these styles is maintaining authenticity while executing a concept. Documentary photography is inherently about capturing truth as it unfolds, while conceptual photography often involves staging or manipulating scenes to fit an idea. Striking a balance is crucial; it's important not to let the conceptual framework overshadow the genuine elements of the documentary style. I navigate this by allowing scenes to unfold naturally, using my conceptual lens to interpret these events rather than forcing a narrative.
The unpredictability of documentary photography also presents a significant challenge. While the concept can be controlled, the documentary aspect is full of surprises. Being adaptive and responsive to the environment and subjects is essential. This unpredictability can sometimes conflict with the initial concept but can also unveil new avenues and insights that enrich the project.
Finally, much of the balance between these styles is achieved during the editing process. This is where I decide which images best convey the conceptual intent while remaining true to the documentary footage. It's a reflective process where I assess the aesthetic and technical qualities of each image and how effectively they communicate the intended message within their real-life context.

You mention that your work invites viewers to reconsider their viewpoints and the world around them. What reactions or reflections do you hope to evoke in your audience?

In my artistic endeavors, I aim to create a space that not only showcases my work but also encourages viewers to engage with the content, prompting a variety of introspective and reflective reactions. One of the primary responses I seek from my audience is introspection. I design my pieces to evoke personal connections, compelling viewers to reflect on their own experiences and emotions in relation to the themes presented. Whether capturing a fleeting moment or exploring broader societal issues through a series, the goal is to spark a personal reflection that might influence viewers' perceptions of their own lives and the choices they make.
Moreover, I am committed to challenging preconceptions through my art. The unique power of visual media allows me to present familiar subjects in a new light or introduce entirely novel concepts that defy conventional understanding. Through these presentations, I encourage viewers to question their assumptions and remain open to new ideas and interpretations.

***Untitled***, Inkjet Print on Paper, 51.9x35.9 cm, 2020 © Tianqi Liao

Your series Utopian Visions highlights the fine line between utopian ideals and dystopian outcomes. What specific examples from contemporary society influenced this exploration in your work?

One particularly impactful experience was visiting Las Vegas and seeing the microcosms of world monuments. Las Vegas is a city that epitomizes the concept of creating a utopian environment through grandiose recreations of iconic landmarks from around the world, all within a concentrated urban space. The replicas of world monuments such as the Eiffel Tower, the Statue of Liberty, and the canals of Venice are designed to transport visitors to these far-off places, offering a utopianexperience of travel and adventure without leaving the city. However, this artificial and condensed version of the world also highlights the superficiality and consumerism that often underpin these idealized experiences. The juxtaposition of these meticulously crafted illusions against the backdrop of the desert environment and the city's emphasis on entertainment and excess underscores the tension between reality and fantasy, authenticity, and imitation.
In Hangzhou, the town where I come from, there is a place called Tianducheng, which was built as a replica of Paris. It feels surreal to me that people would go to such lengths to recreate an illusive experience just to live in an alternate reality and pretend something is true. Tianducheng's imitation of Parisian architecture, complete with its own Eiffel Tower, creates a strange dissonance. While it aims to offer the charm and elegance of Paris, the stark contrast with its actualsurroundings and the incomplete replication of Parisian culture and life expose the fragility and hollowness of such utopian endeavors.
These experiences served as poignant reminders of how utopian visions can be manufactured and commodified, creating environments that promise escape and wonder but may also conceal deeper issues of sustainability, authenticity, and cultural appropriation. The contrast between the dazzling facades and the underlying artificiality of these constructs directly influenced my exploration of the themes in "Utopian Visions."

The series features "hyperrealistic scenarios that seemingly epitomize utopia" and "reveals the paradoxes and fragilities of these imagined realities." Ultimately, what messages do you want to convey with this work? What do you wish viewers to get away from this series?

With "Utopian Visions," my aim is to convey a multifaceted message about the nature of utopian ideals and the often-overlooked complexities and vulnerabilities that accompany them. Through hyperrealistic scenarios, I want to draw viewers into a world that appears perfect on the surface but, upon closer inspection, reveals deeper, more unsettling truths.
One key message is that the pursuit of perfection is inherently fraught with contradictions. While utopian ideals inspire us to envision and strive for better futures, they also carry the risk of oversimplifying or ignoring the complexities of human experience and societal dynamics. By presenting hyperrealistic utopias that are meticulously crafted yet fundamentally flawed, I hope to prompt viewers to reflect on the delicate balance between aspiration and reality.
I also wanted to use very pure colors because I wanted to depict utopia as something that's very saturated and resplendent. However, I also wanted to show the eerie quality that comes with such intense saturation. I believe that anything in excess can be detrimental, and I wanted to convey that idea pictorially.
Additionally, I wish to highlight the role of perspective in shaping our understanding of utopia and dystopia. What may seem like an ideal solution to some might appear deeply flawed or even dystopian to others. By engaging with these hyperrealistic scenarios, viewers are encouraged to question their own perceptions and assumptions about what constitutes a perfect society.
Ultimately, my goal with "Utopian Visions" is to invite viewers to look beyond the facade of perfection and consider the complexities and inherent fragilities of these imagined realities. I want them to leave with a deeper awareness of the paradoxes within utopian ideals and a more critical understanding of the balance between aspiration and reality. Through this series, I hope to spark conversations about the true nature of utopias and the often unseen dystopian elements they may harbor.

Utopias often refer to future worlds. What do you think the future holds for us? And how do you think art can help implement these utopias?

Utopias, as conceptual embodiments of our highest aspirations, often reflect our hopes for the future. They can also serve as canvases onto which we project our desires for a more perfect world, free from the imperfections and challenges of our current reality. While I believe utopias only exist in imaginations, utopian visions inspire us to envision and strive towards better futures. I am excited to see how AI will transform various aspects of our lives, from healthcare to environmental sustainability, automating mundane tasks and providing intelligent insights, which will improve efficiency drastically, freeing up our potential to take on more creative and meaningful pursuits.
In this context, art becomes vital in playing a proactive role; it can create tangible realizations of utopian ideals. Through visual art, literature, music, dance, theater, and other forms of creative expression, artists can deliver representations that serve as blueprints for real-world initiatives, transforming urban spaces, promoting community engagement, and inspiring awareness of social issues.

Lastly, speaking of the future, what are your upcoming projects? Do you have any exhibitions or new series you are currently developing?

The "Utopian Visions" series was recently on view at theBLANC gallery as a solo exhibition in New York, and selected artworks were also on exhibition at the Artron Art Center in Beijing and at Independent & Image Art Space in Chongqing.
I'm excited to share that I'm also working on a new project titled "Aeons from the Scorching Sun." This series embarks on an exploration of the sun's implicit omnipresence, reinterpreting this celestial symbol traditionally celebrated as a beacon of high aspiration and prominence. Moving beyond conventional perceptions, the project unveils layers of nuanced meanings that emerge from an intimate interplay of light and shadows.
Entwined with phenomenological principles, "Aeons from the Scorching Sun" explores how perceptions are inherently shaped by proximity to the subjects of observation—recognizing that to observe is to change and be changed. By challenging viewers to study their ways of seeing, the project promotes a deeper, more personal engagement with the environment, cultivating a refined appreciation for the profound and lasting impact of the sun in shaping our collective and individual perceptions.
Each image in the series serves as a deliberate examination of perspectives, emphasizing the transient nature of our existence against the sun's enduring constancy. By capturing the intricate dance of light and shadow, I aim to reveal the multifaceted relationship between the observer and the observed, encouraging viewers to reflect on how their ownviewpoints are influenced by their interactions with the world around them.

related interviews