10 Questions with Weina Li

Weina Li (lives and works in Beacon, New York) uses science theory and technology to create immersive, interactive installations, sculptures and video. Li’s work starts with her exploration of nature, expressing her understanding of the world as well as her state of being. Li received an MFA in Fine Arts from the School of Visual Arts in 2022 and a BFA from the Academy of Art University in 2018. Her work has been the subject of solo exhibitions, You Are The Star, ChaShaMa, New York, NY (2023). The Butterfly of Styx River, Chinatown Soup, New York, NY (2020). A Piece of Red Cloth, 688 Sutter Gallery, San Francisco, CA (2018). Li’s recent residency and fellowship include a Technology Immersion Fellowship at Harvestworks, New York, NY (2024). Gullkistan Art Center Residency, 840 Laugarvatn, Iceland (2024), SAIKONEON Artist-in-residence, Yamanashi, Japan (2024). ChaNorth, Pine Plains, NY (2023). The Hortus Spring Residency, Stone Ridge, NY (2023). Li is the author of You Are The Star, published in 2022 at Printed Matter.

weinali.me | @weina.l

INTERVIEW

Can you tell us about your journey as an artist? What first sparked your interest in art making?

I've always been fascinated by nature, the universe, and the reasons behind everything. When I see a beautiful waterfall, I wonder why water flows downward and not up. I'm drawn to adventure and constantly curious about how things work. This curiosity made me dream of becoming a pilot, scientist, or artist.
Even though I know meaning is a paradox, I can't stop searching for it. Perhaps it's my flaw, I struggle with tasks that feel meaningless, even when they're necessary. Sometimes, I wonder if being a pilot or scientist would be better, reaching the atmosphere or space and uncovering our reality. I studied science in hopes of finding answers, only to learn that no one knows the ultimate truth. Science showed me that even the most advanced discoveries will one day become obsolete. All we can do is keep exploring, the very thing that brought us here and will carry us further. Yet, even the most advanced beings in the universe may never truly know who we are or why we exist.
If I imagine myself as an alien and think about humanity's greatest achievement, I'd say it's art. It doesn't aid survival, yet it has existed since the dawn of civilization. It's not language, but it communicates. It has no physical force, yet it moves people deeply. Art feels limitless, and that's what makes me interested in art making, it's one thing that is vast enough to hold all these questions.

Forever Momentary Space, Print, 40x72 in, 2024 © Weina Li

How did you develop into the artist you are today? What training or experiences helped you along the way?

Everything I see or feel influences me as an artist, just as everything shapes who we are as individuals. I graduated from the School of Visual Arts MFA Fine Arts program in 2022, where I had the privilege of learning from many incredible professors. They not only taught me valuable skills but, more importantly, helped me develop my own ability to think critically. Their works and ways of thinking were truly inspirational.
Most of the insights that have guided me along the way come not from the art world but from science—specifically physics, astronomy, math, and life itself. My work revolves around my understanding of the world and how our lives are shaped by the fundamental laws that govern it.

Your works explore nature and the state of being. How did you first approach using science theory and technology in your creative practice? And how do you balance the scientific and the artistic sides?

My first project, which included three installations using science and technology, was quite literal. I used scientific instruments like telescopes and microscopes as the core forms of the work to explore how human relationships are shaped by the laws of nature. For instance, observing the stars reminded me of the bright, distant, and ever-drifting nature of human connections. Similarly, I incorporated poetry to address questions that science alone cannot answer, such as placing Emily Dickinson's words on microscope slides to show poetic insight with scientific observation.
Over time, my work evolved to address larger, more universal questions about the world and our future. I began taking classes to learn how to use technology to further support my concepts. I've never consciously tried to balance the scientific and artistic aspects of my work. I've always known I'm not a scientist, and my knowledge is limited in comparison. Instead, my research is rooted in the perspective of a visual artist.
As an artist, I approach these topics with curiosity, imagination, and critique, using artistic expression to visualize abstract tensions. This perspective allows me to communicate complex ideas in ways that are both accessible and emotionally resonant, encouraging reflection and dialogue among diverse audiences.

Forever Momentary Space, Video Still, 2024 © Weina Li

Interactive and immersive installations are central to your practice. How do you approach designing these experiences to engage viewers on multiple levels?

Since my work revolves around discovering the world, I believe it's better to create a process that allows the audience to engage, experience, and form their own understanding of both my art and the world. I strive to make the experience immersive by incorporating dynamic lighting, sound, and visually strong elements to ensure a multi-sensory experience.
I believe a logical concept provides the foundation and purpose behind the work, and much of my art is rooted in that.However, what humans remember most is not precise, rational thoughts but powerful emotions. After this, what remains is ensuring that the experience is easily accessible and intuitive to interact with, while also making sure the technology operates smoothly without any distractions.

As someone who bridges art and technology, what challenges have you faced in merging these fields, and how do you see this intersection evolving in the art world?

I've faced many challenges in working with technology, as each of my projects is designed to reflect a unique concept, requiring different technologies and forms to express those ideas effectively. Finding resources to learn these technologies has been difficult. I've tried continuing education classes, online courses, and technology fellowships, but these efforts still fall short compared to the support students receive from well-resourced institutions or established artists who can collaborate with professional teams.
Much like technology's increasing dominance in daily life, gradually taking over writing, transportation, household tasks, and even parts of our bodies—I use technology in my work because it aligns with my vision of how art and civilization will evolve. However, I approach it with a critical perspective.
The work I create questions whether technology can coexist harmoniously with nature or if it will ultimately lead to our destruction. Of course, it's never technology itself that poses a threat, but the intentions and actions of the humans behind it.

Garden of Echoes, Installation, 55x75 in, 2023 © Weina Li

Your sculptures and video pieces often involve intricate technical processes. Can you walk us through the development of one of your favorite works?

My most recent work, Forever Momentary Space (2024), delves into Iceland's ecosystem and the urgent environmental crises it faces, including melting glaciers, volcanic landscapes, and soil erosion. While these themes are central, the work also explores the fragility and transient nature of existence. For example, I projected a lab-made carbon diamond onto the surface of melting glaciers, a symbol of eternity placed on something that disappears every second. As Professor Brian Greene writes in Until the End of Time, humans are a species uniquely aware of their mortality, and much of our civilization is shaped by this awareness.
During my master's degree, many people suggested I address environmental crises in my work, given that much of my art revolves around nature. However, I hesitated because of the topic's complexity. I wanted to tackle it only when I had the resources for proper research and the opportunity to experience the environment firsthand. Iceland became the place where I chose to explore this. I've always been drawn to Iceland, partly inspired by artists like Roni Horn, who mentioned in interviews how her experiences in Iceland shaped her work. I was curious to see how it might change me.
For the technical aspects, I am grateful to my professor, Federico Muelas Romero, who taught the video mapping class at SVA's continuing education program. He introduced me to video mapping, model scanning, and building techniques, providing invaluable guidance that helped shape my work. I also thank photographer Sunhong Park for capturing the project in professional photographs, which beautifully document the work.

You've completed several residencies, including recent ones in Iceland and Japan. How have these experiences influenced your work?

Iceland and Japan are vastly different, and they influenced me in completely unique ways. Before visiting Iceland, I had heard it described as "the end of the world," but I didn't truly understand what that meant. Driving along the coastline for two weeks, I saw a land both barren and expansive, where miles of stones, snow, dark grasses, and jagged cliffs stretch endlessly. The ocean was vast and furious, with black sand beaches filled with volcanic rocks. Rain fell almost daily, yet plants barely grew, earning it the name "wet desert." Animals were small, wild horses roamed snow-covered mountains, and glaciers cracked and fell into the water with thunderous sounds, their fragments drifting, breaking apart, and glistening like diamonds on black shores. Nearby, volcanoes erupted in bright reds and oranges, forming new landscapes of blackened lava. Witnessing these extremes felt like glimpsing the raw essence of nature—something that traditional mediums couldn't capture, pushing me to find new ways to express this essence.
In contrast, my residency in Japan was peaceful and inspiring. Saikoneon, located by Lake Saiko near Mount Fuji, was perhaps the most beautiful place I've been. It was the first outdoor project I had to handle by myself, and the residency's owner was incredibly supportive. I gained invaluable experience in sourcing materials in a foreign country, navigating local regulations, and creating and documenting outdoor installations.

Into Orbit, Installation, 6ft circle, 2023 © Weina Li

How does exhibiting your work for different audiences influence your practice? Do you find that your work is easily accessible across different regions? Or would you be able to adapt your message to the specific contest and culture you are working with?

I strive to create art that explores universal themes and emotions. Ultimately, my work isn't about me, it's about the world and the people who live in it. I'm just a very small part of this.
One of the advantages of visual art is its ability to communicate through mediums like visuals, sound, touch, scent, and taste, rather than relying on verbal language that requires translation. My work doesn't focus on specific cultures, especially since much of it depicts scenes of the universe.
From the grand perspective of the universe, I'm always reminded of the emptiness and futility of everything, yet also the profound miracle of our existence. The purpose of my art isn't to educate or raise awareness but simply to present an aspect, a possibility. I hope it can spark curiosity, offering the audience new perspectives and engaging experiences.

Looking to the future, what themes or mediums are you eager to experiment with, and how do you hope your work will resonate with audiences over time?

No matter how my themes evolve, they will always center around the state of being, exploring what life is and what it means to be alive. To better understand these questions, my process will continue to involve diverse methods of exploration, from scientific theories to physical travel. The medium I use will vary depending on the concept I'm working with.
More specifically, I plan to continue exploring the universe for a long time, as I believe many of the answers lie beyond the thin blue line of our atmosphere. Resonating with the audience is deeply important to me, as I strive to create universal thoughts and emotions that reflect not just my perspective but that of a generation, or even humanity as a whole.I hope my work helps people feel understood and taps into their emotional sensitivity.
However, it's not necessary for the audience to interpret my work as I do. I hope they can form their own understanding,and that this process of reflection offers them something new and meaningful.

Lastly, what are you working on now? Do you have any new projects, series, or exhibitions you are currentlydeveloping?

I'm working on a project inspired by the sextant, a navigational instrument traditionally used to measure the angle between the horizon and celestial bodies, which is crucial for determining one's position at the sea. I have designed and built a reimagined sextant intended for observing people rather than celestial objects. During the exhibition, a large circular sextant will be projected onto the floor, displaying measurements of angles and distances. Using these measurements, the audience can input data into a tablet placed at the center of the circle, which will generate new stars on a dynamic animated star chart in the background. Additionally, I will use the star data to compose music, creating a multi-sensory experience. The star chart will also be accessible online. Currently, I'm developing the star chart, combining data science techniques with animation to bring to life.

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.

Apply for an interview >>

Related Interviews