10 Questions with Xingrui Xu

Xingrui Xu (b.1995; China, Kunshan) lives and works in Chicago, Illinois. He studied at the San Francisco Art Institute for his MFA in Ceramics from the School of the Art Institute of Chicago in 2022. Xingrui expands and develops an engagement with ceramics and the conditions for its contemporary practice.

xingruixu.com | @xxr_xu

ARTIST STATEMENT

“There are multiple sides to things, and I like to flatten those sides and put them on the same plane. I think it's a technique of "blurring". It's a behavior or an action. My artistic practice is constantly evolving around this technique. I like to blur the boundaries between different cultures, intervene in iconic symbols, and show a mixture of tradition and antitradition in my works. I also try to set up some barriers to the normal way of thinking in my work.

My practice involves ceramics, painting, sculpture, and land art. I reflect on the impact of contemporary art while working to push the boundaries of ceramics in contemporary art and expand its influence. I study the relationship between natural substances and materials, translating them into my personal expression.”

— Xingrui Xu

INTERVIEW

First, tell us a little about your background and studies. How did you start making art? And what inspired you to pursue a career in the art field?

I began my systematic training at a very young age because my parents knew a famous teacher in my hometown. I studied painting with him until I was 18 years old, as if it was an invisible calling that somehow directed me to this path.
I feel like I started more naturally. I studied sculpture and ceramic art in art school and explored the language of painting and contemporary ceramics in graduate school. I knew I was supposed to do this on my own and needed to do it with conviction. What inspired me was probably an invisible push, very ethereal but palpable.

What is your aim as an artist?

I started my contemporary practice thinking about the boundaries between cultures, and my background and experiences have given me a deep interest in different cultures. In recent years and in the future, I would like to strengthen the position of ceramics, an ancient material, in the contemporary context, and enhance its practicality and pioneering nature.

You work with different mediums, from land art and ceramics to painting. How does your approach to art-making change based on the medium you are using?

In fact, my way of creation is influenced by the medium to a certain extent, and that influence is mutual and uncontrollable. When I have an idea, I will first have a predetermined medium, and then I will use the medium to translate the idea and move forward in a kind of mutual entanglement, which can't be said to be a change, but more correctly is to respect the medium.

And how do you maintain a cohesive style? What are the recurring elements you apply to all such different mediums?

It's hard for me to say that I always maintain a uniform style because each of my projects has its own theme and presentation, and I think it's better to say that it's a kernel of uniformity. I think the element I use is a method I call "blur", which is a very abstract concept, it can refer to behavior or a way of thinking.

Buddha Forsaken, ceramics, 2019 © Xingrui Xu

What are your main sources of inspiration, both visually and conceptually?

I like to study traditional Chinese culture. I often get inspiration from it, and I draw some symbols and elements from it to create my work. I like to combine my own cultural background with some contemporary concepts, and sometimes, my own experience with other cultures or the current situation of society will also give me some inspiration. I also love ancient Chinese legends and alchemy, and I am fascinated by ancient books and artifacts.

And what are the main themes you investigate with your work?

I study the boundaries between different cultures, or more frankly, I study human beings, and I want to explore the formation of human thought and culture. I often use museological, archaeological, and psychological methods in my creations, which is very interesting. Because I think art is a very complicated thing, especially nowadays art is not just "art" anymore.

Let's talk about the public. What do you want people to read in your works? Or how would you like them to perceive your work?

I hope they can understand that I am trying to blur the boundaries between different cultures. I want to show them that different cultures are multi-faceted and no longer have so many stereotypes. Cultures are equal to each other, and people are equal to each other. I think they might see an equal, abundant world.

Is there any other medium or theme you would like to tackle in the future?

I would like to make more large-scale sculptures and installations in the future, and I would like to experiment with the combination of video and ceramics to make a series of monumental sculptures, which I look forward to realizing in the future.

Finally, do you have any upcoming exhibitions or collaborations? Any new project you want to share with us?

Yes, I have recently been working with the Heritage Museum of Asian Art in Chicago, and they have invited me to have an exhibition. They have a rich collection of Asian art, and they want to use this opportunity to have a connection with contemporary art. At the same time, they want to promote Asian art through this opportunity. The exhibition will probably open around the end of December.

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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