10 Questions with Xintong Qin - OT

OT is the creative force behind Xintong Qin, a London-based frog witch who wanders and sometimes farm crawls between city and nature. She has resided in a range of small farms while learning and practicing permaculture. Using found objects as well as natural materials to craft occult artworks, she is on a quest to build her own tiny, whimsical world, one where she is free to relax and explore the hidden realms of nature.

@othiefrogfairy

ARTIST STATEMENT

“My past research experiences focus on ancient nature ceremonies. Whenever I go to rural see ceremonies, they always shock me. They do not have academic art experiences, but they are all amazing at creating marvelous and vivid artworks. The folklore inspired me a lot. I am inspired by the natural environment and aim to explore the hidden realms of nature. For this reason, I need to follow the season; each time, I find the material is different. When I go back to the city, I will collect useless materials to make paper props and costumes, which I will first present in the form of drawings and then make physical objects. I have created my self-published zine, Suck Green and See, which aims to show people, nature, and the truth.

Also, I organized my first outdoor forest performance event with Yicong, “A Cheetah Demon: Furry Stratagems to a Clean Forest and Mind” with many friends. It happened in the Epping Forest. I made costumes for it.”

— Xintong Qin - OT

INTERVIEW

Please tell us more about your background and studies. How did you develop into the artist you are today?

Thanks for this question! Since I was four, art has been a magical part of my life. Over the years, I've always had a pencil or needle in my hand, from my BA to my MA in fashion design. During my MA, my creative journey took an exciting turn as I began to push the boundaries of fashion. I started exploring beyond just clothing and brands, bringing natural elements into my work. I had fun experimenting with discarded materials and plants, crafting expressive costumes and whimsical outdoor installations. I even invited my friends to join in, creating a space for collaborative performances and creative exchanges.
In everything I create, the bond between nature and art has always been at the heart of my work. I'm fascinated by how they inspire and shape one another. Over the years, I've honed my skills in handcrafting and artistic creation, and these passions have blossomed into what I now consider my true calling.

Your practice exists at the intersection of art, nature, and folklore. What first drew you to these themes, and how have they evolved in your work?

When I was younger, I found myself completely enchanted by folk culture. As a teenager, I was deeply touched by the beautiful handicrafts from my father's hometown—brightly colored clothes, delicate embroidery, and sweet little sachets made by grandmothers. These creations, often adorned with plants and animals, had such a lovely handmade vibe. I've always admired them because they're not just objects, but little pieces of love and care, made with the intention of beingpractical gifts for family and children. In today's world of mass production, folk culture feels extra special to me, like a cozy embrace that reminds me of warmth, love, and a sense of belonging.
Four years ago, I moved to London to immerse myself further in the research of British and European folk culture.Through my research, I gained much inspiration and learned about the history and traditions of various local communities. Folklore and nature are deeply interconnected, and I've found that many of the most traditional folk objects are rooted in rural areas. When I first arrived in London, I began working on a thesis about London's National Park City, which led me to spend more time outdoors, experiencing the enchantment of nature firsthand. I gradually discovered that my projects were inspired by the natural landscapes of forests, parks, and the countryside. In these spaces, I continually felt the magic and power of nature.
To express these experiences, I created a series of drawings that reflect how I feel when immersed in nature. Additionally, I designed related costumes and collaborated with the local community to organize outdoor folk performances. These research and creative endeavors are documented in my bi-annual zine Suck Green and See, where I explore and reflect on the intersection of folklore and nature.

A Wedding Ceremony Under the Rainbow, pencil on paper, 33x54cm, 2024 © Xintong Qin - OT

Apple Tree, pencil on paper, 25x33cm, 2024 © Xintong Qin - OT

You describe yourself as a "frog witch" wandering between the city and nature. How does this identity shape the way you create and experience the world?

Growing up in the city, I often daydream about one day living fully in the forest. But, let's be honest, it's tricky to completely escape the hustle and bustle of city life! Over the years, as I've studied and practiced, I've been trying to find a way to balance the best of both worlds—living between the city and nature. Every year, I spend one or two months immersing myself in nature, learning to live outdoors, and exploring the wonders of permaculture. This experience has not only deepened my connection with nature but also brought me closer to so many interesting, like-minded people, opening up my world to new and exciting ways of living.
When I'm in the city, I like to focus on the little bits of nature right around me—watching the plants change with the seasons and collecting bits of plant life and everyday discarded materials. Through these observations, I'm constantly discovering little surprises in the world around me, and these moments spark so many creative ideas for my work.

Your research on ancient nature ceremonies has been a major inspiration. Can you share a specific ritual or tradition that has deeply influenced your artistic practice?

That's a great question! I have been deeply impacted by the traditional ceremonies I've participated in, each leaving a profound effect on me both in terms of artistic creation and the energy I felt. One particularly memorable experience was the Summer Solstice ceremony at Stonehenge in England. It was unlike anything I had ever felt before. On that day, people from various cities, pagans, tourists, and local residents gathered around the stones to celebrate nature and the arrival of summer. They danced, sang, and celebrated until sunrise. Watching the ceremony, I felt a powerful energy emanating from the earth and stones, and the sense of natural worship and ritual at that moment resonated deeply within me.
In addition, I'd like to share a book I discovered at the Ubud Bookstore in Bali, Indonesia, called ONCE A CENTURY: Pura Besakih the Eka Dasa Rudra Festival by David J. Stuart Fox. I was profoundly moved by the detailed account of Bali's once-in-a-century folk festival. The author, who studied Balinese culture extensively at NAU, provides intricate visual descriptions of the ceremony. I was particularly struck by the food, costumes, and props made by the locals for the event. Many of these handmade objects, crafted from the island's plants and natural materials, reflect a deep respect for the land and nature. This gave me a great reverence for traditional Balinese culture.

Folklore plays a strong role in your practice. Do you see your work as continuing ancient traditions, or are you creating an entirely new mythology?

Thank you for asking me this question! I don't view my work as a simple continuation of tradition, because the context, time, and environment of today are very different from the past. The materials I can gather around me also differ from those in the past. For example, many of my costumes and props are made from domestic waste materials, so I can't trulycontinue the old traditions on a material level. However, the spirit of tradition is something worth preserving. I am more focused on the spiritual inheritance, especially the ancestral reverence for nature and the fear of unknown forces. In the past, rituals were prepared according to the seasons, and this respect for nature and the universe was very valuable. Today, most of us live in cities and are becoming increasingly disconnected from nature. Therefore, my work explores the unique feelings that nature evokes in me, aiming to spark attention and awe toward the power of nature through art.

You collect materials based on the seasons, whether from rural farms or urban environments. How does this cyclical, ever-changing process affect the narratives in your work?

I enjoy collecting plants, stones, animal feathers, and other natural items from nature around me to incorporate into my work. I also gather discarded materials and second-hand clothing, which is quite different from simply buying new materials from a store. When you go to a store to buy fabric, you can get exactly what you need whenever you need it. But when I started making things from the "treasures" I could find around me, I realized that the availability of materials was much more limited. The amount and types of natural materials I can collect change with the seasons. For example, in autumn, I can gather dried leaves and branches, while in spring, I can collect fresh reed leaves. This process has taught me to value materials more because they are finite. Once a season passes, I have to wait another year before I can collect certain materials again. Each natural material feels like a special gift from nature, unique to the time and place I'm in.
When I was in the city, I noticed that the discarded items you can collect in each country or city have their visual characteristics. The words on plastic bottles are written in different languages, and when these materials are used in my work, they seem to carry more background and historical significance. I've been training myself to work with discarded materials.

Suck green and see zine issue 04 cover, 2023 © Xintong Qin - OT

Suck Green and See is your self-published zine. What motivated you to start it, and how do you see it evolving in the future?

Suck Green and See is a semi-annual publication, with each issue focusing on a specific theme. It documents my research on nature and folklore, as well as submissions from other artists. The goal of the magazine is to raise awareness about the relationship between nature and the environment. Starting this magazine was a natural progression for me. When I first arrived in London four years ago, I began researching for my thesis on "London City Parks," which led me to experiment with outdoor creation. At that time, I worked on many outdoor installations, dyed fabrics in the forest, and recorded photography. Since these works took place in nature, I could only present them through photography and video. To better showcase the creative process and ideas, I decided to create a booklet. Initially, I made a few copies for my friends, and they all loved it, encouraging me to turn it into a series. I showed it to the owner of Books Peckham（a unique bookshop in south London）, who liked it and offered to help sell it. From that point on, I decided to continue with the zine.
Recently, I've been working on the next issue of my zine, which I see as an ongoing companion to my creative journey. It's a semi-annual reflection of my work and research, but also a platform for showcasing the inspiring pieces of other artists who explore similar themes. Through the process of putting it together, I've had the pleasure of connecting with somany like-minded creatives who are also passionate about publishing. I feel incredibly lucky to be part of this vibrant, supportive community here in London, where everyone shares their art in their own unique way and passionately advocates for the causes they believe in. You can also find my zine in a few wonderful spots around London, like the Photographers' Gallery, Burley Fisher Books, and East London's WASTE store.

Your outdoor performance, A Cheeta Demon: Furry Stratagems to a Clean Forest and Mind, combined ritual, costume, and nature. What was the experience like, and how did the setting of Epping Forest shape the event?

It was a truly memorable experience. We invited artists from our community to participate as actors, bringing everyone together through the form of performance. We all went to the forest for rehearsals, and the process was very enjoyable—each rehearsal felt more like an outing. The large number of participants made me realize the significance and rarity of collective creation.
We chose Epping Forest as our performance location because many of my outdoor installations and projects have been created there. Since I visit Epping often, I am very familiar with the area. It is a pristine forest park, located close to downtown London, offering a natural and untouched atmosphere. The stage for our performance was a naturally occurring space, situated beside a stream and under a large tree. Nature always surprises you, just like when you try to build or purchase a prop—it often appears in its most authentic form when you immerse yourself in nature.

Sand Carpet in the Pine Tree Forest, sand drawing project in LIOS LAB Poland, 2024 © Xintong Qin - OT

How has living in London, with its mix of urban life and historical landscapes, influenced your connection to nature and the themes in your work?

I find it difficult to fully articulate. The city of London, its people, and its history have had a profound impact on me.Although I live in London, it is also the world's first national park city. London can be a modern metropolis, yet it also has vast parks, and each neighbourhood boasts its community garden. While I've always fantasized about completely leaving the city, I still live here for various practical reasons. As a result, I try to connect with nature within the city and observe the plants living around me. Perhaps because I am somewhat distanced from real wilderness, whenever I spend 1 or 2 months in the countryside, I feel a deeper connection and impact. This contrast between the city and nature has become one of the central themes in my work. When I am in the city, I find inspiration in the surrounding community gardens and many of London's natural community activities. Organizations such as Wild Walk, Land Workers' Alliance, and Land skill fair are all very active in connecting people with nature and the land through events and publications.

Lastly, what's next for you? Are there any new projects, performances, or adventures you're excited to explore in the near future?

Oh, yes! Recently, I've been preparing a new project that explores the differences between artists' careers in urban environments and outdoor settings. At the same time, I'm working on the seventh issue of Suck Green and See, which I hope to release in the summer. I also recently received an offer to join the Virreina Art Residency in the rural area of Boyacá, Colombia. This residency offers an immersive experience designed to provide participants with a deeper understanding of the local cultural ecosystem. I'm looking forward to this opportunity at the end of the year, as it will be a completely new cultural experience for me. I've also just started learning Spanish this year and hope to explore South America's nature, culture, and history in more depth through this residency.

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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