10 Questions with Artist Name

Xinyi Qin was born in Shenzhen, China, in 2001 and now lives in Hong Kong. She received a BFA degree from the School of the Art Institute of Chicago and an MA degree in Painting from the University of the Arts London.

Her works have participated in various international exhibitions, such as The 4th Chongqing Oil Painting Biennale Exhibition in China (2024), Where We're Calling From group exhibition at Copeland Gallery in London (2024), UAL MA Show in London (2024), The Secret Garden group exhibition curated by 11 Contemporary Art Center in China (2024), European Contemporary Art Exhibition in Shenzhen (2023), and group show at Melissa Morgan Gallery in California.

@xinyii.qin

ARTIST STATEMENT

Plants, with their ability to thrive regardless of environment, embrace new life while gracefully accepting their inevitable withering. In Xinyi's paintings, she relies on her intuition to select different types of plants as her subjects - they are tiny, peculiar, faded, blooming, or rotten. She focuses more on their temperament, allowing the diversity of plants to unfold naturally without limitations or definitions. Plants accept all their scars, breaks, and blemishes; for Xinyi, the perfection and the imperfection are where their charm lies. "We will not always be in full bloom, nor will we forever wither," she states. Through the transparent layers in her work, she reveals every detail and no longer conceals these flaws. Xinyi sees herself as a plant, uncontrolled, unlabeled, and open to the spontaneity that life brings to her.

INTERVIEW

Please introduce yourself to our readers. You were born in Shenzhen, China, studied in both Chicago and London, and now live in Hong Kong. How have these diverse cultural environments influenced your artistic practice and perspective on painting?

Each stage of my journey has required me to transition from unfamiliarity to adaptation and eventually to separation. Everything around me—environment, language, and culture—is constantly foreign. Such rootlessness told me I must adjust quickly, but as each stage nears its end, I still find myself filled with confusion and anxiety about the future. I often ask myself questions like "What identity should I adopt?" and "Is my current place suitable for settling down?" With such experiences, I start to explore the impact of modern societal fluidity on individuals, such as the shift in identity and social connections. I investigate how to find meaning and a sense of existence in a world that continuously disrupts traditional frameworks of stability and belonging while also seeking grounding and rootedness.

Your artist statement mentions a deep connection between your work and the nature of plants. What initially drew you to use plants as a central subject in your paintings, and how do they reflect your personal experiences?

My connection to plants as a central subject in my paintings stems from their remarkable resilience and adaptability, qualities that deeply resonate with my own experiences. I was initially drawn to plants because of their ability to thrive in challenging and unpredictable environments, much like the constant transitions I've faced in my life—from moving across different countries to navigating unfamiliar cultures. Plants embody both fragility and strength, and this duality mirrors my own journey of learning to adapt and root myself in the uncertainty of modern life. By focusing on plants in my work, I'm able to translate my personal experiences into visual metaphors, using their form, texture, and temperament to explore themes of identity, resilience, and the search for grounding in instability.

Your painting practice seems rooted in intuition, allowing your subjects to "unfold naturally." Can you describe how intuition guides your work, from the initial choice of subject to the final brushstroke?

From the very beginning, my choice of subject is instinctual—I don't seek out specific plants or predefined compositions. Instead, I let the forms and temperaments of the plants draw me in, allowing their character to unfold naturally. This process is deeply connected to my own emotional state, as I intuitively gravitate toward plants that resonate with my feelings at that moment, whether they embody fragility, strength, or quiet resilience. As I move into the painting process, intuition continues to guide my decisions. I layer colors and textures instinctively, often letting the brushstrokes flow organically to reflect the plants' natural growth and fluidity. The translucent layers, a recurring element in my work, emerge spontaneously as I respond to the evolving composition. This approach allows me to embrace imperfections and adapt as the painting takes shape, mirroring the adaptability I see in plants and in myself.

In your work, you focus on the imperfections of plants, their scars, breaks, and blemishes. Can you talk about how you approach these imperfections in your creative process and what they represent for you?

In my work, I embrace the imperfections of plants—their scars, breaks, and blemishes—as symbols of resilience and authenticity. These imperfections are not flaws to be corrected but rather marks of their survival and growth, which I find deeply inspiring. These imperfections also serve as metaphors for my own experiences and emotions. Just as plants bear the marks of their environment, I carry the emotional imprints of constant change and adaptation in my life. By highlighting these natural flaws in my work, I aim to reflect the shared human experience of vulnerability and resilience.

Your paintings often feature transparent layers that reveal intricate details. Could you share more about your technical approach and how you use layering to convey the complex beauty of your plant subjects?

I use thin, diluted layers of paint to build up depth gradually, creating a sense of translucency that partially reveals and obscures the underlying forms. This process mimics the way plants interact with their environment—light filtering through leaves or subtle textures emerging from beneath their surfaces. These layers allow me to highlight the complexity and fragility of plants while maintaining an ethereal quality in the composition. Each layer serves both an aesthetic and symbolic purpose. Technically, the layering creates a sense of dimensionality and fluidity, giving the plants a lifelike vibrancy. Conceptually, the transparency represents the delicate balance between visibility and concealment, mirroring how individuals navigate identity and relationships in modern life.

You mention that plants accept both life and decay with grace. How do you explore the themes of growth, impermanence, and resilience in your work, and what do you hope viewers take away from this exploration?

By highlighting broken branches, blemished leaves, and other imperfections, I emphasize the beauty found in their natural transformations. These details reflect the quiet strength of plants as they adapt to their environments, endure hardships, and continue to grow despite adversity. Through this exploration, I hope to inspire viewers to see these themes as metaphors for their own lives. Just as plants thrive in challenges, we, too, have the capacity for resilience and growth in the face of uncertainty.

You've participated in a variety of international exhibitions, including group shows and biennales. How do you think exhibiting in these different contexts has shaped your development as an artist?

These experiences have exposed me to diverse audiences, perspectives, and cultural contexts, which have expanded my understanding of how art communicates across boundaries. Each exhibition offers a unique opportunity to see how viewers from different backgrounds engage with my work.

With exhibitions across China, Europe, and the US, how has the reception of your work differed across these regions? Do you find that audiences in different places respond to your exploration of nature and imperfection in unique ways?

In Europe and the US, the reception often centers around the conceptual and contemporary elements of my practice. Audiences are drawn to how I use plants as metaphors for adaptability and identity in a rapidly changing world. The transparent veils and layered brushstrokes in my work often spark discussions about human vulnerability, societal pressures, and the layers that shape modern relationships. In China, there is often a deep appreciation for the philosophical undertones in my work, particularly its connection to nature's resilience and impermanence.

How do you see your practice evolving in the future? Are there new subjects, mediums, or themes you're excited to explore?

Looking ahead, I am deepening my engagement with nature and contemporary societal dynamics. I'm particularly interested in incorporating more experimental techniques, such as cyanotype printing. The unpredictability of this medium, which relies on sunlight and water, resonates strongly with the themes of fluidity and impermanence that run through my work. By using cyanotype to capture delicate plant details, I aim to expand my ability to explore the transient nature of time and space.

Lastly, what projects or exhibitions are on the horizon for you? How do you envision your artistic trajectory in the coming years?

While I enjoy experimenting with various mediums, I continue to focus on oil as my primary creative medium. Currently, I am working on a new body of work in preparation for an upcoming exhibition in Shenzhen, China.

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.