10 Questions with Yanqing Pei

Al-Tiba9 Art Magazine ISSUE12 | Featured Artist

Yanqing Pei works with the idea that everything exists as one simultaneously while being connected to something else independently in her paintings. Her practice is an exploration of the intimate symbiotic relationship between human beings and their surroundings with a focus on nature, as well as imaginations of poetic spaces derived from narrative contexts composed of Chinese ideographic characters. Pei's pictorial vision is a chaotic yet harmonious representation of human communication, both with each other and the world around us.

Pei graduated with her BFA and MFA in Chinese Painting in 2014 and 2017, from the China Academy of Art, and her MFA in Painting and Drawing in 2021, from Pratt Institute. Pei's work has been exhibited in Hangzhou, Nanjing, Dunkirk, and New York. She is currently working and living in Brooklyn, New York.

www.yanqingpei.com | @theepenpen

ARTIST STATEMENT

Yanqing Pei's paintings are about the intimacy and integration between human beings and their surroundings with a focus on nature. Pei is interested in how living beings are interconnected and interdependent in a complex and chaotic whole. Separate entities are somehow entangled with something other than themselves. A being's energy and sources seem to echo with something ambiguous and mysterious from its otherness, sparking the fascination of the unknown and irregularity. Her paintings capture a meditative ambiance where different interactions are happening: human figures, mountains, stones, plants, and animals form a symbiotic relationship.

Pei has also been working on a new series of abstract landscape paintings shaped into being with Chinese ideograms. Most of her inspirations in this series come from classical Chinese poetry that expresses thoughts, feelings, and attitudes through natural objects and scenes with flexible syntax. They contain an abundance of imagery and metaphors, and often convey a spirit of introspection. Pei is interested in the pictorial nature of Chinese ideographic characters, and how it stimulates the imagination in their own way. She reshapes some ideographic characters in the form of calligraphy, and transforms them into pictorial visions. The written contexts become illegible marks and blend in with other layers of elements on the paintings.

INTERVIEW

Let's talk about yourself first. Why are you an artist, and how did you become one?

I developed an interest in art at a young age, which I believe was largely influenced by the artistic environment in my family. Several members of my family are involved in the arts, so I was frequently exposed to art-related material and events. The art appreciation and enthusiasm of others around me were contagious. I began perusing picture books and catalogs, primarily from my father's collections, and learnt about many great artists. The transition from merely listening and observing to a desire to create with my hands appeared to occur naturally. I acquired a tremendous deal of pleasure and satisfaction, particularly from painting and drawing. At the same time, I was continually exposed to potential obstacles that could arise during the creative process. Later, I entered art school and began to explore the art world in greater depth. Creating art as a means of expressing my thoughts and feelings ties me to the world around me.

You studied in China but currently live and work in New York City. How has this relocation influenced your work? 

The new environment has provided me with new experiences and perspectives, which have inspired my work during the previous few years. The focus of my study in China was Chinese painting. I spent most of my time studying the history and traditional culture of Chinese painting, as well as its materials and techniques. It was a crucial moment for me since it taught me many valuable lessons, such as the need to seek out cultural origins. Later, I moved to New York to earn my master's degree. During my graduate studies, I began experimenting with different painting mediums, shifting from primarily ink and water on rice paper to a variety of materials on canvas and wood panels. I enjoyed the cultural diversity and artistic climate in New York, where I was exposed to a wealth of resources and had the opportunity to meet fascinating individuals from all backgrounds. All the changes not only encouraged me to attempt new things but also reminded me to reflect on my past and my creative path.

Why did you choose painting specifically over other mediums?

My choice of painting stems in part from a sense of closeness and nuance that has been cultivated over time through this practice. I can devote a great deal of time to it without becoming bored or exhausted. Through contact with the painting's surface and the friction between my hands and the materials, I have a sense of stability and contentment. A painting's presence resembles a dynamic stillness. There are moments of trials and judgments in the creative process, which may leave signs of existence on the artworks. Additionally, it appears that aberrations, uncertainty, and ambiguity are always present. Working with them may be one of the most beneficial experiences I've ever had.

What messages are you trying to communicate with your art? And what do you think differentiates your approach from others? 

My intention with my paintings is to convey a chaotic yet harmonious coexisting scene. I am fascinated by the connectivity and interdependence of beings, as well as their diversifications and distinctions. There are numerous inconsistencies, complexities, and distinctions to consider when contemplating the interrelationships and interdependencies between things. It is essential to recognize and comprehend the differences and disparities. However, this does not imply that everything must be divided into different pieces. Through my art, I hope to spark a discussion on the ever-changing nature of existence and its interdependence with others. It implies a condition of being essentially equal or balanced. I experiment with both abstract and figurative forms. I chose to approach the concept in a more connotatively implicative manner. I am pleased that various forms of expression have earned recognition and opportunity, such as art fairs and exhibitions. My work was just featured on Artnet China, one of the leading art media platforms in China, and I have received positive feedback. I hope that my work can continue to be an inclusive and accessible forum for dialogue.

In your statement, you say that your paintings "are about the intimacy and integration between human beings and their surroundings with the focus on nature". Can you tell us more about these works?

Sure. I once lived in a region surrounded by hills. I enjoyed spending time viewing nature in the hills. I was influenced by the concept of honoring nature in Taoism, which posits that the universe, the earth, and the self are all interconnected. The natural principle of equality is exemplified by the fact that all living things share a common ancestry and are governed by the same laws despite their disparate forms. In my opinion, one can clear away some of the confusion that surrounds life and learn more about one's own interior life by studying living beings other than oneself. It leads to a comprehensive and broad understanding, which contributes to our own development and helps us form rapport with the world. It is essential to learn from others by seeking our relationship with them: not only with other humans but also with non-human entities that are significant to us. There are profound meanings and truths that can be explored in the law of nature. In my art, I wish to emphasize the ties between humans and nature for this reason. I also feel that the quest of harmony between oneself and others indicates a cognitive process of deducing the phenomenon's truth.

Where do you draw your inspiration for your series? 

My inspiration comes from a variety of sources, primarily my visual experience from daily life and travels, readings, conversations with others, etc. I feel as though I am constantly in a creative state of mind, therefore I write down anything that comes to mind, even if it has nothing to do with my work. I also have a large collection of visual resources that I frequently review.

You are also working on a series of abstract landscapes, where you use Chinese ideograms. What is your goal with this series? What do you want the viewers to experience?

Yes, I have also been working on a new series of Chinese ideogram-inspired abstract landscape paintings. This series explores poetic worlds imagined as a result of narrative contexts constructed of Chinese ideographic characters. I would like to invite the audience to experience the pictorial aspect of Chinese ideographic characters and the unique way in which it inspires the imagination. The majority of my inspiration comes from classical Chinese poetry that portrays ideas, emotions, and attitudes through natural objects and situations. They are rich in imagery and frequently reflect an introspective spirit. Poems with flexible syntax, beautiful connotation, and rhythm spark the mind and can inspire a variety of visual representations.
I transform some ideographic characters into pictorial visions by reshaping them. Some ideographic characters would "grow back" into the images they represent, while certain written contexts would vanish. The majority of them become illegible and mingle with other layers of components on the paintings, transforming into an emotional expression or ambient tune.

Is there anything else you would like to experiment with? 

In the course of my painting practice, I would like to experiment with a variety of different texture effects. I have used gesso to build up forms on canvas in order to produce earthiness and density. I intend to push it further with additional molding and pasting materials. I also wish to create additional paintings on a large scale. In addition to paintings, I would like to experiment with ceramics. I began making ceramic sculptures last year and have found opportunities to incorporate them into future projects. I would certainly devote more time to them.

What about NFTs and digital art? Are you jumping on this trend, or do you plan to continue with traditional painting?

I currently plan to concentrate on traditional art, primarily painting. In my actual painting process, I find the hands-on, physical, and tactile experience irresistible. As I mentioned previously, any aberrations, uncertainty, or ambiguity that may arise during the painting process are indicative of self-reflection, or an examination of myself.

And lastly, what are your plans for the future? Do you have any exhibition or collaboration you would like to share with our readers?

I will continue to work on the two series of paintings I've been creating, as well as a new triptych. I am also preparing for an upcoming art fair and group exhibition in Brooklyn, New York, in November and December of this year.