10 Questions with Yue Wu

Yue Wu, born in 1996, formed and influenced by a family legacy of glass artistry, began his journey by accompanying his father on global artistic expeditions. These experiences enriched his understanding of diverse cultures, which he integrates into his work. Drawing inspiration from giants, childhood memories, urban life, and human consciousness, Wu's art deeply resonates with our world. His diverse portfolio includes videos, handcrafted installations, and photographs.

The concept of 'giants' symbolizes collective human experiences and individual paths, often highlighting societal contradictions. His installations about 'consciousness machine' intertwine personal stories with universal emotions, promoting introspection and shared understanding.

In his recent work MUR, inspired by the idea of a "wall made of human thickness," this artwork integrates architectural features with traditional kite maneuverability. A lightweight bamboo skeleton shapes the structure, and a synthetic fabric with a unique texture serves as both skin and wail. As a dynamic modular unit, it remains grounded yet can take to the air, presenting as both humanoid and barrier; from different viewpoints, it offers versatile reassembly, transforming spaces. The piece challenges how 'MUR, a multi-directional movable wall, alters our perception of landscapes.

Yue graduated from Ecole Supérieure d'Art et Design Le Havre Rouen in Normandy with DNSEP (National Higher Diploma in Plastic Expression) in 2023. From 2020, he has participated in several group exhibitions: Double and Duality in Gallery N51 in Milan (2023), Tunnel in Artetage Museum of Modern Art in Vladivostok (2020), LL in Espace Marc Sangnier in Rouen (2021), Working in progress in Gallery La Forme in Le Havre (2021), Nation Souls in Taizhou Museum in Taizhou (2019).

www.yuewu.site | @yue.wu_000

INTERVIEW

First of all, why are you an artist, and when did you first decide to become one? 

My grandfather and my father are glass carving artists, and since I was young, I have known the importance of continuing this artisanal tradition legacy by inheriting their works and skills. I was first working for it, and I went to Paris at the age of 15 to study. It was where I started contacting the contemporary art world; I went to an art and design school, making installations and photographs. For me, one of the most important experiences was working with the French kite artist Etienne Veyres. We made two unique art pieces inspired by traditional kites, and it ensured the way I wanted to follow to be an artist.

In your biography, you mention the influence and artistic experiences you had with your family from a young age. How have these experiences enriched your understanding of diverse cultures, and how do you incorporate these cultural influences into your art?

These experiences are both my memories and my unfulfilled fantasies and materials. For me, at that time, different cities were like amusement parks with all kinds of people and stories, arts and crafts, and performance groups. Their similarities and differences, as well as their intertwining with each other, made me interested in the presentation of fields and memories. These influences are subtle, the most direct manifestation of which is that while staying neutral, my work does not take place in a fixed cultural context but can be the narrative of any place.

What is your personal aim as an artist nowadays?

My aim is to participate in exhibitions, to have more involvement in place-related creations, and to continue to explore the expression of glass art in the context of contemporary art.

Your work draws inspiration from giants, childhood memories, urban life, and human consciousness, as you mention. Can you delve into how these diverse sources shape your artistic vision, and do you have a particular favorite theme to explore?

I am inspired by these unusual and abnormal things and the great emotional energy behind them. For example, my childhood memories are filled with cities’ huge buildings, and people because of the perspective. I have unconsciously developed the idea of being seen and becoming bigger. This obsession continues to this day, which is one of the factors that led to the creation of the giant figure; the symbols of the child and the giant are like two sides of the same coin. They are the transformation of the physical experience of facing the same thing. I have used metamorphosis to create the human experience, giving rise to figures such as the square man, the giant, the bubble man, and so on.

Your artistic portfolio spans videos, handcrafted installations, and photographs. How do you decide on the medium for each project, and how does the choice of medium contribute to the narrative you wish to convey?

Video, handmade installations, and photography are all tools and mediums that I am familiar with, and many times, when faced with a project, ideas about specific mediums arise, but more often, it need new mediums and materials. For me, the medium is not just a contributing aspect, but its limitations and shortcomings are also part of the narrative.

What is your creative process like? And how did you evolve this way of working?

Often, I gather ideas from the news, walks, and archive research, and my creative process involves visualization and practice, often starting with sketches and models, a way of creating work that visually presents the idea of the piece. This way of working is formed from my experiences of glass carving, art school, and collaboration with artists.

What are the main themes behind your work? And what messages do you want to convey?

I am interested in personal memories and the fields that affect the psyche, and I have introduced these processes of tracing human fragments in videos, installations, and photographs.

What is the most challenging part of your work? And how do you confront these challenges?

Concept and negotiation. Some of the projects involved larger volumes and new, unfamiliar materials, and it was a real challenge to find a new work team to assist in the completion of the work from the time the concept was proposed.

You already participated in several exhibitions internationally. What do you think about the art community and market?

There are many interesting people and phenomena in the art community and market, but there is also a very realistic side to it.

Looking ahead, how do you envision your artistic journey evolving? Are there specific themes or projects you are eager to explore in the future, and what aspirations do you have for your continued growth as an artist?

I look forward to continuing to make art while running the glass art museum, finding a balance between arts and crafts and contemporary art. I have recently created Air Giant I &II, two large-scale installations in the glass museum’s outdoor space, which I see as an interesting dialogue between contemporary art and glass art, and in the future I will revisit glass as a material while continuing my exploration of urban narratives, fantasy and memory fields.

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.