10 Questions with Yimei Zhu
Al-Tiba9 Art Magazine ISSUE15 | Featured Artist
Yimei (Emair) Zhu, an interdisciplinary artist, holds an MFA from the School of the Art Institute of Chicago, specializing in Art and Technology Studies. Her art, spanning interactive wearables to bio-art, challenges conventional views on disability, aiming to redefine human interaction and perception through the fusion of art and technology. By exploring new sensory worlds and advocating for posthumanism, Yimei invites audiences to experience life from diverse, inclusive perspectives, promoting a future where technology and art enhance bodily experiences.
Yimei Zhu - Portrait
ARTIST STATEMENT
Yimei (Emair) Zhu merges Senses, Disability, and Posthuman Bodies to challenge stereotypes and reimagine imperfection. Through exploring nature's sensory systems and employing media from coding to bio-art, her work aims to expand human senses and perception. Art, for Yimei, is a tool for innovation and understanding, bridging disciplines to foster a community where technology enriches our bodily existence. Advocating for a future where art and technology transform experience, Yimei envisions a world of enhanced senses and possibilities, inviting us to rediscover and expand our perceptions.
Left: EYE, I, Interactive Installation, 2m x 4m x 0.15m, 2023
Right: You Are Beautiful, Interactive net art, variable size, 2022
© Yimei Zhu
AL-TIBA9 ART MAGAZINE ORIGINAL ISSUE15
INTERVIEW
Please let's talk about your academic background. You attended the School of the Art Institute of Chicago, specializing in Art and Technology Studies. How did your studies influence the direction of your artistic practice and the themes you explore in your work?
My academic background has profoundly influenced the direction of my artistic practice and the themes I explore in my work. During my time at the Guangzhou Academy of Fine Arts, where I pursued a Bachelor's Degree in Fine Arts with a focus on Experimental Art, I truly began to explore the boundaries of art. The study of experimental art significantly strengthened my experimentation with different materials and mediums. This exploration satisfied my curiosity and laid the foundational belief that materials and technology are essential tools for artistic expression. I learned that an artist's style could be defined not just by the medium they use but also by the themes they research and discuss.
My undergraduate education made me deeply understand that, although it might be a challenge for young artists to be recognized and remembered for specific expressive effects, this approach is not wrong. In fact, I have been experimenting with this idea myself. Throughout this process, I have been exploring the diversity of art while continually challenging and expanding my own artistic expression.
Moving to Chicago to pursue my MFA in Art and Technology Studies at the School of the Art Institute of Chicago marked a new phase in my artistic practice. Here, I began to strengthen my use of different programming languages, delve into virtual reality, and deeply explore bio-art, a field I had always wanted to try, which received positive feedback. However, when I started to introduce my work to galleries here, I became aware of the fundamental differences between Eastern and Western artistic styles and began to adjust my creative approach to better integrate my Eastern character with Western artistic practices. I gradually moved away from the concept of technology-first, believing more that technology should be a tool to better express artistic ideas rather than an element controlling artistic creation.
Through this academic and creative journey, I have learned how to use a variety of tools and mediums to express my artistic concepts while also realizing that an artist's style and themes can transcend medium limitations. My academic background has not only provided technical and theoretical support but also offered a broad platform for exploring personal and societal issues, profoundly impacting my perspective and creation as an interdisciplinary artist.
E·F·B·P © Yimei Zhu
E·F·B·P © Yimei Zhu
Can you share a pivotal moment or experience during your education that significantly shaped your perspective as an interdisciplinary artist?
From the moment I picked up a brush to attempt drawing a straight line on paper to becoming an artist, it has been exactly ten years this year. It has been an excruciating process, constantly denying, breaking, and remolding myself. I believe a pivotal turning point was in 2017, when I started to learn programming and engage with new media. I thought to myself that I could always paint and write poetry as I grew older, but learning new technology at a high intensity might become challenging as my brain might not keep up. So, I began to research interactive installations. This also gave me an opportunity to study more novel things, knowledge I had not encountered before. All these allowed me to find a gap in the long-standing negative discourse — using interactive wearables to explore new sensory modalities — breaking down the conventional views on disability. This was not just a supplement to disability but also using these new senses as a way to explore new worlds. This experience greatly broadened my perspective on the exploration of posthuman bodies and the role of post-humanism and exhibitions. Of course, focusing on senses and disability also allowed me to deeply understand the difficulties faced by this group in contemporary society, as well as the public's ignorance of these difficulties.
Your art challenges conventional views on disability and aims to redefine human interaction and perception. How do you approach the fusion of art and technology to achieve these goals?
My approach to integrating art and technology to challenge conventional views on disability and redefine human interaction and perception is deeply rooted in the belief that technology can extend the boundaries of art to embrace inclusivity and empathy, enabling broader discussions about the essence of humanity.
I have dedicated myself to researching and developing interactive installations and wearable technologies capable of enhancing or transforming sensory experiences. During the development of these technologies, I collaborate closely with engineers, scientists, and the disability community to ensure that what we create is not only innovative but also accessible and meaningful. This collaborative process is crucial, as it brings together expertise from various fields to ensure that the fusion of art and technology is both ethically sound and socially impactful.
Moreover, my work often incorporates interactive elements that require audience participation. This interactivity is key to breaking down barriers between the observer and the observed, encouraging individuals to engage more actively and empathetically with the artwork. Through participation, audiences are not merely observers of a representation of disability; they become part of an experience that challenges their preconceived notions and opens up new avenues for understanding. For example, while most art engages in a visual dialogue, I also encourage the exploration of artworks through tactile and auditory and so on.
Furthermore, I continually explore and critique the role of technology in our lives, particularly its impact on human interaction and perception. Through my art, I strive to question and expand the narrative around disability, using technology as a medium to explore new forms of communication and connection. My goal is not only to challenge conventional views on disability but also to envision a future where the convergence of art and technology fosters a more inclusive and empathetic society.
EYE, I (detail) © Yimei Zhu
Could you describe a specific artwork where you've merged senses, disability, and posthuman bodies to challenge stereotypes and reimagine imperfection? What was the inspiration behind it?
One specific artwork that embodies the fusion of senses, disability, and posthuman bodies to challenge stereotypes and reimagine imperfection is my project titled "The Way: Lab Plan" or in Chinese, "感观共生体: 实验室计划," which spanned from 2019 to 2022. This project is a wearable, interactive installation designed to mimic the senses of animals and plants, offering a profound exploration into the capacities beyond human abilities.
Inspiration for this project stemmed from viewing disability not as a limitation but as an opportunity for growth and creation. By comparing the limits of human capabilities with those of animals and plants, I aimed to deconstruct inherent conceptions of disability, suggesting that our understanding of abilities and limitations could be expanded. This artwork delves into the protective systems and senses of other living beings, intending to broaden our perception of the world and challenge the conventional binary views of what it means to be disabled or normal. It encourages a deeper appreciation for life's diversity and complexity, showcasing how technology can serve as a powerful tool to repair and enhance sensory systems that are absent in humans, opening doors to new worlds and experiences.
The interactive wearable highlighted in "The Way: Lab Plan" points out that in certain aspects, humans are "disabled" compared to plants and animals. This comparison is not to diminish humanity but to inspire contemplation on transcending our limitations through technology and innovation. The project proposes a fresh perspective on disability, urging us not to equate it with inferiority in a binary manner. Instead, it encourages viewing our abilities and the world around us from diverse perspectives, imagining the possibilities that could unfold if we harnessed technology to expand our perception of the world, akin to how wearable technology or rehabilitation devices are used.
Moreover, this series of works is related to the aspect of being disabled solely through its cyborg style, which provides a fashion-forward, cool aesthetic for those wearing prosthetics or assistive devices, fostering a more inclusive attitude. This project also delves into how art and design can facilitate the social integration of technologies, not just as functional tools but as mediums for igniting new sensory experiences and social dialogues. Thus, the focus is not solely on disability or defining it but on exploring new forms of human experience and social interaction and imagining the potential for bodily development. The naming of the project in both Chinese and English reflects this ethos, with its Chinese name emphasizing symbiosis beyond disability and its English name, "The Way," highlighting the exploration of different perspectives and solutions.
Following the primary vision of "The Way: Lab Plan," additional works like "Cat's Whiskers Warning," "Don't Touch Me," and "Technoskeleton I: CNS Wave Testing" further explore the possibilities of sensory enhancement and protection contributing to the project's overarching goals of challenging preconceived notions of disability.
Your work spans different mediums and techniques. How do you decide which medium or technology best serves the concept or message you want to convey in a particular piece?
My creative process typically begins with societal research, from which I identify the aspects that impact me most deeply to further translate into the language of art. When conceptualizing a piece, I meticulously consider various factors such as the optimal integration of theme and medium, final presentation, exhibition setup, audience interaction, documentation, and the development of future works. Before incorporating materials like yarn and wool into my creations, I often used poetry and music to fill the softer, immersive parts of my works that guide audience engagement.
As the context of a work forms, many materials naturally present themselves as appropriate choices. My ability to select and manage materials effectively is also a result of my regular experimentation with different mediums and some curatorial experience. This experience allows me to intuitively identify which materials will best convey the intended message or concept, ensuring a harmonious match between the artwork's thematic intentions and its physical realization.
Of course, there is also a significant element of trial and error involved in my process. The suitability of materials and mediums may change due to the varying spaces of exhibitions and differing themes, necessitating adjustments and replacements. This adaptability is crucial, as it allows my work to evolve and resonate within the specific contexts and environments in which it is presented. My approach ensures that the chosen medium or technology not only serves the artistic vision effectively but also engages the audience on multiple sensory levels, offering a deeper, more immersive experience. This thoughtful selection process is integral to making each piece a cohesive and impactful exploration of its underlying themes.
The Way Lab Plan © Yimei Zhu
The Way © Yimei Zhu
How do you envision the role of audience participation and engagement in experiencing your artworks, particularly in the context of advocating for diverse and inclusive perspectives?
The themes I focus on are indeed special, and in my exploration and artistic creation around these subjects, I adhere to the principle of not inflicting secondary harm on the communities involved. I believe in presenting life's vitality and disseminating scientific knowledge with a positive and affirmative approach rather than spreading sorrow and negativity. Thus, guiding the audience becomes a critical component in the creation and installation of my works. How viewers enter the exhibition space, perceive my artwork, approach and linger near it, and engage with it are all integral parts of the design process.
In the context of advocating for diverse and inclusive perspectives, particularly within a posthuman framework, this approach is crucial. When artworks allow for touch and interaction, they significantly narrow the gap between the audience and the pieces. This relationship ensures that the completion of the artwork is not merely fixed at the moment of its installation; instead, it continues to grow and evolve like a living entity. This dynamic allows for a more profound engagement, where the audience's participation directly contributes to the artwork's ongoing development and interpretation. It underscores the idea that inclusiveness and diversity extend beyond the subject matter, embedding these values into the very interaction between the artwork and its viewers. By facilitating such interactions, I aim to foster a more inclusive understanding and appreciation of different perspectives, making the artwork a catalyst for dialogue and reflection on the themes it explores.
As an advocate for a future where art and technology transform experience, what specific changes or developments do you hope to see in the intersection of art, technology, and human perception?
I want art to be accessible to everyone, and not just in a "look but don't touch" kind of way. I mean, finding those little moments of sparkle in our daily lives, breaking free from the shackles of difficulty as an artist does, and then evolving into something more potent and vibrant. Through the combination of art and technology, we can boldly imagine and courageously create, ultimately transcending our current understanding of human existence.
We can experience art in more diverse ways. This means going beyond visual appreciation to utilizing technologies like augmented reality (AR) and virtual reality (VR), enabling people to experience art through touch, sound, and even smell as if stepping into another world. I wish for technology to make art more interactive in the museum and in the classroom, breaking the barriers of time and space and allowing everyone the opportunity to experience and create art across cultural and geographical boundaries.
At the same time, I believe it's crucial to maintain authenticity and responsibility when merging art with cutting-edge technology. The purpose of art should be to connect people and enhance our understanding of each other rather than merely showcasing the novelty of technology. The fusion of art and technology should promote a comprehensive view of our world rather than creating more divisions.
See more green © Yimei Zhu
Speaking of technologies, what do you think of the recent developments we are witnessing, especially about AI? Do you tend to be optimistic about their implementation, or are you concerned?
When discussing the latest developments in technology, especially artificial intelligence, I maintain an optimistic outlook. My friends and I are very close to nature, which fuels my enthusiasm for the intersection of technology and art. This combination has maintained a wonderful balance for us as both technology and art respond to the present moment, and their integration is inevitable.
We live in an age of information where information overload can indeed make us feel surrounded, panicked, and fearful. However, I hope everyone can maintain a sense of calm, without being overly anxious or resistant. The pace of technological development is indeed fast, to the point that we can't keep up just by learning, but this should not be a source of anxiety.
I believe that the rapid advancement of technology is actually a good thing because the transition period is often the hardest. If technology can progress faster, it has the potential to liberate human labor and bring more innovation and new things, which can, in turn, reduce our anxiety. I firmly believe that technology should be an aid to humanity, not a replacement. Facing such an unstoppable trend, adopting an optimistic attitude is more beneficial than pessimism. If we choose to be pessimistic, we will lose hope and thus be unable to fully utilize and control technology.
However, the rapid development of technology also raises some legitimate concerns, including issues of privacy, security, and job displacement. The ethical implications of artificial intelligence and how it is used play a significant role in shaping its impact on society. The challenge lies in balancing the benefits of AI with the need for thoughtful and proactive addressing of these issues. It is crucial for stakeholders, including developers, policymakers, and the public, to engage in ongoing dialogue about how AI should evolve and be integrated into our lives in beneficial, ethical, and inclusive ways.
Looking ahead, what are some of the future endeavors or projects you're excited to explore in your artistic journey?
Looking ahead, I'm deeply engaged in preparing for an exhibition in July while simultaneously planning to embark on new thematic explorations. My work has evolved from discussions around low vision to broader explorations of vision and thought control, which have now reached a stage of maturity. Moving forward, I hope to initiate a new topic of exploration. Additionally, I'm keen on finding ways to integrate more deeply with communities. This approach not only opens up new avenues for artistic expression but also allows for a more immersive engagement with the audience, fostering a shared understanding and appreciation of the themes I explore through my art.
Don’t touch me © Yimei Zhu
And lastly, how do you see your work evolving in the coming years?
In the coming years, I envision my work evolving through a deeper exploration of research methodologies, transitioning from an artist to a researcher role. This approach will enable me to delve into the nuances and complexities of the subjects I'm passionate about with a more analytical perspective. Moreover, I am eager to seek out like-minded individuals and collaborative projects. By fostering partnerships and engaging in collaborative endeavors, I aim to expand the scope and impact of my work, exploring new horizons and pushing the boundaries of what can be achieved at the intersection of art, technology, and research. This collaborative and investigative approach will not only enrich my artistic practice but also contribute to a broader discourse, potentially sparking innovation and inspiring change within both the artistic community and society at large.
