Q&A with artist Linling Lu
Recently, I caught up with local Chinese artist Linling Lu, a 2008 MICA painting graduate to hear what she had to say about her artistic journey, inspirations and thoughts on the contemporary art scene in China. Lu has been featured in The Mu Project's Asian Women's Artist Forum and has shown both locally and in China. She is currently in China visiting friends and family, and will return to the United States later this year. I hope to visit her studio and attend one of her show openings sometime in the future. Until then, please enjoy this Q&A session with Baltimore's freshest voice in contemporary Chinese art!
1.) (Since you are new to the Baltimore contemporary art scene), how did you get started on your artistic journey?
I came to Baltimore in 2006 to fulfill my dream in painting. I didn't know how to start my art journey when I was in China, working at a design firm as a landscape architect. I thought attending an art school would be a good starting point, not only to improve my painting skills and knowledge of art history, but also for turning my role of living from a designer to a fine artist. Maryland Institute College of Art gave me a wonderful opportunity as a painting major. Through studying at MICA and communicating and studying with faculties, professional artists, and students, I started to get to know and participate in the art world.
2.) Who are some artists (living or deceased; or both) and/or art movements (living/deceased) that have inspired you?
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Georgia O'Keeffe. I admire and enjoyed the pure freedom and spiritual happiness in her paintings. My attitude of seeing painting as my life was strengthened and guided by her strong personality and incredible courage.
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Wassily Kandinsky, his theory about music and colors were very interesting to me and had inspired me to create many possibilities for my painting. I'm working on a series of colorful geometry paintings right now and they are very much inspired by him.
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Henry Matisse, I love this quote by him:
I hope a tired and sad person feel rest and peace in front of my painting (translated from a Chinese book). I admire his attitude to art, with kindness and warm thoughts for viewers.
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Timothy App, who was my teacher at MICA, influences me on two major aspects: to discover the beauty of systemic painting, and to taste the balance of reason and sensibility. He is a generous teacher with wonderful paintings, and if I can be a teacher someday, I would like to follow in his footsteps.
3.) Your heritage plays a central role in your art. Can you tell us more about that, specially in relation to the vibrant and colorful culture of the Miao people?
Miao is one of the minorities in my province. They have an unique culture and arts tradition with a timeless past. I collect their patterns and art works, visit their isolated places, from which I see their colorful lives and art in the heavenly natural environment and delicate architecture. Minority art, especially Miao batiks and embroideries, became very important inspirations to me. Many of their patterns are about mythology, necromancy, and sacred events. In my big family, most of the women can knit, sew and embroider well. Most of the men knows a lot about Chinese history and some of them do Chinese calligraphy as one of their traditional interests.
4.) What are your thoughts on the contemporary art scene in China today?
This is a very serious and difficult question. Generally, as an individual artist, I'm not interested in many of the "new" art works that have got the most attention from all over the world; but interested in many precious artistic spirits, skills, and subjects from the past. I admire art that brings wisdom and calmness, also interested in humanity care, joy and spiritual power introducing through a trustful and tasteful art form. The contemporary art scene in China today doesn't show any of the things I mentioned above, but too much about politics and money. However, I'm happy to see all of these changes, because art is fighting for a new role in the society, to be a important form to show different ideas. This will bring more artists to participate, to clearly realize our historical and social role and to pass down our living tradition. It is the early spring, a beginning part of a new circle. Soon grass will remain on the ground, but young trees will grow over them. They will give people umbrage and coolness, and offer much more environmental benefits to the public.
5.) I read that you do (Chinese) calligraphy as a form of meditation. For those of us seeking a time of quiet reflection at the start of the new year, could you give us some ideas as to how to go about doing something similar?
Chinese calligraphy is the most difficult art and deepest expression form I ever encountered in my life. I do calligraphy is not because I only like the superficial freedom and beauty, such as the lines or the expressive possibilities. When I start, I didn't come with ambitions or purpose to gain something from it, but endless practice, hard work without thinking what I can get or what I should gain. I learn from ancient rubbings by famous calligraphers. They are all beautiful essays, poems and documentations of contemporary events. I enjoy the silence of history. I hear my thoughts connecting with the calligraphers and their dynasties; I think about how and why they left these words to us, and understand who I am, where I come from, and where I'm going.
For foreigners who want to do reflections in their spare time, I suggest that they choose things that interest them the most, then practice these things peacefully. Classical music, yoga, or attending church can also work well. For Western beginners who want to learn Chinese calligraphy, the general starting point is to learn Kai Shu, then Xing Shu, Cao Shu, Li Shu, and so on. Good rubbings or examples will be very helpful. This is a process from easy to hard, from principle to freedom. At the same time, it is important to understand the meanings of every single word, so as to understand sentences, essays, and the Chinese culture, history, and philosophy. Inevitably, the learning and practicing process will become the meditation itself.
For more info:please email the artist at lulinling@live.com.
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