From the beginning of creation to the present, please share a few works that best represent the turning points between Six N. Five’s different stages, and tell us about these works.
My explorations always take on a technical curiosity, idea or theme, or also change the direction of my curiosity. Some of the turning points in the development of Six N. Five were probably the wallpaper work I did for the Microsoft Surface and Windows 11. After my own personal exploration of creating artificial landscapes, I was asked if I could create some artificial landscapes as native backgrounds for these devices. From this, I formed a partnership with them that resulted in the design of the iconic blue flower for Windows 11, a digital work inspired by the beauty of nature. Another project worth mentioning is “The Circle”, this short film was very important for the development of my career, it marked the new style I was exploring, combining realistic scenes with surreal action, bringing a new reality. During this year, I created a number of installation works, continuing to explore the limits and boundaries of digital and physical, as well as reality and virtuality. Among them, “Memory of Tomorrow” is undoubtedly the latest and most important work because of its scale and location. and creative methods.
The exhibition “Memory of Tomorrow” will be from the end of November 2023 to the beginning of January 2024. Please introduce this exhibition and why you chose Shanghai Guanglu Building, a historical building? What do you want to express to the audience through this exhibition?
The concept of “Memory of Tomorrow” revolves around the interplay of history and modernity, past, present and future. The physical part of the exhibition space is integral to understanding and appreciating the digital elements, and vice versa. This juxtaposition is intended not only to present art within a historical context, but also to evoke a sense of journey through time and space, leading viewers to consider the evolution of our society and the cultural decisions that have shaped our present and will influence our future. Information in physical space cannot function alone, and the same is true for digital works. Only by combining the physical world and the digital world can each be complete.
Historical buildings like the Guanglu Building represent the tangible footprints of mankind and embody the essence of a specific era. I was initially attracted to this venue because of its huge historical significance and grand architectural style. As I explored its ins and outs and original purpose, I found myself increasingly fascinated. This building was the perfect canvas for the themes I wanted to explore in Memory of Tomorrow. In this exhibition, I aimed to create a symbiotic relationship between the physical and the digital, rather than treating them as separate entities. The rich history of the Guanglu Building complements the digital creation, adding depth and context to the overall experience.
When creating “Memory of Tomorrow”, what were your steps from conception to completion? Which step in this creation was the most challenging for you?
The first step in creating “Memory of Tomorrow” was to visit the Guanglu Building in person, immersing yourself in the real environment and absorbing the feelings it brings and the inspiration it may inspire. This visit, which took place in June, was an important starting point in my creative process before I began sketching and digitally visualizing my concepts, playing out in a full three-dimensional model of the space itself. This helps me create there and bring myself into the virtual space I envision. Once I’m happy with the initial results, I start translating these concepts into detailed plans so that every element matches the actual space. At the same time, the creation of digital artworks is also happening simultaneously in my studio.
Without a doubt, the most challenging aspect was having such a vast canvas to explore. I have never encountered such a huge space before, offering endless possibilities for my creations. This is both a rare opportunity and a huge challenge. While my goal was to preserve the cultural and architectural integrity of the Gwanglok Building itself, embedding my own narrative within its walls opened up nearly endless possibilities. It took me at least two months to perfect the design concept and achieve the desired effect. The process of respecting the existing space while infusing it with elements of my digital art was a delicate and challenging journey. It ended up being a very rewarding experience.
What I would like to ask further is, how do you consider the relationship between the work and space when creating?
The relationship between my work and physical space is deeply rooted in the dialogue between different realities: the physical and the digital. My artistic exploration aims to identify and expand the boundaries between these two fields, both conceptually and physically. This has been a key area of curiosity for me in recent years, especially in the context of what many are calling the digital age.
In this era, the rapid development of technology continues to challenge our perception of “reality”. When I began my artistic journey, I conducted extensive research and learning about digital tools and techniques to bring my vision to life. My creative process includes digital art creation and online sharing, and I am constantly iterating on this process. At first, I was reluctant to admit that I was an artist because my tools were digital rather than traditional palette knives or physical paintbrushes. However, I have always considered my creations to be real and valid art forms, made with care and skill, simply through different mediums. The digital age has reshaped the way art is created and perceived, and the tools we use are constantly redefining our practice. The incorporation of digital technology into art is becoming increasingly common these days, and it’s exciting to watch how new generations embrace these tools.
Returning to Memory of Tomorrow, the digital elements in my work not only dialogue with the physical space of the Guanglu Building, they also intertwine to create a unique, immersive experience that blurs the digital and the physical The line between realities. My goal is to make viewers question and redefine their understanding of reality within the context of art.
How would you describe your aesthetic and style? Why?
Six N. Five’s aesthetic and style can be said to be somewhere between surrealism, nature and artificiality. Exploring fictional concepts and extensions of reality in architecture and space, new forms emerge, some tangible, others reflected in imaginary worlds. I think it’s because they encompass all of my current interests and that’s where I feel most comfortable creating.
