10 Questions with Yu Mao
Yu Mao, a graduate of the Art Center College of Design with a master's degree in MFA Film, has established herself as a Multi-Disciplinary Artist based in Los Angeles. Her artistic journey began when she embarked on a solo venture to the USA after completing her BA in communication at South Central University in China. Rooted in a family of scholars, Yu Mao's formative years were shaped by a profound appreciation for literature, instilled in her by her parents. This early love for the written word served as a wellspring of inspiration for her artistic pursuits. Yu Mao demonstrates exceptional prowess in various creative mediums, including film, sound, photography, installations, sculptures, and performance. Her unique talent and dedication have earned her acclaim at renowned international film festivals such as the Tokyo Film Festival, LA Under Star Film Festival, and the Edinburgh Independent Film Festival. Her experimental masterpiece, "There is Ice There is Us," garnered significant recognition as it graced the 2021 China Feminism Art Exhibition. Her evocative sound installation, "Home, Sweet Home," found its place in the illustrious 4C Gallery in 2023; while the photography "The Silence" is exhibited in The Decode gallery, showcasing her continued commitment to pushing the boundaries of artistic expression.
Yo Mao - Portrait
ARTIST STATEMENT
Driven by a profound fascination with the intricate dynamics between people of various cultures, genders, and social backgrounds, Yu Mao skillfully weaves her narratives using symbols, metaphors, and dreams. Her chosen mediums of expression encompass films, installations, sculptures, and photography, each serving as a canvas for her storytelling. As a woman and the sole daughter in her family, she brings her personal struggles into her artistic creations. The tensions between familial obligations and personal aspirations, as well as the clash between her identity and traditional societal norms, become the motivation of her artistic exploration. Through her work, Yu Mao aspires to strike a chord with individuals facing similar challenges, transforming her creations into a wellspring of energy that can be shared with society.
The End Of Earth #1, Photo, 17x11 cm, 2019 Yu Mao
Go to a Noman Where | Project Description
“In this performance video, the essence revolves around the interplay of uselessness and helplessness. I contemplate the inevitability of engaging in seemingly purposeless activities as individuals, embodying a prolonged sense of helplessness. The video captures my wandering in the wild, a quest that may or may not have a defined purpose. The repetitive actions unfold as personal symbols, conveying a mundane and meandering experience for the audience. Yet, this mundanity is the norm of the artist, and perhaps a shared reality for many. This represents the current state of the artist, a situation where the present holds no intrinsic meaning. Caught in a state of ambiguity, the inability to clearly perceive the future or the past creates a sensation akin to plunging into a negative black hole. Amidst this apparent meaninglessness, stepping beyond the confines of literature may unveil an alternative layer of significance.”
— Yu Mao
INTERVIEW
First of all, tell us a little bit about your background. How have you developed into the artist you are today?
To be honest, I never initially envisioned myself as an artist. My college major was in film production, and I primarily engaged in creative roles such as director, screenwriter, and production designer. However, as I delved deeper into the world of film, I discovered that it is a comprehensive art form that encompasses various modes of creation. Particularly, while working as a production designer on set, I frequently found myself conceptualizing themes and designing the layout and color schemes of spaces—a form of macro-level creation. During the execution phase, I often had to craft props based on the script, whether they were highly realistic or abstract, which challenged my craftsmanship. As a result, I decided to enroll in several fine arts courses. It was during these courses that I realized how liberating the creative process could be once I ventured beyond the confines of film. I discovered that whether I wanted to express an idea or tell a story, the choice of medium and materials was incredibly diverse. With this newfound freedom, I began taking on projects in the role of an artist.
You started with film before venturing into other mediums and techniques. How would you define yourself as an artist nowadays? How has this definition changed over the years?
As I mentioned in the previous question, transitioning from a filmmaker to an artist may involve a change in identity, but one core aspect remains unwavering—my insatiable desire for expression. I consider myself an individual with an unyielding urge to communicate and create. In the realm of filmmaking, this desire can sometimes be constrained by factors such as time limitations, budget constraints, audience considerations, and market influences, all of which significantly impact the creative process. However, in the narrower domain of artistic creation, I find greater freedom because my primary concern is whether I have effectively conveyed what I wish to express. While artistic creation also takes into account audience reactions and the prevailing art market, my aspiration is for purity in the creative process. Many times, forms of artistic expression like installation, sculpture, and even performance art can liberate me from the confines of film production as a creative technique. It feels like a conversation within my heart, one that strives to establish a meaningful connection between my inner world and the outside world.
Interestingly, when my friends view my works, they often perceive them as highly narrative. This penchant for narrative may well be a recurring creative habit of mine, which has evolved into a defining characteristic of my personal work. It serves as a reflection of my transition from a storyteller, or a filmmaker, to an artist.
The End Of Earth #2, Photo, 17x11 cm, 2019 Yu Mao
The End Of Earth #5, Photo, 17x11 cm, 2019 Yu Mao
As you mention in your biography, you are a multidisciplinary artist, working primarily with film, sound, photography, installations, sculptures, and performance. How do you choose which medium works better for a certain project?
Actually, what I use to make my art isn't that important to me; what the art is about matters most. There was a time when I really missed home. Talking to my family in our own way of speaking made me think of using our language in a sound art piece. Our local way of speaking is very special and different from regular Chinese. Even other Chinese people wouldn't get it unless they're from where I'm from. This gave me the idea for "Home, Sweet Home." Back then, I was also really into printmaking. I used a method called Chine-collé to print old photos. I made them look old-fashioned, kind of like they were from a time machine. If I had been more into making sculptures at that time, I might have made something with clay or mixed materials. I'm happy I know about making movies because it helps with different kinds of art like installations, sculptures, sound pieces, or visual art. They all can be part of a movie. When I do my own art, I just take bits from these different areas and put them together to make something new. Sometimes, when I want to say something very new or bold, I go for more modern ways, like performance art or unique visual art.
Your work strongly focuses on storytelling and analyzes the dynamics established between people. What messages would you like to convey to the viewers?
I've always been drawn to stories that are forgotten or ignored by most people. From a young age, my dream was to become a social investigative journalist. I loved going out into the field and uncovering hidden truths. That's why I initially studied journalism and communication, focusing on the lives of marginalized individuals and minority groups. I felt a deep need to give these overlooked voices a platform.
Before I ventured into film, my journey took me to the UK for the "The End of Earth" photography series. I was just 20 and on my first solo trip abroad. There, amidst vast, sparsely populated landscapes, I saw people living with an incredible sense of freedom, carefreeness, and relaxation. This was a stark contrast to the norms back in China, where such a lifestyle was often forgotten or even viewed negatively by our generation. But to me, it was captivating. I believed this different perspective on life deserved to be seen and appreciated by more people.
This experience deeply influenced my subsequent creative work. In every project, I strive to showcase a different facet of life, reflecting the diversity and richness of human experiences. My background in journalism still informs my approach, guiding me in seeking out and telling these unique stories through my lens.
Wandering, Photo, 17x11 cm, 2019 Yu Mao
You also refer in your statement how your work is partly inspired by your personal experiences. Can you tell us more about it? And how do you incorporate these experiences into your practice?
Personal experiences serve as the most authentic and valuable source of inspiration. Several years ago, when I was writing stories, my primary concern was that my expressions might seem immature due to my age. I worried that I might fail to capture or understand the subtlest emotional nuances of human experience. Growing up in a happy and harmonious family, I felt a deep sympathy for those less fortunate in their original families. Still, without direct experience, I believed I lacked the authority to write their stories. For a long time, I attempted to break free from the constraints of my family. I must admit that, without the safety net of my parents, I faced numerous hardships, struggling through financial difficulties. The emotions stemming from these experiences were intriguing. Looking back, these encounters continually remind me not to be judgmental. The impact of these personal experiences on my work is subtle yet pervasive.
To illustrate this with a concrete example, last year, during an art residency program in the Amazon rainforest in Peru, I encountered the untamed force of growth while grappling with the region's challenging natural environment, climate, and rudimentary infrastructure. During a Christmas party, I spontaneously created a colorful boat art installation from a discarded small bathtub. This piece expressed both my frustration with and affection for the rainforest. Unfortunately, the project's host was displeased, feeling that I had offended the jungle and its people. However, it was my deep love for the area that inspired me to create such a piece. Perhaps, at that moment, my expression seemed too "contemporary," or maybe the locals appeared so vibrant that my creative approach suddenly felt too direct.
Where else do you find inspiration for your work, and what is your creative process like?
Reflection on significant societal events serves as another major wellspring of inspiration for my creations. Many have characterized my works as bearing a distinct female perspective, a label I don't necessarily mind, but there's an underlying sense of rebellion within me. During the global rise of the feminist movement, my discontent arose from the perception that it revolved around the idea of "girls helping girls" exclusively. In reality, individuals of diverse gender identities also contribute to the support and empowerment of women, and stories of "girls hurting girls" are equally prevalent. This dissonance prompted me to create a print artwork. The intersection of my reflections on these societal events and a portion of my personal experiences forms an essential and meaningful aspect of my creative process.
Let's briefly talk about your project: go to a Noman Where. How did you develop this concept? And what would you like to communicate or analyze with this project?
During that period, I found myself bewildered about the future, grappling with uncertainty about the path to pursue. The expectations placed upon me by my family clashed with my personal aspirations, and the life I had envisioned seemed laden with practical challenges. I pondered the significance of my current creative endeavors. While I had produced some works, I questioned what tangible returns these creations would offer me in reality. These questions consumed my thoughts, ultimately leading to the creation of a performance piece in the desert—a repetition of seemingly poetic yet meaningless actions. The conclusion of the film was serendipitous; the appearance of the car was unscripted. It felt as though, in the cosmic scheme of things, I had been granted an open-ended answer through my performance—a future that could be destructive or, perhaps, at a certain moment, one where I could be saved—whether through self-rescue or with the help of others. Reflecting on this project, the open-ended resolution may not have provided clear answers, but in the act of creating it, I felt that a part of the puzzle had been resolved.
Is there anything else you would like to experiment with? Any medium or theme you would like to incorporate into your work?
I really want to undertake some large-scale creations. Previously, due to limitations in space and budget, I haven't executed works similar to this scale. However, I am eager to attempt a massive installation—perhaps within an art gallery, but if it could be placed in a public setting, resonating with the environment, I believe that would be incredibly cool.
Are you working on any new project right now? Any exciting project or collaboration you would like to share with our readers?
I am currently working on a conceptual art series inspired by Primo Levi's book, 'The Drowned and the Saved.' The series explores the definitions of 'victims' and 'perpetrators.' I have completed the 3D modeling of a scene, which features an artificial rainforest and a long dining table, waiting for people to come. Additionally, I have created an experimental sound piece using electronic synthesizers to abstractly simulate specific sounds, such as animal footsteps and tearing during feeding, adding depth to the concept.
My next step involves physically constructing this scene and inviting actors or friends to participate in a performance related to the theme of 'survival of the fittest.' I plan to capture the event with a camera, allowing it to manifest in two different forms of artistic expression.
Finally, what are your plans for the future? What do you think (and wish) the future holds for us?
I hope to continue creating art in the future, maintaining a positive outlook on life. If the opportunity arises, I would like to collaborate with reputable galleries or art institutions. Simultaneously, I am in the process of developing a feature-length film script and hope to bring it to fruition around the age of thirty. I believe that by that time, both my ideas and technical skills will have matured. Thank you!
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.
