10 Questions with Zheng Wu

Zheng Wu is an experimental filmmaker who was born and raised in China before moving to the USA at the age of 19. She earned a Bachelor's degree in Media Arts and Technology from the Rochester Institute of Technology, followed by a film production MFA from Loyola Marymount University.

Her work takes a critical view of social and political issues and is always involved with photography, philosophy, and poetry. It explores the relationship between traditional filmmaking and contemporary video art. Having engaged in different art forms as diverse as narrative short films, experimental film, video art, photography, and art installations, her work has discussed philosophy and literature, such as Jean-Paul Sartre's existentialism, Samuel Beckett's play, and Chinese contemporary fine art. Each project often consists of multiple works, often in a range of different media, grouped around specific themes and meanings. During research and production, new areas of interest arise and lead to the next body of work.
Zheng has worked in the film industry in the USA, China, and Italy, with a diverse portfolio of projects. As a director, Zheng's work has been showcased in film festivals, galleries, and other venues. Her directing works include MONO, Quarantine Cleansing Project, and Swimmer.

As a producer, Zheng has overseen the production of numerous short films, TV series, documentaries, and commercials, including the Beijing Universal Studio Tour Video, the Discovery documentary series My Cat From Hell, the TV series Uncommon Incident, and the indie film Heat.

Zheng's work as a production designer has contributed to the success of many award-winning movies and shorts, such as the feature film Whale, Quarter, and Homecoming, and the short films Flatulence: The Origin, Butterfly, Boy, and Addicted. Her expertise in designing the visual elements of a film or project ensures that the final product is both cohesive and visually engaging. With a diverse skill set and a passion for storytelling, Zheng Wu is a talented filmmaker who continues pushing the boundaries.

www.zhengwufilm.com

ARTIST STATEMENT

“My works range from realistic to abstract and always involve social issues, philosophy, poetry, and photography. I not only dive into traditional narrative filmmaking but also explore experimental filmmaking, art installation, multi-media, and video art. Often focusing on contemporary youth's thoughts and their rebellion against reality or the exploration of nihilism and existence.

My last project," Quarantine Cleansing Project," is a 13 minutes video art. In about two years ago, I started to watch and research Chinese movies that were made between 1990-2010. This is the 20 years that China has changed the most and also the golden age of Chinese cinema. The director of that generation experienced WW2, the cultural revolution, economic reform, and some protest events, which make most of the films have incredibly strong features of that age. The movie FROZEN is one of the films that make that time. The story is about a young performance artist who decides to make his own suicide his last work of art. On the longest day of the year, he plans to melt a huge block of ice with his own body heat and die of hypothermia. He calls this protest against the coldness of society "Funeral on Ice." The way that the filmmaker shot the film and the boldness and wildness delivered in this film deeply intrigued me.

Moreover, I also read and researched many artists in that generation that, include artists such as Ren Hang(photographer), Zhang Huan, Tehching Hsieh, etc. Tehching Hsieh leaves the biggest impression on me. His series of One Year Performances inspired me a lot. The only protagonist of his works is "time." He defamiliarizes life and repeats it constantly, like a penance, which generates huge energy.

Quarantine Cleansing Project is a story to explore the relationship between time, our current world, viruses, and even the meaning of our life. The outside world of Lei's cage is chaotic, messy, and extremely busy, with a lot of things going on. I want to create a closed space for modern people just to meditate and think. And quarantine might be the best time to create this space. I hope this film can inspire you to rethink the meaning of time and life.

Having engaged in different art forms as diverse as narrative short films, experimental films, video art, photography, and art installations. My work has discussed philosophy and literature, such as Jean-Paul Sartre's existentialism, Samuel Beckett's play, and Chinese contemporary fine art. Each project often consists of multiple works, often in a range of different media, grouped around specific themes and meanings. During research and production, new areas of interest arise and lead to the next body of work.”

— Zheng Wu

INTERVIEW

You are both a visual artist and filmmaker. Tell us a little bit about your background.

Yes! I'm a visual artist and also an experimental filmmaker who was born and raised in China before moving to the USA at the age of 19.
I earned my Bachelor's degree in Media Arts and Technology from the Rochester Institute of Technology, where I honed my skills in 3D printing, modeling, drafting, and graphic design. This multidisciplinary education gave me a well-rounded perspective on design for the moving image and an appreciation for the power of technology in the creative process. Later on, I pursued a graduate degree in Film Production at Loyola Marymount University, which helped me understand the nuances of the film industry and the importance of visual storytelling. Through this experience, I gained a deeper appreciation for the power of film to tell stories that resonate with audiences on an emotional level. Now I work as a Production Designer and visual artist.

How would you define yourself as an artist nowadays? And how did your art evolve over the years?

As an artist, I define myself as someone who uses visuals to critically examine social and political issues. Often focusing on contemporary youth's thoughts and their rebellion against reality or the exploration of nihilism and existence. My work explores the relationship between traditional filmmaking and contemporary video art, and I have engaged with a variety of art forms, including narrative short film, experimental film, video art, photography, and art installations. I believe that all art forms are interconnected, and I am particularly drawn to the medium of moving imagery.
When I first started learning filmmaking, I considered myself a storyteller, emphasizing the importance of connecting with the audience through a compelling narrative. However, as I began to explore other art forms, my perspective shifted.

I have been researching Chinese cinema from the period of 1990-2010, which was a time of significant change in China and a golden age of Chinese cinema. Additionally, I have been inspired by the work of performance artists and photographers from that era, such as Ren Hang, Zhang Huan, Tehching Hsieh, Moriyama Daido, and Fukase Masahisa, etc. Their work captures the rich emotions and environment of the time, often with just a simple picture or a short performance.
I find myself more intrigued by a simple picture or a short performance than by a 2-3 hour movie. Even when there is not much of a story, I am struck by the power of emotions conveyed, and they tend to linger with me longer than I would expect.
While I still appreciate the power of storytelling, I have come to appreciate the strength of emotions and their ability to resonate with an audience long after the art is experienced.

You primarily work with video and moving images. What does this medium represent for you? And why did you choose this medium specifically?

Video and moving images are my primary medium of expression as an artist. To me, this medium represents a way to convey complex ideas and emotions that may not be easily conveyed through other mediums. Moving images can be a powerful tool for storytelling, and they allow me to engage with people on an emotional level that goes beyond the limitations of text or still images.
I chose this medium specifically because of its unique ability to capture and convey movement, time, and space. Unlike other mediums, video allows me to create a more immersive experience for the viewer, enabling them to feel as if they are a part of the story or message I am trying to convey. Movie is the reality, it's our current world, its everything that people can feel related to the best way.
Ultimately, my choice to work with video and moving images is driven by my desire to connect with people on a deeper level and to create work that can inspire thought and emotion in my audience.

You also incorporate different mediums and techniques, which you usually pair in series based on a recurring topic or subject. How do you choose the topics of your work, and where do you get your inspiration for your work?

My creative inspiration is drawn from my own life experiences, combined with my interests and the cultures I've absorbed. For me, mediums and techniques are merely tools for expressing my ideas, which are often complex and multifaceted, much like the intricacies of our lives. That's why I prefer to combine different mediums, as they offer unique opportunities to explore and express these complex ideas.
My work is heavily influenced by philosophy and literature, including existentialism by Jean-Paul Sartre, plays by Samuel Beckett, and contemporary fine art from China. Typically, each project consists of multiple works, presented across a range of different media, that are all centered around specific themes and meanings. During the research and production process, I'm constantly exploring new areas of interest, which often lead to the next body of work.

Philosophy has a central role in your work. Can you tell us more about it?

In my perspective, philosophy serves as a tool for thinking and enables me to view the world from a different perspective, which is why I find it intriguing. Moreover, philosophy is practical and has assisted me in resolving numerous problems and uncertainties, enhancing my comprehension and elevating my mood. For instance, the concepts of existentialism and nihilism provide a sense of liberation by acknowledging the transient nature of life. Thus, I am inclined to incorporate philosophy into my filmmaking, as it is not too complex but, instead, a fundamental aspect of life that can be seamlessly woven into narratives and plots.

Another key point in your work is how it "explores the relationship between traditional filmmaking and contemporary video art," as you mention in your statement. Can you explain how you work on these two different aspects and how you blend them together?

The two mediums of traditional filmmaking and contemporary video art are vastly different. In fact, using video art techniques in traditional filmmaking may even be met with criticism in film school. However, thanks to my supportive professors, I have come to understand that while there may be nothing entirely new in the world, each storyteller is unique and can bring their own creative approach to the table.
Video art allows for a level of artistic freedom that traditional filmmaking may not be able to provide, but Hollywood's narrative techniques are highly effective and scientific in their approach. Therefore, I strive to create a hybrid of the two mediums in order to develop my own distinct film language. I am not the only filmmaker who has attempted this blending of styles, as many have successfully navigated the intersection of traditional filmmaking and video art.
Through my work, I aim to strike a balance between conventional storytelling techniques and innovative visual methods. This can include using traditional cinematic shots and editing styles in combination with experimental visual effects or incorporating elements of video art into the narrative structure. By doing so, I seek to engage audiences in a unique and thought-provoking cinematic experience that challenges their expectations and expands their perceptions of storytelling.

Let's talk about your project, "Quarantine Cleansing Project." How did you come up with this idea?

It's remarkable to think that the idea for my latest project came to me while I was on a flight back to China from the United States during the Covid pandemic. As I looked out the window at sunset and the beauty of the sky, I was deeply moved, especially as I watched the flight crew wearing protective suits. The experience sparked the idea that we are all like people in chains and how a simple thing can break us down. It made me realize how small and easily controlled we can be as human beings.
Upon arriving in China, I was required to undergo a 14-day quarantine period, during which I wrote the entire script for the project. It was an intense and challenging period, but it allowed me to focus fully on my creative process and bring my vision to life.
Also, at that time, I was obsessed with Chinese movies that were made between 1990-2010. This is the 20 years that China has changed the most and also the golden age of Chinese cinema. The director of that generation experienced WW2, the cultural revolution, economic reform, and some protest events, which make most films have incredibly strong features of that age. The movie FROZEN is one of the films that make that time. The story is about a young performance artist who decides to make his own suicide his last work of art. On the longest day of the year, he plans to melt a huge block of ice with his own body heat and die of hypothermia. He calls this protest against the coldness of society "Funeral on Ice." The way that the filmmaker shot the film and the boldness and wildness delivered in this film deeply intrigued me.
I believe that I want to create films that are uniquely relevant to this specific period in time. My goal is to produce works that capture the spirit of our generation and establish a new and distinctive style. I'm driven by a desire to create art that speaks to the unique challenges and opportunities of our time and to produce work that is only available and relevant to this moment in history.

And what messages did you want to convey with this series?

This question, I think, is left to the audience, haha. I think after it is finished, the message has been received.

Are you working on any new projects right now? Any exciting project or collaboration you would like to share with our readers?

I work primarily as a production designer. Recently, I had the opportunity to work on a fascinating short film about religion in China, and I continue to work on advertising and fashion projects. In terms of my personal creative work, I'm interested in making a mockumentary. Although I have written the script, I plan to create a film that is driven purely by visuals, with no dialogue or explicit narrative content. Stay tuned!

Finally, what are your plans for the future? What do you think (and wish) the future holds for us?

The ambition of my life has not changed. I want to form my own artistic language and work hard to become a lifetime artist.

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