Emerging from a picturesque town in China, artist Hankunyu Wei emerges as a visionary figure whose creative journey led her to the esteemed halls of the Cranbrook Academy of Art. Embracing the mantle of a contemporary artist, she is fueled by an insatiable thirst for exploration, seeking to unveil the profound beauty hidden within the ordinary fabric of existence through the transformative lens of abstraction.
Driven by a steadfast belief in the transformative power of merging disparate materials, Hankunyu Wei delves deep into a realm of relentless experimentation, tirelessly pushing the boundaries of material potential. By skillfully orchestrating the harmonious collision of various elements, she breathes life into her creations, infusing them with a vibrant energy and limitless wells of inspiration.
With an unwavering commitment to authenticity and a tireless quest for genuine expression, the artist crafts a design language that pivots on unyielding curiosity and a bold defiance towards the conventional. Her works serve as vessels that channel unspoken desires and untamed fantasies into tangible forms resonating with profound meaning and significance.
Seeking to unravel the enigmatic essence of Hankunyu Wei’s artistry, MODIC Magazine conducted an exclusive interview with the artist, shedding light on her unique creative process and illuminating the captivating world she intricately weaves through her evocative creations.
5 ART QUESTIONS WITH HANKUNYU ”VERA” WEI
Can you share more about your journey from a small city in China to pursuing metalsmithing at renowned institutions like Savannah College of Art and Design and Cranbrook Academy of Art?
I was born in a small city in China and grew up in an artistic family. Both of my parents pursued careers related to the arts, and I was exposed to art from a young age. I began my journey in metalsmithing at the Savannah College of Art and Design and later graduated from the Cranbrook Academy of Art. As a contemporary artist with a strong curiosity, my exploration of metalsmithing and contemporary jewelry self-driven.
I am fascinated by delving into the darker aspects of everyday life, purifying moments often taken for granted and exploring their essence through abstraction. I believe that the collision of different materials can invigorate the vitality of my work and inspire imagination and creativity. Therefore, I continuously experiment to maximize the malleability of materials.
As a contemporary artist with a strong curiosity, how do you approach the exploration of metalsmithing and contemporary art jewelry in a self-driven manner, and what drives your creative process?
My curiosity stems from continuous exploration and experimentation with materials. As someone deeply interested in materials, I am passionate about exploring the interactions, arrangements, and combinations between different materials and metals. I’ve found that experimentation with materials serves as an endless source of curiosity for me. By constantly trying out new materials and observing their performances in artworks, I not only discover new possibilities but also spark more ideas and creativity. For instance, seeing how soft fabric deforms and twists under the support of metal, or how different materials exhibit their own characteristics in various states, extends and supplements my imagination of concepts and expressions in my work. This ongoing process of experimentation not only enriches my creative experience but also constantly challenges my imagination, thereby sustaining my motivation and passion for creation.
Your fascination with digging into the dark side of ordinary life is intriguing. How do you go about purifying moments taken for granted and abstracting them in your artwork?
I’m often intrigued by alternative manifestations of commonplace objects, such as carpets covered in thorns or chairs that cannot be sat upon. When these conventional attributes are stripped away, it creates a pathway to confront the subtle yet profound meanings often overlooked. The dark side represents the shadows of life and objects, a reflection that exists without a tangible form. This existence may not easily be noticed but constantly surrounds us. When I encounter an object, I’m invariably drawn to its other side, compelled to explore. For instance, if a chair isn’t meant for sitting, then what purpose does it serve? If a key lacks a lock, what is the significance of its existence? If a room lacks a door, what lies within? These contemplations drive me to seek some form of answer through my creative process.
The concept of material collision playing a vital role in stimulating creativity is fascinating. Could you elaborate on how you utilize different materials to evoke imagination and inspiration in your work?
Based on my previous work “Expulse,” I choose metal and fabric as materials and try to reproduce and process the state of hidden feelings in my life marked by the collision of hard and soft characteristics between materials. The dense and resistant malleability of copper, steel, or aluminum frames the fabric. The softness and flexibility of cloth can simulate the concealment and fluidity of feelings, like the reticent characteristics of a veil.
Your emphasis on maximizing the plasticity of materials through repeated attempts is admirable. How do these experiments and trials contribute to the evolution of your artistic vision and the final outcome of your creations?
My “Fantasy or Conjecture” collection features jewelry crafted using keys as the primary element. During this period, I dedicated nearly a year to continuous exploration. To be honest, prior to this endeavor, I didn’t have a clear idea in mind; it was merely a process of exploration. I began by observing all the collected old keys, studying their connections. I experimented with pressing black paper to capture the protruding shapes of the keys and used light and shadow to showcase the details of the keys and their gradual disappearance. Throughout this process, I realized that light and shadow, as well as contours, could evoke my curiosity about the keys most effectively. I started using metal corrosion marks to simulate the traces left by keys and experimented with cutting to alter the original appearance of the keys. These series of experiments gradually brought me closer to the vague imagination I initially had about this concept, and my ideas and understanding became clearer as a result.
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