Skulls, Superheroes, and Shifting Cultures: After Nyne meets Jacky Tsai
Jacky Tsai could best be described as an artist who defies categorisation. Since graduating Central Saint Martins and being catapulted into the limelight as the creator of Alexander McQueen’s famed floral skull image, Tsai has staged exhibitions worldwide, working across what seems to be a never-ending variety of media. Whilst commonly hailed as a pop-artist due to his recurring commentaries on cultural behaviours, Tsai’s recent body of work actually challenges this definition through a riveting juxtaposition of the traditional and contemporaneous. ‘The Harmonious Society’ presents an underlying irony; Tsai is representing popular contemporary culture and imagery through centuries old techniques which would have been unattainable to the masses at their original time of use. Thematically, these new works draw upon vast influences, migration, societal tensions, and cultural shifts, all explored through an aesthetic which blends conventional imagery of East and West.
Jacky, in your 20s you moved from China to London to study for your MA. How much has relocation, and all of the cultural differences or similarities which accompany this, influenced your practice?
'Massively. I grew up in China and am still very engaged with the Chinese culture, but now I have been living in London for 10 years after completing my masters at Central Saint Martins. So naturally going between these two very different cultures has inspired my work. All of my work references what I experience and what is going on around me – for example politics and trends in popular culture.'
The human skull is a constantly reoccurring theme within your work; what is it about this image which you find appealing? What does it represent to you?
'I’m a Chinese guy coming from a very conservative family, so I feel the skull is quite scary. So every time I create something relating to the skull I want to overcome my fear. I try to turn the skull into a beautiful image, like it’s reborn from the dead.'
Who are your main influencers?
'The Chinese artisans I am working with are a big influence, there are only a few who still practice the lacquer carving technique and it is a great honour to be able to work together with them and have a mutual exchange of skills and ideas. I am also very inspired by the work of Roy Lichtenstein, but I don’t want to copy his work - I want to add my own style to create pop art images that still look and feel Chinese.'
In your new series, The Harmonious Society, you explore the philosophical idea of ‘harmony’. Where did this originate, and why have you chosen to utilise this concept in your work?
'The philosophical idea of ‘harmony’ is a concept deeply embedded in Chinese culture. The philosopher Confucius (551 - 479 BC) first introduced it to China and his teachings became the official imperial teachings. Recently the ‘Harmonious Society’ became a new socioeconomic vision for China under President Hu Jintao, based on a model of stability and social cohesion. It is a concept that has in fact shaped China’s identity, one that responds and embodies two visions and realities of China, the traditional and historical China, the China of the Emperors and myths, and the contemporary China, adapting to a more globalised world and its new set of rules; one that has turned its mind to commerce, mass production and internationalism. This concept came to me as the most adequate to present my work, in which the various identities of China take central stage.'
How does this new series address the friction between socioeconomic reform and conservatism in contemporary China?
'By using traditional characters from China’s literature and history, and architectural elements, traditional motifs and objects, I emphasise what China represents to outsiders. It is also a way to show the country’s conservatism. The actions taking place in the works though, and the actors of the work, actively embody the socioeconomic reforms. The ageing population and the recent end of the one-child policy for example is what inspired The Retirement. The whole of my work suggests the conflicting identifies of China today, and its place in the world, with subjects including immigration, (Welcome Refugees), gambling (One Night in Macau), wildlife conservation (Save the Last Chinese Tiger), and the perception of cultural differences (Tug of War) as well as gender equality (Female Leadership).'
We see a fusion of imagery and symbolism associated with the West and East in your satirical works; how are you blending these cultures to reflect issues of social identity?
'History and cultural heritage are massively important in my work. You have to understand the cultural history of the country you are coming from as well as the one of the country you are living with, if it is different. From these differences, from looking at the countries’ history and at the ways in which they come across each other you can create a work that is about you as well as about the bigger picture, of two cultures coming together, exchanging with each other and beneficiating from each other. And I use Chinese mythological characters and superheroes to blend the two cultures because they are iconic in representing the superpowers of a country. They are icons we all need in our lives, to save us and to destroy us. Everyone worships superheroes and their power from different cultures. Sometimes these cultures are very close, sometimes they break up and are fighting each other and sometimes they fall in love. In my work, it is all about the relationship between East and West.'
In terms of material, what techniques have you employed in this recent series?
'I have employed Lacquer carving, a technique which dates back to the beginnings of Chinese civilisation, three thousand years ago. Several dozen layers of natural lacquer are applied by hand on a wood panel where the image has been painstakingly engraved. The complicated manufacturing process meant that traditionally only the royal family or wealthy businessmen could afford them and after the establishment of the People’s Republic of China in 1949, the vast working class people had little demand for such luxuries. It is my intention to preserve this unique tradition as young people now are reluctant to learn the skills of lacquer carving, and many elders in the business have passed away. Nowadays, there are only about twenty trained craftsmen left in China who have this skill. This ancient craft is on the brink of extinction.
I have worked with masters of the craft in order to explore the beauty and richness of lacquer carving with a modern twist and keep this ancient craftsmanship from disappearing as well as introduce it to new audiences. Working with lacquer carving also allows me to represent Chinese culture in all its tradition as well as in its most contemporary features.'
Any exciting projects in the pipeline?
'I just finished a project with a luxury cruise line in Asia, creating the hull artwork for them, probably the biggest artwork on the sea, the maiden voyage will be in November 2017.'
'The Harmonious Society' - 18th October - 8th November - The Fine Art Society
Top Image: 'Female Leadership' - Lacquer carving and gold leaf on wood panel - 2016
Inlayed Image: 'The Hangover' - Lacquer carving and gold leaf on wood panel - 2016
