BRITISH-CHINESE PHOTOGRAPHY
Dinu Li, an award-winning British-Chinese visual artist, showcases his exhibition The Mother of All Journeys at Amelia Johnson Contemporary (17 Sep – 31 Oct 2009) in Hong Kong. Initially commissioned by the Victoria and Albert Museum in London, the exhibition is a collection of the artist’s family snapshots which traces the journey taken by the family when they emigrated from Guangdong to Hong Kong and finally to England. Dinu Li speaks to Wendy Ma about the reasons and emotions behind this collaboration with his mother as well as his fascination with time and space.
The Mother of All Journeys by Dinu Li, 2007
Q: You have had an interesting life. Which photographs capture your most memorable experiences?
This project is about memories. The one that really captures my experiences is the picture of the first house we lived in when we emigrated from Hong Kong to UK in 1973 when I was 7 years old. As I took this photograph in 2004, there was a distance of 30 years between living there and taking the photograph. We lived there for only 1 year. We don’t know who has been sitting there since. Strange that after 33 years, they have kept the same carpet, wallpaper, and cabinet in the bedroom. Now it’s rented to students.
Q: What inspired you to collaborate with your 80-year-old mother on this artwork? Is your mother an artist, too?
When I was a young boy, she was always telling me her story, and I used to create imaginary images in my head. I always wanted to see the real landscape and not rely on my imagination, so that I could understand where the memories come from and make a comparison between fantasy and reality.
No, my mother’s not an artist. Her job was to identify the place. I also have 6 brothers and sisters in the fields of engineering and catering.
The Mother of All Journeys by Dinu Li, 2007
Q: Was there a gap between the reality and your imagination?
She had a memory about hiding behind a tree during Japanese invasion of China. I imagined a tree in a dense forest, where she would hide. But it was just a tree on the hill, which meant that she was desperate to find anywhere to hide. In that sense it was very powerful.
The Mother of All Journeys by Dinu Li, 2007
Q: What are your images trying to narrate other than the past?
Duality. When you step into a place, there is a duality between what is personal and universal. The photograph is not just about our own experiences, but others’ as well. In the process of unearthing our personal history, there are other histories in that very space. You’re sitting here on the sofa now, so you have a history here. If I come back here tomorrow to take a photograph, I have to understand that someone else sat there and has his own history. The project is multi-layered.
Past is all around us, even in the modern city of Hong Kong. Past is only one second ago, not far away. I’m deeply interested in the concept of time and space, and photography is the perfect medium that deals with this. With photography, you play with time by speeding it up, slowing it down, or freezing it still. You’re empowered with the control to manipulate time.
Roland Bathes, a philosopher, called this a subconscious fear of death. Not that we think about it all the time, but the notion that there’s limited time prompt those to use films, photographs, and videos in the endeavor to understand what time and space are.
The Mother of All Journeys by Dinu Li, 2007
Q: What feelings or revelations surfaced while exploring the sites of your mother’s past?
Sometimes you go somewhere, you rediscover something you’ve not been thinking about for a long time, and all the memories reappear. When you visit a place, certain aspects trigger your memory. It can be the shape of light, the way it falls, the circular pattern it makes. Now in front of us there’s a shadow cast on the wall, if you revisit that place in 20 years, the pattern will reappear as long as the light is still standing there.
Q: How is the joint creation of art different from solo efforts in your other creations?
A lot of my work has some sort of links – people’s identities, their history and memories. I look at other people’s archive and their personal histories. Even though it’s personal, it’s also public. There’s a different type of duality between personal and public. Their existences are not mutually exclusive. Sometimes my mother’s history is not unique, but shared. For instance, many people have been in love or have been sick.
Dinu Li standing next to his artwork
Q: In what ways has Mother of All Journeys affected other projects of yours?
Family Village and all my new projects – come from Mother of All Journeys. In 2005, a British architect had sent a Christmas card to his Sichuan friend, also an architect, who decided to build the town illustrated on the card in Chengdu. That inspired me and led me to question the authenticity of that place. In terms of features, the Chengdu town has similar tile, roofs, and chimney shape. The differences are the local materials and the fact the population in China is bigger, the houses are also taller and bigger.
Moreover, the new town in Chendu brings the authenticity of culture into question. While I was there working, the security guard tried to stop me, “How do I know you’re not a British architect who came to copy our style” Apparently, he was oblivious to the origin of the building. Often we claim that something belongs to us, such as fish and chips just because they’ve been in the UK for such a long period. In fact, chips are French and fish are Dutch. So it’s interesting to find out where things come from.
For the Family Village project, I scanned a particular 1950’s cartoon book and retold a narrative about a hero boy who intercepted the Japanese soldiers. My adaptation of the story is about a boy on a journey while collecting bamboo. Every time he returns home he finds his home changing. I turned a static original cartoon into a five-minute animation video.
Q: What cultural shocks did you have to overcome as you emigrated from Hong Kong to Manchester? What historical events took place at that time that affected you?
The idea of space – growing up in Hong Kong, we lived in small space. England offered more space. There was more space among people in the metro. The climate – the fog and snow in England. The sound – the silence in England, as opposed to the noises in Hong Kong.
Since we moved in1973, compared to my parents, I was too young to be affected by historical events. In the 1960’s, people feared that the Cultural Revolution might invade Hong Kong, so those who left China for Hong Kong continued their journey to the West.
Q: How do you reconcile the cultural and generational differences?
It’s strange. Since my cousins didn’t leave China, there exists a massive cultural difference between them and me. Having lived in the West, I perceived things from a more objective angle. But for them in that situation, they were so close that they couldn’t see or to understand the 50’s and 60’s. You had to be further away. That’s why I became an artist.
Q: I read that your father and your mother once made underwear for a factory in Hong Kong. Tell us more about it.
In the 50’s, Hong Kong was like Shenzhen (a manufacturing region in the south of mainland China) now. The westerners established factories in Hong Kong, which at the time was just some island with fisherman. The exodus of Chinese people to Hong Kong meant they had to start a new life from scratch. Like others, my parents just wanted to get a job in the factories. Now history is repeating itself.
Q: What artwork are you showing at the 53rd Venice Biennale?
Family Village. When you step inside the gallery, you see screens suspended in the middle of the room like a moon, inside which there is a story of a boy watching his home changing all the time as he is picking bamboos. Inside the video, children are chanting the Chinese translation of a western song from the 1970’s film Willy Wonka and the Chocolate Factory.
Q: During the 4 years of making Mother of All Journey, has anything changed?
Yes. You start off taking many photographs, and then you keep editing it to make it smaller until you get the core. The most important bit is the real meat of the project. Similar to making a soup, you have to patient and allow time to condense it to the best bit. I can’t just take a photograph and use it immediately. The period of four years allowed me to develop a distance from my photographs and therefore choose wisely. In the last year, I finally reduced the bunch from 300 to 35-40 based on the content.
Q: What was behind your inspiration?
People take things for granted so much that they feel they don’t need to reflect. My mother’s very old, so I must reflect. Mother of All Journeys has inspired others to start similar projects. It’s a personal project that touches a large audience.
Q: What’s your current project?
I’m doing an artist residency in Shenzhen. I like that it’s on the border of China and Hong Kong. Sometimes my projects are accidental, and other times, to be inspired, I need to be physically in that particular place.
-Contributed by Wendy Ma
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