Interview with Kang Yi, 1 may 2018
Tell us something about your background.
I was living in a town near the sea where the air is always salty, it’s a quite small village. I studied landscape architecture, which was totally not on purpose but just a random selection based on the system in Taiwan. There I got used to the structure of creating visuals, so then I transfered to Communication Design at the Shih Chien University. It is a very different environment from Taiwan, the design department. I studied some coding, mostly media software and software on a computer. Also I learned and built a thought process without being in panic during creating.
What made you decide to come to the HKU?
I choose the master which seemed more theory based. I always like that concepts take a heavy role in my work. I wanted to have an overview of the theory based course.The course here (in the Netherlands) is very different. I think it’s the Bachelor and Master difference. My class is an international class, basically everyone is already an emphasized individual, so when discussing ideas together cultural differences are not that obvious.
Artistic research posters
Currently I’m doing my artistic research. I did some performances within the research. My research topic is about Time. The posters is a way for me to document my process when I feel a bit lost or when I can’t figure out what my priorities are in my project. This visual practice always helps me to see the bigger picture.
The installation shows a space of going-through. Developing this work was quite long process. I started to look for inspiration, then saw a photo of a renovating scene in which there was a door whose top was against the wall and made a triangle space in between the floor. From that photo I got the idea of a ‘playing space’ with a sense of the ‘in-between’.
Live in walls
What you see is flexible fabric which stretches quite easy. I had this imagination of something secret that is going on somewhere (a fantasy crisis). I put this work on the street in middle of the night and let it blend with the walls. I was inside, it was very hot. So I was making a creepy performance of something that wanted to struggle out.
I did this work for a simple reason: I was heartbroken. I was directing a collective performance in the programme. The whole set up scene looked like a concert. My ideal was to shrink and disappear in this world. When I was heartbroken I suddenly realised that I had to let myself out again, so I made three human size nests of plaster and did a performance.
I never really have strong a attachment towards an object. This blanket is an exception. Did you ever have a blanket that you desperately need to be with when you were a kid? I have one. I would cover my whole body and talk to myself under the blanket. Incredible thoughts and stories were born under my blanket. But if there was any person outside or around the blanket, those thoughts stopped. I transformed my secrets into different shapes, as if they are microorganisms. My blanket is a dark cave for those living creatures to hide. This installation shoots into motion when anyone tries to uncover the blanket. Ultrasonic sensors activate when people come near the blanket and those little creatures will disappear.
Moment of Plane
This project started from a simple idea about communication between people. Feeling distance between each other, due to differences, can create exhaustion in different forms. Such as not being in the same time or not being at same space, or generally speaking, not on the same wavelength. With this base, I started to think about what the consequences are and what I wanted to get from being on the same wavelength.