Tianxi Wang was born and raised in China. He studied at Rochester Institute of Technology in the United States. Tianxi was influenced by a wide range of artists such as Yamamato Masao, Masahisa Fukase, Gregory Halpern and Todd Hido. He is interested in imagery and metaphors found in ordinary space. Currently Tianxi lives and works in China. He established a small artist community, The Miscellaneous LAB, in Tianjin on purpose to offer residence as well as share studios and equipment. On April 2021, he kindly answered our questions.
Do you remember your initial experience at making photography? What were your motivations?
I made some selfies when I was about eight. At the time I traveled with my parents at Jiuzhaigou Valley, Sichuan, China and attracted by some stones. Those stones engraved names of each scenic spots, so I stood by those stones and let my parents take a photo for me. I still remember the camera was a film pocket camera load with Kodak Gold 200. Now when I try to think about the motivation, it was spontaneously but like a kind of collection.
What kind of camera do you use and is there a particular significance in the choice of your material?
During last five years, I only use 120 and 4x5 film camera because I think colour is a very important language in my work. I believe film can process better colour. Meanwhile for some reason I feel photo shoot by film is more like a “work”. Also, I think another reason is film camera can slow me down. It makes me look and think more.
Tell us more about your series “On the Edge”. How should we understand this body of works?
On the Edge is my experiment of content, forms and photography abstraction. I took photos in two different worlds, which are completely opposite space. One side is the most civilized world, metropolitans, city centre, and you are surrounded by some huge outdoor screen. Another side is far remote regions, the boundary of human world, pure primitive nature violence. I’m in between the two worlds and try to find my place.
The photographs were printed and processed with wax. The form was inspired by the encaustic technic from Ancient Egypt. The reason I use this form was I tried to create ambiguous landscape. Because if a photo tells you more, the less you know. I think that is the way of photography abstraction.
Apart from photography, you have also experimented with video and animated gif. What motivated these additions to your photographic work?
I don’t set a limit on my media. I also made installations, land art and painting. I think there is no such an almighty media can always fit to my thoughts and expression.
You have been participating in talks and workshops, while also being involved in editorship. To what extend these “side activities” complement your own works?
For me, these are summaries and inspirations. Talking is another way of thinking. Workshops are organized talking. As editorship, I think it helps me to learn how to finish my work.
How would you describe your work in three words?
Transmigration, nihility, apricot.
What are your future projects?
These days I have new project titled with Fried butter. The project will have a 5 minutes video and few photos. I put a piece of butter into cooking oil and heat up until the butter disappears.
More works & information: www.timothywangart.com