Interview | Rachel Yan Gu
[Artist Bio]
Originally from China, Rachel Yan Gu is a ceramic artist inspired by Eastern and Western philosophy and aesthetics. She received her BFA in Ceramics at the China Academy of Art (CCA), Hangzhou, China, before earning her MFA in Ceramics at the School for American Crafts (SAC) at the Rochester Institute of Technology (RIT), Rochester, NY, in 2020. She worked as a studio manager at Yates County Art Center in 2021. Currently, she is studying in the Art Education PhD Program at the University of Illinois at Urbana-Champaign (UIUC).
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[Artist Statement]
The surface of the world is composed of innumerable points which may be abstracted for the sake of comprehension, like molecules, numbers, and pixels; they may also represent an apple, a road, or a single person. Under these points, there are numerous nets, which are independent but also link everything together. They combine all the numerous points together and are the foundation of the points. Rachel Gu hopes to see the nets through the points to explore the core of the world underneath. Rachel reconstructs the points and nets to create a visual representation of their relationships within our physical reality. Her interpretation is a representation of her thoughts of these points in the world and her respect for them. Rachel combines these details with the emotions she experienced during the observation process to form the prototypes for her artistic creations, allowing her to delve deep into subconscious and unconscious. Art for Rachel exists above and within daily life, becoming a means for her as an artist to contemplate herself, others, and the world.
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[Artist Website]
10 Questions with Artist Rachel Yan Gu
January 14, 2024
Q1. Could you share your journey from studying at the China Academy of Art to pursuing a PhD in Art Education at UIUC, and what motivated these significant transitions?
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I have always been fascinated by the unknown. My studies at the China Academy of Art primarily focused on traditional ceramics. Driven by curiosity about contemporary ceramics, I came to the United States for graduate studies. After becoming a full-time artist, I desired to approach art from a research perspective, leading me to pursue a Ph.D. in Art Education.
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Q2. Your work is influenced by both Eastern and Western philosophies. How do you weave these philosophies into your ceramic art, and what challenges arise in balancing these diverse elements?
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The influence of Eastern philosophy in me is primarily aesthetic, whereas Western philosophy supports me in reflecting on my own creations, enabling me to continuously overcome obstacles and innovate. These two philosophical approaches maintain a balance in my artistic endeavors.
Appetite Ceramics, 2022
Q3. You've mentioned the intriguing interplay of 'points' and 'nets' in your work. Could you elaborate on how this conceptual framework informs your artistic vision and influences the physical creation process?
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In my creative process, I often utilize repeated dots and symbols to decorate my works. I aim to express through my creations my contemplations on the relationship between the individual self and the greater self, the connection between the personal and the societal, and the interplay between society and nature.
Apron Ceramics, 2022
Q4. Ceramics is a field that demands patience and precision. Could you share a particularly challenging project and how you navigated its complexities?
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Many of my works require multiple firings, some even as many as 30 times. I meticulously observe the pieces after each firing, ensuring they reach the perfect state. Therefore, completing a piece is challenging for me, as I need to pinpoint that precise moment of completion.
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Q5. With your extensive experience in ceramics and now pursuing a PhD in Art Education, how has your view on the pedagogy of art evolved? What key elements do you believe are crucial in teaching the next generation of artists?
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My current research direction involves integrating ceramic art education and psychology to create a new form of critique that has healing qualities for everyone involved. I aspire to transform critique into a more beneficial moment in art education, where artists can gain more useful information to support their future creations through this process.
Red Tears Ceramics, 2022
Ishi Ceramics, 2022
Q6. What are some non-ceramic art forms or artists that you find inspiring in your creative process?
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Because my own art education started with painting, I have a strong affinity for abstract paintings and illustrations that express emotions, particularly those created by abstract painters from the early 20th century.
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Teeth Ceramics, 2022
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Q7. How do you envision your art evolving in the future, and are there any new themes or concepts you're anticipating to emerge in your upcoming work?
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I've recently collaborated with a performer, engaging in a reciprocal critique through our respective creations. This is another new form of critique that I've developed. Over the next five years, I plan to collaborate with artists from different fields, transcending the boundaries of fine arts domains.
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Q8. Looking forward, are there specific themes or techniques you're excited to explore in your future projects, and what direction do you see your art taking in the coming years?
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Next year, as I begin writing my thesis, my creative work will align with the thesis topic. Currently, I have two directions in mind: emotional critique and the analysis of artistic emotional symbols.
The Third Eye Ceramics, 2022
Q9. What advice would you give to young artists pursuing a career in ceramics?
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Persistence and patience.
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Q10. As an artist and an educator, what legacy do you hope to leave in the world of art? How do you envision your contributions impacting the broader conversation in the field of ceramics and art education?
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For the general public, the field of ceramics is relatively traditional and constrained compared to fine arts. I aspire to break down the definitions and boundaries of ceramics through my research and creative work. In the future, I plan to publish more articles and books, hoping that this method will leave behind my knowledge and achievements for future artists and art educators.
Yellow Night, 2022