Questions, Mr. Wu, Yangschen Museum Exhibition:

How does your work reflect the interplay between time and art?
By way of example, the greenish flame transecting and uniting the orchid sequence in Flame/Flower Transect II, references the energy dynamics and creation narratives of a series of environmental Land Kilns (1979-1992), in particular the process of photosynthesis and ancient sunlight embedded through geologic processes in the fuel giving life to the kiln projects, becomes of one definition of an expanded practice of ceramics and my art practice into deep time and landscape transformation.

In artistic creation, how do you express both the differences and interconnectedness of cultural interpretations?
The traditional role of flags as geographic or cultural boundaries can be questioned to include processes, transitory states, energy systems as intrinsic parts of nature where boundary’s are re-defined. These natural linkages and perceptions, common to all people, whose interpretations, though often embedded deeply in cultural history, through art can become transcendent as poetic, generative and inspirational forces.

Zero is silence.
Zero is the beginning.
Zero is round.
Zero is spinning.
Zero is the moon.
The sun is zero.
Zero is white.
The desert is zero.
The sky above zero.
The night.

—— Excerpt from a poem by Heinz Mack, Otto Piene, Günther Uecker, 1963.