Q: 作为建筑学专业出身的艺术家，是什么契机促使您研究数字计算、机械和艺术装置？能否请您简要介绍一下您的背景和经历？相关的背景和研究对您的艺术创作产生了什么样的影响？

A: I have degrees in architecture and bio-design, however, I don't think I was a very good student as I was always distracted by many other topics. It is the combination of these other topics that have influenced my recent art projects. So I felt that going down the specific route of the architecture wasn't quite right for me. However, working as an artist I can explore all the things that interest my mind in a fun way. And before my architecture studies, when I was a child and teenager, I really enjoyed tinkering with computers. So it felt like quite a natural progression to bring computing into my art.

Q: 我们了解到您正在研究感知、具身与数字-模拟混合场景，您如何看待三者的结合？

A:My early work involved a lot of analogue photography. I carried my camera around a lot so I built up a big archive of photographs on many different themes. Now I find myself incorporating these photos into my new projects. I like to think a lot about how my eyes and brain, as well as the mechanics of my camera, perceive the world when I take photos. For my current project, I wanted to think of a different way of experiencing the image data in the analogue film negatives. This led to the idea for project Ximulacra, a robot which interprets the analogue image data as digital dance in 3D space. So this creates two layers of perception. The first is the robot reading the analogue film negatives, and embodying that into its motion. Then, the human viewer reads the motion of the robot as an abstraction layer from the image itself.

Urban Continuum 演出现场

Ximulacra 原型测试

Q: 您是如何了解到低科技艺术实验室的，为什么会选择和我们合作？

A: I saw your Uploader project on the internet, which I thought was really cool! As I was thinking about this Ximulacra project where I wanted to create a physical computing device/robot, I thought that it would be a good match to collaborate with you.

Q: 在进行作品构思与作品创作时，您是如何梳理创作脉络与灵感来源的？是从作品的概念性出发还是技术性出发？

A: There is no formal rule that I follow for this. Sometimes an interesting concepts starts the creative journey, and at other times it is a cool technology that excite me and sparks my imagination for a project.

Q: 从建筑到装置艺术，再加之本次与低科技艺术实验室的合作，每个决定都包含着跨学科的选择，您如何理解跨学科这一合作方式？您所认为的优缺点是什么？

A: I think the disadvantage is that I never feel like an expert at anything and I always have to deal with the friction of learning a new tool. But this is also something positive for me and it keeps my mind in a constant child-like state of curiosity which I enjoy very much!

      What is most important is for people to make with the tooling which excites and inspires them the most.

人们需要使用最能激发他们兴趣和灵感的媒介进行艺术创作。

Q: 能否给我们介绍一些您喜欢的艺术家以及他们的作品？

A: Two   recent   favorite   projects   of   mine   have   been   Michael   Sedbon's Cryptographic Beings and Harrison Pearce's Auto Soma. I think it's important to not limit thinking to just silicone based computation and consider all the different substrates which compute. Cryptographic Beings is a fabulous exploration into this space. Auto Soma offers a critical view into computation and state which is important, and the work is very well produced aesthetically.

最近给我留下深刻印象的两个作品是迈克尔·塞本（Michael Sedbon）的《加密生物》（Cryptographic Beings）和哈里森·皮尔斯（Harrison Pearce）的《汽车躯体》（Auto Soma）。我认为重要的是创作时不要把思维局限在硅胶基复合材料上，我们可以考虑使用不同的计算基质。《加密生物》是对复杂空间的探索，Auto Soma则表明了对计算和现有使用材料的批判性观点。我认为二者的观念都非常重要，这两个作品在视觉美学上的呈现非常优越。

Q: 在中国，有很多学生想成为新媒体艺术家，您对他们有什么建议吗？

A:  Don't worry about disciplinary boundaries and just have fun. Also, value the conceptual and theoretical frameworks which you and your peers generate equally, if not more, than concepts from pre-existing cannons.