Q ：From your first solo exhibition "Cautious Alone" on Shanghai's Bund

to your first solo exhibition in London "0.064g,"

to the self-emotions evoked by the senses in "Harmonics,"

and then "Reduce Trembling,"

which aims to reduce self-doubt and enhance self-reflection,

how has this series of clues extended the study of "self"？

A：Phenomenon and feeling

Sometimes unaware

Drunk in a moment

Becoming oblivious

Or said

Not thinking

Empty existence

Returning to oneself

Equal with spirit

An inch of muscle trembles

Sound and touch

Breath and taste

Body cognizes

All unconstructed connections

As a carrier

Perception is the sum of past experiences.

Quoting a previous essay, it’s a learning process.

Analyzing cognition goes from shallow to deep,

from the phenomenon of muscle relaxation,

the rhythm of individual breathing, to detaching from language and thinking habits,

returning to instinctual bodily sensations.

Humans are beautiful, which is why there is an enduring fascination.

It's an open-ended topic, with self-learning development while trying to resonate and guide the audience’s feelings,

the commonality and individuality of being human are marvelous phenomena.

Cloud Gate, ink and powder print

Q：Speaking of the body, you mentioned being influenced by your mother and Pina Bausch.

How did they impact your understanding of the body, and how is it reflected in your work？ 

A： My medical family background instilled a reverence for life and a sense of regret,

understanding the fragility of human composition,

the nature of birth, aging, illness, and death.

Beautiful yet transient, also feared, fearing moments of change and unrecorded regrets.

Early paintings studied the human body’s structure, muscle, and fat distribution for creation.

Often avoiding real people, I created non-existent individuals through recognized structures, devoid of facial features,

instead communicating through complete body language.

Pina’s power transcends words, encompassing absurd joys and sorrows, and trembling anger.

Like wild poppies covering an island, enduring destined storms and gales;

wearing a dress,

arms bent—falling,

knees trembling—collapsing,

visually wandering through those breathing movements, sound, and body, living likewise.

In my works, it’s hard to summarize direct visual influence;

I can only describe it as absurd and romantic poetry, many things are indeed hard to articulate.

Self, iPad painting

Q：You express through poetry and have published poetry collections.

What does poetry mean to you?

I understand it as one of many mediums;

how does it complement your need for expression？

A：Poetry is fragments, a mirror, we use ourselves to become it when we read.

Not an instruction manual, history, or any scientific publication.

Scattered information, but with photon crystal-like refractions of a butterfly’s wings, any angle and light become different rhythms.

This form is no different from artistic creation;

reality is too arrogant, needing soft fantasies.

Everyone has their way of recording life.

For me, straightforward documentaries can express objective facts, but I don’t always need that.

Often, it’s through the past, recalling emotions and states.

Fragmented language with complete imagination and emotion is enough.

The Rite of Spring, iPad painting

—— Zhou Meng and "The Cat's Romance"——

Q：In the first series of "The Cat's Romance" in 2019 at the Britten Theatre,

as a collaborating artist,

what artistic creation did you engage in？

A：As part of the main creative team, we structured the main storyline and discussed details.

From the diffusion of poetry (music appreciation in a confinement room)

to experimental prop details (toilet paper flying everywhere), 

it was a joyful process.

Notably, we added live painting with double-layer projections as stage backgrounds and floor projections.

My real-time drawings were projected onto the stage, interacting with the dancers.

Many original paintings were also incorporated into the images.

We even visited a cat adoption center for inspiration but decided not to adopt due to time constraints.

As a child, I watched a Danish director’s stage play in Shanghai,

"The Snake's Poetry,"

which also featured live ink painting and stage scene projections.

If a Westerner can use such Eastern techniques, surely a compatible Chinese team can do the same.

I believe the core of collaboration isn’t just self-artistic expression but also listening and reflecting.

Scene from "The Cat's Romance" Series One, with artist and dancer in painting

Q：What different changes can we expect in the second series of "The Cat's Romance"?

Can you share some insights for our readers？

A：The initiator of "The Cat's Romance" in London is a musician, and much of our creation is based on music.

This time, the script is entirely re-created by the director, a new chapter.

This creation will bring the stage closer to the audience, with some scents like mint to give a refreshing feel in midsummer.

The space will also be richer, with A8 generously providing many space options.

We will have four stages, allowing the audience to move around and choose their viewing experience, dispersing the crowd.

As a benefit, here’s a poem the director and I both love,

which is also a theme of one of the units this time. 

Receiving a Cat Named Xue'er from a Nearby Village and Playing with It, Writing a Poem (By Lu You)

Like a tiger, it can climb trees, Like a foal, it won't obey the reins.

Only knows the empty mouse holes, No intention of being a fish eater.

Occasionally drunk with mint, Blankets warm every night.

In a past life, it was a child, Accompanying me in my old mountain village.