Interview | Jue Lin
Jue Lin graduated from the Beijing Film Academy with a Bachelor of Fine Arts in Film and Television Directing. She worked as a director and production designer on the fantasy short film titled PASSWORD? which was selected for the 15th FIRST International Film Festival. Jue Lin is eager to explore the possibility of creating a new world and incorporating supernatural themes and legends into her work. She believes that stories are born in the moment of pressing the shutter, and each photo is a character.
10 Questions with Artist Jue Lin
May 2, 2023
Q1. How did your studies at Beijing Film Academy influence your approach to art and photography?
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When I was in college, the main task our teachers gave us was to create short films. This made me think every day about how, as a storyteller, I could break through in other forms of art. I poured my creative thinking into my small camera, hoping that both dynamic and static images could be full of stories. My camera, which has been my companion for 8 years, knows my thoughts very well. When I think a moment is worth recording, it receives my signal and helps me to capture that moment.
Just like a director may find new ideas during post-production, there are so many photos that I didn't realize had infinite potential until later. So now, I check the photos I took many years ago from time to time, reviewing them from a new perspective based on my experience. This reminds us that we definitely have to save our old SD cards.
Q2. Can you describe your experience working as a director and production designer on the fantasy short film PASSWORD?
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It is very challenging to handle both the roles of director and production designer on set simultaneously. I probably need two or three brains to handle all the emergencies effectively. Since the element of the game is involved in my story, the combination of gameplay and emotional journey is crucial. However, during the shooting, I suddenly realized that my storyboard (which showed the protagonist's face) did not express the game's specialness and the protagonist's emotional reflection well. So, I immediately changed the storyboard, taking the protagonist's first-person perspective as the main narrative. The change in the game mode required me to rearrange some art props on the site, which made me really busy. Overall, it was an interesting experience because it was my favorite topic and I truly enjoyed shooting this. But, unless there is no other way, I need to think three times before taking up the roles of director and production designer at the same time, as I only have one brain now.
Q3. What inspired you to incorporate supernatural themes and legends into your works?
I always think that currently humans can probably only see 1.156 percent of the world with their own eyes, and there are many high-dimensional things that we can only experience or witness through coincidence. Although I have never seen creatures from another dimension, I have believed in their existence since I was a child. With this belief, I unconsciously construct a story beyond the appearance of almost every photo I take. I hope that one day I can develop a third eye to see the world hidden behind these photos.
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The Land of the Clouds, Photography, 2019
Q4. How do you balance the technical aspects of photography with the storytelling elements?
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My standard is that technology serves emotions and inspiration, and then emotions and inspiration build stories. So many times, I don't consciously pay attention to technical issues. It is my intuition that tells me what this scene in front of me wants to say, and then I try to fulfill its request.
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Abyss, Photography, 2019
Q5. Can you share a particularly memorable experience or challenge you faced while creating one of your works?
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The photo of "Break Through" was a surprise to capture. I was on a whale watching boat heading back to the dock, and the boat was shaking crazily with the waves. While all the other tourists had hidden in the cabin due to seasickness, I was standing alone at the bow, stretching my neck and staring at the sea. I wasn't seasick at all (I think one of my previous lives was a pirate). I really wanted to take a photo of the whale, but the whale I had seen a few minutes earlier had left me open-mouthed, and I couldn't even pick up the camera. I could already see the dock vaguely, which made me very anxious, so I widened my eyes even more. Finally, the camera was so heavy that my neck was sore, and I slacked off, lying limply on the railing with my head down. It was when I was looking straight down the boat that I found something swaying and chasing the boat under the sea, and then a dolphin jumped out. I still don't know why I reacted in just a few short seconds to take this photo.
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Q6. How has your work evolved over the years? How do you see your work evolving in the future, and what new techniques or mediums are you interested in exploring?
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My focus has increasingly shifted towards the theme of nature. When I travel, I prefer to go to places with majestic natural landscapes, as I believe nature is an incomparable creator whose brushstrokes are astonishing to the soul, while human struggles are like floating dandelion seeds. I'm also interested in exploring the relationship between nature and humans, as showcased in the documentary "Human Planet", where our veins are connected with this land and our pulse beats together with it.
In the future, I want to create 3D digital works, building my imagined scenes with UE5 and Blender. I'm also considering exploring oil painting, but the last time I tried it, I ended up covered in paint, so I'm unsure about the compatibility between myself and oil painting.
The Night of the Full Moon, Photography, 2023
Q7. Are there any particular artists, filmmakers, or photographers who have influenced your style?
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I am fond of Werner Herzog. His tortuous and colorful personal experience is like a 150-minute film. His adventurous spirit, courage, craziness, and freedom inspire me to think out of the box and break the conventions. Many of his works often focus on the connections between human civilization and nature, which is romantic and profound. I totally resonate with them.
I also admire Ari Aster. His unique visual and audio language style makes the horror genre more artistic, and his precise grasp of atmosphere creation and audience psychology is also inspiring to create a different movie space. The mysticism involved in his films is also one of the areas I want to explore in my future work.
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Q8. What do you hope to communicate through your art and photography?
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There is a Buddhist concept called The Three Thousands Worlds, which contains countless miracles. The fleeting idea in our minds may evolve into a miniature world. I yearn to equip my created world with stories and share them with other people, and they would exclaim, "I can't believe this is happening!" When that energy is strong enough, maybe the universe itself will be able to see it. At that time, do I need to serve as a messenger to communicate with other creatures in the universe? Just kidding.
Break Through, Photography, 2019
Q9. What advice would you give to aspiring artists and photographers who are just starting out?
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Keep creating with freshness, wildness, and fearlessness. Creativity is one of the differences between humans and other animals. No matter how advanced the technology becomes and even if we can take photos simply by blinking, it is necessary to keep inspiring and cherishing your creativity. It is a field without an upper limit, you can always pry it open and make it a part of your spiritual core. Don't lose it.
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Q10. How do you stay motivated and inspired as an artist
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It is generally agreed that we should appreciate more good works of art and movies. Lately, I have also been trying to overturn my inherent thinking and constantly eliminate my first, second, and even third ideas. For instance, when I see a flower, I wonder if it has another form of growth, or if its branches can be made of bones. This kind of practice can give me a broader imagination when creating my works.
Cold Teeth, Photography, 2022