Interview | rara by ra
rara by ra (Yumeng Zhou), conceptual artist, young patron of UCCA, born in the post-1995 generation. Graduated with a Bachelor's degree in Central Saint Martins College of Arts and Design, University of the Arts London; and a Master's degree with distinction in The Hong Kong Polytechnic University.
The composite material painting and installation were selected for the 15th Florence Biennale, the Marco Polo 700th Anniversary Contemporary Art Exhibition at the Ulisse Gallery x foundation in Rome, the London Design Festival 2024, and the ACAA Asian Contemporary Art Alliance solo artist. The immersive space art exhibition "70% blue", the contemporary art exhibition "Filming Sunset" in the century-old building, and the personal installation "Calling from the Sea", rara by ra has been covered by many well-known media, such as Xinhua Net, Guangzhou TV, and Southern Weekend newspaper. rara by ra has participated as a crossover designer in 2018 Turin Fashion Week in Italy; received invitations from Dior, lvmh during school; served as a contracted writer for VOGUE China, producing multiple articles with over 100,000 reads; upon returning to China mainland, rara by ra has worked in design/branding roles at Fortune 500 foreign companies and domestically listed companies of beauty.
rara by ra is passionate about cultural innovation and contemporary artistic practice; interested in the relationship between people and nature, as well as space. Actively explores the changing relationship between nature and space using various artistic forms, and elucidates different "small facets" of the world with multiple materials.
10 Questions with rara by ra
May 21, 2024
Q1. From Central Saint Martins to Hong Kong Polytechnic University, how have your educational experiences shaped your artistic vision and approach to contemporary art?
For me, the combination of the two is a more holistic experience of artistic awareness. Contemporary art has many forms of expression, whether as space art or fine art painting, or the more emerging AI-integrated digital art.
Studying at Central Saint Martins exposed me to a multitude of cutting-edge design possibilities and allowed me to explore my own artistic style. The learning experience at PolyU was more intertwined with the perspective of international vision management, focusing not only on artistic expression but also on understanding different design concepts from the perspectives of branding and market.
Contemporary art is about the embodiment of current thoughts and personal ideas. It serves as a way of self-recording and a reflection of social changes.
Q2. Sustainability is a significant concern in contemporary art. In your recent site-specific exhibition Calling from the Sea, you engage with themes of environmental awareness. What do you aim for viewers to take away from these immersive installations?
Opening audience discussion is an important part of contemporary art. Through this iconic installation, I hope to intuitively communicate to the audience that "nature is worthy of our attention and awe." The power of one person is very limited, but this is also a very clever aspect of art: the form of the artwork is fixed, but the reaction of the audience varies. During the exhibition, many visitors came to discuss with me; some felt that "Calling from the Sea" in the forest symbolized the transitional process between the sea and the land. Others believed that the waves are elements that can heal their hearts, while some thought that this form is a beautiful way to remind the younger generation to protect nature. I find all the feedback valuable.
Calling from the Sea, installatio view, rara by ra
Q3. As a young patron of UCCA and an active participant in global art scenes, how do you believe your cultural heritage influences your role in both curating and creating art? Does being a curator influence your artistic practice, or vice versa?
What I've always wanted to say is that art is connected. Whether as an independent curator or as a conceptual artist, I work on things that I feel are important. A larger goal is to contribute to the development of contemporary art. This goal is ambitious and diverse. For example, the city I live in is often called "a cultural and artistic desert," but I know what I'm doing is trying to break people out of that stereotype. However, I have to admit that this is a very difficult and time-consuming task, and it is not something that can yield immediate results. I have many different identities, but I think all of them aim to leave a mark on the development of contemporary art.
But I've always considered myself an art student. Art is a vast topic that needs to be explored like a sponge absorbing water. Whether exploring art forms or exploring myself, I don't want to prematurely confine myself to a fixed form. When I curate my work, I often ask my friends in the art industry, "What else is possible?" This is something we often discuss.
Q4. Can you walk us through your creative process from the conception to the realization of a project? How do you balance spontaneity with planning in your artwork?
This is an interesting topic. I prefer to view my creative process as one of self-exploration and analysis. The series is already formed, but inspiration often comes suddenly. I usually start by writing or painting down what I see and think as stick figures in a notebook, and then dive into the details. I believe inspiration is very important, and I cherish every flash of inspiration. Often, I might stay in my studio to make a design or draft an idea, then find the material I want, or continue to go out and collect ideas. My tutor from Central Saint Martins taught me a technique that I find useful: write down the keywords that seem relevant, and then look at the antonyms to derive more inspiration from them.
One thing I admire about Frank Gehry, a master architect, is that his sketchbooks can always quickly record inspiration, and the lines of the drafts can expand more possibilities. A sketchbook is also essential for me; I enjoy the process of writing and drawing in the book. This plays a crucial role in developing my ideas into the final artwork.
Reflections, Metal spherical painting, rara by ra
Q5. Your “Nature Series” is rich with themes exploring the dynamic interplay between humans and the natural world. How do you choose specific natural elements like the sea, wind, and wilderness to focus on in your pieces?
Nature itself is wonderful, a fact I often mention. Most people don't feel the energy of nature because they are preoccupied with too many daily tasks. Whether I stand in Hyde Park, next to Mount Fuji, or lie in my garden in Chengdu, I can always feel the various energies of nature. I can quickly capture elements that impress me, such as the white foam at the edge of the waves, bamboo blown by the wind, and the sound of rain falling. These many small details have created special elements in my artistic creations.
Insight and perception are indispensable.
Floating, acrylic oil painting, 700 mm x 500 mm, rara by ra
Blue burning, acrylic oil painting, 700 mm x 500 mm, rara by ra
Q6. How do the “Nature Series” and “Garden Series” interact conceptually within your broader portfolio? Is there a narrative or philosophical thread that connects these series?
Did you know that in the "Dao De Jing: The Classic of the Virtue of the Tao" by the ancient philosopher Lao Zi, there is a very famous saying: “道生一、一生二、二生三、三生万物” and “人法地、地法天、天法道、道法自然” (English translation: "The Tao produces the One, the One produces the Two, the Two produce the Three, and the Three produce the ten thousand things."; “Man models himself on earth; Earth on heaven; Heaven on the Dao; And the Dao on what is naturally so.")? "Being natural" is a concept that I am very awed by. Regardless of the series, self-exploration is a return to the energetic relationship between myself and nature.
Q7. How has your personal journey—your successes, failures, and everything in between—been reflected in your artwork? Can you share a pivotal moment that had a profound impact on you?
The key to my motivation is not the secular definition of success. I may feel spiritually satisfied because I experience every different natural scene or aspect of humanity in the world, which motivates me to keep creating. Or, when I'm struggling with my thoughts, this is also reflected in the clash of colors in my creations.
Renew, acrylic oil painting, 600 mm x 800 mm, rara by ra
Q8. In your “Consciousness Series”, you blend the ideas of space, reflection, and human cognition. What techniques do you use to visually manifest these abstract concepts into tangible art forms?
Creating the idea series is actually fun because I always need to use many different forms of painting. For example, I use a utility knife to cut out the layers of pigment to show the sense of layers in dreams.
Space and Reflection, acrylic oil painting, 300 mm x 400 mm, rara by ra
Q9. Looking forward, are there new themes or materials you are excited to explore in your upcoming projects? How do you see your art evolving in the next few years?
I am very interested in intangible cultural heritage, including bamboo weaving, straw weaving, pearl embroidery, and so on. I believe that art is a part of cultural innovation for the future. Therefore, I will not only create in the field of contemporary abstract art but also incorporate elements of traditional Chinese culture that I have learned.
Q10. Throughout your career, you've held roles in design and branding at major companies and returned to China to engage with local art and culture. Reflecting on these experiences, how do you see your identity as both an artist and a cultural innovator continuing to develop?
I like the term "cultural innovator," and I believe that what I do aligns well with that. Whether it involves any professional title or my own interests, as long as it contributes to cultural and artistic innovation, I will continue to pursue it. I think it's essential.
Kimi the cat, acrylic oil painting, 600 mm x 800 mm, rara by ra