An Interview with Xue'er Gao:
Navigating Art, Imagination, and Cultural Fusion
Xue’er Gao (she/her) is a graduate of the MFA Book Art and Printmaking program at the University of the Arts in Philadelphia, PA. She holds a BFA in studio art and printmaking from James Madison University. Originally hailing from China, she currently resides in Philadelphia. Gao's work finds its roots in Chinese art history and culture, and her studio practice is characterized by an experimental approach to materials and processes. Utilizing papermaking techniques and traditional Chinese colors, she crafts artist books, prints, installations, and three-dimensional forms. Her creations are designed to be experimental, enjoyable, and imaginative visual poetry. In addition to her studio practice, Gao also pursues freelance work as a visual artist and photographer.
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1. Tell us about your artistic journey! How has your interdisciplinary educational background in printmaking and papermaking informed your current practice, especially in the context of combining these techniques?
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I have tried many different media, and the main reason I chose studio art as an undergraduate was that it allowed me to learn a variety of media. In exploring these media, I discovered that various techniques of printmaking are present in others. This might be the beginning of everything. In my graduate study and research, I made my first attempt to understand paper. In many art forms, paper has always occupied a significant portion of the scene, even now with the prevalence of electronic art. It was my first time learning about the differences in fibers and the variations of paper used for each medium, and what influences them.
The variability of paper is vast. From last year to this year, I restricted myself to using only paper to complete a series of works. During the production process, I employed methods like letterpress, intaglio, and even silk screen printing. In the art of papermaking, there's a painting technique called pulp painting. Most of this involves very fine cotton pulp, which is mixed with dyes to produce colored pulp. This pulp can be painted directly or used as a silk screen mold. Simultaneously, the embossed plate can also serve as a plastic mold.
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2. Your artwork often exudes a sense of wonder and whimsy. Could you elaborate on the role of imagination in your artistic process and how you harmonize it with the rich tapestry of Chinese cultural references in your work?
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I believe creation is a selfish act for me. Many incidental things influenced or shaped my aesthetics as I grew up. I personally consider my initial creations as more of learning and practice. In the process of repetition, every time I reflect, I realize I've developed certain habits. This introspection has influenced my sense of style. Chinese culture is my foundation. Whenever I delve into these histories, I feel humbled by my works. As a contemporary individual, I aspire to engage with ancient culture in my unique way. Often, the materials seem to possess their own consciousness and guide me.
Printmaking is a process in reverse order. Typically, there's a finalized idea at the outset, or a completed draft, and then we work backwards to determine the process to best present it. I perceive this as a very rational process. When printmaking techniques are integrated into other media, I feel more in control. This aspect might be the source of the unexpected and whimsical elements.
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Xue'er Gao, Wu Li Kan Hua–Flower in the Fog_full, 25.25" x 19.25" x 1.75", Dyed Paper Pulp and Handmade Paper using Chinese Binding, 2023
3. In 'Hacking the Library', a recent exhibition inviting a diverse group of artists exploring the evolving role of libraries in our modern world, how does your work specifically engage with the concept of libraries as spaces for research, learning, community engagement, and collaboration? What message or perspective do you aim to convey through your contribution to this exhibition?
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In this exhibition, I submitted Unit 1 and 2. These are works from the scrap series. It was only after I encountered book art that I began to engage with libraries and fine art books. The materials for the works in the scrap series are all discarded books, including those that second-hand bookstores don't want and some that have been discarded due to printing errors. I re-cut and bound these books, not for the text, but as materials. This work cannot be read but exists as an object; it can be decoration or even a toy. At that time, another of my pieces was exhibited at WSU, and it was also part of this series. The entire series didn't emphasize the content of the articles but rather the repetition of craftsmanship, the sewing of bindings, and the cutting of paper. Now, commercial products are hand-cut and bound.
Books have held value since ancient times. With the advent of e-books and the flourishing of the printing industry, what is the standing of books in people's minds in today's economic society? It's uncertain. Some people buy books for decoration, some for their content, and others for collection. My focus in this work is to contemplate: if you purchase a book merely for decoration, is it still truly a book?
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Xue’er Gao, Futile, 43”x 2.8”x2”, old book Sculpture, 2022
Xue’er Gao, 1-2, 9”x3”2, old book Sculpture, 2022
4. Your portfolio encompasses various mediums, including artist books, prints, installations, and three-dimensional forms. How do you find these mediums mutually inform and enrich one another within your creative process?
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During my undergraduate studies, my studio arts included printmaking, jewelry, sculpture, painting, ceramics, and more. Being unfamiliar with these disciplines, I decided to give them up. And I still feel that this decision benefited me. The principles are deeply understood during study, and they are interoperable. However, it is the creator who brings about change.
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5. You've mentioned that 'Art is all about experimentation,' and you believe there are no limits to what one can create with courage. Could you share a particularly challenging or experimental project that stretched your creative boundaries, and what valuable insights did you gain from it?
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Although I really want to discuss Yongchun paper weaving paintings, from an experimental point of view, "origami" is more suitable. This refers to an installation art piece I created last year. The work consists of papers of different sizes, each repeatedly folded. There is no cultural context in this. In the early stages of this work, the primary challenge was the handling of the creases. I had to ensure the uniformity of the folds so that the finished product would function as intended. Different papers require varying amounts of space for folding. Concurrently, the repetitive nature of this task was a significant aspect. After preparing the paper and managing the creases, the subsequent task involved continuous folding. This task couldn't be mechanized, prompting me to reflect on the limitations of machines.
Left: Xue’er Gao, Grow·Alter, 130” x 43” x 25” , Folded Paper Sculpture, 2022
Right: Xue’er Gao, Grow·Alter, detail, 130” x 43” x 25” , Folded Paper Sculpture, 2022
6. The title "Futile" suggests a playful and unconventional approach to old books. Can you tell us more about this project presented at Philadelphia Center for the Book?
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Every year, the Philadelphia Book Center displays different works, hosts a book fair, and they also strive to broaden the public's understanding of books. I am delighted to participate and exhibit "futile", and I am honored to be featured on the cover of the exhibition. The Philadelphia Center for the Book collaborates with different artists to organize workshops open to the public. They typically design a 2-hour workshop, with different projects being updated regularly.
Xue’er Gao, Futile, 43”x 2.8”x2”, old book Sculpture, 2022
7. ​In your career, you've had the privilege of participating in a diverse range of exhibitions. Could you recount a specific exhibition or moment that stands out as exceptionally transformative, meaningful, or memorable in your artistic journey?
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If I were to pick a standout moment, I will choose the 2023 Ink, Press, Repeat: National Juried Printmaking and Book Art Exhibition. This is the first time I have submitted my book works instead of prints and other pieces. So for me, it might represent a second stage or a starting point. For the first time, I considered how to package three-dimensional works for safe transportation. This was very interesting. Indeed, there are many other exhibitions, but I believe this exhibition is second only to the graduation exhibition this year, and it serves as a form of recognition and affirmation for me.
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8. As a freelance visual artist and photographer, how do these roles complement and intersect with your primary studio practice?
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I believe they do not conflict; for me personally, they are complementary. I use my own photography in many of my works. At the same time, when creating photographs, I also use my own works as props, and sometimes I even create the props and scenes I want for the photography. Because I have different visual artists around me, communicating with them gives me varied perspectives.
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Xue’er Gao, vestige, 2023
9. ​What prevailing themes or ideas are you presently exploring in your artistic work, and do you have any upcoming projects on the horizon that you're particularly enthusiastic about?
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The topic I am giving myself now is understanding people and vocabulary through the analysis of book texts. Although this is still at a very early stage, I find it an intriguing topic. In fact, I have always believed that people cannot fully understand each other because everyone's background and experience alter the nuances of individual understanding. I aim to present this project visually. However, as it requires the assistance of many volunteers, I am quite nervous now.
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10. For aspiring artists embarking on their creative journeys, could you offer any sage advice or words of wisdom based on your own experiences and growth as an artist?
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Art creation is inherently selfish. Creation is both difficult and straightforward. You will become a troublemaker, but you will also evolve into a troubleshooter. If the finished product is the starting point for the audience, then for the creator, the finished product marks the end of a phase, and the process is challenging to share, regardless of how we narrate or document it. This also implies that we employ alternative methods to express ourselves. Dedicate more time to sensing our surroundings and tuning into the ambient sounds; they will integrate seamlessly into our art.
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