Q&A

 

1. 

Zixi Yang: Which three keywords would you use to introduce yourself? Or what role would you like to present yourself as to the public?

Sherly Fan: I hope that when people view my work, they find it thought-provoking and unique—something that sparks a sense of connection. Much of what I create reflects my personal journey of self-exploration and the process of discovering my identity. My wish is for my work to inspire others to feel differently, look inward, and perhaps embark on their own journeys of self-discovery.

 

2. 

Zixi Yang: Where does your creativity come from?

Sherly Fan: My inspiration primarily comes from my personal journey of self-discovery and identity exploration. I’m also deeply influenced by the environment around us, particularly social media and the lifestyles it promotes. As an Asian woman, identity formation holds unique significance for me.

Additionally, I have a strong interest in psychology and philosophy, especially questions like, “Who are we?” and “What defines the self?” I’m fascinated by how our environment, especially the internet and social media, shapes our identity. The way we perceive ourselves today is vastly different from a decade ago, and I’m curious about how technological advancements have influenced, or even redefined, our sense of self.

 

3. 

Zixi Yang: Have you encountered any unforgettable challenges in your creative process?

Sherly Fan: I believe that obstacles are inevitable in any pursuit, and for me, being an artist embodies that struggle. I often tell my friends that it’s no surprise people consider it brave to be an artist. After completing a show, I realize that challenges will always exist, no matter my skills or circumstances. The hardest part for me is constantly battling my own insecurities. In this field, there’s a constant pressure to prove myself—creating work that resonates with others while also making myself proud. Additionally, there’s the pressure to continuously generate new ideas and push boundaries, striving to create pieces I feel a genuine connection to. This internal struggle and the drive to meet these expectations can be the most challenging aspects of the artistic process.

 

4. 

Zixi Yang: What do you think is the driving force behind your long-term creation? Do you think your mentality and external social environment have changed over the years of your creation?

Sherly Fan: Becoming an artist was not part of my original plan. I once envisioned a conventional career, but a deep, undeniable urge to pursue art reshaped my path. I believe lasting success in the art world stems from profound passion and a need to communicate meaningful ideas, both of which fuel my work.

My journey began in fashion, which I viewed as a form of self-expression. Early on, my art focused on self-representation and societal issues. Pursuing an MFA in experimental documentary broadened my perspective, pushing me to explore and blur the boundaries between mediums.

Today, I am particularly intrigued by how digital media and video shape our perception of the world, especially in our screen-centric lives. This has opened opportunities to merge mediums and craft layered narratives about identity in the modern age. While the direction of my work continues to evolve, I remain committed to exploring innovative storytelling methods. This ongoing journey defines my artistic practice.

 

5. 

Zixi Yang: "Identity" is a very important theme in your work. How does your East Asian identity affect your perspective and situation?

Sherly Fan: Identity exploration has always been central to my work, focusing on my own identity and that of others. As an Asian woman, I navigate societal pressures—balancing ambition with likability and resisting the reductive "cute" label. Growing up, I grappled with the desire to fit in while wanting to stand out, leading to internal conflicts. My piece Paint Me reflects this, exploring how others project their perceptions onto me, often overlooking my individuality. This sense of invisibility and the tension between self and societal expectations continue to shape my artistic journey.

 

6. 

Zixi Yang: Your works often reflect individual characteristics while expressing group emotions. Do you think this is a conflict? What do you want to express in this way?

Sherly Fan: I'm very interested in interacting with the audience, especially in the context of East Asian and Asian female identity, which often involves themes of projection and invisibility. This dynamic plays a significant role in my work. I believe there’s a unique power in not directing others but rather observing them as they express themselves freely.

For me, stepping back and allowing my ego to take a backseat opens up opportunities to truly observe how people behave around me. This observation is fascinating, as it reveals genuine interactions. At the same time, I aim to spark conversations and create a space for people to reflect on their own perceptions and projections onto others. My hope is that this process initiates an inner dialogue within them, encouraging them to examine their own identities and relationships with themselves.

 

7.

Zixi Yang: Can you introduce your three works from the perspective of an artist?

Sherly Fan: This series of three works explores the complexities of identity. The first, "Paint Me," reflects my experience of how others project identities onto me while I often feel invisible. Despite being covered by a blank canvas, some individuals, upon realizing I'm inside, engage with me with care, showing a contrast between those who project and those who connect genuinely.

The second, "Can You See My Face?" delves into how I define my own face, using brown paper bags to symbolize the masks we wear in life. The process of breathing into the bags and drawing on them represents the discovery of identity through feelings rather than mirrors.

The third project, "The Head," features a paper-mâché globe with my face drawn on it. The audio element involves micro-aggressions—seemingly complimentary but subtly uncomfortable remarks. This piece invites participants to wear the hat, exploring how people perceive identity and react to these subtle forms of discrimination.
Together, these works aim to spark deeper conversations about self-perception, projection, and the nuances of identity.

 

TRAPPED 2020

8.

Zixi Yang: Why did you choose Washington Square in New York for this project?

Sherly Fan: I chose to perform in Washington Square Park for several reasons. First, it's a vibrant and diverse location where you can encounter all kinds of people and exciting projects happening every day. Being adjacent to NYU, the park attracts a mix of students, professors, and various individuals who often gather there without any particular purpose. I believed this would create an excellent audience for engaging with my work.

I was also inspired by artist like Marina Abromovic and Yoko Ono, who has a strong presence on Instagram and shows remarkable courage by performing and dancing in public spaces daily. Previously, when I presented these three projects, they were held at Duke University, which, while also public, had a very different crowd—primarily academic individuals. I always wanted to showcase my work in a more open environment like Washington Square Park to see how the public would interact with it differently. The change in setting allows for a richer and more varied engagement with this piece.

 

9.

Zixi Yang: When the same project is displayed in different locations and environments, what differences do you have in your mentality and preparation?

Sherly Fan: This project is very demographically oriented, and I can definitely say that the experience varies significantly between locations. At Duke University, I felt more at ease; it’s an academic environment where I didn’t feel the need to prepare extensively. I knew I could go in and trust that I wouldn't encounter any harm. In contrast, performing in a public space comes with its own set of concerns, including the possibility of encountering individuals who might pose a threat. Given that I can’t see what’s happening around me most of the time, this concern is heightened. I’m incredibly grateful for my team and the support from my collaborators throughout the entire process. Honestly, this project wouldn’t have been possible without their help.

 

10.

Zixi Yang: What do you think when people paint on you in the "Paint Me" project?

Sherly Fan: It may sound a bit strange, but I genuinely enjoy being inside the canvas while others paint on me. It offers a unique opportunity to observe the outside world without the usual self-consciousness that comes with being visible. When I'm completely covered and allowing others to paint on me, the experience feels almost meditative. However, it can also be a bit constraining; I find it difficult to breathe and can’t see what’s happening around me. I can feel the paintbrushes touching me, and I’ve noticed that many people are quite respectful. Some will hold the canvas slightly above me, painting without direct contact, which creates a fascinating dynamic. I also get to overhear a variety of interesting conversations—couples complimenting each other's work, friends asking me how I’m doing, and random people chatting or simply being silent. It’s a rich experience that I find captivating. That’s why, on the second day of the trial, I placed a camera inside the canvas to capture the feelings associated with being painted on. The whole process felt quite magical to me.

 

 

11.

Zixi Yang: What do you hope the audience can gain from participating in your project?

Sherly Fan: I genuinely hope that everyone who participates in this project feels differently by the end of the day. It’s about creating a new experience for them. I imagine that, even if they don’t realize it right away, there might come a moment later—perhaps in the middle of the night—when they reflect on their day and think, “I did something really unusual today. I painted on someone, or I wore someone else's head, or I witnessed a unique performance.”

I hope that these experiences will resonate with them and prompt them to question their own identities. I want them to consider how it would feel to have someone paint on them or to wear another person's head. Additionally, I hope they begin to rethink their understanding of microaggressions and feel inspired to explore their inner identities and how they represent themselves in interactions with others.

 

12.

Zixi Yang: Is there anyone you want to thank for your creation?

Sherly Fan: This project truly wouldn’t have been possible without the support of Emergent Art of China, the art platform funded by Mengru, who inspired and encouraged me to perform in Washington Square Park. I am deeply grateful to my team for their assistance; their support in documenting the process and capturing photos has been invaluable in helping me realize my vision. I appreciate the incredible work they do to support emerging artists from China, and I hope that this collaboration can lead to something significant for all of us in the end. I want to extend my gratitude to everyone on the team; I genuinely couldn’t have done this without each of you. I’m also thankful to all my friends who stopped by to participate and to the random members of the public who were open to engaging in this unconventional experience. Additionally, I want to express my appreciation to my professors at Duke, as this project is rooted in the experiences I gained there. Overall, I am just so thankful to everyone who has contributed to making this happen, and I’m excited for what the future holds.

 

13.

Zixi Yang: What are your plans for the future? Can you talk about them based on the three projects you have just completed?

Sherly Fan: Regarding future plans for this project, I hope to explore more renditions in different locations and delve into various approaches to complicate the project further. However, I prefer to keep the specifics under wraps until I’m ready to share them with everyone.

I am excited to continue this journey and find new, engaging ways to explore identity, showcasing the process of identity exploration through different media.

Thank you all for listening today. I wish you a wonderful day, and please consider following me and the team at Emergent Art of China. Thank you once again for your support!

 

Thank you for joining us in exploring the creative journey of Sherly Fan. Sherly Fan work challenges us to think deeply about identity, perception, and the complex dynamics between ourselves and others. Through her art, we are invited to reflect on the layers of identity we carry and how these are projected and understood in society.

We hope this conversation has inspired you to reflect on your own experiences with identity and interpersonal dynamics. As Sherly Fan continues to push boundaries and inspire new perspectives, we look forward to seeing where her creative path leads next. Wishing you all a deeper understanding of the art and the powerful conversations it can spark.

 

 

Written by Zixi Yang