In Conversation:
Artist Wallace Chan’s “Transcendence” at the 60th Venice Biennale

By: Alison Lo | Published on: 17 June 2024

Wallace Chan 'Transcendence' ©Federico Sutera

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Wallace Chan 'Transcendence' ©Federico Sutera

The central theme of the 60th Venice Biennale is framed around the notion of “Foreigners Everywhere”. As the mega-event opens its door to art lovers from all around the world, Hong Kong artist Wallace Chan returns to Venice as a foreigner yet a familiar face, for the third time as an exhibiting artist, showcasing his latest installation titled “Transcendence”, curated by James Putnam. Inside the Chapel of Santa Maria della Pietà, which is a short coastal walk from Doge’s Palace, four large-scale titanium sculptures embedding a recurring motif of the human face in different expressions suspend from the ceiling in a linear order, exploring the pursuit of a meditative state in a religious architecture and bringing to life a universal experience of the human mind transcending the objective boundaries of space and time. Set in a dimly lit corridor, the exhibition utterly transmits a message of how conflicts may progress towards peace and harmony.

ALYou have held solo exhibitions at three editions of Venice Art Biennale. What do the city of Venice and the biannual event mean to you that nothing else can compare?

WC
My affection for Venice dates back to my childhood, sparked by a local café bearing its name in Hong Kong. Little did I know then that Venice was more than just a name; it was a realm of enchantment waiting to be discovered. The moment I set foot in the real Venice, long before embarking on my endeavors in contemporary art, I was captivated. Since then, the allure of showcasing my work amidst its timeless beauty has been a dream.

To have had the privilege of exhibiting in Venice three times is more than a dream come true. Venice, with its labyrinthine canals and storied history, serves as a backdrop where tradition intertwines seamlessly with the contemporary. It has always been the city of great artistic light. It is a place where the echoes of the past reverberate alongside the visions of the future, every corner I turn I encounter inspiration – and that is the magic of Venice. The Biennale itself also represents more than just a showcase of art; it embodies a convergence of cultures, ideas, and artistic expressions from around the world.

Santa Maria della Pietà, Venice ©Federico Sutera

Wallace Chan 'Transcendence' ©Federico Sutera

ALThe theme for this year's Biennale is “Foreigners Everywhere.” What does “foreigners” mean to you? In what ways does “Transcendence” respond to the discourse?

WC
The theme "Foreigners Everywhere" invites us to contemplate the concept of "foreignness" in our interconnected world. All my life, I have been an outsider. It is my own doing though as I prefer not to fit into any particular boxes. In the context of my exhibition, "Transcendence," this notion takes on a profound dimension. "Transcendence" represents a journey towards spiritual enlightenment, emphasizing the interconnectedness and universal love that bind us all. It conveys the belief that nature, at its core, is inherently compassionate, and the universe operates without bias or borders.

At the heart of "Transcendence" lies the pursuit of peace and harmony, urging the audience to recognize the inherent interconnectedness of all beings. In this realization, the idea of being a "foreigner" dissolves, replaced by an understanding that no one is truly a stranger. Instead, we share a fundamental connection, encapsulating the essence of 'you in me' and 'me in you.'

“For me, art is a means of transcending the limitations of time, culture, and nationality. It is a vehicle for promoting global unity and communicating a universal message that resonates with people from all walks of life.”

Wallace Chan and James Putnam 'Transcendence' ©Federico Sutera

ALYour sculptures always offer insights into the marriage of Eastern and Western philosophies and beliefs. With your Asian roots, how did you start to develop a keen sense and interpretation of the interaction of two cultures?

WC
My artistic journey is deeply rooted in my Chinese heritage and spiritual upbringing, yet it extends far beyond the confines of one cultural perspective. From the outset, I've embraced a multifaceted approach, drawing inspiration from the rich tapestry of both Eastern and Western traditions. This fusion of diverse influences serves as the cornerstone of my creative process, fueling a continuous exploration of the interaction between cultures and philosophies.

I find immense satisfaction in navigating the intellectual challenges inherent in blending ancient wisdom with futuristic visions, as well as in exploring the intricate dynamics of cultural exchange. At times, the labels attributed to my work by different audiences — deemed "Eastern" by Westerners and "Western" by Easterners — have evoked a sense of disorientation as I grapple with questions of identity. However, I've come to realize that my artistic purpose transcends such categorizations.

For me, art is a means of transcending the limitations of time, culture, and nationality. It is a vehicle for promoting global unity and communicating a universal message that resonates with people from all walks of life. In embracing this broader vision, I strive to create sculptures that serve as conduits for cross-cultural dialogue and understanding, fostering connections that transcend geographical boundaries and cultural divides.

ALIn your 2022 exhibition “TOTEM”, the installation comprised disassembled parts of a 10-metre high sculpture spreading across the floor space in an apocalyptic state, signifying uncertainty. This year, your sculptures in “Transcendence” remain intact, in a linear order, floating in the air in a clearly progressive path from conflicts to harmony. Have there been any particular events in the past two years, whether in your life or the external environment, that explains the change in how you present your works?

WC
In my 2022 exhibition, "TOTEM," the fragmented presentation of a towering sculpture sprawled across the floor invited viewers to ponder the intricate relationship between humanity and the natural world. However, in the intervening years, both personal reflections and external circumstances have spurred a significant evolution in my artistic expression.

“My sculptures now stand resolute and unified, suspended in the air in a linear progression from discord to harmony.”

Wallace Chan 'Transcendence' ©Federico Sutera

Wallace Chan 'Transcendence' ©Federico Sutera

Portrait of Wallace Chan at 'Transcendence' ©Federico Sutera

During this period, I've undergone profound personal growth, gaining a deeper appreciation for resilience and the interconnectedness of all things. This newfound perspective has influenced my latest exhibition, "Transcendence," where my sculptures now stand resolute and unified, suspended in the air in a linear progression from discord to harmony.
This transition from chaos to tranquility in my art mirrors not only my personal journey but also resonates with the broader human experience. Through my sculptures, I endeavor to encapsulate the universal trajectory towards harmony, offering glimpses of solace and reassurance in an ever-changing world.

ALTitanium, a material that you regard as closest to eternity, is used in your sculptures, from the first piece that embeds conflicts to the fourth piece that projects prosperity. Do you think sorrows are equally immortal as joy? How should we cope with that?

WCTitanium, a material I hold in reverence for its enduring nature, serves as a central element in my sculptures, symbolizing qualities that withstand the test of time. Within these artworks, sorrows and joys intertwine, each leaving its indelible mark on the human experience. When pondering whether sorrows possess the same immortality as joy, I am drawn to say that both are intrinsic aspects of life's tapestry.

In facing sorrows, I advocate for an approach rooted in acceptance and understanding. Rather than shying away from pain, we can confront it with courage and compassion, recognizing its role in shaping our journey. By embracing sorrow, we open ourselves to a deeper understanding of our emotions, fostering empathy and resilience in the process. In acknowledging the coexistence of sorrows and joys, we discover that it is through our vulnerabilities that we find the greatest strength and the deepest connections with one another.

ALThe sculptures are hung in the air, suggesting a meditative state. Do you meditate? How does it affect your creative practice?

WCI meditate, but if you start contemplating creating something during meditation, you can’t delve deeply into its depths. You remain ensnared in desire. Meditation teaches the importance of emptying oneself and transcending desires, allowing for a deeper connection with the present moment. This state of mind, free from self and material concerns, opens the door to perceiving light, colours, and sounds in profound ways. While I do not aim to directly convey meditative experiences in my exhibitions, my approach is deeply influenced by the principles of transcendence and mindfulness.

“All phenomena arise from the mind alone.”

Wallace Chan 'Transcendence' ©Federico Sutera

Wallace Chan 'Transcendence' ©Federico Sutera

ALThe human face is a recurring motif in your works. To what extent do you think human beings are an active force in shaping the world, or are we only a subject to the transcendence of universe - or both?

WCThe phrase “all phenomena arise from the mind alone” originates from Buddhist teachings.

Elaborating on this concept, it suggests that all experiences and phenomena in the world are ultimately generated by the mind. It emphasizes the subjective nature of reality and the idea that our perceptions, thoughts, and consciousness shape our understanding of the world around us. According to this teaching, the external world is perceived through the lens of the mind, and therefore, our experiences are influenced by our mental states, beliefs, and interpretations.

In essence, the phrase underscores the connection between mind and reality, suggesting that our mental processes play a fundamental role in shaping our perception and experience of the world. It encourages introspection and mindfulness, highlighting the importance of understanding the workings of the mind in order to cultivate wisdom and insight. In that sense, our roles are never truly passive.

Wallace Chan 'Transcendence' ©Federico Sutera

ALYour next show will take place in Shanghai Museum from July to October this year, featuring 200 jewellery creations. How do you feel about being a master of both jewellery and sculptures, in both the western and eastern art worlds?

WCI am both honoured and humbled. To me, art is art, there is no difference between jewellery and sculpture if my ultimate goal is to create art through these art forms. The bigger difference is perhaps to transit from the micro to the macro and continue to travel back and forth. But then, everything, big or small, is infinite. Whether I am crafting a large-scale sculpture or focusing on intricate details in jewellery, I aim to capture a sense of infinity, through materials that I deem closest to eternity.

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Interview by Alison Lo

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