Kinaesthesia: Zhou Yiyan

Tell us a little bit about your practice. 

My name is Zhou Yiyan and I'm a multidisciplinary sculptor originally from Shanghai, now based in Paris since 2007 at my studio which is located in Asnières-sur-Seine. My artistic journey delves into the intriguing forms of flint and the dynamic movements of the human body, expressed through clay modelling and intricate metalwork with brass and gold. I am captivated by the coexistence of opposites and the transformative power of materials, which I attempt to explore by blending the delicacy of clay with the strength of metal. In addition to sculpture, I create performance art that fuses dance, drawing, and music, capturing the fluidity and expressiveness of bodily movement. 

Can you share some details about your primary technique?

My primary technique for shaping my sculptures involves mass modeling with earthenware clay. When working with porcelain, I employ a method known as plate modelling using porcelain paper to construct the pieces. I also strive to enhance and embellish my creations with golden accents, achieved through the use of brass or gold.

Did you choose your medium or do you feel your medium chose  you? 

Great question! I would say it's a bit of both. Initially, I was drawn to clay and then to metals for their ability to express contrasts and complements in my work. However, over time, I guess it feels as though these materials have chosen me in return, allowing me to explore and express my ideas more fully. The interplay of their delicacy and robustness, and the blend of warm and cool light, perfectly aligns with my artistic vision and creative approach.

Describe your work in three words. 

Movement, contrast, and harmony.

What themes do you find yourself returning to in your work and why?

I often return to the themes like reflection, balance, and grafting—ideas that resonate deeply within me and that I strive to translate into my sculptures and performances. This is why I incorporate brass and bronze into my work. Before defining these themes, I focused primarily on the form of the sculptures themselves. Now, these themes allow me to delve into deeper concepts, adding extra dimensions to my work and enriching the artistic experience I aim to share.

What is the importance of movement in your work?

I naturally work with great emotion, often drawing in tandem with the movements of a dancer performing in front of me. When a particular drawing inspires me to create a model, I feel an inner turmoil that mirrors the dancer's rhythm. Movement reflects the fluidity and constant transformation of life, adding a dynamic dimension to my sculptures and performances. It captures human energy and emotion, allowing me to explore the interactions and relationships between forms, materials, and space, thus enriching the depth and meaning of my work.

Can you tell us a little more about how you convey these rich and complex emotions in your work? 

I convey complex feelings and emotions, such as sensitivity, in several ways. A 15-minute performance with the public is an intense, concentrated and pure transmission of my emotions. During these performances, every movement and gesture is impregnated with my feelings, offering a direct and immediate experience. In drawing, I draw a lot, especially in movement, at the same time as the movements. My hands become the interpreters of my emotions, capturing the sensations and nuances of each moment. Sometimes I also express myself with poetic texts. Then I try to convey all these sensations in my sculptures. Sculpting tends to be the longest and most delicate process.

When did you realise you wanted to become an artist?

Ever since I was a little girl, I've wanted to create. My passion for art and design has always driven me to pursue my craft as purely as possible, free from commercial compromises. However, I never explicitly thought, "I want to become an artist," especially not while growing up. It wasn't until I left my job in 2015 that I truly considered this path.

My primary goal was to immerse myself in my ideas, taking the time to realise them deeply and authentically. To achieve this, I isolated myself and worked non-stop. In this process, I felt like a fish returning to water—completely at ease, with ideas and thoughts flowing freely. This immersion brought me immense joy, the only true joy in my life.

I've never dwelled on the label of "artist"; instead, I focused on bringing my ideas to life. Now, gradually, I feel I'm becoming an artist, though it's not something I rely on to structure my day.

Share a defining moment in your artistic career. 

The creation of my sculpture "Premier Dancing Woman" stemmed from a particularly powerful experience. One winter, I was drawn to a piece of flint on a beach, hidden under a much larger rock. I carefully removed it and placed it on another small rock facing the sea. Its shape resembled a flying dress, and as I photographed it, stories began to unfold in my mind—her story. Inspired, I immediately wrote the poem "Dancing Woman" and sketched her as you would a dancer you admire.

When I later sculpted her in clay, an overwhelming emotion swept over me. As my hands touched the clay, tears welled up in my eyes, and I thought, "I've found my family at last." This sculpture became one of my first three, marking a significant milestone in my artistic journey.

Do you need any specific conditions in place to be creative? For example, lighting, quiet, or music?

Lighting and silence are very important to me. These conditions create an environment conducive to concentration and reflection, which is essential for releasing my creativity and fully immersing myself in my work.

How do you know when you've finished an artwork?

I often know that a sculpture is finished when it feels 'alive' in front of me. At this point, I stop altering its form and focus only on the finishing touches. Sometimes, it's simply a matter of intuition: the work speaks to me, and I sense that there's nothing more to add or remove.