The ICCI ART VALLEY PROGRAM is an annual artists’ residency and exhibition. The 5 selected artists come from all over the world, from different artistic fields, including painting, sculpture, new media, and installation. Since 2015, the program has attracted more than 100 art scholars and researchers from around the world to participate in educational practice, exchange and develop educational concepts.

The students of the ICCI class Digital Curatorial Management have researched and interviewed each artist.  Below, are edited selections of their interviews to help you get to know the artists before this Friday’s exhibition.

“Both a Bridge and a Trap”

Marco Abrate on the Emotional Connection

Between Humans and AI

Interviewee: Marco Abrate

Interviewers: Qian Yiwen, Gu Di, Zhang Haonan, Luo Zhanbo

Born in 1996, Marco Abrate – known as Rebor – is an internationally active visual artist. His practice unfolds between sculptural painting, installation, and digital languages. The core of his research is pareidolia: a perceptual and imaginative process through which he unveils presences and forms within matter.

Through this visual device, Abrate explores in depth themes such as love, mourning, loss, transformation, and the tension between presence and absence. Pareidolia, combined with fragile surfaces and crumbling plaster, becomes for the artist a tool of resistance against the rigidity of the image in the digital age. His work has been examined by art critic Giorgio Bonomi, who wrote the curatorial text for his first solo exhibition in Milan in 2020.

• Before the current AI boom, you created “One and Three Persons”, where you generated a fake persona named "Chiara Ascioni." What drove you to explore communication through AI?

I realized that the need to communicate is so strong that we might even confuse AI with other humans. So I collaborated with engineers to create "Chiara Ascioni"— a person who didn't exist. We used AI to generate her face, and even her name was invented by algorithms. I wanted to see if the sheer desire to connect could override reality.

• In this project, you connected a physical poster to her virtual profile. Could you talk about why you chose to use this "link" to present the work? What did you hope to explore with it?

The work began with a physical poster—a public, collective image—connected to a virtual profile that evolves over time. That link between material and digital was the heart of the project.

The "link" functioned as both a bridge and a trap — an invitation to step into a dimension where presence becomes data. It revealed an "existential tear" between the physical and virtual self. The character didn't exist, but the human emotions directed at her made "her" real.

• Your physical works, particularly the “Walls” series, are central to your current phase. When you approach an old wall, how did you establish a connection with it and discover the images within it?

When I work on Hidden Images, the wall is already there, full of history, scratches, cracks, traces of lives and time. I don’t approach it with a fixed idea; instead, I observe, letting the wall “show” itself. It’s almost a meditative waiting. The wall becomes a sort of interlocutor, suggesting figures, faces, presences that emerge from fragments of plaster.

There is a word in Italian for “love”: Amore. I like to play with this word because it can become A-muro. Muro means “wall,” so it becomes the love of something difficult, like a wall: heavy and fragile at the same time. There is the fascinating tension of the unknown.

The process is a delicate combination of discovery and intervention: I remove, amplify, sometimes add materials, colors, or textures to reveal what was already there, hidden. In this sense, my hand is like a tool that allows the wall to speak.

• In works like “Embrace”, images emerge through cracks. How do you transform a personal emotion, like love, into a universally shared experience?

In Embrace, the cracks are never accidental; they are an integral part of the artwork’s language: fragility, rupture, the tension between the inner and the outer. The image emerges through these marks of decay, as if love itself manifests in vulnerability. There is a paradox: the strength of the feeling is readable only through its fragility.

When I work with such intimate emotions, I never recount specific personal events; rather, I aim to translate the emotional quality, the sensation, into forms that viewers can perceive. I try to transform the private into the archetypal, allowing each viewer to find fragments of their own emotional story within it.

• Your practice involves both public street art and enclosed gallery exhibitions. How do these distinct settings change the connection established with the audience, and how do material and scale differences influence your creative process?

When I work in public space, I start from the wall itself—a living body marked by time. The material (plaster, cement, cracks) is an act of listening, simply revealing what is hidden.

In the gallery, I translate this energy into a more intimate language. The wall becomes a fragment, inviting slower, contemplative observation. The interaction differs: on the street, the work invades your path and surprises you; in the "white box," the encounter is a deliberate, slower process. Scale dictates focus: urban spaces require focus on impact and dialogue with architecture; enclosed settings allow the material to become more fragile and tactile, almost like a whisper.

I search for the same thing, that thin line between the visible and the invisible, where the image reveals itself.

• In the current era of rapid AI technology development and increasingly "realistic" emotional simulation, how do you view the new changes in the emotional relationship between AI and humans?

Today, with the rise of artificial intelligence, this relationship has grown even more complex. AI is like a mirror that learns to return our emotions, desires, even our melancholy. I’m interested in how much of us is reflected in that imitation and how much of our true essence we rediscover precisely when it’s being simulated. I don’t see AI as an enemy, but as a new language. I use it as a tool for dialogue not to replace the human, but to amplify its shadows. AI is just a tool that turns "difficult" tasks into "complex" ones. "Difficult" means you don't know how to do it; "complex" means you need more time, but you can do it step by step.

The more I study AI, the more I fall in love with humans.

Harmony with Light and Dust

(a traditional Chinese idiom):

Perceptual Contemplation

and Spatial Vastness in Huang Saifeng’s Art

Interviewee: Huang Saifeng

Interviewers: Chen Sihan, Feng Xiaoying, Liu Chang, Zhao Peijia

Through works such as Empty Box Game (2015-2021) and Ambiguous Spaces (2019-2022), Huang Saifeng explores the contemporary spiritual propositions of "human-self" and "human-cognition". As Huang Yiqian, a member of the Shanghai Artists Association, notes, his creations "present the inner world on linen like lyrical poems", maintaining tranquility and calm amid hustle.

Empty Box Game employs "psychological sandboxes" as a medium, inviting participants from diverse professions to engage in creation. On camera, the unconscious "self-modification" exhibited when people construct their inner landscapes subtly reveals the masks of emotion. When the sandbox images are transformed into oil paintings, the process of participants naming the works awakens the subconscious, unexpectedly bringing about healing effects. Li Yujun, curator and manager of Zone 0 Space in Beijing 798 Art Zone, comments on this project that it "builds a self-communication bridge through sandboxes". By revising the "real self", Huang gains insight into the complexities of human nature and breaks down the boundary between artistic creation and appreciation.

In *Ambiguous Spaces*, light takes center stage, returning painting to its essence. Xia Kejun, professor at Renmin University of China and philosopher, remarks: "This is where Huang’s painting begins—returning to the ultimate 2D plane, as light projects directly, leaving fleeting faint traces." The interweaving of light and mist creates an atmosphere of "familiar yet strange", with flowing light folds cutting through the spiritual realm and probing possibilities beyond cognition.

Huang’s creations consistently respond to the spiritual dilemmas of modern people: using his brush as a medium, he preserves vague memories, settles hidden emotions, and loosens rigid cognition—forging a gentle spiritual haven for contemporary people’s ineffable spiritual needs in an era of information overload.

1. Light as Guide: From Sensing Life to a Shared Language of Creation

• Your work has long focused on abstract elements like light, time and the subconscious. What concrete experiences first made you aware of your special fascination with light?

As a student, I took many theatre and film courses. In theatre, light is often used to build a drama – for example, a follow spot picking out the protagonist. I began to feel that painting is very much like directing: for me, light has three functions – to create drama, to add layers to the image, and to lead the viewer on a visual journey. That was my earliest understanding of light.

Later, when I was teaching, one afternoon I sat alone in an empty classroom, watching patches of light slowly slide across the window frames, until only a tiny spot remained, glowing in the surrounding darkness. I suddenly realized that this trail of light was the trajectory of my life for that entire afternoon. From then on, I started using painting to record those “unrepeatable moments.”

Another time, I returned late to my rented room. The power was out and everything was pitch black. I felt my way to a candle, lit it, and, without knocking anything over, even managed to fix the fuse by its faint glow. That memory of total darkness feels as if I myself was “carrying light,” able to move freely in the space. For a long period, the “light” in my works was almost synonymous with “memory.”

• You have worked in theatre. Has that experience influenced your painting?

Very much so. On stage, when you need to change scenes from “reality” to “memory,” sometimes you don’t change the set at all – a single beam can lead the audience into a new space. When two spaces need to “overlap,” light can also perform that transitional role. Light is not just a visual element; it is a potential doorway to the unknown. It allows you to “step” from one scene into another, from reality into imagination.

That is why, in recent years, light in my work is more “guiding” than descriptive – it invites viewers to explore whatever lies beyond the illuminated edge.

2. Emptiness as a Realm: From Psychological Sandplay to Interactive Contexts as a Spiritual Cartography

• What was the inspiration for starting the Empty Box Game in 2015?

In 2015, I noticed that interpersonal communication was often transactional, lacking genuine sharing of inner thoughts. Inspired by sandplay therapy, I invited people from diverse backgrounds to create sand scenes, observing their inner worlds. The initial format involved transforming these sand arrangements into paintings and exhibiting them. Through 40 participants, I uncovered authentic emotions that are rarely visible in daily life.

• How did you adapt it into an interactive art project in 2021?

The key change was customizing the project for specific museum spaces. For example, at the Yuz Museum, I used a "stage lighting" technique to place two strangers under a spotlight, forcing interaction. They engaged through sandplay, moving from unfamiliarity to dialogue. Participants later viewed recorded footage to reflect on their interaction patterns, such as tendencies to dominate or follow. The project evolved from a simple painting exercise into an integrated experience combining space, interaction, and reflection, aiming to help participants "see themselves."

• Has your role changed in the process?

Completely. Initially, I saw myself as a helper, using art to guide participants in self-discovery. However, I later realized that the participants were helping me. Through their authentic expressions, I refined my own understanding—for instance, clarifying the spatial logic in my work from their perceptions and adjusting the project based on their communication dilemmas.

3. A Boundless Vision: From Cultural Reflection to the Inclusive Circulation of Art

In your 隐入虚空（Void of Becoming ）series, you emphasize the Daoist concepts of “emptiness” and “concealment.” How do you handle the implicit expression of your own cultural background in an international context?For me, “虚空” refers to what Daoism calls the “大象无形”—seemingly formless, yet containing all possibilities. Everything I absorb from experiences, emotions, and culture is first processed internally, then transformed into a new form in my work. The “隐” in “隐入” reflects a subtle, unobtrusive approach, allowing the work to naturally merge with the surrounding space and gently guide viewers into its spiritual atmosphere.

I do not deliberately include explicit cultural symbols because I believe art can communicate across boundaries without labels. Chinese culture naturally flows through my work: Daoism’s principle of “less is more” resonates with Jungian psychology’s idea that “the more complete one’s inner world, the simpler one’s external demands.” This shared understanding informs my creative approach: I focus on leaving space, reducing literal elements, and avoiding fixed answers. By doing so, the work remains open, inviting viewers from diverse backgrounds to connect with it in their own way. Implicit cultural expression, in this sense, becomes part of a universal visual language rather than a fixed marker of identity.

Brushstrokes, Virtual Reality,

and Living Entities:

A Cross-Media Exploration of Nature

Interviewee: Jérémy Griffaud

Interviewers: Yao Yawei, Zhang Pengfan, Weng Jianuo, Zong Minghan

Born in 1991, Jérémy Griffaud is a virtual reality artist. His practice utilizes digitized watercolors, video game engines, virtual reality headsets, and immersive projections to explore the spectator's role within hybrid realities, focusing on the relationship between humanity and nature. Jérémy's work has been showcased in over 100 presentations across nearly 30 countries, at venues such as the Shenzhen Art Museum (China), the Four Domes Pavilion in Wrocław (Poland), Berlevåg (Norway), and Penang (Malaysia). In 2023, he was awarded a residency at the Villa Médicis with the XR Farnese program. His Dungeon project has won two awards, at the Boden Film Festival in Sweden and the Emerald Peacock Film Festival in St Petersburg.

During his residency at ICCI, Jérémy begins with painting as the foundation and expands into digital media to create a multimedia art project. For him, painting is not just a static image, but an interactive space that one can enter and engage with. At the intersection of the real and the virtual, inspired by Eastern cultural influences, he explores the relationship between humans and nature.

Jérémy Griffaud

I. From Image to Space: The Interactive Transformation of Art

• What kind of work do you plan to create during your residency at ICCI?

I want to create a multimedia artwork, made from the painting and displayed with the screens as a video installation. The topic is about the relationship between tradition, modernity and nature with the inspiration of eastern China. I already have some plans, and I hope to continue the process and create along the way and leave space for surprise.

• After coming to Shanghai, how do you plan to find inspiration for your artwork? Are there any specific places or elements that attract you?

I will just go and look, because I already have the topic I want to research. My focus might be on one specific tree, one place, or maybe the whole environment. It could be anything. I really want to discover the traditional art. I want to understand more about this past, and look more closely at traditional artworks in museums. I want to see how the skyscrapers merge with nature, and what the relationship is between nature and modernity.

I might also borrow a recorder and go to the city, perhaps to temples, and try to capture some interesting sounds. If I’m lucky, maybe I can even record a ceremony.

• Can you show me around your creating process?

In terms of material choice, watercolor is my commonly used medium, and with the related equipment I have, I'm able to create quickly with it. This is particularly helpful when I need to produce a large volume of paintings. This time, however, I adopted the "brush washes" technique. While similar to watercolor, it employs opaque colors, allowing me to depict what I see more truthfully and profoundly. In terms of the creative process, I always begin by completing the hand-painted elements, which I then import into the computer and transform into dynamic animations.

On the resource side, I was pleasantly surprised to find motion capture equipment at ICCI College, which is highly beneficial for my animation projects. I hope to utilize this motion capture suit for my creative work, and I'm also interested in accessing the recording studio facilities here.

Create process

• In your creative process, do you usually work alone or collaborate with others?

Although I have studied programming and have a reasonable understanding of how game engines work, I prefer collaborating with professional developers—after all, building a truly stable and highly optimized structure remains quite challenging. I am also very open to working with students. In addition to painting, I need to produce animations and 3D visual effects, which involves a substantial workload. Collaborative efforts can truly bring more vitality to the creative process.

2. From Desire to Nature: Rethinking the Relationship Between Humans and the Environment

《The garden》

• Your work often deals with the relationship between man and nature. What first led you to focus on this direction?

I started to do this progressively, like it came naturally. I made a short film about the desire, because of TikTok or Instagram, with a lot of celebrities, very fast celebrities. People can become famous in one afternoon, and it was about the desire to become famous. I meet a lot of young people and they say: I want to be an influencer. After this I wanted to talk about the environment, about nature, because we always see our role in the world as one of controlling. In my projects, I try to reverse or talk about this kind of control. When we see a tree, it’s a being. Maybe we can try to see things a bit differently.

3.Audience and Artwork Interaction: From Static to Immersive Experience

• In your work, how do you see the relationship between the audience and your work? Do you want the audience to experience your work in a certain way?

Guillaume Talbi——

An encounter with mystery and material

Interviewee：Guillaume Talbi

Interviewers：Li Xinxiao, Ye Mai, Wang Zixuan, Liu Ruizi, Xu Yitong

Guillaume Talbi was born in 1987 in Châteauroux, France. He lives and works between Paris and China. He graduated from the École nationale supérieure des Beaux-Arts in Paris and currently collaborates with Galerie Alain Gutharc in Paris, as well as Galerie Carte Blanche in Beijing and Hangzhou. As a multidisciplinary artist, Talbi works with painting, sculpture, and drawing. His practice explores experiments with material and color, creating anthropomorphic, animal, and plant-like forms, which are materialized through different media to form a hybrid world.

For Guillaume, sculpture, painting, and drawing are spaces of dialogue. He believes that creation goes far beyond simple representation and is instead a process of inventing forms. It is an act rooted in space and interaction with the viewer. He favors a free approach to making, where materials and modes of expression interweave, allowing the work to remain alive and full of vitality.

His work has been showcased in France and abroad, including Drawing Now Art Fair in Paris (2016, 2025), Yishu 8 – House of Arts in Beijing (2018), Chapelle de la Visitation in Thonon-les-Bains (2020), and Nouvel Institut Franco-Chinois in Lyon (2024).

Mystery：The Primordial Spark

I think art must have mystery. If there is no mystery, there are no discovery. Neither for the artist nor for the viewer. Each artist explores the unknown through their own history and lived experience. It is precisely this mystery, this exploration for the invisible, that makes art so vast and rich, like an expanding universe.

1.The Dialogue with Matter: Building a Hybrid Universe

• You often experiment with different materials, such as Phantasmagoria of the World. What is your creative process like?

The creative process is free and filled with life. Time plays an important part in creation. I welcome accidents and surprises in the work, because I never know what the final result will be. I like to let the work slowly reveal itself as I am making it. I am fascinated by working with different materials, because each material has its own unique character whether in its texture, its sound, or its form. During the process, these materials naturally find a sense of harmony.

• How do you perceive the surprising transformations of materials and the relationships between them?

Through experience, we learn to understand materials, but they often move beyond our control and develop in their own ways. For example, when I place a ceramic sculpture in the kiln, the fire transforms it in unpredictable ways. It is in this uncertainty that mystery exists. I value these accidents in the process, because they open new directions of exploration. Art is not a single path, but a vast field of multiple possibilities. The interaction with materials is also an interaction with natural elements such as fire, water, earth, and air. This allows the work to continue developing.

I’m deeply interested in small structures because they condense rich forms of expression.

They create the language of a small world.

Sometimes, this small world can become a larger universe.

《世界的幻想》，2016年

陶瓷，10 x 10.5 x 7.5 cm

摄影版权：Jean-François Rogeboz © ADAGP

Phantasmagoria of the World , 2016,

ceramic, 10 x 10.5 x 7.5 cm

Photo credit: Jean-François Rogeboz © ADAGP

2.Returning to the Root: The Power of the Primordial

• What inspires your work right now?

I am deeply interested in prehistory, especially the earliest stone paintings made by humans. These ancient markings are not only witnesses to our history, but also symbols of the origins of humanity. I am strongly drawn to nature, which I see as a living cosmos where plants and animals constantly interact. By observing the subjects surrounding me, I continually discover new sources of inspiration.

Lascaux Cave Paintings, c. 17,000 BCE, mineral pigments on cave wall,

Lascaux, Montignac, Dordogne, France

Photo credit: Prof saxx / Wikimedia Commons

• How do these environments influence the way you create your artworks?

The environment is essential to my process. Every place, whether a city or nature, deeply influences my creative process. For example, on Chongming Island in China, I was deeply inspired by the unique atmosphere of the place. If I were creating in Paris, the work would be completely different.

In my paintings, fish float in the air. These images come from my imagination. This inverted scene is not realistic, but it is part of my visual language. The brown color beneath the fish represents clay and earth, rather than water. I like to let colors interact freely and create a spontaneous sense of harmony. This harmony is sometimes surprising, giving the work a sense of life.

Painting and drawings exhibited at West Bund Art Fair, Carte Blanche Gallery, Shanghai(China)  2025

Works displayed from left to right:

White Shell, 2025

Shell powder, China Yunnan paper, graphic

195 × 192 × 5.5 cm

Sprite of Water, 2025

Mixed media on canvas

150 × 180 × 4.8 cm

Heavenly Turtle Kingdom, 2024

Turtle Celestial Empire, 2024

Shell powder, China Yunnan paper, graphic

195 × 192 × 5.5 cm

Photo credit: Guillaume Talbi

3.Travelling Through Cross-Cultures: A Journey of Exploration

• You have engaged in various cross-cultural art experiences, especially in Asia. How have these influenced your artistic expression?

My work experience in Asia, particularly China and Japan, has greatly inspired my creative work. The unique natural landscapes and cultural perspectives of these countries have provided rich nourishment for my artistic creations. During my studies at the École des Beaux-Arts in Paris, I had the privilege of participating in a six-month exchange program at the Central Academy of Fine Arts (CAFA) in Beijing. I also participated in the Yishu 8 residency program in Beijing in 2018. In my exhibition The Butterfly Effect, I explored traditional Chinese ink painting techniques, particularly the aesthetics and spirit of shuimo hua (Ink and wash painting), which had a lasting influence on my work. During the same period, I also created sculptures using bronze and steel.

Cross-cultural experiences are invaluable to me. They offer opportunities to discover new perspectives and to engage in creative collaboration.

Self-Portrait, 2018, bronze, patinated steel base, 290 x 90 x 90 cm

House 19, Beijing. Photo credit: Xiaoning Cai © ADAGP

Butterfly Effect , 2018, Lavis d'encre sur papier, 61 x 46 cm,

collection privée © Guillaume Talbi, © Viktor Popov © ADAGP

Conclusion

Guillaume Talbi’s work is an endless exploration, a continuous dialogue between materials and colors. Each piece is an unpredictable encounter, in which the artist, guided by the materials, allows them to reveal their own nature. Inspired by travel, cultural exchange, and the raw beauty of nature, Talbi transcends simple representation. His works invite viewers into a universe full of vitality. His art is a never-ending journey, driven by an unending desire for discovery and self-reconstruction.

Memory as Material:

The Art of Magdalena Kleszyńska

Interviewee: Magdalena Kleszyńska

Interviewers: HuYafei, ZengLingxi, LiMinyu, Hezixi

When you look at aluminum, it seems very soft, but when you touch it, it’s very cold. That coldness makes you feel a kind of separation, which reminds me of my own experience when traveling—I try to integrate into different places, but there’s always a sense of distance, since those places aren’t my hometown or home country.

I.Journey and Practice: Creation in a Cross-Cultural Context

• The Artist's Wellspring: Memory, Material, and a Cross-Cultural Journey You’ve lived and worked in Portugal, Switzerland, and China, what role does cross-cultural dialogue play in your career?

Traveling to many countries and having cross-cultural exchanges brings new inspirations. People in different cultures are similarly open to sharing, but the background of their stories, the “landscape” of their experiences, is always totally different— these are always amazing discoveries. Those small, unique thoughts and memories people share are what enrich my emotions and help me develop my artworks in various ways.

• In your last Shanghai residency you used Chinese embroidery motifs in your work Tablecloth.

I gathered patterns from daily life and museums, blending traditional motifs with contemporary images like street scenes or fast food. I enjoy merging cultures— creativity is for everyone, across all forms of expression.

II.Creation and Contemplation: The Interweaving of Memory and Material

• How do these cultural symbols and emotions influence your work?

I think a key point is that even though different cultures and civilizations are distinct, we all share the same basic emotions and roots of thought. It's not about mythology, but cultural symbols and primary emotions— these are very important in creation. I often use simple materials, sometimes materials I find locally. I might place objects in a space and observe how they interact with it, capturing that information in my work.

• You mentioned "memory" repeatedly in your works. How do you understand ‘memory’?

I have a need to collect memories so that they won’t be erased or forgotten. Behind this, I think it’s related to my family background— we don’t have many items left from our ancestors. So I want to help others keep their memories from being forgotten, and I also want to incorporate these stories into my artworks. Of course, I don’t directly use the exact words people say; I transform and process those memories into symbols— symbols of emotions, images, items, or photos. So my works aren’t like a diary that you can read literally, but I hope people can feel the emotions behind them when they see the works.

(left) BLANKET, 2023, hand-etched aluminum sheet, cast, sisal rope | photo: Marcel Rozhoň

(right) BETWEEN MEMORIES, 2023, collage on a aluminum sheets | photo: Author

• So what is the criteria to select materials to present this theme?

I select ready-made materials for their behind-the-scenes stories— old furniture, clothes, or even events reveal their eras, and I aim to delve deeper into those recollections. I favor those with past experiences. These stories, from interviews or new discoveries, inspire me; my work explores not just the objects themselves, but the people and memories they carry. I don’t alter their original traces of the past attributes; instead, I preserve their content to let them coexist with my works’ new context. Sometimes I collect objects with clear personal stories, and sometimes I research past centuries or patterns to uncover traces of the past in ordinary items.

• Aluminum seems to be an important material of your work.

I’ve used aluminum sheets of various sizes for over ten years. It appears soft visually but feels cold to the touch, creating a sense of separation that mirrors my travel experience: I try to fit into different places, yet there’s always distance as they’re not my hometown or home country—this is what I want to convey through aluminum.

Magdalena Kleszyńska, Maps of Memories, Pragovka Gallery, Prague, Czech Republic (2023) | photo: Marcel Rozhoň]

(left) BETWEEN MEMORIES, 2023, collage on a aluminum sheets | photo: Author

(right) DRESS, 2023, collage on a aluminum sheets | photo: Author

III.Residency Practice and Legacy: Methodology, Expectations, and Message

• In this ICCI ART VALLEY Program, what do you expect?

My project usually moves through three stages. First, I need to know the city and its culture. I prefer museums that display collected items from ordinary people and society. The second stage is holding art workshops; they are great for meeting people and making connections through creation. Finally, I try to conduct one-on-one interviews about their memories or family heritage. When I do, I record the interviews in writing, and if people bring objects, I take photos to document those items while we talk about the memories behind them. I'm keeping an open mind on the plan, of course.

• Do you have any plan of your new work?

For new works, I’ll still focus on memory and personal stories, but I’ll integrate elements from this new environment, which will make them different from my previous works. My expectation is to create works that carry the unique memories of this place and the people here.

• For the students here at ICCI, do you have any message or message or artistic perspective would you wish to share?

Today's world is shaped by new technologies, and we need to understand their importance and value—where they're taking us and what they can help us achieve. To use technologies in our work and art, but also collect experiences and create something that reflects who we are, rather than just relying on computers.

Be aware of how we use technologies and experiences, and combine the best of both. We need to be patient and check if we're going in the right direction—we shouldn't follow blindly.

Go further and deeper. Focus on the present, look toward the future,

but never forget the past.