Page 68 - Reader's House magazine

Chenxi Shao’s groundbreaking art redefines ma- teriality, blending innovation and emotion to create profound reflecti- ons on identity and ecological ethics. Chenxi Shao’s art merges organic materials like mycelium with industrial objects, exploring the- mes of identity, alienation, and sustainability while addressing ecological and cultural tensions in a post-modern, capitalist world. Chenxi Shao is a visionary artist whose work transcends boundar- ies—geographical, cultural, and material. Born in Tianjin, China, and now based between Beijing and Philadelphia, Chenxi’s art is a profound exploration of identity, memory, and ecological ethics. Their practice, which spans sculpture and animation, is deeply informed by their background as an ecological researcher, offering a unique lens through which they examine the intersections of nature, culture, and human experience. With a remarkable ability to weave together the personal and the universal, Chenxi’s work challenges conventional narratives and invites us to reconsider our relationship with the world around us. Chenxi’s art is a testament to their innovative spirit and intellectual depth. Their use of organic materials like mycelium and rocks, combined with industrial and everyday objects, creates hybrid forms that are as thought-pro- voking as they are visually striking. These works not only address pressing Chenxi Shao Explores environmental concerns but also delve into themes of alienation, identity, and the tension between tradition and modernity. Exhibited in prestigious venues across the Identity, Ecology, And globe, Chenxi’s creations resonate with a poetic urgency, offering an elegy for life in the face of ecological and societal decay. It is an honor to feature Chenxi Shao in this issue of Magazine, where they share insights into their creative process, inspirations, and the profound messages embedded in their art. What inspired you to incorporate myceli- um and rocks into your art practice? I began incorporating mycelium into my sculptures after reflecting on personal expe- riences with cancer and vitiligo in my family. The invasive spread of cancer and the white pat- ches of vitiligo in the body felt like a process of alienation, both physically and emotionally. My- celium, as it spreads and forms structures with its hyphae, seemed to mimic the biological process of these diseases. I was also inspired by the book Mushroom: At the End of the World. The idea of mycelium creating a “third nature” within a capitalist framework intrigued me, so I D R A F T Art Through Organic And Industrial Materials Blending Nature And Culture To Challenge Boundaries w e - eks, the myceli- um had grown through all the mate- rials, merging with them in interesting ways. One of the pieces I created using this process is cal- led Professor, where I grew mycelium with a disposable mask in a mold to form an organic structure. This new material felt exciting and full of potential. began to explore how it could be used in sculpture. Rocks, on the other hand, tie back to my interest in the history of the silicon industry. I’m fascinated by how raw materials, like sand, can symbolize a technical gap and an unfinished, evolving process. Can you share more about the process of growing mushrooms in unusual materials for your artwork? Initially, I grew mycelium using a ready-made myce- How do you see the relationship between nature and art in your creations? Nature and art in my work are deeply intertwined. Na- ture, through mycelium and other organic materials, of- fers an unexpected form of agency and life that contrasts with the artificial and constructed nature of human-made art. I try to explore how these materials mimic or repre- sent the complexities of identity, alienation, and environ- mental concerns. lium substance. Inspired by its spreading and growth, I wondered if it could interact with everyday waste materi- als. So, I started experimenting by combining mycelium with materials like cotton fabric, receipt paper, brown paper, wound paste, disposable masks, and earplugs. For each material, I divided them into three layers and placed What challenges have you faced while working with organic materials like mycelium? The biggest challenge has been maintaining an asep- tic condition. Mycelium cultivation requires sterilizing the environment to avoid contamination, which is dif- ficult without a proper lab. During my MFA, I had access to a biodesign lab, but since I don’t have that access now, I’m exploring alternatives, like using UV light and alcohol to sterilize my- celium in a small room. Achieving a controlled, clean environment is cru- cial for successful cultivation. How do you think your work contributes to conversations about sustainability or environ- mental awareness? By using bio-materials, my work directly contributes to sustainability by reducing CO2 emissions compared to traditional sculptural materials and processes. Howe- ver, I also aim to connect environmental concepts with broader social and cultural narratives. My art practice seeks to find new ways of integrating environmental consciousness into art-making, encouraging a dialogue on the potential for more sustainable practices in con- temporary art. Are there specific themes or messages you aim to convey through your art involving natural elements? The themes of alienation and identity are central to my work. Through living materials like mycelium, I explore how the body grows and changes, but also how it can be- come alienated. Drawing from the book The Mushroom at the End of the World by Anna Tsing, I use mycelium’s function as a decomposer and ecological network to sy- mbolize the spread of disease, bodily decay, and aliena- tion. The hybrid forms I create from industrial materials and natural elements reflect the tension between modern industrial society and the organic world. It’s an elegy for life in the midst of capitalist post-modernity and envi- ronmental decay. them at different levels within the mycelium. After two 68 II Reader’s House