{"id":241071,"date":"2025-05-14T08:02:46","date_gmt":"2025-05-14T08:02:46","guid":{"rendered":"https:\/\/peraltafinancing.com\/anthropology\/a-conversation-with-artist-anthropologist-cherie-li-anthropolitan\/"},"modified":"2025-05-14T08:02:46","modified_gmt":"2025-05-14T08:02:46","slug":"a-conversation-with-artist-anthropologist-cherie-li-anthropolitan","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=241071","title":{"rendered":"A Conversation with Artist\/Anthropologist Cherie Li \u2013 Anthropolitan"},"content":{"rendered":"
\n<\/p>\n
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By Aoife Donnellan<\/strong> PhD Anthropology<\/em><\/p>\n\n
Visual artist and anthropologist Cherie Li\u2019s practice is concerned with capturing the minutiae of sociality, intimacy, and joy. Her work grounds ephemeral experiences in material expression, stitching transient moments in time into the layers of her objects, installations and performances. We discussed the role of object-based facilitation, mediation, documentation and audience in her work, exploring themes of place, diaspora, and method. Below is a selection of images of Cherie\u2019s practice that highlight the delicate materiality, non-linear narration, and domestic concerns at play in her work.<\/p>\n
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Aoife Donnellan: How does your visual art practice relate to your anthropological training?<\/strong><\/p>\n
Cherie Li:<\/strong> Anthropological training plays a part in my current work as a facilitator delivering creative learning through play activities in a museum catering to the neighbouring borough and local community. As in fieldwork, being in the community, learning about and building relationships with people is essential to delivering meaningful activity that responds to people\u2019s needs. Informal participant observation \u2013 observing and documenting how audiences navigate museum spaces and respond to activities, and listening to people\u2019s comments and conversations \u2013 informs the content of the activities we develop and how I facilitate. I see my creative facilitation work as an extension of my visual art practice. It is about inviting people into an experience and creating an environment for play, collaboration, and connection. Uniquely, facilitation in this museum setting takes an object-centred approach, always linking to the collection.\u00a0\u00a0<\/p>\n
Previously, I had a sense that this was what I wanted to do in my independent visual art practice. My interest was always in social relationships and everyday societal practices. My work attends to details of the every day, moments of connection, entanglements between people with each other and objects and places. My process involves collecting textured documentation of these lived experiences to make sense of them. I was drawn to relational aesthetics, works that are participatory and collaborative, and artists who use everyday objects, actions, and social interaction as material. All of this led me to anthropology, a field that would allow me to study in an in-depth and more formalised way what my art practice was already concerned with.<\/p>\n\u2018in the burned house i am eating breakfast\u2019 (2018)<\/figcaption><\/figure>\n
AD: Your practice often features auto-ethnographic techniques, examining experiences of family through a diasporic lens. Could you elaborate on this in relation to the materials you choose to work with?<\/strong><\/p>\n
CL:<\/strong> What comes to mind first are the food materials that feature in my works about family. Many of my works have come out of the experience of being geographically distant from relations that matter to me. They are my attempts to ask how distant people and places can be made materially present, or conversely how I can leave material traces of my presence behind, as with my work 10 secret things <\/em>(2018). In \u2018in the burned house I am eating breakfast\u2019 <\/em>(2018) <\/em>and \u2018this is just to say, so sweet\u2019 <\/em>(2019), <\/em>I sought materials that have a nostalgic quality and are attached to sensory memories for me, which might elicit a sense of familiarity in others as well. Reflecting my own lived experience in a family where food is a prominent language of care, I gravitated towards using food objects, practices, and spaces as material, exploring how they can mediate and embody family relations. Food is such a prominent anchor to cultural identity, a way to bring forth familiar tastes and scents, to evoke feelings of a home far away and bring it within reach. I also drew on conversations with my parents and documents from family archives, such as photos and recipes from my grandparents\u2019 restaurant in Beijing. Other times, I\u2019ve used materials that are rooted in specific locations, such as the fragments of peeled wall paint and traces of my footsteps in \u2018walking in Hong Kong\u2019 <\/em>(2018).<\/em><\/p>\n\u2018this is just to say, so sweet\u2019 (2019)<\/figcaption><\/figure>\n
AD: Your work takes many different forms including lists, paintings, films, drawings, sculpture and installation. What is the relationship between process and output in your practice? What attracts you to this variety of media?<\/strong><\/p>\n
CL:<\/strong> The lines between process and output in my practice are blurry. The variety of media and many different forms my works take arise out of this attempt to archive an embodied experience. My output often takes the form of documentation; a record of durational activity or fleeting occurrences. Often, works start as a lived moment or experience that I feel compelled to record and unravel to understand. For instance, \u2018as long as you exist I\u2019m happy\u2019 <\/em>(2017) <\/em>started with a conversation between me and my sister that at the time felt important to note down. I kept rolling this seemingly plain conversation over and over in my head. The written text, stop-motion animation and performative act that make up the work draw out the sisterly intimacy and tangle of sentiments that I felt the conversation had so fully encapsulated.\u00a0<\/p>\n
Connecting back to your first question, training in anthropological methods has emphasised the unique texture of data and knowledge provided by varied methods \u2013 how the mode of collection dictates what is collected and conveyed. I\u2019ve also been influenced by artists like Sophie Calle and On Kawara, and their works that exist as documentations of life and activity. For example, Sophie Calle\u2019s photographs and diary-esque entries in \u2018The Hotel\u2019 <\/em>(1981) and \u2018Suite V\u00e9nitienne\u2019 <\/em>(2015),<\/em> that evidence a time-based happening and On Kawara\u2019s \u2018I Got Up\u2019<\/em> (1968-1979) postcards where he recorded and shared with others the date and time he got up each day. There is something beautiful and meaningful about documentations of life so simple as \u2018I was here\u2019, \u2018I did something\u2019, \u2018I loved someone\u2019.<\/p>\n\u2018as long as you exist i\u2019m happy\u2019 (2017)<\/figcaption><\/figure>\n
AD: \u2018Tiny Exhibition\u2019 (2019), was a work you created in your home for previously unused corners, for example, window sills or bed-frames. What role does audience play in your work?\u00a0<\/strong><\/p>\n
CL:<\/strong> As I develop my practice, I\u2019m more intent on my work being the production of an experience for the audience rather than an art object. In \u2018tiny exhibition\u2019, small works in unused corners of the home were meant to be delightful interjections or interruptions in daily life, to give the audience the sense of stumbling across something unexpected. The inspiration for \u2018tiny exhibition\u2019 came from Hans Ulrich Obrist\u2019s 1980s kitchen exhibition. Christian Boltanski hid a projection of a candle beneath the kitchen sink, only visible through a crack between cabinet doors. I love these acts of creating small miracles and moments of wonder in the everyday for someone to find. \u2018Tiny exhibition\u2019 was a stepping stone towards \u2018this is just to say, so sweet\u2019<\/em>, a site-specific installation and subtle intervention of an existing space. In a similar way, I wanted the audience to step into a state of heightened attention and care by stepping into the space, to experience noticing small details over time and with patience, to become aware of the impact of their own presence.<\/p>\n\u2018as long as you exist i\u2019m happy\u2019 (2017)<\/figcaption><\/figure>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"
ByAoife DonnellanPhD Anthropology Visual artist and anthropologist Cherie Li\u2019s practice is concerned with capturing the minutiae of sociality, intimacy, and joy. Her work grounds ephemeral experiences in material expression, stitching transient moments in time into the layers of her objects, installations and performances. We discussed the role of object-based facilitation, mediation, documentation and audience in […]<\/p>\n","protected":false},"author":1,"featured_media":241072,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11767],"tags":[13553,88640,88641,12822],"dealstore":[],"offerexpiration":[],"class_list":["post-241071","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-anthropology","tag-anthropolitan","tag-artistanthropologist","tag-cherie","tag-conversation"],"yoast_head":"\n
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