INTERVIEW w/ Mark Chu
THE GIVING OX
QV Lunar New Year Mural
Jane Bell Lane
Photo by IMAGEPLAY
How big is your mural?
50 square metres.
What does the mural mean?
Oxen are associated with the labor they give. My ox is leaping up in a blissful moment of joy, though I was sure to emphasize its awesome weight by having viewers look up at this massive icon of strength, suspended in air. The boldest colour is the fluorescent orange, which references the hi-vis safety gear worn by workers who do hazardous manual work. These workers are underappreciated by societies, and in particular, artistic communities. Their work gives society its infrastructure, and I want to pay my respects.
What do you think of murals in public spaces, and how they are different to art in a gallery?
Murals are an artform that owe a lot to graffiti—to the risks taken by every graffiti writer, not just the famous ones. Graffiti challenges concepts of ownership, where images belong, and the hierarchies of culture. Murals try to do the same, and create visual attention where once there was less, reimagining the visual space of public walls previously dominated by advertisements. A major difference between gallery art and murals is that once a mural is done, it’s not for sale; this means the direct financial value does not increase, which endorses appreciation for all the other important aspects of value.
How does your scientific research tie to the QV mural and exhibition?
My mural is mostly red and my exhibitions works are mostly blue. Through research I learned that red and blue are measurably emotive colors. It seems intuitive, but red is linked to passionate emotions; I want public life to be more impassioned, more compassionate. By contrast, blue is linked to analysis and a quieter ambience. In the more intimate gallery setting, I want to trigger thoughtfulness when viewing my show on the ecstasy of people watching. Although the word ecstasy is very charged, thinking about ecstasy requires stillness.
You’ve made something called a Giving Charm. What is it and how will it be given away?
The Giving Charm is an oxtail bone cast in bronze, leafed in gold. Its owner will acquire it for zero dollars, under the condition that they will live life as generously as possible while in possession. If they choose to part with the charm, they pass the instructions on to the next owner. There will be five editions, with one available at No Vacancy, its owner chosen from those expressing interest. It’s zero dollars to highlight the non-monetary value of art.
Your work focuses on faces. What have been your most memorable portraits?
I painted the French techno spearhead Laurent Garnier based on a lunch we had in Detroit. It was one of the best lunches of my life because we were both able to instantly speak candidly and deeply. One important thing he taught me was that artists don’t need branding or logos because loving art is about pure appreciation. Lately I’ve gotten to know the Australian graffiti pioneer Tom Gerrard, who has transitioned into fine art over the last decade. He is an inspiring autodidact with an expansive practice, and catching him in contemplative poses inspired several portraits in this No Vacancy show.
Did you face challenges working during COVID? How did you cope?
I love the streets and a robust social life, but when that became impossible, I upped my learning game. When I did undergrad I found humanities textbooks impenetrable, but as it turns out, science ones are more forgiving, because how they make sense depends on a much more common worldview. COVID probably made me want to learn more science too. I also got an Xbox to play Call of Duty. I’m upgrading my sniper rifle right now, but my SMG and assault rifle have all their attachments maxed out!
Are you doing any community work in Melbourne currently?
During the lockdown, I ran an art project called if u wanna chat. I made myself available for 7 work days from 9-5 on a dedicated mobile number for anyone who wanted to chat about anything. Most people chatted about their work being a drag. It was great meeting strangers. Like the Giving Charm, I hope other people copy my idea and do it better. Right now, I’m looking into making physical meditation tools.
Finally, it’s Lunar New Year soon, celebrating the year of the Ox. Your parents are both Chinese immigrants. How does that impact your art practice?
When I was offered this mural opportunity, I was excited to create new imagery and concepts. Lunar New Year riffs on generosity, but sometimes the traditions are taken for granted. I want the push the notions of good fortune and giving beyond family and friends, to the public sphere, especially to strangers. My parents are Chinese migrants, which means they benefited from the generous social structure of Melbourne and Australia—most of whom are strangers. Mum’s a doctor and I know she is very nurtured by her patients. Dad is a composer, who learned much of his craft at Melbourne University, and has felt honored to be performed by the likes of the MSO. This communal interconnectedness is especially poignant for migrants, and as the son of foreigners, I want to strengthen communal bonds through art.
Interview by Rain Fuller
Alongside The Giving Ox, Mark Chu will be presenting a solo exhibition of 50 paintings at No Vacancy. The Ecstasy of People Watching will be on show from 23 - 28 February 2021.