Artist’s Manifesto

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Artist’s Manifesto *

By Qingxiao Li

2024.12

My given name, ‘Qingxiao,’ which means Crisp Dawn & Clear Understanding, was the first spell ever cast on me for my parents believed that awareness and compassion are the keys to happiness in life. I am blessed that they have raised and supported me in this way by offering me opportunities to see the world, where I am most inspired to observe and reflect on what it means to be one of humanity– a dynamic mechanic powered by people.

Sometimes the reality can get a little bit too harsh. When difference leads to confrontation, inequality leads to exploitation, or inadequacy leads to refrainment, it becomes a curse to understand. As an artist, unfortunately, I never dare to face the bloody reality or bring it to the surface in my work. I always choose a cartoonish and figurative way to present my observations and reflections; but still, the ultimate goal is to communicate with the viewers by creating a shared experience based on awareness and compassion.

• Declare of Intent

I created the original story of SISENEG in response to my observation of how modern society finds loss dreadful since consumerism and social media keep urging us to accumulate more possessions. Paradoxically, these pursuits yield a loss for humanity—a degradation of nature and a detachment from genuine human connections. I aspire to stir contemplation among individuals regarding the essence of loss and the values worth cherishing in our present life.
SISENEG as a narrative short film essentially still falls into the category of entertainment. However, its visuals and storytelling will be critically examined during the making by the idea of ‘metamodernism’, a cultural idea that reflects the oscillation between opposed concepts of modernism and post-modernism. Defined by "Notes on Metamodernism", metamodernist storytelling ‘oscillates between a modern enthusiasm and a postmodern irony, between hope and melancholy, between naïveté and knowingness, empathy and apathy, unity and plurality, totality and fragmentation, purity and ambiguity.’
The world of SISENEG is a fictional post-apocalyptic world, yet my intention is not to create a despairing dystopian scenario or a heroic world-saving story. My objective for the project is to create impactful visuals that will stir up emotions in the audience during the experience, especially through creating illustration-like and immersive environments that fit with this apocalypse world where two children live, innocent but cruel at the same time. And through loss and melancholy, the audience may still find hope and comfort.