Designer, director, photographer, artist. Which one do you prefer over the others? Is there any link between these four professions in your works?
I have been involved in commissioned works as a: graphic designer, advertising art director, advertising film director, brand consultant, photographer, television commercial film director, space designer, and men’s clothing designer. Personally, I have been involved in contemporary art (photography, installation, etc.). None of these titles tops the others. Different roles and mediums allow different forms of communication, interaction and dialogue.
I often cross mediums to maximize the communication. For example, in the Time will Tell project, my personal mission was to introduce Wang’s dedication in his creative life (it took him 25 years to complete a book) to inspire the new Chinese generation. So I sold that concept to a clothing brand and began making a collection based on his handwriting as visuals. This was launched into production, exhibited, and a promotional video was made for Internet channels to push Wang’s attitude.
I met you in the AGI congress with your famous black-rim glasses. Why do you have two identical glasses? Which ones were you wearing back then?
One pair is for Stanley Wong and one is for Anothermountainman, although they are on the same physical body — I consider they are two different people with two different lives.
Please tell me about 84000communications. How was this company established?
I started as a graphic designer in 1980 and then moved into advertising from 1985 to 1999. I started my TV production house in 2000. Since then many clients (including cultural organizations and friends) have asked me to look into their brands, so I formally named my company. 84000 has ancient Indian Buddhist significance, meaning infinity. We provide marketing solutions for cultural projects, commercial and corporate clients, both in Hong Kong and on the mainland.
How have the socioeconomic transformations in China within the two decades and the independence of Hong Kong influenced the development of design?
As we all know, China has economically crazily grown in the last two decades. I was lucky to play a part in local brands (Exception (clothing company), Fang Suo commune (cultural lifestyle retailers) and Upperhills (property investment)) since 2000. I saw the country moving towards materialism and bias, following Western trends. It became very one sided and fell out of balance. Luckily, I tried very hard to convince the brands I worked with to push their values against the mainstream.
In what ways has more than three decades of collaboration as creativity director with advertising Agencies in Hong Kong and Singapore in an international scope affected your designs?
Within the advertising world, all messages you push and deliver have to be clear and carefully calculated to the consumers’ reactions. When I am doing personal works (people call this ‘art’), I am unlike some contemporary artists who present their work abstract ways. I do it in a simple, direct manner and tone. Experience with international perspectives and cultural differences have definitely helped me to consider seriously: “Where is my heart? Where are my roots?”
Why does Katsumi Asaba call you “A stranger visitor from the future”? Does it have anything to do with your playing Ping-Pong with him on an oversized table?
I did not dare to ask him directly. But I guess this is what he means: Stanley’s designs and messages are always different from others. His approaches are ahead of social relevance and phenomenon.
How have Zen, Buddhism, culture, and tradition unconsciously influenced your work? Am I right about their impact?
Hugely. I learned and became Buddhist in 2003. I never planned it, but many works come out along the Buddhist direction (for example: impermanent, live now, from the beginning, there is no matter, heaven on earth, painting by god, and form and emptiness).
Emptiness plays a major role in the "ingenuity. nature" poster. Why did you recreate it with the participation of the visitors?
I used the common Chinese daily activity of water calligraphy, which people do on weekends in public parks for exercise. Since this activity comes and goes, happens and disappears, I use this concept to tie in with a famous Buddhism ‘Heart Sutra’ message in my video work. It is about existence and non-existence, realness and illusion, and the meaning of truth (if any)?
I translated this concept into a poster series with a special cloth which is meant for practicing and learning Chinese calligraphy. Water comes, water goes. It looks like ink, but it is water — water in black? After all, the inspiration after interaction is meant to be: We should not absolute sure, or, what you think is real when you see it or you feel it.
Anothermountainman is your pseudonym. What does it mean? Where does it come from?
I named myself ‘another-mountain-man’ after a legendary and influential painter and calligrapher in between the Ming and Qing dynasty. His name in translation is “Eight-great-mountain-man.” He was from the Ming royal family, escaped from Wing’s massacre, and hid himself in a temple for 16 years. His works have a unique aesthetic style and carry his emotion towards society and the Buddhism message.
I have two main focuses in my personal work. First, people and society in harmony e.g. “redwhiteblue” for a positive Hong Kong. Second, Buddhism and life values.
When people called me artist, I’d rather describe myself as a social worker (the works reflect social contexts). I am also a missionary, although I am not a monk or a Catholic father.
Which conditions have led to the creation of the Superwoman poster with Mother Teresa’s quotation written on it: “Yesterday is gone, tomorrow has not yet come. We have only today, let us begin.”?
When I was briefed to create a series of posters on the title ‘super woman’, I focused on four women who inspired me most: a famous Chinese writer, my mother, out of the box fashion designer from Japan, and of course Mother Teresa, for her devotion on compassion in life.
The quote I highlighted of hers I totally believed. In fact, very close to a Buddhism saying: “Live now.”
Could you explain the redwhiteblue social series, which was displayed in 2005 Venice Biennial, and talk about its origins?
It is about face to face communication when going to a tea house with family in response to modern city lifestyle. People are becoming isolated in their computer worlds. It also implies the social-political situation in Hong Kong. People don’t trust each other or communicate to others face to face.
The “Lanwei” (decaying end) project was exhibited in most of the cities of China during several decades. Why has it achieved such success?
I was invited to show this in many cities in China as well as Japan, Germany, Singapore, England, Korea and Canada. I guess people nowadays are interested to see topics on social phenomenon issues.
Who is the most influential figure in your professional life?
The twelve creative masters from Japan, who I saluted in a show last year by creating a box of 12 books.
Thank you Stanley.
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