How do you ensure your artistic independence when working on a commission like the one with Pernod Ricard?
In all my projects and collaborations with companies or museums, independence is the most important thing to me. I am a very open-minded artist, so when I do these kinds of collaborations it also feeds me as an artist. When I started working as an artist, I was doing self-portraits, flying in the air. Progressively, I started asking other people to share this experience of flying, to feel the sensation of freedom with their body. This shared experience is very inspiring.
What does flying symbolize for you?
As children, everyone has a dream to fly like a bird. Freedom of your body is important, but freedom of mind is perhaps even more important.
To viewers, your work seems almost magical. Do you consult experts to help you realize your ideas for photos?
When I’m shooting, I have a team of friends who help me, who have been working with me for a long time. As we use cranes and harnesses [to hoist people into the air], we work with specialists, many of whom work in cinema.
Are people sometimes afraid to “fly” with you?
Yes! While photographing this campaign for Pernod Ricard, one of the employees was initially very scared, saying she was afraid of heights, that she couldn’t do it. But when she saw the others in the air, she saw how much fun they were having in trying different movements. Eventually, she dared to give it a go. Up in the air, she suddenly felt the weight of gravity had disappeared, she felt the freedom in her body. And actually, she was even more relaxed than some of the others. That was a very rewarding experience.
Can you tell us a bit more about the relationship that develops between you and the people you photograph?
One of my artistic concepts is based on this rich, rewarding relationship. When I start, of course I have an idea in mind of what the picture should look like, in what positions I would like the people to be in, but I really enjoy watching them figure that out by themselves. To discover how they feel comfortable. I often say to the people I’m shooting that I want them to express their love towards society, to feel free to really express that joy of flying.
Is that what motivates you as an artist?
My earlier works, before 2009, addressed problems within society. But I changed my point of view — I want to see the world through a humanistic lens. I believe love, life and my art should all be combined. At the start of my career, I wanted to change society. But I have realized that giving love to society, by trying to share this feeling with others, is a much more efficient way of bringing about change.
We have the impression that there isn’t a bigger movement among Chinese artists that are well loved in the West, but that each artist carves out his career individually. Is there some connection or community among Chinese artists?
Definitely. Chinese artists often collaborate, hold collective exhibitions, and there is a real community where everyone knows one another. Before, we used to talk a lot about what art is, and how to express our art. Sometimes, it is just friends spending time together.
What’s next for you?
I have started working on a new series, which will be around the theme of love and the evolution of relationships. It will be quite different from my previous work, as it will involve both photography and film. Each picture will be filmed for one minute, and then combined to make a film.
The Absolut company, Ahus, Suède/Sweden, © Li Wei for Pernod Ricard
Martel - Mumm - Perrier-Jouët, Moulin de Vernezay, France, © Li Wei for Pernod Ricard
