Why did you not pursue more traditional art disciplines like your parents?

My parents taught in the art school, so naturally I studied at that school. I think I saw too much calligraphy, Chinese painting, sculpture. I never had an interest in trying these traditional disciplines.

After China’s open-door policy, all these moving images, films, pop culture arrived. I naturally wanted to use the digital camera to express myself.

Can you talk about the 2006 film you made in the light bulb factory?

It was the first time I accepted a corporate project from a brand. The fact that I could use their right of access to the factory attracted me. I knew that, normally, it wasn’t easy to get permission to go to the factory. Also, I was concerned about all the news reports about workers in the Pearl River Delta. I thought it was the right time to really look at this myself. I decided to spend half a year there.

It took an hour from my studio to the factory, so I went there two or three times a week. The Chinese managers were not really happy, because I spent too much time in the factory.

Did you find it sad watching the workers?

I think it’s a complicated feeling. They’re happy and also they are sad. Like the lady doing the peacock dance in the factory. We still keep in touch. She’s become a very successful businesswoman in the south, and is not in the factory anymore.

But as an artist, do you see factory life and the Chinese industrial miracle as something of a human nightmare?