Interview – Shuilam Wong of Hole in the Wall – iFLY! (¿Mosca?) event – 23 November

Interview – Shuilam Wong of Hole in the Wall – iFLY! event.

Firstly, can you give the reader a bit of your artist background as well as organizations you are involved in in Beijing’s art scene?


Sure! I’m an illustrator, visual artist and designer currently based in Beijing. I studied illustration as a bachelor degree in London but didn’t really practice art until three years ago, which is when I moved back to Beijing. Since then I’ve been involved in various art projects, including illustrations, murals, workshops, markets and drawing events. I’m currently running a creative collective called HOLE IN THE WALL, which started out as a zine about the underground culture and has now grown to a platform for creative events.

How would you describe your style(s) of art? What methods do you use and what do you normally use as subjects? Do you have common themes in your work?


My style tends to be quite loose and bold, using strong thick brush strokes and bright vivid colours. I virtually always use an ink brush pen because I like to draw on the go and have less control of my lines. During live performances, I use an iPad and an app called Tagtool, which allows me to draw and animate in real time. Though the complete opposite to a traditional brush, I still draw in a free and loose way, quickly creating whatever that comes into my mind.

When I draw from observation, my subjects are usually people I see at bars, cafes, and live shows. Whereas when I draw from imagination, they tend to be cute sleepy creatures trying to look fierce, like bears, cats, monsters and astronauts. I suppose an overall theme in my work is the simple, almost abstract depiction of characters. Be it people I see in real life, or things from the depths of my mind.


What is the ultimate feeling that your work gives you? In what ways does it influence or move you?


This may sound cheesy but I suppose it gives me a sense of freedom and fulfilment. Whenever I’m out and see someone interesting, I have the need to capture that person. Whenever I listen to music that is moving, I have the need to convey those emotions. So when I draw, I feel like I’m releasing the desire to express and create. My work influences me to be active and constantly look for inspiration.

Do you have any expectations toward your performance with ambient solo musician Solent?


I’m really excited to collaborate with Solent! I watched his show at Fruityspace a few months back and was really moved by his performance. His ambient music is slow-burning and immersive, which I can already imagine stimulating some emotions I’d want to express during our performance this Saturday night. Expect abstract shapes, lines and characters moving gradually to the music.

Can you recommend some of your favorite artists that have impacted your work? Anyone who constantly inspires you and keeps feeding you new ideas?


The artists who have hugely impacted my work are mainly the illustrators I met or discovered during my art school years in London: Jim Stoten, Lucinda Rogers, Tim King and Jean Julien. Jim Stoten was my first year tutor who shamed me out of drawing from photographs and into exercising the imagination. Lucinda Rogers was a visiting artist who introduced me to the practice of recording people and places through direct observational drawings.

The people who currently inspire me are actually within the Beijing underground art scene, such as those behind nugget records, Shining Dimensions, Loreli, Spittoon and Hutong Art Fest. They are active in the community and constantly creating new things, which in turn makes me want to do more.

Interview – Solent – iFLY! (¿Mosca?) Event – 23 November

Interview – Solent “iFly event”.

1. Can you give the reader a little bit of your musical background (bands, side projects, labels, etc…)?

I’ve been playing in bands and other projects for about 15+ years. Most of that time I’ve been based in Beijing, ever since I arrived here as a university student. Way back when, during my second year of uni I played bass for a local Chinese indie pop band called Candy Monster, which was my first exposure to the Chinese underground. It was really fun sharing stages like D22, Yugong Yishan, 2 Kollegas, etc. with up and coming acts like The Gar, Steely Heart, Guai Li, and a bunch of other groups that have gone on to do cool things. Through that experience I was really sold on the energy of the Chinese underground. Over the following years I performed with a rolodex of rock bands such as Yantiao, Luvplastik, Death Narcissist, and personal side projects that leaned more towards loops and electronica (which come to think of it were primarily collaborations with Noise Arcade, such as D.C Bros and Comp Collider). I think the ability to keep music interesting and maintain an exploratory frame of mind is really important.

2. How would you describe your sound without using the typical genre labeling? Ambient, Psychedelic, Drone…well Drone is kinda straight forward, but don’t these genres get a little too vague? What is Solent’s sound in your own words?

I’ve only been doing Solent for a year or so. I think at this point there still lots of different ideas towards how to play live and approach making the music. So far the music has been beat-less, and guitar/synth driven, but I think there’s a lot of space to use more sample based sounds and “found sounds”, whilst the guitars/synths accent the remaining space. I’m the kind of person who gets bored easily, so I try to avoid thinking of a specific sound to focus on, but rather something which can continue being reinterpreted and reformed.

3. In your latest album Digital Naturism, there is a clear sense of delay, synth, looping and layering along with mini percussion spots and other cool stuff mixed with recordings of nature. How does the Digital blend or combine with the Nature? What were you communicating with those two?

To be honest, the idea behind those pieces was to convey the paradox which exists between the roles of nature and technology in modern mega cities such as Beijing. I didn’t want to actively communicate anything though the music though. Rather, the songs are intended to be a blank canvas for the listener to attach their own ideas to.

4. Do you have any expectations for your upcoming performance alongside Shuilam Wong? Have you got a chance to view her work and do you have any ideas for the collaboration?

Shuilam Wong is a favorite artist of mine, so I’m really excited to perform alongside her! I heard Noise Arcade is going for a doomy drone set, so I’m going to go the opposite way and make pretty washes of sound for my set. I think it will fit nicely with what she’s doing.

5. What are some bands/musicians/singers that help you in your writing process? Do you have anyone that gets your juices running, whether in music or any other art?

I usually try to clear out my mind before writing/recording music, but there are certainly some musicians and artists that really inspire me. I have a book of soviet era propoganda posters/cartoons which I picked up in London, and that’s something I find really interesting to reflect on at the moment. As for listening to music, at work I usually put on a mishmash of ambient electronica, latin jazz, world music, instrumental hip hop, punk rock, whatever feels good in the moment. I always appreciate when friends throw me reccomendations of something new that I haven’t heard.

Next Beijing Underground Event “iFLY! (¿Mosca?)”, 23 November at Soï Baochao !

iFLY! (¿Mosca?) is a meeting of audio and visual artists from around Beijing. We gather as the year winds down to deliver an experience of sound and vision before we nestle into the rot of dead things. Feel the noise what penetrates the form what penetrates the noise. DNA exonerations show that witness testimony is unreliable; so, sway through the psychic tension of Apollonian and Dionysian forces as you question the primacy of your senses and make new friends. Tasteful nudity permitted.

Noise Arcade is a solo, live electronic project that is based in Beijing. Over the past several years, Noise Arcade has toured China, South Korea, Japan, Indonesia, Malaysia, Singapore, Germany, and The Netherlands. In addition to touring, Noise Arcade has released a series of albums for several different labels including Nasty Wizard Recordings, Metaphysical Circuits, Heavy Lark, and Metal Postcard. The album called ‘Selective Memory’ recorded for Huashan Records based in Shanghai was selected by Smart Shanghai as one of the best albums for 2014.

Noise Arcade 是一个现居北京的单人现场即兴电子计划。过去四年来Noise Arcade把中国,南韩,日本,印度尼西亚,马来西亚,新加坡,德国和荷兰都巡回了一遍。除了巡演之外,Noise Arcade还在一堆不同的厂牌下发行了一堆风格各异的专辑,包括了Nasty Wizard Recordings, 还有此前在丹麦的Metaphysical Circuits 厂牌发行了几张专辑,也在美国的Heavy Lark厂牌发行的专辑Burning Bridges。而在上海的Huashan Records厂牌下发行的专辑 ‘Selective Memory’ 更被Smart Shanghai 选为2014年的最佳专辑之一。


Chandoso is a street dog.


聚变流行音乐经验 / A fusion pop music experience


Ophélie is a French singer-songwriter. She first learned lyrical singing as a teenager before she became strongly influenced by neo-soul and experimental artists like Erykah Badu and Bjork. After years of jamming on the vibrant Pekinese scene, she now makes her debut with her own chill-out tunes.


As a French national in China, Ophélie owes a lot to the Beijing’s underground music scene. Indeed, for the past few years, she has biked across the hutongs, sneaking into venues with a broad music spectrum – spanning math rock to electro punk or experimental noise. It’s here, in the fertile nest of this megacity, that Ophélie has synthesized a variety of sounds and experiences, giving her rich material to put everyday life’s stories into music.

Nina Dillenz 毕业于维也纳大学,攻读戏剧和电影研究硕士,目前在北京奥地利大使馆文化处工作。近期的艺术项目包括为德国画家Crow的视觉表演“释放”做视觉设计,参与Anthony Tao(书写)和Liane Halton(音乐)为北京书虫文学节2019创作的”The Last Tribe on Earth”视觉效果项目,与诗人Sara F. Costa一起为Spittoon 创作的“Subway Stops”项目,参与了灯笼俱乐部双月音乐活动Blackout以及若干北京乐队活动演出。她的视觉作品的特点是抽象图案的堆叠,组合,重构,使用的素材镜头的灵感来源于自然中。她曾在蓬蒿剧院担任戏剧创作,为戏本朗读《水与火》设计舞台投影与布景。她在红门画廊(Red Gate Gallery)和凹凸空间(Aotu Space)进行了了两次视频装置表演。与Gregorio Soravito.一同合作导演了后摇乐队Macondo的音乐录像带‘镜之城’。她的文艺作品出现在Spittoon与Shaving in the Dark杂志上。她的摄影作品在Supchina上刊登,以及她的动态影像作品系列在2019戈壁天堂音乐节上进行了展览。

Nina Dillenz graduated with a Master of Arts from the University of Vienna in Theatre and Film Studies. Recent artistic projects include creating visuals for German painter Crow’s performance “Unleashed”, “The Last Tribe on Earth” by Anthony Tao (writing) and Liane Halton (music) for the Beijing Bookworm Literary Festival 2019, “Subway Stops” with poet Sara F. Costa for Spittoon, for bimonthly techno event Blackout at Lantern Club Beijing and several Beijing-based bands. Her visuals are characterized by layers of abstract, stock and found footage interspersed with elements from nature. She has been the dramaturg and designed stage projections for scenic reading “Fire and Water” at Penghao Theatre. She directed two performative video installations at Red Gate Gallery and Aotu Studio, and co-directed “City of Mirrors”, a music video for post rock band Macondo together with Gregorio Soravito. Her writing has appeared on Spittoon and Shaving in the Dark.

Her analogue photography has been featured on Supchina and her “Animated Analogues” series was exhibited at the first edition of the Gobi Heaven Festival in August 2019.

Solent is a British multi-instrumentalist based in the neo-capitalist urban sprawl of Beijing, China since 2008. Synthetic loops, samples and field recordings form the foundation of tracks, ideas which have been extracted from ambient, psychedelic, new age and drone. Solent has collaborated with a variety of platforms including labels such as Jingweir and Slow Pulse, Spittunes and the Bookworm Literary Festival, as well as taking part in performances curated by Impromptu including the inaugural “Yichang at Home” event.

Solent是一位来自英国的多乐器音乐人,自2008年以来在中国北京。音乐作品基于合成环、采样和田野录音,包含环境、迷幻、新时代和drone音乐的元素。Solent曾与很多不同平台合作,包括京味儿唱牌、Slow Pulse唱牌、Spittunes组织和“书虫文学节”等,以及Impromptu组下的首届“一场在家”活动。

Shuilam Wong (a.k.a Shui) is a wandering creative. Raised in Japan, Hong Kong, Singapore and Beijing, she has the innate need to observe and record her surroundings. She studied illustration at the Camberwell College of Art in London, where she developed her minimalistic and graphic style. Experimenting across various medium, her body of work include print, digital and moving images. Inspired by Beijing’s youth culture, she currently runs HOLE IN THE WALL, a collective that documents the underground scene through illustrations, zines and collaborative events.

Shuilam Wong 是一个平面及插画艺术家。日本、香港、新加坡、和北京几个城市的长大经历培养了她对于观察和记录自己的环境有着与生俱来的追求。她毕业于伦敦的坎伯韦尔艺术学院,并在那里建立了自己极简又带有设计感的风格。Shui以人像为主,以写生的方式,使用快速、粗糙、简单的毛笔笔触去捕捉对象的神情。她的作品会通过不一样的艺术媒介来呈现,其中包含印刷、数码、及动画。由北京的青年文化启发,Shui现在正在运营HOLE IN THE WALL,一个通过绘画、zines、还有现场活动来记录地下文化的合作社。
instagram: @shuiwong








Li ErYang

Psychedelic Truth
Experiment Love

网易云音乐(NetEase cloud music):尔杨
微信公众号(WeChat Official Account):尔杨

Christo (pronounced like the “Cree” in “Cree Indian” and “Stow,” a city in northeastern Ohio, population: 34,837) is a mixed mixed-media artist. His oeuvre includes a series chronicling the suffering of birth titled “Pain-tings” and his self-acclaimed “Poor Traits” series, which captures the worst qualities of poverty in snapshots. John Ruskin, the famed critic, said of Christo’s work, “These drawings . . . boy, these are some drawings.”

“生在苏杭 葬于北邙”
身处京城 望向北邙
关于古今 关于荣名 关于生死
身处北邙 回望京城 在脑海中翻腾着的 是什么呢
乐队每位成员 都在为自己的学业和事业奔忙
在百忙之中 回望京城 车水马龙 云烟聚散
那些混沌 莫名 左冲右突的情绪与滋味