Transcript: Wong Ping 'Animating the Absurd'
Wong Ping: Animating the Absurd
(Original language: Cantonese)
WONG PING: I’m not that interested in animation, actually. I seldom watch animation movies. It’s just that animation is a means for me to express everything inside my head.
My work is a reflection of the state of Hong Kong as I create it. An Emo Nose is an example. The paradox of Hong Kong is its intensity, I think. I’m ambivalent about it. This intensive style of life is convenient and kind of warm. But it also impedes daily life. Even though I’m alone while I create, the city is very dense. So when I go out into the crowded streets, I still feel very warm.
Most of my work, actually—maybe 60 percent is about how I’m feeling at the time, or about Hong Kong’s political environment or the living-space situation. So my work is very connected with Hong Kong.
When I was producing Under the Lion Crotch, many of my friends told me to emigrate. Back then, when they encouraged me to leave, I didn’t know how to react. I didn’t leave. At the time I thought I was weak and cowardly. When I recently made The Other Side, after seeing all the change over the years, I realised it’s the same all over the world. It’s equally bad, actually.
Pessimistically, I think: maybe you can’t escape wherever you go, or the world is how it is. So when I look back I wonder, ‘Isn’t my own burden what matters most’? I think this brings me back to the first day I felt like expressing myself through writing or painting. It was with that sense of unease that I wrote my first article, and I’ve been [expressing myself like this] ever since.
There are mainstream singer-songwriters who say, ‘I have to stay in a state of lovelornness to create.’ I think Hong Kong keeps me in this constant state of lovelornness.