Interview with Lensa Seni (Cendana)
For the first time, we were on the opposite side of the interview table! A weird feeling but welcoming one nevertheless. We'd like to thank Lu Yin for giving WK the opportunity to sift our thoughts on why we do what we do. Anyway, here's what we wrote back to Lu Yin upon receiving the questions via email. You may also read the published interview by Lu Yin here.
1.How did the Warenakita Collaborative come about? How has its goals, focus or strategies changed over the months?
BQ: Nisa and I created Warena Collaborative (WK) to give a name to our collaboration in 2020.
Our first collaboration documents the natural pigments we used in our practice of ceramic and printmaking. Hence the old Malay name âWarenakitaâ which means âwarna kitaâ or âour coloursâ.
Our goals have always been to share our/other creative journeys, findings and resources with those that can benefit from it. WK focus has always been about craft, design and natural philosophy (natural science or study of nature). Our strategies? Always adapting with the tides of interest, resources and (economical) platforms. We get bored easily so itâs very important to have fun and enjoy the things we do here or change it up to make it anew.
2.You focus on the crafts of work that are made from natural environment. Also, you combine arts and science together to address issues that matter such as climate change. Through this project, why is it important to address these topics?
NN: Balqis and I are both practicing very different crafts, Balqis with sun printing and myself doing ceramics. However what we share and feel strongly about in both our practices is the appreciation of nature; the beauty and wisdom that nature offers. While working with elements of nature, we canât help but re-examining our understanding and perception of the world around us, questioning the world view or the Weltanschauung. Oftentimes, we find that the ways we live our life are not aligned with the natural order of things, which consequently generate undesirable effects. We have become so used to the âunnaturalâ way of life because it is deeply embedded within the fabric of society, local and global scale at large. We were never intentionally trying to fight for environmental causes such as climate change but by immersing ourselves in the natural world we cannot help but be aware of the issues surrounding it. We start realizing that the world and everything in it is much more intertwined and connected than we ever give much thought of. Everything that we do, some ways or another will have its consequences, be it positive or negative on our surroundings. Thatâs what we hope to share with our audiences as well, the intricacies and complexities of our world, that we are very much connected and dependant on each other. To put it simply, we are a part of nature.
3.How did the both of you meet? What are your individual entry points or reasons to working on this project and these themes?
BQ: We both first met at a mutual friendâs exhibition in Zhongshan Building, two wall flowers fending for themselves. As two in-silo makers, we both voiced the lack of financial and resources to support young practitioners. A lot of (online) check-ins, sharing our insights and figuring out ways to move forward together. Basically being a good cheerleader to one another. On a plus side, we both compliment things we lacked in each other. Nisa is quiet but she has a powerful observation that packs a punch and perhaps on my side, I contribute through my love for order and planning. Empowered from our collaboration, we want to support other alternative practitioners too . By giving them this platform (Alternatif Sundays), a safe space to share, inspire and garner potential collaborators from other disciplines.
4.Could you explain the creative process behind working on Warenakita Collaborative, from selecting the participants to supporting their projects?
NN: At the moment, we are running a project called Alternatif Sunday under the banner of WarenaKita Collaborative where we highlight stories of great interest and importance which are aligned with the intention of WarenaKita. We begin by identifying potential individuals, groups or projects to be highlighted. Once Balqis and I agree on them, we will have a brainstorming session with the invited guest(s)/collaborator(s) where we get to know more about them personally and also their works. After the brainstorming, we will start to formulate and prepare for the interview session which is the culmination of the collaborative efforts. After the interview, we will move on to the editing and curating before we release the content. We are still new at this, so it has been pretty much a lot of trial and error, exploring different ways and platforms that we can best utilize to create the most beneficial outcome. Weâve been utilizing a lot of the online platforms, as a response to the current situation we are in. We are still in that process of learning, exploring and growing alongside our guest(s)/collaborator(s) and we are extremely grateful that they have been so supportive throughout the entire process.
5.What are the criteria when selecting the participants to support them?
BQ: Local practitioner(s) that works in silo (solo, isolated or works in niched practices) in the field of craft, design or science. We want to highlight those research and practices working in the interjection of culture, tradition, history, ecology & scientific knowledge. Many creatives benefit from multi-disciplinary backgrounds and collaboration so we want to show and highlight that as much as possible so we can encourage an ecosystem of practitioners. One that can help each other and drive on healthy collaboration and competition.
6.What were the challenges you faced in this project? How did you overcome them?
NN: One of the major challenges would be balancing between the commitment for WarenaKita and our own practices and works. WarenaKita came to be as a passion project for both Balqis and I, meaning that we are investing our own time and effort into this while still running our own creative practices and businesses, as well as working other jobs. So we have to adjust the amount of commitment that we can give to WarenaKita depending on our availability and capacity. For now, we are in the middle of recruiting more people to get on board and be part of the team as well as building up our portfolio to apply for funds and grants to ensure long term sustainability of the initiative.
7.From the episodes in the first IGTV series, which story impacts you the most and why?
BQ: Each individual's story impacts us in one way or another. But on a personal level, Afiq and Shu's âThe Last Glowâ collaboration has challenged my worldview with its message. I can't unsee the damage we have done to our ocean nor its inhabitants. Ignorance is not a bliss. Last but not least, Huda & Dr Azril's sharing in âThe Darkroom Practitionersâ- based on a mutual love for slow craft and traditional image-making. Just talking and listening to both of them gives me so much hope and courage to persevere in my own journey. I can't emphasise how important it is to listen and share our own creative journey with others in order to relieve and empower each other. We need to practice more empathy and solidarity.
8.What exciting episode in your upcoming series we will be looking forward to?
NN: We do have a number of guest(s)/collaborator(s) in our mind, from diverse backgrounds and places. Among them are an artist-curator, a Singaporean writer, paper artisan, furniture designer, art teacher and many more. We are always on the lookout for potential guest(s)/collaborator(s) so the list will grow as we go along.
9.Since the pandemic, people in the art industry have shifted gears to incorporate technology such as showcasing exhibitions on social media and websites and running online discussions via Zoom and Google Meet. For your case, how do you transcend your art with technology? How has technology benefited or hindered you in the creative process?
BQ: With practitioners that use their hand, traditional tools and variety of materials or components for making, the physical and tactile experience with their work and clients are still superior over online presence. However, we don't deny the limitations we faced today with the inability to meet or travel as freely we did before.
Social media and websites helped to boost our business presence whereas online discussion via Zoom & Google Meet allow the best of face-to-face, real-time conversation with audience or potential clients during this pandemic. With the right strategy, technology can assist hands-on practitioners to cast a wider net of clienteles and sustain their business in these hard times.
But personally, for small practices, it's a double edge sword. For instance, too much social media and time spent online takes away the spirit and time for creation and exploration. We as practitioners need to be in full presence, in the physical field or consciousness to develop our craft. Each practitioner needs to find their own balance in order to avoid tech anxiety which Nisa and I personally faced from time to time. No doubt about that.
10.What are your opinions about the craft industry adapting to modern aspects (such as science and technology) in Malaysia?
NN: Craft originally has never been separated from science and technology. Take ceramics for example, the craftsmen need to have a good understanding of the clay material and other minerals, which involve to some extent geological and chemistry knowledge. They need to know how to control and predict the firing, which requires extensive experimentations and a whole lot of trials and errors to be developed. Itâs just that the knowledge was never formalized in writings and books but was passed down from generations through verbal communication. Craft was not something trivial, but accompanied with long time dedication and commitment to knowledge and learning. However today it feels like most of our crafts have lost that meaningful tradition and perhaps that could be one of the reasons why the general perception of craft is rather shallow and reductive. I hope we can revive that tradition again, that craft should be practiced alongside the pursuit of knowledge. Thatâs how we can bring meaning and value back into our craft practices.
11.In 5 years, what do you hope to see in the Malaysian craft scene?
BQ: I hope for the craft scene in the coming years to be more embolden to make our tradition relevant to the younger generation, to thrive together in a symbiotic ecosystem not based on driving away competition but rather on support and encouragement for one another. To not just celebrate the objects, art or tradition but also the very people, community and individual that is the 'heart' of the craft.
Today we see a lot of young craft practitioners are starting out and they are looking for the meanings and values to their particular crafts, us included. I hope to see more meaningful exploration of craft that is accompanied with the pursuit of knowledge, wherever the knowledge can come from; be it from nature, the wisdom of the past or the modern technological advancement and research. There is so much value and lesson in craft that we take for granted or are not aware of, and I hope to spread the joy and appreciation for craft, for simple things in life. Naturally, the preservation and appreciation of craft will continue on as we see more practitioners are dedicating their passion and commitment and most importantly, love into the craft that they are producing. People will notice, and they will become appreciative. Itâs also important to see more of such stories being told out there so that the voices of the craftspeople, researchers and thinkers can be amplified to reach a wider public. There is strength in numbers, so I also hope to see more craft communities emerge where ideas and knowledge can be shared and discussed actively.
Check out the published article in Cendana website here.
