Artist based in Surrey, United Kingdom

Tell us about yourself, what's your background?

My name is Xie Rong, also known as Echo Morgan. I hail from Chengdu, where the playful pandas roam free. But my childhood was far from carefree, for I was born into an era of rapid change and turbulent development in China. Yet amidst the chaos, I discovered the transformative power of art. It taught me how to see the world through a different lens, to feel deeply, to express myself authentically, and to thrive in the face of adversity.

At the tender age of seven, I began to learn the art of calligraphy and traditional Chinese painting. And by eleven, I was already venturing into the realm of western art and observation drawing. Despite the limitations of the Soviet-style art education system in China during the 1990s, art was my refuge, my sanctuary of beauty and hope. And it was at a high school that specialised in art and design in Chongqing where my love for art truly blossomed and flourished.

"For me, art is more than just a medium of self-expression, it is a way of life. It has been my guiding light and my anchor in the storms of life. And through my art, I hope to inspire others to find their own voice, to create their own path, and to live life to the fullest."

What are you currently working on and where did the inspiration for it come from?

Currently, I am immersed in a new performance that builds on a body of work that I have been developing with my partner, Jamie Baker, for the past 12 years. Our Performative Body series has taken us to diverse locations, from the stunning Jeju Island in South Korea to an abandoned quarry in Snowdonia, as well as museum commissions and studio settings, with live audiences.

For this latest performance, I am drawing inspiration from our past works, seeking to expand upon the themes and ideas that have been most meaningful to me. In particular, I am exploring the intersection between the physical body and the mind, explores the concept of the body as a political and cultural canvas, using body painting, video projection, live spoken words, and action painting to create a multi-sensory experience for the audience.

The inspiration for this work comes from my deep fascination with the human body, its resilience, and its capacity for transformation. Through our Performative Body series, I have had the opportunity to explore the limits of my own body, to push past my boundaries, and to connect with others on a primal level. And it is this sense of connection, of shared humanity, that I hope to convey in my latest performance.

Innovation does not only happen in the field of technology — it occurs everyday in a creative practice. What do you do for inspiration?

For me, inspiration comes from a variety of sources. As a mother, I draw a great deal of inspiration from my children's curiosity and honesty. Watching them explore the world with such wonder and enthusiasm constantly reminds me to keep an open mind and to approach my own work with a sense of playfulness and experimentation.

As an activist, I am constantly inspired by the bravery and sensitivity of those who are fighting for a more just and equitable world. Their tireless work and unwavering dedication serve as a reminder of the power of collective action and the importance of standing up for what we believe in.

Nature also plays a significant role in inspiring me. The magical earth, water, and plants always give and help each other to thrive, and this reminds me of the interconnectedness of all things. The beauty and complexity of the natural world also provide a never-ending source of inspiration for my art practice.

Teaching is another important source of inspiration for me. As a part-time lecturer for several UK universities and Chinese ones online, I learn from my colleagues and students every day. Their perspectives and experiences constantly challenge me to think differently and to approach my work in new and exciting ways.

Describe your practice and process. Where do ideas start for you? In the studio or being in the world?

As an artist, my practice and process are constantly in flux and restless. I find inspiration in the intersection between cultures, the relationship between violence and vulnerability, and the impact of these antipodal constructs on the body and self. My ideas come from encounters, voices, texts, images, and objects from my culture roots in China and my daily life in the UK.

For me, ideas do not just originate in the studio, but also through being in the world, through my experiences and interactions. My work is deeply rooted in my family history and individual memory, which are embodied within China’s complex society. I explore the passage between gesture, body, and voice, and the shift from Chinese into English and back again.

I often invite the viewer to participate in my work, drawing on their emotional vulnerability and feelings of uneasiness to complete the performance as a whole. Through live performance and painting, I explore the territory between gesture and stillness, between my past and present, between abstract mark making and personal storytelling, and between public space and intimate privacy.

My identity and difficult childhood are a constant source of exploration, and I play with this juxtaposition by integrating English narration with Chinese traditional songs. Through my practice, I hope to create a symbiotic relationship between my emotions and the audiences', based on control and power.

How do you make your work, does it start with a sketch?

My creative process is fluid and intuitive, often starting with a note, location, theme, or something that has deeply moved or troubled me. My art and life are parallel, and I strive to stay true to myself by letting real-life events and emotions guide me.

My style is characterized by rawness and emotional intensity. I work within a non-dualist aesthetic, where the intersection of concept and beauty encounters the rawness of harsh reality. Through my work, I aim to create a singular and poetic expression that reflects the interplay between willpower and vulnerability. I often appropriate contemporary stereotypes of Chineseness and tropes of Chinoiserie and femininity, subverting and challenging them by using unconventional materials such as lipstick, breast milk, and clay to draw and write on my skin.

Drawing from my personal experiences of childhood, family, marriage, and motherhood, as well as those of my female ancestors, I juxtapose English narration with Chinese traditional folk songs to explore my complex hybrid identity. Through my work, I navigate the territory of translation: between two languages, between gesture and stillness, between my Chinese past and English present, and between live performance and post-production.

Do you have your own studio ritual? What does that look like for you?

As a mother of two young boys, time is a precious commodity for me, and my studio practice is often dictated by the need to be efficient and flexible. I don't have a set routine or a dedicated studio space, but I am constantly planning and working hard on commissions wherever I am.

However, I do dream of having a studio space in the future where I can fully explore my ideas in various multimedia practices such as ceramics, tapestry, oil painting, and sculpture. I believe that having more time and space would allow me to expand my creative horizons and push the boundaries of my work even further.

Despite not having a dedicated studio, my experience in live art has taught me the importance of working sustainably and spontaneously. I aim to bring this same responsible attitude into my future studio and material-based practices, pushing myself to continue exploring new mediums and techniques in my art.

Who are your biggest influences?

Louise Bourgeois, Patti Smith, and Yoko Ono are three of my biggest influences. These women dedicated their lives to their art, storytelling, and ideas, breaking free from the constraints of gender roles and societal expectations. They embody a fluidity that extends beyond gender and into the realm of individuality and personal expression. Their art is bold, direct, heartfelt, and fearless, inspiring me with their wisdom and insights. As artists and mothers, they have proven that it is possible to balance both and create powerful work that resonates with audiences across the world. Their legacy continues to shape the art world and beyond, challenging us to embrace our unique identities and voices in ongoing pursuit of creative freedom.

Are there books or films that are an important source of inspiration?

Three Steps on the Ladder of Writing" by Helene Cixous was a significant influence on my research for feminist writing. Cixous's exploration of writing as a form of self-discovery and liberation inspired me to approach my own writing in a more personal and authentic way. Her perspective on the relationship between writing and painting as two different yet complementary forms of creative expression deeply resonated with me, and has influenced the way I approach both mediums.

What I particularly appreciate about Cixous's writing is the way she challenges traditional gender roles and norms through her work. She encourages women to embrace their own voices and experiences, and to break free from the constraints of patriarchal society. Her work has been a powerful reminder to me that writing can be an act of resistance, a way to subvert dominant narratives and create new possibilities for self-expression and empowerment.

Overall, "Three Steps on the Ladder of Writing" has been a constant source of inspiration and guidance for me as a feminist writer. It has challenged me to think more deeply about the power of language and the ways in which we can use it to reshape our world and ourselves.

Studio view

The Colour of Pomegranates is more than just a film to me; it is a visual poem that has deeply impacted my artistic practice. The way in which director Sergei Parajanov captures the essence of Armenian culture through vivid colour and stillness is masterful. The film is a series of tableaux, each shot containing pages of meaning that are both personal and universal.

The use of symbolism in The Color of Pomegranates is also incredibly powerful. Parajanov draws on Armenian folklore and poetry to create a rich tapestry of images and emotions. The film has inspired me to think more deeply about the use of symbolism in my own work and how it can convey complex ideas and emotions in a visual way.

For me, The Colour of Pomegranates is not just a film but also the best performance piece. The way it captures the human experience through visuals and sound is a testament to the power of art. I find myself revisiting the film often, always discovering new layers of meaning and inspiration.

Studio view

What’s the best piece of advice you’ve been given?

The best advice I've ever received came from my tutor when I left China. In a reference letter, he wrote that it was clear to see the passion and talent in my large body of work. He believed that if this sensitivity could be encouraged and allowed to grow freely, under much less political and social pressure, it would pave the way for the future. This future wouldn't just be for me, but for everyone. His advice to me was to stay true and honest to my heart.

What is the best advice you would give to other artists?

The same, stay true and honest to your heart

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