Before the press viewing of Kettle’s Yard’s new exhibition, Ai Weiwei sat down to discuss ‘The Liberty of Doubt’ exhibition. Looking bemusedly at the eager gathering of journalists, he answered questions with jokes and wry comments. Light-hearted yet profound thoughts lent insight into the hilarious, defiant, creative genius behind the works we were about to see.

Andrew: The title of this exhibit is ‘The Liberty of Doubt’, could you tell us a bit more about it?

Wei: There was a Guardian review of this exhibition and the main message they sent was that we really doubt this artist is a real artist, which is very interesting. This time we have given a new definition of ourselves. Our art, culture, and politics has been dramatically changed. Changing. I think the title is fitting too… I don’t want to explain more in detail, but it’s a really nice title.

Andrew: Does it means more to you than other artists because of your experiences in China? You are hyper-aware of notions of freedom, whether it is freedom to interpret and understand history and culture, or freedom in some political and social matters…

“I don’t care about becoming an artist, but I really care to become a good craftsman”

W: Talking about being from China: my friend in New York, when I showed him my work, he likes it. He also said I don’t know any gallery who would show a Chinese artists work. He’s honest, it’s 1980s. By the 2000s many galleries – major galleries – showed Chinese artists’ works. So, times change. Before, they call me a dissident, now [much of the] media is asking is he really an artist or an activist wanting to make some kind of big splash?

That’s why I wrote my book ‘1000 years of Joy and Sorrow’, which explains why I get involved with political struggles. Because I was born into political struggle, I didn’t jump into it. My works, if you look carefully, focus on the traditional meaning of art and craft and shape… in all kind of media and forms. And that’s part of my interest. I don’t care about becoming an artist, but I really care to become a good craftsman, because that means your hands can find true knowledge.

“Only art or poetry makes us feel the area that the authoritarian can never touch”

A: One of the documentaries showing upstairs is about the migration crisis. These antiquities here, if you like, are a sort of parallel. To be authenticated in a museum where you need three or four people to make exact comparisons [of the reals and fakes], you need someplace like the Metropolitan Museum. So, these antiquities are also in a kind of limbo. In a kind of non-space that also raises concepts about objects being in exile in museums. There are lots of parallels between ideas flowing between the documentary and what you see in the galleries.

I was thinking about one specific work- the handcuffs made out of jade. What do you feel happens to the idea of handcuffs when they are made in jade?

W: I’m an artist, really like using my imagination. Most things I make because I think that would be a good idea. First, jade has the longest history in human fascination about objects. 1.4 billion people have the longest tradition dealing with jade from 6,000 years ago that’s a tradition that’s never stopped, not interfered by war or different kinds of religion. This is an ordinary piece of stone, they [gave] that stone an essential power by carving it, by relating it to their ritual or goodwill or what they’re scared about.

Because carving is a difficult [skill]. [Putting] one piece of stones into one element which can loosely connect with others requires tremendous [effort]. Handcuffs can do that because its two pieces that can connect by a ring, and they have to come from a very hard piece of rock. And so, I give my craftsmen this challenge because they always want me to give them more work for them to do, that will consume their time and they will less come back to me to bother me with what’s next.

That this is being exhibited -- For me, it’s a joy, but that’s a joy that comes also because I was handcuffed by the state, I was kidnapped by the state for my report. So mystical to think of why powerful state have to do that to me, I’m just a stupid artist; I cannot even convince the audience that I’m an artist so why are you worried about me…

Weiwei spoke a bit more about his sense of belonging to Kettle’s Yard, the use of porcelain in the exhibition, and the exhibit’s connection to his father. He ended the discussion with some thoughts about beauty and creation inspired by his father.

W: All my understanding about art has come from [my father]. If he sees something beautiful, he becomes so happy. Only art or poetry makes us feel the area that the authoritarian can never touch.

Imagination must be some kind of desire. It is something that we don’t have or [are] always thinking that would be a good idea if that could exist. Doesn’t matter what happens, I want to make that happen.