Chengge Tan: Fashion Filmmaker Shaping Creativity and Commerce with AI
Feb 18th, 2025 by Shuwan Chen
Chengge Tan
Website: https://www.cht7studio.com/
instagram:@ch_g_t31
Fashion filmmaker blends strategic marketing (Fordham University) and luxury branding expertise (SCAD) to craft visual stories for high-profile fashion events.Key projects include the 2024 CFDA Fashion Award Night campaign, where films highlighted nominees and honorees through dynamic close-ups, fabric textures, and backstage moments. With prior experience at Kaleidoscope PR and mentorship under filmmaker Douglas Keeve, the work focuses on translating runway collections into short films that balance brand messaging with emotional storytelling.
Given the increasing commercialization of the fashion industry, what new techniques or approaches do you plan to develop in your fashion filming work to stay ahead of the curve?
AI is definitely a tool I need to explore further. Initially, I wasn’t fond of AI, believing that over-reliance on it could stifle creativity. Fashion, for me, is about human expression, and AI can’t replicate that. However, while working with Douglas Keeve on an archival project, I realized AI could be useful in achieving things that seemed unattainable. For example, we needed 1970s images that didn’t exist in our archives, so I used MidJourney to generate them. This experience shifted my perspective on AI. Additionally, AI has been featured in brand campaigns, like Coach’s collaboration with Lil Nas X and Imma, an AI-generated character from Japan.
Storytelling remains essential in fashion filming. As the industry commercializes, it becomes even more critical, especially in advertising. Storytelling helps brands communicate their values to their audience. During my studies at SCAD, I learned how vital it is to understand different cultures and communities. Creating well-researched content is key, as it can enhance a brand's exposure. For instance, SK-II’s ad in China, which addressed societal pressures on women, was an inspiring example of storytelling that showed genuine care for customers.
The continuous evolution of filming equipment and techniques is also vital. Staying current with new technology is crucial for keeping up in today’s commercialized landscape. Finally, passion and love for the craft are irreplaceable. These elements are what elevate work from the ordinary to the exceptional.
Chengge Tan's 2020 film, "Self Portrait," photo courtesy of Chengge Tan.
Can you analyze a specific scene from the CFDA films where finding the balance between creative vision and market pragmatism was crucial to your role as a bridge between the two?
In the HONOREE Film, featuring Daniel Roseberry for Schiaparelli as International Designer of the Year, we included a segment showing the "work in progress" of the SS24 Couture collection before presenting a snippet of the Schiaparelli runway show. From a creative standpoint, this quick cut served as a seamless transition between the previous show footage and the next, which had no direct connection. Visually, Schiaparelli’s haute couture production is incredibly refined, and these moments added a unique sense of unfinished beauty and anticipation for the audience.
From a market pragmatism perspective, showcasing the brand’s creative process emphasizes Schiaparelli’s exceptional design and technical expertise, lending the brand significant credibility. Personally, I believe that fashion is not just about surface-level glamour; the craftsmanship, design, and technicality behind the garments are equally important elements that attract consumers to a brand. I find it particularly compelling to weave behind-the-scenes footage of the creative process into a glamorous runway show. The scenes of the designer working with the atelier help engage viewers on a deeper level, allowing them to experience the making of fashion firsthand. This approach highlights the value beyond the label and reinforces the uniqueness of the designer’s brand, bridging the gap between the brand and the audience.
How do you think the integration of art, technology, and fashion will shape the future of fashion filming, and what steps are you taking to be at the forefront of this trend?
For many brands, the fusion of art, technology, and fashion has already become inseparable. Balenciaga, for example, has pioneered the use of technological fabrics and carbon fiber materials in both accessories and ready-to-wear collections. In the realm of fashion films, we’re beginning to see the emergence of new aesthetic concepts driven by AI, reshaping the way fashion videos are created. For me, it’s crucial to invest time in studying and learning about new technologies, seeking a balance between these innovations and my personal aesthetic vision. Finding that equilibrium between technology and art not only pushes the boundaries of fashion filmmaking but also ensures I stay at the forefront of this rapidly evolving trend.
How do you see AI transforming the fashion filming industry in the next 5 years, and what role do you think your AI-fashion projects will play in this transformation?
I believe AI will make fashion videos more extraordinary and visually innovative. While it's difficult to predict exactly what will change in the next five years, AI will certainly bring about stunning shifts in how visuals are created.
Personally, I am drawn to traditional aesthetics, and highly experimental visuals may not be my style. However, AI will help me push the boundaries of visual effects, reducing dependence on physical conditions during filming. For example, AI could allow me to create extreme lighting conditions that don't rely on natural light, offering more creative freedom.
AI will also enable me to recreate the exact visuals I envision, cutting costs on set design and reducing reliance on real-world environments. This, I believe, is where AI will be most beneficial to my work.
Your educational background spans marketing, luxury branding, and fashion design. How do these different areas of study complement each other in your role as a creative director assistant in fashion filming?
I believe that combining these diverse educational backgrounds allows me to approach challenges from multiple perspectives. My studies in fashion design and my passion for the industry have cultivated my personal aesthetic, which enables me to develop a unique visual direction. It also helps me understand the aesthetic of the director I work with. After a period of adjustment, I can effectively interpret their vision and provide more efficient support.
Luxury branding and marketing have given me insight into a brand’s external value, as well as the commercial strategies and operational models behind them. This knowledge allows me to assist my director in a variety of ways. Before deciding on the direction a brand wants to present, I can use my background in marketing and branding to conduct preliminary research via social media, publications, and other platforms, helping the director quickly align on a clear vision.
Among the 11 films made for the 2024 CFDA Fashion Award Night, which one was the most challenging to produce, and what made it so?
The most challenging film to produce was the Honoree Film for Geoffrey Beene’s Lifetime Achievement Award, featuring Stephen Burrows. The difficulty arose from the fact that most of Stephen Burrows' fashion work is from the 70s, 80s, and 90s, and the quality of these archival materials was very poor. We had to spend a significant amount of time restoring and optimizing the footage, carefully selecting appropriate visuals and audio. Additionally, we needed to record the designer’s voice on-site to complete the film.
Chengge Tan's 2022 film, "The Margiela Project," photo courtesy of Chengge Tan.
As a director assistant, your role involved "archive searching" and "visual direction." How do these seemingly contradictory tasks - digging into the past and defining a forward-looking aesthetic - interact in your workflow?
For me, this was a completely new challenge and an incredibly interesting combination. Archive searching allows me to explore various brand styles through different mediums (still or video) and artistic expressions, helping me understand and learn different aesthetic approaches. It requires a significant amount of time to conduct thorough searches and curate a comprehensive collection.
On the other hand, visual direction demands a highly creative process. During the production of the 2024 American Fashion film, for example, we had to showcase the work of 43 American designers and highlight their standout moments for 2024. This required us to establish a theme and organize the film into sections based on the brands' distinct styles, while also searching for footage of stars wearing these brands at major award ceremonies in 2024. This involved extensive and detailed archive research.
This project greatly enhanced my ability to merge different styles and brand assets effectively, providing me with more inspiration for visual direction in future projects.
In creating your personal fashion films, how do you balance artistic expression with commercial viability?
Given my background in marketing, branding, and fashion, I’m not particularly opposed to the increasing commercialization of fashion. In fact, I embrace the shift, as it allows for more direct, impactful visuals that deliver a quick sensory experience. I believe I can effectively navigate this growing commercialization, blending it with my personal style. This ability enables me to handle projects like the 2024 CFDA Award Night films, where the commercial aspect of branding is becoming ever more prominent.
Interview: There is Nowhere
Dyne Jeong, Kanon Okuno, Handeul Kim , Mayu Furutani, Jonosuke Tanaka
Can you share your journey into the art world and what initially sparked your interest in art?
Dyne: My creative work revolves around the idea and experience of "the dream" or dreams. Since I was 18, I've been interested in dreaming and making various works based on imagery derived from dreams. I used to get my inspiration from my dreams. My dreams are another pathway to my other world, where I can hop and fly around. I can develop lucid dreams and perform and get inspired within them. The idea of conscious and unconscious creates an odd tension; I can develop surreal, conceptual imagery through this.
How has your cultural background influenced your artistic practice and the themes you explore in your work? What motivated you to move to the United States, and how has this transition impacted your art?
Handeul: In my work presented at “There is Nowhere,” I explored the concept of the identity crisis I’ve experienced while living here and how my perception of home has evolved over time. Originally from South Korea, a place 14 hours away by flight from New York, it was not my choice to move here in the first place, it was due to my dad’s job. This sudden transition brought me confusion about where I truly belonged, and this internal conflict led me to question where my true home was. Eventually, I found a true sense of home in my cozy little room in Brooklyn, filled with things I love. This journey of navigating between two cultures and finding my own space has deeply impacted the themes I explore in my artistic practice, focusing on the intersection of identity and belonging.
How has living and creating art in a different country influenced your sense of identity?
Handeul: Living in New York City has been an eye-opening experience for me, especially at a young age. Surrounded by people from diverse cultures, races, and backgrounds, I've had the opportunity to broaden my perspectives significantly. Being immersed in such a culturally rich environment has not only inspired my art but has also deepened my appreciation for diversity and inclusivity. Living in a city where trends are constantly being shaped and creativity thrives has greatly developed my perception of the world, including art.
Have you found a community of fellow artists from your home country or other international artists in the U.S.? How has this community supported your work?
Tanaka: Yes, I feel like artist are mostly in-depended. It depends on the artists whether they success or not but there are a lot of communities they will share information and encourage artists a lot.
How important is it for you to maintain connections with the art scene in your home country?
Tanaka: In Japan, art is gradually becoming popular and a lot of young generations are into it too. For me, it’s one way to connect with them and support each other
What recurring themes or messages can be found in your work? How do you hope viewers interpret or react to your artwork?
Mayu: A lot of my work revolves around the theme of dream and in betweenness. Through my work I explore moments in life that are too ambiguous to get a grip on and feelings that we do not have words to describe. I also take a lot of inspiration from ocean. I’m forever fascinated by ocean because it makes me feel at home. I don’t wish my work to be perceived a certain way. i want viewers to be free to interpret / react to my work however they want to.
Do you have a preferred medium or technique, and why? Are there any new techniques or mediums you are experimenting with currently?
Mayu: I like working multi disciplinarily. my field of work ranges from animation, drawing, painting, fiber art to sculpture. As of recent, i have been enjoying working with ceramics. i like how malleable it is and accidental aspects of the process. it lets me work intuitively and i’m often surprised by the final results, which i really enjoy.
Lately i have been exploring ways to incorporate other materials into my ceramic sculptures.
What projects or themes are you looking forward to exploring in the future?
Dyne: I want to deeply think about the connection of the idea and visual expression.
The Digital Body as a Site of Performativity and Disruption: A Critical Review of FEYU’s Work
writer: shuang caiOct 25th, 2024
In an age where the digital and physical realms intertwine, the body has evolved into a flexible site of identity formation, expression, and commodification. Technology enables us to transcend physical limitations, allowing us to reshape our identities, but it also subjects these identities to new forms of surveillance, performance, and consumption. Yu Li FEYU’s work, particularly in Elysia, Kill Me at The Dinner Party and Derung Daughter, explores the complex relationship between digital identity and reality. Her pieces prompt viewers to reflect on the balance between technological empowerment and the structures that constrain it. By creatively adopting game engines, AR/VR, and AI, FEYU crafts worlds where digital bodies become spaces for both performance and reflection. Her work captures the tension between innovation and exploitation, suggesting that while technology offers new ways to engage with identity, it also risks reinforcing the systems of control from which we seek to escape. Central to her approach is the role of the user’s agency, as the depth and impact of these digital identities are shaped not only by the artist’s vision but also by how deeply users choose to engage. As viewers navigate FEYU’s pieces, they are invited to reflect on the evolving role of technology in shaping—and sometimes distorting—our understanding of cultural heritage, identity, and agency.
Performative Identity in Digital Spaces
The digital world invites, if not demands, constant performance. Social media, gaming avatars, and even virtual meetings require us to craft, refine, and project versions of ourselves that may be far removed from our physical realities. In FEYU’s Elysia, Kill Me at The Dinner Party, this notion is pushed to its extreme. The e-lifeforms develop self-consciousness, only to realize they are the objects of human attention and consumption and eventually end themselves in action for self-preservation and redemption. The character Elysia, the e-form cyborg being, mirrors the way humans, too, must perform in the digital space. Whether on social media or in virtual realities, our digital identities are crafted in response to external validation. FEYU’s e-lifeforms may be digital constructs, but they embody a very human anxiety: the fear of becoming irrelevant, of losing one’s identity if not constantly performed for the audience.
Elysia, Kill Me At The Dinner Party, CG Film, 2024
While FEYU succeeds in capturing the uncanny juxtaposition of human anxiety and digital identities, I can’t help but wonder if FEYU’s fictional e-lifeforms ultimately reinforce the very system they seem poised to challenge. Instead of escaping the cycle of performance, they remain trapped in it—self-conscious digital beings aware of their existence only through the human gaze. It’s no coincidence that Elysia, Kill Me at The Dinner Party can be read through the lens of Donna Haraway’s Cyborg Manifesto. Haraway’s vision of the cyborg transcends binary distinctions—human vs. machine, nature vs. culture, male vs. female—yet for Elysia, a being beyond such categories, self-termination seems to be the only solution upon realizing their parasites. The devastating ending of Elysia overlooks the potential for hope and transformation in the digital realm, disregarding the possibility of a more liberating digital fantasy and once again projecting an exploited world onto the interdigital-physical asylum.
Elysia, Kill Me At The Dinner Party, CG Film, 2024
But perhaps this is precisely FEYU’s point. By presenting a “lack-of-escape,” FEYU highlights the urgent issue of how deeply the current system is ingrained in our worlds and emphasizes the "slippage of agency" as a core theme in the work. Moreover, instead of narrowly treating technologies as mere tools or romanticizing them further, FEYU suggests that technology should be viewed as equal peers to humans—reflecting upon and interacting with each other. This reciprocal relationship between humans and technology invites us to rethink the nature of digital identity and the systems of control that shape it.
Cultural Symbols in the Digital Space: Digital Identity as A Form of Reclamation
One of the most striking examples of the reclaiming of the digital body‘s agency comes through FEYU’s Derung Daughter. This AR project transforms users’ faces with digital representations of the traditional tattoos worn by the indigenous Derung women of China, a practice once used to protect women. Through augmented reality filters, users can inhabit this cultural history, their faces adorned with patterns meant to symbolize defiance and identity. Mirroring the traditional facial tattoo, the filter has flowing, wave-like patterns, with delicate lines and tendrils stretching across the skin, suggesting a fusion of organic and technological elements. The colors are mostly soft purples, greens, and golds, with highlights that give the mask a metallic sheen. Small golden spheres are integrated into the design, adding an ornamental touch and contributing to the sense of otherworldliness. At its core, the piece intends to empower and engage global audiences with marginalized traditions in an innovative format.
Derung Daughter, AR Lens, 2024
Without a doubt, FEYU has created a mystical experience with profound research into Derung culture. However, Derung Daughte treads a fine line between introducing a minority culture for public empowerment and commodifying it through digital exotification. Turning these deeply significant cultural symbols into an AR filter that users can easily turn off risks being “appropriative,” reducing a rich tradition to a consumable experience, easily stripped of its depth. Without care from users, the tattoos could be seen as mere novelties—momentary digital adornments in the fast-paced cycle of digital consumption.
As someone who adores adventurous uses of technology and believes in the importance of user agency, I see Derung Daughter as more than just a fleeting novelty. Its detailed yet futuristic design prompts deeper reflection on how technology can preserve and represent cultural heritage. In fact, I found the selected medium – AR filter – so clever, as it lowered the barrier for remote audiences to be familiarized with marginalized cultures. Even better, the particular narrative is rooted in profound Deruang women’s stories. Visually speaking, the flowing patterns and metallic sheen aren’t merely aesthetic; they symbolize the evolution of identity, where tradition and futurism intersect. Inspired by facial tattoos, the digital mask enveloping faces speaks directly to cyborg theories, creating hybrid identities shaped by layers of cultural history and self-expression. Here, the digital body becomes both a performance and a reclamation of identity.
Derung Daughter, AR Lens, 2024
While Derung Daughter relies on the user’s engagement to bring its fullness to life, FEYU’s work creates space for reflection and provides a fresh lens through which to experience these cultural symbols. The mask-like structure in Derung Daughter invokes both protection and performance, echoing the tattoos’ original purpose while allowing users to inhabit a reimagined cultural space through technology. This interaction, though dependent on the user’s choices, underscores the dynamic nature of the piece—where users can choose how deeply they engage with the cultural narrative. Ultimately, the piece transforms the digital body into a platform for engaging with history, identity, and the future, balancing the tension between commodification,cultural appreciation, and most importantly empowerments.
There is more to be revealed in FEYU’s pieces beyond the two mentioned above. Her exploration of the digital body as a space for both performance and reflection encourages viewers to confront the complexities of identity in the digital age. By world-building in new technologies and merging technologies with cultural symbols, her works concern not only how digital identities are constructed and consumed, but also how they might be reclaimed. Whether through the e-lifeforms of Elysia or the AR filters of Derung Daughter, FEYU challenges us to rethink the human- technology relationship. More than a critique, FEYU’s broader impact lies in her capacity to reimagine how technology can serve as a tool for reclaiming agency, fostering deeper connections between the digital and the human. By pushing the boundaries of what the digital body can represent, she creates a blueprint for how future technologies might enhance, rather than diminish, our understanding of identity, culture, and autonomy. Her work, while fraught with the tensions of commodification and appropriation, opens up necessary dialogues about the role of technology in shaping—and sometimes distorting—our understanding of cultural heritage and identity. In doing so, FEYU leaves us with a vision of the digital body that is not only a site of performance, but also a platform for deeper engagement with the past, present, and future.
Yu Li FEYU is a Chinese multimedia artist and filmmaker based in London, known for crafting alternative realities and digital fantasies through emerging technologies. Her practice is a blend of research and emotional introspection, examining how technology shapes spatial, philosophical, and cultural infrastructures. She focuses on themes like agency, shame/desire, and cultural identities in digital landscapes.
Through her creative worldbuilding, Yu examines the emotionality, aesthetics and architectures within networked realities. She articulates cyber subjectivities through the asymmetrical extraction of lands, bodies and information, while envisioning futures where humans and machines coexist in complex, evolving relationships. Utilizing game engines, AR/VR, and AI, she expands the boundaries of storytelling, creating immersive, interactive experiences that explore new forms of identity, sociability, and embodiment, all while reflecting her feminine and intimate perspective on digital life.
Her body of work spans films, narrative games, immersive installations, and critical writings. A notable project, “Elysia, Kill Me at the Dinner Party”, is a CG short film that investigates performative identity-making and power struggles in cyberspace, earning her the "Best Female Director Super Short Film" award at the World Film Festival in Cannes in 2024.
About Writer:
shuang cai is a curator, writer, educator, and multimedia artist. Their curatorial endeavors aim to bring forth the power of interconnectedness and diverse voices across communities. Their art practices focus on logic, interactions, and humor. shuang has previously published work at BAZAAR Art China, CultureHub, Passing Note, Art Insider, and Indienova.
Yuqi Wang: The Fluidity of Time and the Reconstruction of Identity
" Everything that is going to happen should happen ; everything that should happen is going to happen. "
--Yuqi Wang
The Sims, Black and White Photography by Yuqi Wang, 2021
Yuqi Wang (b.2000) works in many directions as a multimedia artist, filmmaker, and performer. In the diverse expressions of contemporary art, Yuqi Wang uses her unique perspective and cross-media artistic practice to lead audiences into a realm filled with philosophical contemplation and psychological exploration. Her work deconstructs traditional grand narratives, questions fixed identities, and challenges authoritative discourses through various media combined artistic forms. These forms critique changes in human experience in modern society, reflecting transformations in self-identity and social interaction under the influence of technological culture.
The Sims, The Whims of Bordeaux
Black and White Photography by Yuqi Wang, 2022
Black and White Photography by Yuqi Wang, 2022
In her early works, Yuqi Wang preferred using black-and-white photography to enhance the effects of light, contrast, and shadow, creating a unique retro atmosphere. This visual technique reduces the distraction of color, allowing the audience to focus more on the deeper meanings and themes conveyed by the image. For example, in the series “Reality and Dreamspace” and “The Sims,” the stark contrasts and shadows emphasize the surreal and dreamlike quality of the scenes, drawing viewers into a contemplative state.
Reality and Dreamspace, A Film by Yuqi Wang
00:03:46, 4K Black and White Video, 2022
Stereo (R L) | 48 kHz
00:03:46, 4K Black and White Video, 2022
Stereo (R L) | 48 kHz
Yuqi Wang’s experimental film “Reality and Dreamspace” was created using a freely flowing stream-of-consciousness approach, with the entire shooting process spanning a year. This improvisational and self-directed method emphasizes the fluidity of time and non-linear narrative. Deleuze, in “Cinema 2,” argues for the depiction of time through false relations, false movements, and irrational cuts, demonstrating how thought merges with the chaos that provokes it. Yuqi Wang’s “Reality and Dreamspace” embodies this theory, where time is no longer bound by narrative logic but centers on the viewer’s perception and emotions, presenting a fluid and transforming sense of time. This approach disrupts the continuity of traditional cinematic time, guiding the audience to experience a more essential, chaotic, and authentic sense of time.
Still Images from the Film “Reality and Dreamspace”
Yuqi Wang’s experimental films, especially “Reality and Dreamspace” (2022), “Aspiration” (2023), and “Weightlessness” (2023), are significantly influenced by Maya Deren. She uses dreamlike images and symbolic elements to explore psychological states in extreme environments. These works blur the boundaries between reality and illusion through repeated dream sequences and fluid visual elements, making the audience’s perception the key to understanding and experiencing the pieces.
In the film “Reality and Dreamspace,” extensive use of displacement and jump-cutting techniques connects indistinguishable real and potential images such as the creature, eye, girl, cup, tea, and ruins. This represents different layers of reality and dreamscape, revealing how these symbols shape and manipulate the subject’s mind. These elements guide the audience to delve into their deeper meanings, challenging their inherent understanding of reality. The work explores the boundaries between self and others, showing how these boundaries are continuously reconstructed and challenged in an individual’s psychological development and cognition.
Still Images from the Film “Reality and Dreamspace”
“Reality and Dreamspace” traverses time and space, with filming locations including the deserts of northwest China, London’s Convent Garden, and the markets of Bordeaux, France. In these locations, Wang interacts with the audience through performance art, exploring the relationship between visibility and illusion. The diverse reactions from audiences - ranging from confusion to enthusiasm - reflect the complex relationship between individuals and their environments in a globalized context.
Home Sweet Home, Multi-media space installations by Yuqi Wang
Grassland, Trees, Reeds, Tent and Others, 2023
In her recent solo exhibition “Eternal Horizon,” Wang combines experimental film and spatial art to create an immersive experience. The exhibition invites viewers to engage with the space and contemplate life, time, and space through interactive elements.
Through “Reality and Dreamspace” and other works, Yuqi Wang has innovated both technically and formally while deeply reflecting on the conditions of modern humanity. Her cross-media artistic practice demonstrates the significance of contemporary art in exploring social and psychological issues, challenging conventional perceptions, and inspiring contemplation of the future. She leads audiences into complex discussions about time, existence, and self-identity, pushing the boundaries of artistic expression and critical thought.
Interview with artist Mengqi Gao
Editor: Kaylee Qinyan ZhaoWhat inspired the title "In a Trance" for this exhibition? How does it relate to the themes and concepts explored in your work?
The title “In a Trance” comes from one of my abstract paintings. It is meant to capture those fleeting, ephemeral moments in life where mundane aspects of life sink into our hearts, creating deep emotional echoes in ourselves.
Can you describe your process of creating a digital painting? How do you capture and translate fleeting moments into lasting images?
I tend to be intuitive in terms of creating abstract paintings. When I start, I often do not have a plan of what I am going to paint. Instead, I will let my intuition and emotions guide me in my artistic journey.
In what ways does your bilingual experience influence your artistic expression and the interpretation of your work?
My bilingual experience adds multiple layers of meaning and complexity to my work. With the cultivation of different languages, I am able to roam within the realm of translations and cultural nuances, reflecting in my work the tension and harmony of living between two cultures.
Mysticism and tarot appear frequently in your work. What draws you to these themes, and how do they contribute to the narratives in your art?
Mysticism and tarot draw me in because they offer a way to explore the unknown, the ambiguous, and the potential future. When the times become turbulent and the path ahead is covered in deep mists, uncertainty rises and entangles us, blocking our futures. Divination, in this case, provides a structure for exploring complex emotions and uncertain futures without definitive answers, mirroring the fluid and unpredictable nature of life.
Could you elaborate on your interactive artwork “Through the Abstract Cosmic Future” and its reinterpretation of traditional tarot?
Through the Abstract Cosmic Future is an interactive artwork where I reinterpret traditional tarot by removing its binary gender framework while infusing it with ideologies from IChing. Instead of forecasting a fixed future as good or bad, I want my cards to offer advice and counseling to the audience. I believe that it is not that necessary to answer the uncertainties that lie ahead of our futures - whether we are going to get what we want or not but instead, it is more practical to focus on the actions that we can do to influence our futures - what are some things/advice that we can follow to get what we truly wanted. These cards are produced to emphasize courage when facing uncertainties.
How do you see your art contributing to conversations around social issues such as mental health, queerness, and the complexity of everyday life?
I see my art as a catalyst for deeper conversations around social issues like mental health, queerness, and the complexities of mundane daily life. By embedding these themes into my work, I aim to create a space where we can share our experiences and reflect and engage with these topics on a personal level.
What new themes or projects are you excited to explore in the future? How do you envision your artistic practice evolving? Are there any new mediums or techniques you are interested in experimenting with?
I am excited to explore more about the theme of uncertainty: how we are and how we can face uncertainty in the future. I plan to explore themes and mediums such as fabrics, textiles, and jewelry making and their relationship to technology and mysticism.
What do you hope viewers take away from "In a Trance"? Is there a specific message or feeling you want to convey through this collection?
With In a Trance, I hope viewers walk away with a deeper awareness of the complexity and richness of everyday life and our futures, recognizing the emotional depth hidden in the mundane and uncertainties. I hope my work can encourage viewers to find strength in vulnerability and to find courage in facing uncertainties.
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