Bridging Worlds: The Innovative Fusion of Yichun Huang, London's Rising Art Star -
A Conversation with Artist Yichun Huang
In the ever-evolving landscape of contemporary art, few artists manage to leave an indelible mark that resonates with both the art connoisseurs and the general public. Yichun Huang, an emerging artist based in London, is one such rare talent. 2022 graduate from the Royal College of Art - London (RCA), she has rapidly carved a niche for herself in the global art scene.
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Yichun Huang Talk at Asian Art in Cromwell Place London, 28 June 2023
Yichun Huang's art embodies a refreshing yet profound style that seamlessly marries contemporary and digital art. Her pieces are characterised by their textured, layered appearance, which blurs the lines between the digital and the tangible realms. In the world of digital art, where the digital canvas often dominates, Yichun's ability to imbue her creation with the attributes of traditional painting and authenticity is a breath of fresh air.
Yichun Huang Chinese mythical series digital work
Beyond her technical prowess, Yichun infuses deep philosophical undercurrents into her artwork. In her work, she explores Chinese mythology, metaphysics, and instils her own, derived from Buddsim, philosophy in her work. Her pieces draw upon basic forms in the universe, elements of Chinese mythology, use of colours and seamlessly integrate them into contemporary contexts, creating and breathing new life into them. While she delves into the depths of oriental philosophy, she does so in a wholly innovative and modern way. Yichun’s art is a testament to the power of blending the old with the new, the spiritual with the tangible, depth in concepts and the modern athletic appeal. It's a unique and refreshing departure from the ordinary, a truly exceptional artistic expression in the making.
Yichun Huang Solo Exhibition at Asian Art in Cromwell Place London, 26 Oct - 1 Nov 2023
Yichun's work has already been exhibited internationally. She recently concluded her solo exhibition at the Asian Art in London 2023, her artwork and a series of three mini lectures "Multidimensional Color Healing World," "From Sacred Geometry to Present," and "Chinese Mythology Represented by Dragons." were well received by art critics, collectors and the public. Her artwork was also exhibited in Italy in October at the Florence Biennale 2023, and in New York City in October 2023. So far her artworks have been collected by private collectors from the UK, Italy and Canada. Yichun’s unique artistic voice is recognised by the global art community’s recognition and has already gathered interest from collectors.
Yichun Huang's art is more than a visual feast; it is a journey into the amalgamation of cultures, eras, and mediums. Her ability to weave traditional motifs with modern digital artistry marks her as a significant voice in contemporary art. As she continues to exhibit globally, attract collectors, and push the boundaries of digital art, Huang is undoubtedly an artist to watch in the coming years.
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Artist Website: https://yichunhuang.com
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Can you tell us about your artistic journey and how you transitioned from a background in oil painting to exploring digital mediums?
I started learning to paint when I was six years old. Initially, it was not a self-driven process but something my parents wanted me to do. Honestly, I didn't want to do it at first. As a child, all I wanted was to stay at home and watch cartoons like "Tom and Jerry." However, right from the beginning of my art journey, I began to feel a sense of calmness I had never experienced before. When I painted still life, I could focus on observing the energy, colors, emotions, and even the feelings of those objects. It made me feel incredibly relaxed and healed. This sense of relaxation made me feel like I could "get something" from artistic creation. Painting satisfied my emotions, allowed me to express the unsaid, filled the void in my life, gave me a sense of release, security, and achievement, which has kept me going to this day.
As time and space for my creative work continued to expand, I changed my medium. Initially, it was due to the COVID period when I was confined at home, unable to buy paint or go to the studio. So, I started painting on my iPad while lying in bed, which also satisfied my laziness. To my surprise, I found that there were no more paint smudges on my nails, clothes, or the floor. This made me very happy. Additionally, the digital results turned out quite well. The form of art became more diverse and fun. Of course, oil painting is fun too; art itself is enjoyable, and changing the medium was just another form of expression. Fun and convenience were only some of the reasons for changing my medium. On a deeper level, I am a determinist. What I mean is that I strongly believe that as times change, my personal artistic development should also adapt to the era. I see it as an opportunity to evolve and transform my medium, to experiment more, and to keep up with the times.
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Artist Yichun Huang
Philosophy, religion, and the laws of the universe are core elements in your artistic process. Could you elaborate on how these profound themes manifest in your artwork and guide your creative decisions?
First, I would like to explain why I am somewhat "obsessed" with these specific themes. From as far back as I can remember, from the moment I became aware of my existence as a human being in this world, I have been interested in these themes. I didn't need someone to tell me about them, I didn't need to read books; I just understood the underlying principles. I have always believed that my genes carry memories of this obsession with these themes, and I hold these beliefs deeply. This allows me to express and convey my feelings in the most relaxed way possible—through my art.
Secondly, it's about my personal experiences. I may not have the profound understanding and research into these concepts that some masters do, but compared to the scope of my current life, I believe I have had rather profound experiences in these areas that have transformed me. I feel that the most significant manifestations of this in my work are in two aspects: the state of creation and the content of creation.
In terms of the state of creation, I constantly create from my subconscious. I'm 25 years old now, and so far, I've been painting for 19 years, which has given me a solid foundation. Whenever I paint, it's as if I lose consciousness. When I snap out of it and see the painting, I'm often surprised, wondering, "Is this my work? Did I just paint this?" But when I stop to gaze, contemplate, and observe my recent creation, I feel that it resonates with me. This state has become more evident in recent years, entering a state of relaxation and meditation to create. I immerse my spirit into my artwork. Humans have souls; our souls are our higher selves. Everyone has immense potential, but our physical bodies limit the creativity of our souls. However, when we connect with our higher selves, many surprises can occur.
In addition, in terms of the content of creation. In my paintings, there are many vibrant colors, geometric shapes, symbols, and moving objects. These all represent how I perceive the operation of energy. As mentioned in my work, what we see is only "phenomena." The term "phenomena" is also a concept in Buddhism, and if we combine it with the physical concept, it refers to the high-speed movement of molecules and atoms, which creates our current material world. In my creations, whether it's the colors, shapes, the balance of the composition, or the trajectories of movement, everything is expressing these abstract concepts.
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In many of your works, you mention the significance of the number five in Chinese culture. How does this cultural symbolism relate to the themes you explore in your artwork? How do you maintain a sense of cohesion and distinctiveness across different series while exploring this recurring motif?
Because I deeply believe in both the Chinese traditional concept of the Five Elements and the Western concept of the four Classical Elements, in reality, the Eastern Five Elements and the Western Four Elements are speaking about the same principles. If you examine the reasoning closely, they are fundamentally connected; it's just that the modes of expression are different. It's similar to how people from different countries may speak different languages, but they can all understand mathematics. It's a universal principle.
In my various series of works, even though they have different names and individual themes, their root lies in expressing the laws of the universe: interconnectedness and inseparability. What appears chaotic is, in reality, as traceable as the blooming and withering of flowers. The fusion and interaction of the five major elements—metal, wood, water, fire, and earth—compose the material world. Just like my "Cubical Series," the cube represents a traceable rule, containing the essence of the universe. I use these symbols to depict this fundamental concept.
Regarding the distinct characteristics of each series, I have progressed from the Cubical Series to the Still Life Series, then to the Flower Series, and finally to the Myths of Ancient China Series. In essence, they all revolve around the same concept: the essence of materiality. They follow a traceable path, but what I am conveying is quite simple—it's the essential nature of matters.
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Can you discuss your artistic process when working on digital drawings? How do you balance traditional techniques and modern technology in your work?
I started with Procreate on a iPad, like everyone else. I felt that apart from the fact that the brushes were electronic and the canvas was a screen, it didn't differ much from traditional painting. It was easier and more convenient than traditional painting. Later on, I started creating animations, which was also quite straightforward. All I needed was to learn the software and combine it with the imagery I wanted to create.
Subsequently, I ventured into 3D, VR, AR, and interactive art. These new fields were quite tedious to learn, and I didn't have exceptional talents in using technology, so I needed to collaborate with others. However, the sense of accomplishment after creating something in these domains was immense. I believe that innovative development is crucial, and technology is equally important. The two complement each other. However, the prerequisite is a foundation in artistic skills and tradition. Without tradition and foundational skills, nothing can truly be considered innovation. Visually, I still lean towards aesthetics developed on the foundation of tradition. Everything is interconnected with our traditions and basics.
Your series "The Playful Shapes of Water" seems to invite viewers to explore the familiar yet often unnoticed aspects of water. Could you provide insights into the inspiration behind it? What prompted you to explore water as a central theme?
Water, as one of the five major elements, is something I want to discuss separately because it exists in three forms: gas, liquid, and solid. Life cannot exist without water; it bestows vitality upon everything. However, it seems to be frequently overlooked by everyone.
Why am I so fond of it and discussing it separately? It's because when I observe myself, I find that I lack qualities akin to water. This makes me particularly drawn to water. I believe that it has a significant inspirational role in my life. I also see it as a symbol of wisdom, just as traditional culture mentions: "Water can carry a boat, and it can also overturn it." This illustrates the inclusivity, strength, and wisdom of water. I hope that my state of being can be like water—steady, flexible, surging, and accommodating. Additionally, water contributes to my good health; as everyone says, staying hydrated is so important.
Your goal of creating art that engages, inspires, and provides healing energies is inspiring. Can you share a specific instance when you witnessed your art connecting deeply with an audience on these levels?
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Let me give you a small example; it's often these little details in life that touch me deeply. I enjoy sharing my artwork on social media, and one day, an acquaintance who I hadn't been in touch with reached out to me. She said, "Every day, when I see your artwork, I feel so soothed, my mood is uplifted. It's not just superficial comfort; I believe it's a kind of power." In this process, I feel that my artwork is engaging in a conversation with the audience, and that's enough for me. Some artworks are breathtaking, but my art is about the everyday, brimming with energy and love. When I create, my artwork heals me, and I believe this healing energy won't simply vanish; it will continue to be passed on.
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The art world has undergone significant changes with advancements in technology and shifts in cultural dynamics. How do you see your art fitting into this evolving landscape?
I believe that art plays an increasingly important role in this world; people's spirits are in great need of relaxation. After experiencing significant material satisfaction, there comes a time for spiritual fulfillment. One of the roles of art is to engage in a dialogue with people, allowing the audience to empathize with it, seek solace for their souls, momentarily escape from life, enter the realm of time and space travel, and engage in mental healing. It replenishes sufficient energy to continue living happily. When a person's spiritual energy is abundant, nothing can defeat them. This underscores the importance of spiritual strength.
Let's go back to what I mentioned at the beginning of the interview about the "Tom and Jerry" cartoon. I personally have an example related to this. When I was very young, back when I couldn't even speak, I loved watching "Tom and Jerry." Even to this day, I consider it one of the greatest works of art in the world. It's categorized as a cartoon, but in reality, I believe it has very strong artistic qualities. It possesses all the exquisite artistic expression techniques and aesthetic values worthy of being borrowed by future generations. During my not-so-pleasant "dark hours of childhood," the artistic power of "Tom and Jerry" healed me. At that time, I was hoping to see the grand finale of "Tom and Jerry," but luckily, even before seeing the grand finale, I was already healed by it. This is a small incident from my early years, and I wonder how many people in this world are being healed by beautiful art.
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In your series “All Things”, the paintings seem to invite the beholder to journey beyond the confines of the mundane and immerse themselves in a world of captivating colors and mesmerizing strokes. Can you walk us through this series of works?
The "All Things" series was initially conceived as a means to express lesser-known Chinese mythical creatures, such as the dragon and phoenix, through my unique modern artistic techniques. In ancient China, people often said, "Within three feet above the head resides divinity." In Chinese mythology, beyond the human realm lies a mysterious and vast celestial realm. This celestial realm is invisible to us, yet it functions like an immense web, omnipresent and filled with mystery and beauty.
Long ago, the goddess Nüwa used colorful stones and clay, along with her divine powers, to fuse them together. She meticulously crafted five exquisite spirit stones, each representing the power of one of the five elements. She inserted these five stones into the cracks, reconnecting the heavens and restoring its wholeness. The celestial realm once again became peaceful and harmonious. This myth inspired me to recognize the order and power of the universe. Whether in the human world or the three-dimensional world, balance and harmony are of paramount importance to the entire cosmos. Thus, I created the "All Things" series. Using lines, colors, and interwoven webs, I composed abstract images of mythical creatures. I perceive them as embodiments of energy, and so I expressed them through this artistic approach.
Looking ahead, what themes or concepts do you hope to explore in your future artistic endeavors, and how do you envision your art evolving in response to new experiences and insights?
Perhaps due to my Chinese cultural inheritance, I often want to incorporate more Chinese elements and concepts into my creations. I aim to spread Chinese culture through my unique artistic perspective. I will also continue to develop my current themes, combining them with my personal reflections and experiences. Moreover, I want my work to resonate with the development of society and address themes that can evoke a sense of connection. However, I don't know exactly what these themes are at the moment. I will go with the flow and maintain a sincere creative attitude, with the goal of offering enlightening and healing energy to the audience.
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