10 Questions with Jie Chen

Al-Tiba9 Art Magazine ISSUE18 | Featured Artist

Jie Chen is a Chinese illustrator and fashion designer, a Parsons School of Design graduate with honors in Fashion Design. She specializes in interdisciplinary storytelling, seamlessly blending fashion, illustration, bookmaking, and 3D digital fashion design to create immersive narratives. Exploring dualities—creation and destruction, spirit and flesh, light and darkness—she uses metaphor and symbolism to provoke thought. Drawing inspiration from mythology, religious iconography, and philosophical concepts, she crafts layered, visually compelling works that transcend singular mediums. Her work has been recognized by various fashion and art magazines, including SELIN, 17:23, Mob Journal, REBEL, Artist Talk Magazine, and Visual Art Journal. With a multicultural background spanning China, Canada, and the USA, Jie integrates diverse artistic disciplines to push creative boundaries and redefine storytelling.

chenj845.wixsite.com/my-site | @_j1015c

NEO·GENESIS | Project Statement

Jie Chen’s NEO·GENESIS reimagines creation, replacing traditional notions of divine design with chaos and accident. Through an interdisciplinary fusion of fashion, illustration, and bookmaking, she constructs a world where existence emerges fluidly, unpredictably, and beyond human control. Inspired by mythology, religious iconography, and philosophical paradoxes, NEO·GENESIS explores the tension between structure and disorder, questioning the very nature of creation. Using metaphor and symbolism, Jie crafts intricate narratives that blur the boundaries between the physical and imaginary realms. Her process is intuitive and experimental, assembling fragments from different disciplines to challenge perception and redefine storytelling. Through NEO·GENESIS, she invites audiences to reconsider the origins of existence and the unseen forces that shape reality.

***NEO·GENESIS***, Denim, vegan leather, 2023 © Jie Chen

AL-TIBA9 ART MAGAZINE ISSUE18

COMING SOON | PRINT MAGAZINE AVAILABLE FROM MAY 15th, 2025.

INTERVIEW

When did you first become interested in art, and what was your journey to becoming an artist like?

I became interested in art at a very young age—around two years old—when my father first introduced me to drawing. He would hand me a pencil and let me sketch on the blank pages of his notebook or the back of a calendar, even before I could write my own name. I was fascinated by the process and would constantly ask him to teach me how to draw specific objects, carefully following and imitating his strokes. That early obsession with drawing naturally carried into my childhood—I would doodle in textbooks and notebooks, create commissioned drawings for my classmates, and design cartoon and anime-inspired characters dressed in stylish outfits.
However, during secondary school, I drifted away from art as academic pressures took over. That period left me feeling unfulfilled and disconnected from something that had always been an essential part of me. When I moved to high school, I made a conscious effort to reclaim that part of myself, setting aside time on weekends to paint and design again. It was in those moments that I truly felt alive—I realized that art wasn't just a hobby but something I wanted to dedicate my life to.
At 15, I made the decision to move to Canada on my own to study art more seriously. I took specialized art courses and built a portfolio for college applications, which ultimately led me to Parsons, where I majored in Fashion Design. Looking back, I'm grateful for both my two-year-old self, who instinctively picked up that pencil, and my fifteen-year-old self, who stubbornly pursued this path despite uncertainties. Their determination shaped who I am today—an artist and designer committed to storytelling through my work.

Your multicultural background spans China, Canada, and the USA. How has this diversity of experience influenced your artistic perspective?

Growing up in China, I was immersed in an art culture that places a strong emphasis on technical mastery. Most art students undergo years of rigorous training in sketching, figure drawing, and other foundational techniques, but there is often less focus on fostering creativity and conceptual thinking. This environment allowed me to develop a solid technical foundation early on, giving me the skills and discipline to execute precise and intricate work.
When I moved to North America, I encountered a vastly different artistic approach—one that prioritizes creativity, self-expression, and pushing conceptual boundaries over technical perfection. This shift was both liberating and transformative for me. Since I already had a strong technical background, I was able to fully embrace this new way of thinking, using my skills as a tool to bring my ideas to life without limitations. The open and experimental nature of the art scene in the U.S. especially gave me the confidence to explore unconventional narratives, mix disciplines, and challenge traditional forms of storytelling.
This multicultural journey has shaped my artistic perspective into a balance between structure and freedom. I approach my work with the precision and discipline I learned in China while embracing the innovation and limitless creativity encouraged in North America. This fusion allows me to craft work that is not only technically refined but also conceptually bold and expressive.

Your work seamlessly blends fashion, illustration, and bookmaking. How do you approach storytelling across these different mediums?

I approach storytelling as a fluid, interconnected process where different mediums naturally feed into one another. Every project begins with a story—this narrative foundation serves as the core from which all visual and structural elements emerge. I first translate the story into a series of illustrations, using composition, colour, and character interactions to establish a strong visual language. From there, I explore the mechanics of 3D pop-up books, researching structures and movement mechanisms that can enhance the storytelling. I consider how the atomic movement of each pop-up element aligns with the imagery and narrative flow, ensuring that the structural design reinforces the themes of the story.
This exploration of form and movement then seamlessly extends into fashion design. The dynamic structures of pop-up books inspire garment construction, influencing silhouettes, layering, and material choices. By integrating storytelling into fabric manipulation and garment design, I create pieces that are not only visually striking but also conceptually rich, carrying a sense of narrative within their form.
Rather than deliberately forcing these mediums to intersect, I see them as natural extensions of my creative thinking. Each discipline informs and enhances the other, allowing me to express my vision in multidimensional ways. My process is quite intuitive and fluid, resulting in works that feel cohesive, yet innovative across different formats.

With such a multidisciplinary practice, how do you decide which medium best serves a particular concept?

With a multidisciplinary practice, I approach each project with an open mind, allowing the concept itself to dictate the medium rather than forcing a specific format. I constantly immerse myself in diverse art practices beyond illustration and fashion—whether it's sculpture, digital media, or interactive design—keeping them in the back of my mind as potential tools for future projects. Over time, these accumulated influences begin to form connections, and when I start a new project, I instinctively draw from this reservoir of knowledge to explore which mediums best align with my vision.
Often, I experiment with blending different disciplines to see how they interact and whether they can enhance the storytelling. Some combinations may not work as expected, but through trial and iteration, I uncover surprising synergies that reveal new creative possibilities. It's a process of discovery—sometimes, the best medium emerges through structured experimentation and other times, it presents itself intuitively. The process is fluid and ever-evolving, allowing me to create work that feels both innovative and deeply interconnected across disciplines.

Let's talk about your project NEO·GENESIS. As you mention in your statement, the project reimagines creation as chaotic and unpredictable. What inspired this concept, and how does it manifest in your work?

The inception of NEO·GENESIS came from my deep dive into various genesis stories, spanning religious, philosophical, and scientific perspectives. I watched countless YouTube videos analyzing different creation myths and hypotheses while also exploring methodological texts that dissect these narratives. What struck me was that none of these explanations—whether rooted in theology, cosmology, or speculative philosophy—could be deemed the absolute truth. Each one was merely an assumption, a constructed theory without definitive evidence that could unify all of humanity under a single, unquestionable origin story.
This realization led me to embrace the idea that ultimate truth is inherently subjective—shaped by personal beliefs, cultural perspectives, and the limits of human understanding. At the core of my genesis story lies the belief that creation is not a meticulously designed event but rather a chaotic, unpredictable phenomenon. The universe did not emerge from a grand, predetermined plan but instead from randomness, an unintentional burst of existence that continues to evolve in an uncontrolled, ever-expanding way. This perspective reflects how human creativity itself functions—an explosive force of imagination and experimentation that resists a singular, linear path.
NEO·GENESIS manifests this philosophy through visual storytelling that mirrors the randomness and instability of creation. Instead of depicting a divine architect carefully crafting the universe, I embrace the idea of a godbeast—an inhuman, accidental force that triggers existence without intention. More than just a reimagined genesis story, NEO·GENESIS is an ode to the intrinsic chaos of creativity itself—where distinct voices collide, overlap, and diverge, yet all contribute to the ongoing act of creation.

Mythology, religious iconography, and philosophy play a significant role in your practice. Do you have specific stories or symbols that you return to often?

Yes, there are certain stories and symbols that I frequently return to in my work, particularly those that explore themes of judgment, duality, and transformation. One of the most compelling narratives for me is the concept of Final Judgment from the Bible, along with the figure of Lucifer—the fallen angel who embodies both rebellion and divinity, light and darkness. His dual nature fascinates me because it represents an inherent conflict, a polarity that resonates deeply with my artistic practice. I am drawn to figures and myths that exist in this liminal space, suspended between extremes.
I also have a guilty pleasure in reinterpreting and modernizing classic religious and mythological stories, infusing them with irony and social critique. For example, I once reimagined Final Judgment and Resurrection within a dystopian world where humanity is judged not by moral or spiritual virtues but solely by their adherence to sustainable practices during their lifetime. Those who fail this extreme assessment are either condemned to hell or must undergo a sustainability "test" to earn a second chance at life. By pushing sustainability to an exaggerated, almost authoritarian level, I aimed to provoke thought about the potential dangers of overproduction and consumption—even within well-intentioned causes.
Beyond biblical references, I also draw inspiration from a range of mythologies—Norse, Greek, and Eastern philosophies—all of which explore cosmic cycles, fate, and existential struggles. These ancient narratives provide a framework that Ican manipulate, distort, and reconstruct, allowing me to reflect on contemporary social phenomena while maintaining a connection to timeless human experiences.

You explore dualities like creation and destruction, light and darkness. How do you visually translate these opposing forces into your designs and illustrations?

In my fashion design, I integrate atomic and mechanical movements within garment structures, allowing the wearer to actively engage in the process of creation and destruction. By incorporating detachable panels, modular components, or transformable elements, I enable garments to be assembled and deconstructed, mirroring the cyclical nature of construction and collapse. This interactive aspect not only reinforces the duality of creation and destruction but alsoinvites the wearer to experience it firsthand.
To visually express opposing forces like light and darkness, I experiment with negative and positive space, using contrasts in form, layering, and silhouette to emphasize their interplay. Sharp cutouts, stark divisions, or layered transparencies create tension between visibility and obscurity, reinforcing the dynamic between illumination and shadow.
Materiality also plays a crucial role in translating these concepts. I carefully select fabrics and hardware that embody contrast—pairing soft, fluid textiles with rigid, structured materials or juxtaposing reflective, high-gloss surfaces against matte, absorptive textures. This interplay of physical properties solidifies the visual representation of duality, making the contrast not only aesthetic but also tactile and experiential.
In my illustrations, I use similar techniques—contrasting bold, angular lines with delicate, organic curves or employing stark black-and-white compositions to heighten the sense of opposition. Through composition, texture, and movement, I aim to create visual narratives that embody the tension and harmony between opposing forces.

The intersection of physical and digital design is an evolving space. How do you see 3D digital fashion expanding the possibilities of storytelling?

The virtual space is a transformative gift to designers, offering a boundless creative playground unrestricted by the physical limitations of gravity, material properties, or traditional production constraints. It allows for the exploration ofconceptual designs that may be structurally impossible in the real world while simultaneously serving as a powerful prototyping tool that reduces physical waste during the development process.
In my own practice, I have embraced 3D digital fashion as an essential first step in design development. Before committing to physical production, I construct patterns, simulate prototypes, and precisely calculate material usage in a digital environment. This process significantly minimizes waste while granting me the freedom to experiment with bold ideas without the ethical burden of excessive resource consumption. Unlike traditional fashion design, where each prototype requires fabric, trims, and physical labour, digital fashion enables multiple iterations without tangible waste, allowing for more fearless innovation.
Beyond sustainability, 3D digital fashion expands the possibilities of storytelling. In the virtual space, garments can transcend their static physical form, incorporating movement, interactivity, and even elements of fantasy. Designs can be animated, evolve dynamically, or exist as immersive experiences, blurring the boundaries between fashion, art, and technology. This digital dimension provides an opportunity to create fashion narratives that are not just worn but alsoexperienced in entirely new ways—whether through AR, VR, or virtual metaverses.

Your work has been featured in several fashion and art magazines. How has this exposure influenced your creative journey?

I never set out with the intention of having my work featured in magazines—these opportunities have always felt like organic and unexpected outcomes rather than deliberate goals. That being said, I deeply appreciate the recognition that comes with these features, as they reinforce my drive to continue creating and remind me that I'm not working in isolation. Knowing that my art reaches an audience who can perceive and connect with it is both encouraging and fulfilling.
However, external validation has never been my primary motivation. I hold a steadfast belief that, even if my work were never recognized, I would still create simply because I am intrinsically drawn to storytelling and artistic exploration. My creative journey is driven by personal curiosity and the sheer joy of making, rather than the pursuit of exposure or accolades. The creative process itself is what I value most—the ability to experiment, to push boundaries, and to bring ideas to life. Any recognition or following that comes as a result is simply a bonus, not the driving force behind my work.

Lastly, what's next for you? Are there any new projects or themes you're excited to explore in the future?

I'm currently drafting the foundation for my next project, which revolves around developing a game plot set in an unconventional world of my own creation. This world will be inhabited by original characters who must confront an external force threatening their homeland. Through this narrative, I aim to delve deeper into 3D character modelling and costume design within the digital fashion realm, pushing my skills in both technical execution and conceptual storytelling.
Beyond the visual aspect, I'm particularly excited about refining my storytelling by crafting more intricate character dialogues and exploring non-linear plot structures. This project will be an ambitious multidisciplinary experiment—onethat challenges me to act as the architect of an entire world while seamlessly integrating fashion, digital modelling, animation, and narrative design. It's an opportunity to further expand my creative boundaries and explore the untapped possibilities of digital fashion within interactive storytelling.

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