10 Questions with Ke Ren

Ke Ren is an illustrator and animation artist currently based in London. Her artistic practice spans various mediums, including 2D digital, traditional frame-by-frame hand-drawing, and augmented reality. Initially trained in oil painting in Beijing, China, she spent four years immersed in a diverse range of artistic courses. Subsequently, she pursued an MA in Animation at Central Saint Martins in London, graduating in 2022. During this period, she ventured into integrating her drawing into the world of animation for the first time, taking this opportunity to explore the fusion of hand drawing and digital practices. Her first animation won the Best Super Short Animated Award in 13 IAFF GOLDEN KUKER and has been exhibited worldwide. Currently, as a freelance professional, she collaborates with studios in China, the UK, the US, and beyond, contributing to projects spanning from illustration art to animation. Recently, her artistic practice also shifted towards AR animation.

ke-ren.myportfolio.com | @cokkrn

ARTIST STATEMENT

Ke's artistic practice focuses on the intersection of 2D digital and traditional hand-drawn techniques, drawing inspiration from different cultural environments and identities and weaving together those indescribable moments of memory and visuals. The trajectory of constantly moving and living in different cities and countries during her upbringing has fueled her fascination with Topophilia (the love and attachment to specific places) and Déjà vu (the feeling of familiarity), drawing inspiration from symbols, poetry, memory, imagination, and romantic geography. She is passionate about constructing hand-drawn animations with continuous still frames, constantly exploring the possibilities of the medium, and eager to create works that evoke the senses, emotions, and perceptions of the audience.

INTERVIEW

First of all, let's start from the basics. Can you tell us about your background and what inspired you to follow this career path?

I'm Ke. I grew up in China and pursued a Bachelor's degree in oil painting. Later, I graduated from Central Saint Martins in London with a master's degree in animation. Currently based in London, I'm a multidisciplinary artist specializing in the convergence of digital animation and traditional drawing. My work delves into the nuanced complexities of belonging, sense of place, cultural identity, loss, and memory associated with the immigrant experience. Recently, my artistic practice has also embraced AR animation and projection animation.
Since childhood, I've been immersed in drawing, often scribbling or jotting down notes on walls or windows at home, with my family never discouraging me. This upbringing has granted me significant artistic freedom, instilling the belief that art and creativity are innate forms of expression, akin to language, serving as a means of communication rather than just a profession.

Fish Underground, 2D digital, 1920×1080 px, 2022 © Ke Ren

You have studied and trained in both Beijing and London. How have these different environments influenced your artistic journey?

During my four years at Renmin University of China in Beijing, I focused on oil painting and obtained a Bachelor's degree in Fine Arts. This period provided me with comprehensive training across various disciplines, including traditional painting, printmaking, contemporary art, and animation. I consider this phase pivotal in my artistic development, as it offered extensive observation and methodological training, particularly in areas like sketching, human anatomy, and traditional painting, which significantly honed my professional skills.
My time at Central Saint Martins in London marked a significant turning point in my artistic journey. The environment there liberated me from the constraints of traditional painting or canvas-based work and led me to discover animation as my effective means of artistic expression. It bridges time and space and possesses an omnipresence that resonates with me deeply, which is why I am drawn to it.

What motivated you to transition from oil painting to animation, and how does your training in both mediums inform your current artistic practice?

During my undergraduate studies, I had the opportunity to explore various art courses, including animation. The unpredictability and randomness inherent in animation production brought about a sense of relaxation and enjoyment in the creative process, for me, which differed from the experience of painting.
With painting, I often felt constrained or lacked inspiration as I tended to set predefined expectations for myself. However, when I first delved into animation, everything became clearer. I could merge the strengths of both mediums. Animation, to me, feels like a process of finding a personal-ordered space within freedom and chaos. It's a deeply healing process where I can truly express myself.

Your work encompasses various mediums, including 2D digital, traditional hand-drawing, and augmented reality. How do you decide which medium to use for a particular project, and what do you enjoy most about working with each?

I never have a specific medium in mind before embarking on a project. Instead, I focus on the essence of the imagery or a particular aspect, such as motion or deformation. It's crucial for me to establish the core of my creation and what I most want to express, independent of any medium influence. Once I have this foundation, I experiment with various mediums, such as different brushes, materials, or the interchange between digital and traditional methods. I also explore how incorporating other media can enhance interactivity. Different exhibition spaces may require different mediums to effectively convey my message, prompting me to consider various mediums for different exhibitions.

Could you walk us through your creative process when developing a new project or series?

My creative process always begins with asking myself: What do I want to express the most? What message do I want to convey to the viewers? Based on these questions, I conduct research, observe, and jot down inspirations, sketching out some conceptual drawings. This phase may take longer than the actual creation, but it lays a solid foundation for the work ahead.
Once I have a preliminary idea, I start experimenting with storyboarding and animation. There's no strict mid-stage in the creative process; I continuously experiment and iterate until I'm satisfied. This iterative process often yields unexpected results.
Additionally, depending on the project's requirements, I collaborate with composers. The importance of music in animation or dynamic works is undeniable; it can inject tremendous power into the piece.

Your animations often explore themes of Topophilia and Déjà vu. Can you discuss how these concepts inspire your work and how you translate them into visual storytelling?

The frequent relocations during my upbringing gradually sparked my interest in cultural identity. The curiosity and novelty brought by new cultural environments are always intense yet fleeting. As an outsider, I often find myself oscillating between feelings of displacement and novelty, which compels me to find an outlet for expression. This emotional impetus has directly influenced my artistic endeavors since arriving in London.
My first animated project, "Symbols," was a personal response to my recent relocation to London and immersion in a Western linguistic environment. This cultural backdrop sparked my interest in language, text, and symbols, leading me to create an animation that doesn't require "reading" or "understanding." Drawing inspiration from artificial languages such as emoji and Martian languages, I extracted their visual elements. Additionally, London as a city provided me with ample inspiration. I documented my daily experiences and extracted visual symbols relevant to me, such as the subway, urban architecture, and steel structures, integrating the entire city into my artistic creation.

You mentioned your fascination with constructing hand-drawn animations with continuous still frames. Can you explain the significance of this technique in your artistic expression?

The process of crafting frame-by-frame animation, to me, is akin to a romantic pursuit, imbued with elements of time, space, and uncertainty. Despite its seemingly repetitive nature, with 12 frames per second, each frame bears subtle nuances. When played continuously, the wonder of frame-by-frame animation becomes apparent, almost as if everything suddenly springs to life. This aligns seamlessly with my approach to creation, where authenticity reigns supreme.

What do you hope viewers take away from experiencing your artwork, and what aspirations do you have for your artistic career moving forward?

I believe that almost everyone has experienced relocation or being an outsider to some extent. My hope is that regardless of their cultural background, viewers can find some resonance with my work, whether it's through their viewing experience or emotional connection. As for the future, I intend to continue exploring the possibilities of Expanded Animation, the intersection of traditional hand-drawn and digital animation. I am eager to pioneer new avenues in this field.

Fish Underground, 2D digital, 1920×1080 px, 2023 © Ke Ren

As an artist working with emerging technologies like augmented reality, what potential do you see for the future of art in the digital realm?

In my view, digital technologies offer artists a broader canvas and toolkit, breaking down barriers between tradition and audience, as well as the limitations imposed by exhibition spaces and geographical locations. This is something I am particularly excited about.

Finally, can you share any upcoming projects or collaborations that you're currently working on or excited about?

I am currently in the process of applying for a grant to support my new project. It will involve creating a series of interactive projection animation installations set against the backdrop of London, responding to the subtle complexities brought about by the experience of migration. I aim to expand upon my previous creative endeavors by bringing my animation works out of screens or specific locations and into random outdoor spaces to explore and reflect on the connection between self and the external world. I am currently in the initial stages of pushing this project forward and hope to complete it by the end of the year.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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