10 Questions with Shiqing Chen

Al-Tiba9 Art Magazine ISSUE14 | Featured Artist

Shiqing Chen is currently pursuing her Master's degree in NYU Tisch Interactive Telecommunication Program and holds a BFA in Design from the School of Visual Arts (2017-2021). She worked with several famous design studios and artists, including Office of Paul Sahre, Karlssonwilker, Transwhite Studio, Astist Chika Iijima, and Artist Qin Xu. Her works have been featured and selected in PRINT Magazine, AIAP International Motion Art Awards 9 (Selected Winner), GusGus 2021 World Tour, MUBI Notebook, NYU ITP Spring Show 2023, NYU ITP Winter Show 2022, SVA Motion Graphic Spring Show 2020.

shiqingchen.com | @47sqchen

ARTIST STATEMENT

Shiqing Chen uses multiple visual languages and elements to communicate through print, website, and digital media. Her works focus on cross-medium storytelling and visual communication. During the pandemic, she became interested in the organic errors and uncertainties of data and how they can enhance human acknowledgment through data. By leveraging available technologies, she aims to present data through sounds, games, performances, and other means.

INTERVIEW

Let's start from the beginning. How did you get involved with art, and what influenced you to follow this path?

I've had a passion for creating things since I was young, which is probably how many artists get their start. I enjoy the process of using my creativity and reflection while making things. Of course, having the opportunity to make art a primary part of my life takes courage and opportunities. I consider myself lucky and practical, always assessing how much energy I can bring to art and this industry. My persistence in this journey wouldn't have been possible without the encouragement of experienced individuals and the support of my family.

You studied design and are currently enrolled in a Master's degree at NYU Tisch Interactive Telecommunication Program. How much does your background influence your current work?

I believe my background has significantly shaped my way of thinking, which in turn affects my creative process. During my undergraduate studies in design, my focus was primarily on graphic design, including print, books, art, branding, and UIUX. Regardless of the specific focus, each project started with a visual problem that needed solving. This way of thinking ingrained in me the approach of problem-solving and striving to do my best within constraints. I'm quite organized, so I find the challenge of organizing information through various media in the creative process fascinating.
This approach largely influences my logic of creating. Over the years, interacting with other artists, I gradually realized that I couldn't create while exploring the tools. Typically, I understand what a medium can do, envision a basic goal, and work towards that goal, striving to achieve the best outcome. However, this process usually occurs in stages and rarely does the project completely change direction from the initial goal. If I'm not satisfied, I address it in the next phase.
Although I enjoy problem-solving, I also feel the urge to incorporate my own visual language. Later on, I had the fortunate opportunity to study under great designer Paul Sahre, whose influence on me and many of our friends was significant. Designers often work behind the scenes, and I never really aspired to be in the spotlight. However, he posed a question to us when we were still young: "What is your voice as a designer?" This made me seriously consider whether I had ever expressed myself in my work or if I wanted to. I realized that I had the capability to allow myself to be present in my work.
Exploring my own voice, apart from design, became one of the reasons I pursued art at NYU Tisch, as well as preparation and expectations for my next phase.

Your work spans different mediums, from print and illustration to digital media and websites. How do you blend and mix those different aspects of your production?

I don't see them separated. First, for me, it's crucial that everything about my work has a reason. My creative process is primarily about problem-solving, so I often think that a particular medium might be better suited to a specific problem, and the artwork follows that choice. I'm also very interested in extending the interactivity of my work, and the needs to be conveyed by a piece and how the audience interacts with it determine my choice of medium.
Second, many of the mediums I work with still can be categorized as graphic design and visual art. I enjoy the process of creating visuals, and these visuals can be applied in various contexts, including print, digital media, websites, and more. I'm eager to explore the possibilities of the same image in different mediums, although nowadays, people are more likely to ask what kind of specialist I can be categorized.

Where do you find inspiration for your artworks? Do you have any artists or movements you look up to, or is your inspiration more organic, coming from everyday life?

I would say the works during postmodernism would be the ones affecting me the most, as well as artists/designers including Eiko Ishioka, Hito SteyerlI, Tauba Auerbach, Shuji Terayama, Susumu Hirasawa, Issei Suda, and so on. I also noticed that I have my preferences in styles and colors, but I also try not to limit myself to them. Most of my inspiration comes from observations of people and things in everyday life, whether it's my own habits or the subtle changes in seemingly unchanging daily routines.

In your statement, you define your work as "cross-medium storytelling and visual communication." What are ultimately the messages you want to convey?

As I mentioned earlier, I'm more interested in finding the most suitable medium for a concept rather than sticking to a particular form. In my work "Elevator to 37," I transformed photos into data, then into audio, and finally into video. This exploration provided opportunities for both me and the project to gain more insights and exploration. When the form and medium change, the information received by people from the same content also varies. I hope this process offers more opportunities for exploration and understanding for both myself and the project.

And what are the key themes you address that are central to your research?

I think I continue trying to push the boundaries of visual communication.
Lately, the key theme I've been interested in is about temporary spaces in cities.

You also mention data, data collection, and errors as central aspects of your work. How do you work with this information, and how do you use it in your work?

I see data as patterns that I record. The data I refer to isn't limited to numerical data; it can be audio clips or video clips, but I approach these fragments with a data-centric mindset. When creating visuals, I integrate these data patterns into the visual language. For example, if it's the sound of car horns on the street, how can the visual representation of the audio pattern convey information? I set up the system of transforming the data and waiting for the result, more like doing experiments with specific directions. Since I don't control the data but set up the system, I relinquish some creative control in this process. When some control is handed over to the data, the results often bring unexpected insights, refreshing my perspective.

You work with both traditional mediums, like prints, but also with digital media. How important are new technologies and innovations for your work? And how do you keep up to date with the latest developments?

Interesting ideas and great creations in history are never forgotten, and changing the medium isn't necessarily the best way to approach a subject or work. However, different mediums have limitations in what they can convey. I'm curious about what different mediums can communicate and how the interaction of people with the information conveyed in new mediums differs. With each stage, some new works show what the current tools can't achieve. Based on my previous learning and experience, I realize that new technologies are starting to be widely used in the industry. This serves as a signal for me to learn new technologies. Also, it's essential to engage with peers, continually review, and learn from outstanding works of the time.

Speaking of new technologies, what do you think of AI and AI-generated art?

I find embracing new technology as a way to create new opportunities. Why not give it a try? AI-generated art is intriguing, and I'm currently starting to use it myself. People have mixed opinions about AI-generated art, including concerns about copyright. I believe AI-generated art can't be purely defined as art; it can be seen as providing drafts, experiments, and possibilities during the creative process—a tool for increasing efficiency.
The choice of prompts and how they are modified largely depends on the user, as it's a process of selecting possibilities. This selection process can lead to innovative outcomes. If creatives can integrate these drafts into their own mediums to enhance their creative efficiency in order to achieve a higher stage in the same amount of time, AI art can complement well.

What are you working on right now? Do you have any new projects or series you are developing at the moment?

I'm currently involved in various projects, including art books related to my background in graphic design. One of my new publications recently featured at the New York Rehearsal Art Book Fair, "In Between The Window Brochure." I'm also working on digital media-related installations, performance art, and audio-visual live performances. In the coming year, I will have some audio-visual live performances in New York. I'm primarily trying to expand my visual language into spatial media. Most importantly, I hope these projects, whether self-initiated or commercial, will conclude in a complete state.

Finally, where do you see yourself in 5 years from now?

First, I'll be focusing on my graduate thesis; I consider it a crucial opportunity before graduation. Based on my current projects, I anticipate shifting towards visual art and motion design, but I don't expect to stop working on book design. I'll continue to create publications and art-related books as well.

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.