10 Questions with Yulin Yuan

Yulin Yuan is an interdisciplinary artist and dedicated art educator, born in China and raised in South Africa. She holds a BFA from the University of Cape Town and an MFA from James Madison University. Her practice spans photography, video, and assemblage, focusing on themes of identity, mythology, and displacement. In addition to exhibiting her work internationally in the U.S., South Africa, China, and South Korea, Yulin has extensive teaching experience, having instructed both foundation and advanced-level courses. She is also the recipient of the 2024–2025 Virginia Museum of Fine Arts Professional Fellowship.

yulinyuanart.com | @yulin_one

ARTIST STATEMENT

Classical mythologies are narratives created to address incomprehensible questions of past times. These narratives reveal partial truths, customs, and deeply held convictions. As a Chinese immigrant, Yulin Yuan was raised among myths surrounding South Africa, the nation she was instructed to assimilate by her environment, tales of her ancestral origins, and, frequently, myths regarding her ethnic identity. Upon immigrating to South Africa, she wrestled with the challenge of forging an identity, navigating the space between cultural adaptation and the erosion of her own heritage. This experience, shared among children of immigrants, engendered disruptions that are like glitches in life.

Through Yuan's creative process, she both physically and metaphorically assembles narratives using collage techniques, tangible objects, video documentation, and performative acts. Her work bridges the space of "in-between," exploring the ephemeral nature of identity while questioning the very foundation of the self.

Xi Wang Mu, Digital Print on Organza, 60x80 cm, 2022 © Yulin Yuan

INTERVIEW

You've earned degrees from the University of Cape Town and James Madison University. Can you tell us about your artistic journey during your studies and how they shaped your approach to interdisciplinary art?

I walked into Fine Art thinking I was going to focus on oil painting, but I found myself more drawn to experimenting with various mediums. I learned different skills from both institutions—new media in one and papermaking in the other. I enjoy the contemporary aspects of video and photography, but I also love the tactile element of papermaking. I'm constantly working to blend or connect these practices.

Your upbringing in China and South Africa must have given you a unique perspective. How has this multicultural experience influenced your identity and, in turn, your creative practice?

Being part of the 1.5 generation is fairly common. Many immigrant parents leave their children in their home country to spare them from the hardships of starting a new life in a foreign land. However, based on my research and personal experience, adjusting during the pre-teen or teenage years is even more challenging than in early childhood or adulthood. From struggling to learn a new language before fully mastering your first to going from a straight-A student to not understanding anything in class, all while your sense of identity is just beginning to form and is suddenly disrupted—it's a unique but common experience. Although there are overlaps, it's distinct from the experiences of both first- and second-generation immigrants. My practice draws inspiration from these memories.

Shennong, Digital Print on Organza, 60x80 cm, 2022 © Yulin Yuan

Your work often delves into themes of identity, mythology, and displacement. How do these personal and cultural narratives shape the stories you tell through your art?

Mythology wasn't always 'mythical'—these narratives were originally created to explain natural disasters and human evolution. So, even though we now know they are inherently fictional, their origins were based on real events or questions about reality. I think this is similar to the feeling of ethnic or cultural identity. I've always been told and reminded by my environment that I am 'Chinese,' but being detached from the land that shaped this identity makes it feel more like a mythological narrative. It's real, but not real at the same time. Although I highly embrace all my identities, it took some time to get here, and this journey has been walked by many people.

You use various media in your practice, such as photography, video, and assemblage. How do you decide which medium best fits the message or story you are trying to convey?

Each medium I work with serves as a tool to build the world I envision. I've always been drawn to the ability to curate reality, especially in photography and video. For me, these mediums are different forms of assemblage—the act of piecing together stories and elements is what fascinates me. I approach my work by first considering how I want it to be perceived, and then I choose the medium that best suits that vision. Whether it's the stillness of a photograph or the dynamic nature of video, the medium becomes a vessel for the narrative I want to construct.

Your artist statement mentions the concept of 'glitches' in life as a metaphor for disruption. Could you explain how this concept informs your work, both visually and thematically?

I was drawn to the concept of Glitch Feminism, coined by Legacy Russell, where the 'glitch' represents gender and bodies rejecting the binary system. I also interpret the 'glitch' as disruptions in expectations—a moment of rupture where identity is reformed. In my practice, this manifests visually through fragmented images, broken or reassembled objects, and the juxtaposition of different symbols. That's why I'm so captivated by collage and assemblage. It's the act of reconstruction or the subtle disruption, whether in still or moving images, that fascinates me. Glitches occur in systems of binaries—within culture, sexuality, or perceptions of the world. I embrace glitches as both a learning tool and a liberating way to redefine identity, whether online or offline.

YuGong YiShan, Digital Print on Organza, 60x80 cm, 2022 © Yulin Yuan

Xingtian, Digital Print on Organza, 60x80 cm, 2022 © Yulin Yuan

Collage techniques seem central to your practice. What draws you to this method of assembling narratives, and how does it help you explore the 'in-between' spaces of identity?

Collage offers a way to layer multiple realities, creating a dialogue between elements that may seem disjointed but are part of the same narrative. I'm particularly drawn to this technique because it allows me to visually explore the 'in-between' spaces of identity—those moments where the cultural and personal intersect. I enjoy bringing elements together, disrupting them, and recontextualizing familiar visual objects. There's something magical in transforming their meanings, almost like being a magician. It serves as a reminder that our identities are not fixed but constantly evolving, much like the collages themselves.

You have exhibited internationally across various countries. How do audiences from different cultural contexts respond to the universal yet personal themes of your work?

Audiences from different cultural contexts often bring their own interpretations to my work, and I deeply value that diversity of response. While themes of identity and displacement are universal, each culture has its own narrative of belonging and migration, which adds layers of understanding to the work. Chinese viewers, or those familiar with Chinese mythology, may connect more with the mythological aspects. For those less familiar, many tend to relate more to the themes of immigration.

As an art educator, how do you balance your dual roles of artist and teacher? How does teaching impact your creative process, if at all?

Balancing the roles of artist and educator can be challenging, but teaching often fuels my creative process. Engaging with students keeps me connected to emerging perspectives, and their fresh approaches to art-making inspire me to experiment more in my own work. Teaching in a different country also provides opportunities for reflection. In a diverse nation like the United States, I learn as much from my students as they do from me, particularly when it comes to the intersection of cultures and identities. This exchange of ideas enriches my practice and leads me in new creative directions.

You were recently awarded the Virginia Museum of Fine Arts Professional Fellowship. What new projects or directions are you excited to explore during this fellowship?

I am honored to be selected as one of the recipients, and I am eager to explore the intersection of the body, sexuality, and mortality within digital spaces. I'm particularly fascinated by the mundane and daily rituals, and I want to experiment with how these themes can be expanded by incorporating more sculptural elements and artificial environments. The tactile nature of sculpture paired with the constructed nature of digital spaces offers a fun combination. I am also developing moving images for this series.

What are some future themes or ideas you are eager to investigate in your work? Are there any upcoming exhibitions or collaborations you can share with us?

Looking ahead, I am eager to explore themes around the body's relationship with technology, AI, and artificial environments—particularly how digital spaces foster new forms of identity construction. I'm especially interested in how immigrants shape their identities through these digital spaces. There are also some exciting exhibitions and potential collaborations on the horizon, including one that focuses on Asian diasporic artists, though the details are still being developed. Stay tuned!

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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