10 Questions with Junhan Shen

Born in China and raised in Melbourne, Australia, Shen's artistic journey took her to New York, where she graduated from the School of Visual Arts and now pursuing an MA at Columbia University. Her work is a dynamic interplay between diverse cultural influences and individual expression. Shen's work has attracted attention in various exhibitions, including the September Primer and the group exhibition at the Macy Art Gallery in New York (September 2024). SVA Senior Show at the SVA Chelsea Gallery, New York (May 2024). Pin-Up exhibition at iidrr Gallery, New York (April 2023). XPeng POP-UP exhibition in several Chinese cities (May 2021). Shen's talent has been recognized with awards such as the SVA Silas H. Rhodes Scholarship (2024) and the LAA Art Acquisition, Nicky May Memorial Award for Art (2020). Additionally, her illustration series "Fox Escape" was shortlisted in the 10th "Hiii Illustration" International Illustration Competition (2023). With a focus on themes of cultural identity, Shen's work invites viewers to engage in meaningful dialogue through visual storytelling.

maghaiti.us/junhanshen | @junhan_art

ARTIST STATEMENT

Shen's creative journey explores the nuances of personal and cultural identity, bridging past and present through her art. Rooted in Chinese aesthetics, she is drawn to the poetic significance of negative space and the fluid interaction of ink tones, which subtly express the fragility of memory and identity.

Working primarily with watercolor and ink on paper, Shen values the organic relationship between these mediums. Her art embodies themes of impermanence and transformation, where blurred forms symbolize shifting perspectives. Chinese painting deeply resonates with her identity, and she strives to infuse her work with modern themes while honoring the essence of traditional ink art.

Believing that nature remains a unifying force in a world divided by societal and political differences, Shen invites viewers to explore the delicate balance between the visual and the intellectual. Her art fosters reflection on the connections between culture, history, and contemporary life.

In her recent series, Container, Shen addresses fragmented identity through the lens of folklore. Drawing inspiration from classic Chinese literature, such as Shan Hai Jing (Classic of Mountains and Seas), she reinterprets mythical creatures through her lens. Each piece is anchored in a specific theme—for instance, the winged horse paired with Suzhou gardens, the soaring snake alongside Beijing opera, and the Tibetan antelope with Tibetan ritual dance. Her creative process includes gathering extensive references from images, texts, and photos, crafting an intricate narrative with each drawing. Watercolor remains central to Shen's practice, allowing her a more diverse exploration of themes connected to nature while still rooted in traditional Eastern culture and Zen philosophy.

Through her work, Shen seeks to bridge cultural gaps, encouraging viewers to ponder the intertwined nature of identity, history, and our shared environment.

INTERVIEW

First of all, introduce yourself to our readers. Who are you, and how did you start experimenting with images?

I am an artist and illustrator from China, born in 2000. I graduated with a major in illustration from the School of Visual Arts. From a young age, drawing has helped me express my imagination and transfer abstract ideas to vivid visual images.

How did growing up in both China and Australia shape your artistic perspective? And what initially drew you to New York for your art studies?

I spent my childhood in China, where I was deeply immersed in Chinese classics and poetry, which gave me a strong cultural connection to that heritage. During my eight years in Australia, I studied Western painting and printmaking. I was attracted to narrative art and medieval manuscripts. It makes me want to combine Western techniques with Chinese elements and content. This realization led me to New York, where I decided to study Illustration at the School of Visual Arts and develop my unique artistic voice in narrative illustration.

Why is watercolor and ink on paper your preferred medium, and what do you feel it adds to your art?

I studied Chinese calligraphy for many years, which is the main reason I later developed a strong connection with ink painting. At the same time, I enjoy maintaining a sense of unity in my compositions and creating detailed artwork. Pens and ink on paper allow me to achieve this easily, and they have become mediums through which I feel both confident and relaxed. Watercolor has brought more possibilities of color to my work. Yet, I still use fine brushes to add details, maintaining the level of intricacy I prefer.

How would you describe the role of cultural identity in your work?

My upbringing has been a blend of both Eastern and Western cultures, creating a multifaceted identity that is not confinedto one cultural perspective. I embrace the diversity of these influences, and this fusion is reflected in my artwork, which has a combination of Eastern and Western artistic elements.

Can you share the inspiration behind your "Container" series and its connection to Chinese folklore?

The inspiration behind my "Container" series comes from my desire to reinterpret traditional Chinese folklore by using manuscript-style drawings, where each piece tells its own story in its own unique setting. In terms of the drawing style, I draw inspiration from medieval manuscripts, The Unicorn Tapestries, and Chinese narrative paintings from the Song Dynasty. 
I've done a lot of research into specific cultural references for the settings. For example, in the piece Back Garden, I looked into traditional Southern Chinese garden designs, like Taihu stones and intricately carved wooden doors. For Opera Stage, I drew inspiration from Beijing opera—looking at the theater's architecture, the costumes, and the props used by actors. I also incorporated ancient musical instruments from the Dunhuang cave murals to further enrich the scene. These elements help ground each piece in a specific cultural and historical context, adding details to the mythological stories I aim to tell.

How does traditional Chinese aesthetics influence your approach to themes like memory and identity?

I grew up in a city by the water in southern China, where Suzhou gardens and Taihu stones were a big part of my surroundings and have always been meaningful to me. In my artwork, I often bring in elements like Taihu stones and flowing water. Taihu stones, with their intricate, almost sculptural shapes, are not just beautiful—they evoke a sense of calm and reflection that's central to traditional Chinese aesthetics. They capture a quiet, almost meditative feeling that I connect with my own identity and childhood memories. Besides, I drew from Buddhist statues, temples, calligraphy, and architecture, all of which are important facets of my cultural background.

What message do you hope viewers take away from your reimagining of mythical creatures in "Container"?

I wish viewers to feel a sense of beauty and enjoy the intricate details in my work while sparking their curiosity—wondering what is happening within the scene. I hope viewing Container feels like unwrapping a surprise box and gradually discovering the hidden stories and details inside.

What future themes or projects are you excited to explore in your art?

I am continuing with my narrative ink drawing and currently researching Thangka and Tibetan elements, exploring how to combine them with local folklore. I have been working on this project for two months now, and I am excited about boththe process and the outcome.

You have exhibited your work extensively. What feedback do you generally receive from the public? And how does it influence your work?

I've received a range of fascinating feedback from viewers. I received comments describing my work as 'delicate and dreamy, with a neoclassical touch.' 'creates a sense of stepping into an undefined space, as if you're really there,' 'a symphonic quality to it, with every drawing as a different tune.' Many find it 'like micro-landscaping within a glass container.' 
For my Container - Opera Stage piece, one viewer commented, 'I love the borders; within their world, there may be a grand battle happening, but because of the borders, it feels like we're observing from a distance.' 'I could recognize the Chinese and Asian elements in the works, and I appreciate this representation of our artistic voices. She combined elements from different cultures in a perfect balance.'
I feel that most of what I aim to convey has been successfully communicated, and I'm happy to see viewers connect with my intentions.

And lastly, what are your plans for the future? How do you see your work evolving in the coming years?

In the next two years, I plan to further explore themes of cultural mythology. In the future, I hope to have a solo exhibit, publish an illustrated book, and be represented by a gallery.

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.