10 Questions with Zhiyan Cai

Al-Tiba9 Art Magazine ISSUE15 | Featured Artist

Zhiyan, a 3D artist and former architect, currently resides in London. Her creative endeavors delve deep into the intricate relationships between culture and technology, history and the future. Zhiyan takes pleasure in weaving together elements of Asian culture with futurism and science fiction themes, presenting a unique perspective through the lens of femininity. Utilizing 3D rendering, parametric design, augmented reality, and virtual reality technologies, she crafts visually immersive experiences that transcend traditional boundaries and spark imaginative journeys. Her series, "Cyber Folklore," has garnered enthusiastic acclaim on the renowned Chinese design platform Zcool and has been showcased at international art exhibitions, including the London Design Festival. Zhiyan's works have been featured in interviews by various domestic and international media outlets, such as WWD China and Guokr Technology. Zhiyan's artistic contributions have earned her multiple international awards, including the International Council of Visual Arts Award and recognition at the Exhibition of Architectural Design in Developing Countries. With a bachelor's degree in Environmental Art Design from the Hubei Institute of Fine Arts and a master's degree in Digital Creative Architecture from the Glasgow School of Art, Zhiyan seamlessly integrates her academic background into her artistic pursuits. Her creations stand at the intersection of tradition and innovation, reflecting her profound exploration of the complex interplay between cultures, technologies, and the temporal spectrum. Based in London, Zhiyan continues to push the boundaries of artistic expression, captivating audiences with her imaginative vision and adept use of cutting-edge technologies. Bridging the gap between the past and the future, her art transcends boundaries, challenging perceptions and creating a visual experience that is both unconventional and filled with boundless creativity.

zhiyanart.cargo.site | @zhiyan_art

ARTIST STATEMENT

Zhiyan's art embodies a romantic interpretation of mythology, regional cultures, and science fiction. Despite being born in a modern city, she frequently delves into art expeditions in rural towns. Captivated by diverse folk cultures, attire, and legends, she sees her creations as a contemporary reinterpretation of myths, viewing mythology and legends as ancient science fiction. In her "Cyber Folklore" series, she seamlessly integrates futuristic urban fantasy elements, such as cyberpunk aesthetics, with a rich tapestry of folk themes. This includes celestial beings from Dunhuang, wandering gods from Minnan, Nuo masks from Xiangxi, and costumes from the Miao ethnic group. Zhiyan regards her work as a new form of "cyber" cultural heritage, bridging the ancient and the modern. In the "Dragon and Phoenix" series, she combines parametric 3D modeling technology with the mythical imagery of dragons and phoenixes. This amalgamation showcases the romantic relationship between mythology, science fiction, and the cosmos. Zhiyan's art transcends boundaries, presenting a unique fusion of tradition and innovation, ultimately contributing to a new era of "cyber" cultural legacy.

AL-TIBA9 ART MAGAZINE ORIGINAL ISSUE15

INTERVIEW

First of all, let's talk about your background. Could you tell us more about yourself and how you began making art?

When developing new art pieces or series, my process involves deep reflection and experimentation. It starts with inspiration from various sources—be it a visual image, emotion, concept, or story. Following this, I research and explore, collecting information and making sketches to document my ideas. Then, I experiment with different software, techniques, and media, keeping an open mind to allow the artwork to evolve. Throughout, I focus on how the elements of the piece convey its intended theme, emotion, or concept, ensuring clarity in what I want to express.

As a former architect, how does your architectural background influence your approach to art-making?

In Eastern architectural theory, there is a term called "creating gardens/Zaoyuan," which is not just about redesigning an ecological environment but also represents a form of speculation and meditation. It explores thoughts on people, objects, and existence within a small space. Before embarking on actual architectural designs, I often conduct cultural, environmental, and historical research on the site. I implement the more practical aspects of my thoughts into my architectural designs, while the more abstract, imaginative parts are used to "create gardens" in my mind. When I find that the gardens in my mind surpass my actual architectural designs, I delve into artistic creation.
Additionally, architectural design has provided me with various technical entry points for creation. During my master's studies in architectural digital creativity, many workflows and software used were different from those in traditional digital art creation. This cross-disciplinary approach has added many possibilities to my artistic work. For example, in my piece "Dragon & Phoenix," where I needed to create very organic and accurately curved forms of dragons and phoenixes, I used Rhino + Grasshopper workflows, which are typically employed in industrial and architectural design, ensuring the precision of my creation.

The use of 3D rendering, parametric design, augmented reality, and virtual reality technologies is central to your artistic practice. How do these technologies enhance your ability to create immersive experiences, and what possibilities do they offer for storytelling and audience engagement?

For me, cultural heritage and technology represent the two ends of time, one belonging to the past and the other to the future. When I apply these technologies to traditional cultures, it feels like a dialogue across time and space.
For instance, my work "Out of Jail" converses with the past. I deconstructed some old Asian daily utensils and symbols, interpreting them through augmented reality (AR) to explore how memories are imbued with meaning by their environment and the objects within them. Meanwhile, my signature series, "Cyber Folklore," uses three-dimensional rendering technology to converse with the future, presenting a cybernetic fantasy where Asian folklore melds with technology. Through my interpretations, I hope viewers can stand at the crossroads of past and present, experiencing a resonance of emotions and cultural symbols.

When conceptualizing and developing a new artwork or series, can you walk us through your creative process? Where do you start, and how do you combine different elements to arrive at the outcome? 

When developing new art pieces or series, my process involves deep reflection and experimentation. It starts with inspiration from various sources—be it a visual image, emotion, concept, or story. Following this, I research and explore, collecting information and making sketches to document my ideas. Then, I experiment with different software, techniques, and media, keeping an open mind to allow the artwork to evolve. Throughout, I focus on how the elements of the piece convey its intended theme, emotion, or concept, ensuring clarity in what I want to express.

Your "Cyber Folklore" series seamlessly integrates cyberpunk aesthetics with folk themes. Can you discuss the inspiration behind this series and how you weave together these seemingly disparate elements?

I've always been fascinated by various myths, folklore, and science fiction films. My "Cyber Folklore" series is a rhapsody that merges the cultures I love. For this project, I conducted field research in Hunan and Guizhou, China, capturing numerous videos and images. During the early stages of creation, I incorporated many regional cultural symbols such as the "Nuo Face Dance," "Roaming Gods," "Miao Embroidery," and "Dunhuang Murals." The work of artist Yang Liping greatly inspired me in the area of visual production, while films like "Metropolis" and "Ghost in the Shell" were my sources of inspiration for science fiction elements.
Both mythology and science fiction transcend history and showcase human imagination. They reflect human contemplation of "where we come from" and "where we are going." The "Cyber Folklore" series is my interpretation of diverse Asian cultures and an invitation for viewers to rethink who we are.

How do you balance honoring cultural heritage and pushing the boundaries of technological innovation in your art?

The way I balance cultural heritage and technological innovation is by identifying the purpose of my creation and pinpointing the breakthrough I want to convey. My work isn't just about cultural preservation or technological advancement; its focus is to use these mediums to reflect on contemporary society.
For instance, my 3D experimental animation "Thousand Faces" was inspired by the Nuoxi ritual and the "Mountain Opening God" masks from rural southern China. In Nuoxi, masks are more than just decorations or props; they symbolize deities. The wearer, embodying the deity, transforms into a divine representation through dance.
The "Mountain Opening God," a character that traditionally opens each play, is believed to possess the power to create worlds. Local legends regard it as a mysterious creation goddess, Fang Xiangshi. In my view, East Asian female images are often gentle and compliant, rarely showing a fierce side, which limits women's self-conception.
Thus, the "Thousand Faces" animation series was born, reviving an ancient goddess ritual through segments themed around "mechanics," "script," and "belief." It explores and showcases the multifaceted nature of East Asian women, including their fierce strength.
My current project, focusing on Asian witches, also uses feminism as a breakthrough point. In my view, technology remains a tool; my "Renaissance" of cultural heritage is more about its contemporary value.

Augmented reality and virtual reality offer unique opportunities for audience interaction and immersion. How do you envision viewers engaging with your artwork in these digital spaces, and what experiences do you hope they take away?

Augmented reality and virtual reality provide unique opportunities for audience interaction and immersion. As an artist with an architectural background, VR and AR are excellent creative tools that allow me to create the "utopias" of my imagination. These immersive art experiences break through the constraints of time and space, making it easier for viewers to resonate with the art.
This year, the work "Within Touching Distance" by Zu-UK gave me more inspiration for VR creation. It mixes real life with virtual reality in a one-on-one experience, breaking conventions to provide a soul-healing experience for the audience. I find this direction incredibly valuable. In my new projects, I am also experimenting with combining VR technology with tactile elements and performers to create some very interesting experiments.

Speaking of technologies, recently, we have witnessed growing attention towards AI and AI-generated content. What is your stance in this regard? Do you feel threatened as an artist or see this as an opportunity?

The only constant in the world is change, and whether we accept or reject it, the only thing we can do is face it head-on. In terms of commercialization and copyright issues in art, artificial intelligence undoubtedly poses a threat. However, as an artist, I am fascinated by its continually evolving potential.
In my latest works, I have experimented with AI workflows using tools like MidJourney and Runway, but I am not yet satisfied with the results. Since AI generates images based on database models, its representation of underrepresented ethnic groups tends to be stereotypical. Yet, I can clearly feel the rapid development of AI, with new advancements happening daily, and I have high expectations for its future.
Perhaps in the next 3-5 years, the traditional processes of new media art, animation, and dynamic graphics creation will be disrupted. Redundant workloads could be reduced, allowing an artist to focus all their energy on creation, fully immersed in the process. The idea of being able to create a substantial project from a single concept is very appealing to me. For now, what we can do is embrace the present and face the changes with optimism and curiosity.

Looking ahead, what new frontiers or themes are you interested in exploring in your future artistic endeavors, and how do you envision the evolution of your work in the coming years?

I've always wanted to try to bring my visual art to the stage in crossover collaborations with musicians and dancers, and this year, I'm about to have that opportunity.
In June, at the Wandsworth Fringe, I collaborated with performers, dancers, and musicians to organize an audio-visual show that combines Asian culture with technology, set in a beautiful church space. I am very much looking forward to it.

Lastly, what is the biggest goal you set for 2024? 

In the past year, my works were featured in the London Design Festival and Milan Design Week, and this year I have more exhibitions planned. In terms of artistic creation, I will explore more diverse interdisciplinary collaborations.