yawen cong

Yawen Cong, image courtesy of the artist.

Yawen Cong (born 1999) is a designer specializing in Phygital and Media Design. She is currently dedicated to exploring how traditional aesthetics can be integrated into contemporary phygital art. Yawen's unique style is characterized by the use of highly reflective and transparent materials, which she employs to represent elements of the natural world. Her work delves into the projection of the physical world into the digital realm, and its subsequent reflection back into the physical world. This continuous interplay seeks to blur the boundaries between the physical and digital, creating a seamless fusion that challenges perceptions and redefines the relationship between these two worlds.

Recent exhibitions include: Dutch Design Week - BioArt Laboratories; Dutch Design Week- De Heuvel; X-Pressions of the Future - The Wall Space Gallery and others. 

BEN CHUAN QIN: How would you describe your work?

YAWEN CONG: My work seeks to initiate a dialogue between the seen and unseen, between what is tangible and intangible. It invites viewers to question their perception of reality. If my work could speak for itself, it would ask why we are so eager to eliminate what we define as "bugs" in the digital world. We often strive to impose the physical world’s rules onto the digital realm, assuming perfection is the goal. But why should it be? The physical world is born with natural rules and we take them, which we then try to re-apply to the digital space—this is just replication. Perhaps by viewing those parts that don't conform to these rules, we can experience something entirely new.

Views of Ensnared Identity.

Installation views of Ensnared Identity.

BCQ: Digital natives is a term often used to describe your generation. Being an artist and growing up in the metaverse, where the fine line between the physical and digital is blurred, where is your place in this world of hybrid worlds? Do you think it is instinct or natural for you to take upon such a visual language?

YC: I believe my place lies at the intersection of these hybrid worlds. One foot is set in the physical while the other is digital. Yet, the screen, once a clear boundary between the two realms, is now morphing, blurring the lines. The screen as the door that used to divide these worlds is losing its presence. Although I have not moved, the environments around me have merged. For me, using this cyber-inspired visual language feels instinctual. It's a natural way of understanding reality, where physical properties and materials no longer have fixed attributes, and they can be given any texture or color.

BCQ: Could you tell us about your interest in Shanshui painting and designing the “garden”?

YC: What draws me to traditional Chinese gardens and Shanshui painting is their concept of "man-made nature." These gardens represent humanity's attempt to simulate natural landscapes, much like how we construct digital worlds today. However, just as in these gardens, there is room for freedom—the plants and animals grow and evolve, creating new, uncontrolled scenes. This balance of control and unpredictability is fascinating and it parallels the Level of Detail (LoD) optimizations in digital environments, where certain elements come into focus while others remain in the background. This unpredictability often brings unexpected beauty, both in the physical garden and the digital world I explore.

Series titled Man-Made Nature.

BCQ: Stunning digital fashion works, are the dresses also coming out of your “gardens”, too? Why did you choose fashion?

YC: Yes, in a sense, the dresses are an extension of my gardens. Just as a garden is a curated ecosystem, fashion allows me to translate these concepts into wearable art. I chose fashion because it acts as a medium that is both intimate and public, just like digital avatars. Clothing becomes an interface between the individual and the world, offering a way to express identity while navigating the physical and digital landscapes. Fashion, for me, is like a second skin that can alter a person's silhouette and presence, and I see it as a direct way to manifest my ideas on the human body.

Views of Program Pictogram.

BCQ: Do you think the fashion works serve as a mediator (if not an avatar) between you and the digital when “venturing into the digital”? Maybe share something about one of your digital fashion collections, such as Falling Clouds.

YC: Absolutely. Fashion, especially in the digital realm, acts as a mediator between identity and space, helping to define who we are in otherwise fluid environments. In projects like Falling Clouds, the garments represent a metaphor for the cycle of the transformation between the physical and the digital worlds. As the water transforms into clouds, rain, and vapor, the cycle mirrors the flow of information and identity between these spaces. Fashion becomes a tool for exploration and self-expression, allowing us to navigate the digital world while staying grounded in something physical and familiar.

Falling Clouds.

BCQ: Less known by our Western readers, could you share your insights on this Eastern or Chinese philosophy as they are pretty much your ultimate inspiration in the first place visually and conceptually?

YC: Eastern philosophy, especially Daoism, greatly influences my work. Concepts like Wu Wei (following the natural flow) and the balance between Yin and Yang, are central to my creative process. These ideas remind us that nothing exists in isolation; everything is interconnected. This philosophy resonates with the hybrid worlds I create, balancing perfection and imperfection, control and spontaneity. I also use the concept of “Liubai" or “leaving space" in my work. By leaving room for interpretation, I encourage viewers to have their own experiences with my art. I believe that these interpretations and reflections are part of the artwork itself.

Traceable Identity.

BCQ: Do you think you are an artist in the first place or more likely to be a designer in the field? Apart from being an artist, what do you do?

YC: I see myself as both an artist and a designer. In today’s world, the line between the two is becoming increasingly blurred. As an artist, I explore and express personal ideas through visual narratives. As a designer, I create functional, interactive experiences that others can engage with. In a way, art can also fulfill a need. Through social media, artists can find people who resonate with their work, which makes the art both a personal expression and a product for those who connect with it. I also work with technologists and researchers to bridge creativity with innovation, pushing the limits of how we integrate digital technology into traditional artistic practices.

BCQ: Could you share with us your upcoming projects - what would you like to explore further?

YC: My upcoming project Unseen Virtual will be exhibited at Dutch Design Week (DDW24). The installation examines how we perceive content inside and outside the screen, blurring the lines between digital and physical realities. It challenges the idea of the digital world as a perfect image, instead emphasizing the importance of hidden and imperfect elements. By breaking these boundaries, the project encourages deeper engagement with the digital world, making it an integral part of our reality. As I move forward, I want to expand my exploration of how artificial intelligence can shape creativity and continue to merge Eastern aesthetics with cutting-edge technologies.

Unseen Virtual. All images courtesy of the artist.