IN CONVERSATION WITH YANRAN CHEN

interview by MAREK BARTEK

Yanran Chen is a rising star in the art world. She made a striking debut at ComplexCon 2024 in Las Vegas, unveiling six sculptures from her latest project in collaboration with Liu Cixin, the Hugo Award-winning author of The Three-Body Problem. Yanran's artistic vision reflects profound introspection and a keen awareness of the complexities of the external world. Her work is deeply influenced by the bold storytelling of Japanese manga and the avant-garde aesthetics of experimental French cinema. She has also collaborated with renowned global brands and media outlets, including Balenciaga, Songmont, and R13.

dress FALGUNI SHANE PEACOCK

Your work is often described as both ‘a profound introspection’ and ‘an awareness of external complexities’. How did your early experiences in Beijing shape your artistic vision, and how would you describe your art to someone who’s not necessarily an art enthusiast?

Growing up in Beijing had a profound influence on my artistic perspective. As someone from the post-2000 generation, I grew up in a digital era where smartphones and the internet were as integral to daily life as breathing. For some unique reasons, I had a lot of time to myself. Fortunately, I found solace in the classic anime of the 80s and 90s, which opened a door to fantastical worlds far from the reality. Later, I got into more niche stuff like Japanese horror manga and French experimental films, I was hooked on these unique forms of art. They drew me deeper into self-reflection and helped me explore human emotions more intricately.

For people who don’t follow art, I’d describe my work as a bridge connecting inner emotions with the external world. It’s not just about aesthetic beauty; it’s about expressing those complex, indescribable feelings we gather throughout life—those emotions that don’t quite fit into words or everyday experiences. It’s like a safe space I’ve created for myself, where I can pour all those unspoken emotions into something tangible.

As you’ve already mentioned, Japanese manga and experimental French cinema heavily influence your style. Can you share how these mediums have shaped your creative narrative?

The classic Japanese anime of the 80s and 90s not only filled my childhood with joy but also introduced me to unique cultural customs and narrative techniques. The vibrant characters and intricate plots sparked my passion for creating stories and building compelling characters in my illustrations.

On the other hand, French experimental cinema is completely different. It breaks all the rules—nonlinear plots, surreal visuals—and it showed me that art doesn’t have to follow a formula. That freedom to experiment really influenced how I approach my work.

Your debut at ComplexCon featured sculptures from your collaboration with Liu Cixin. What drew you to this particular project, and how did it feel to present your work at such a high-profile event?

Collaborating with Liu Cixin was such an honour. He’s one of the most renowned sci-fi authors in China, with works like ‘The Three-Body Problem’ having global acclaim. This collaboration wasn’t just a recognition of my art but also an amazing opportunity to blend sci-fi literature with sculpture, exploring the possibilities of interdisciplinary art. Turning Liu’s imaginative, futuristic ideas into tangible, three-dimensional art was both challenging and exciting.

As for exhibiting at ComplexCon, I won’t lie—I was nervous! Even though I’d already participated in ComplexCon Hong Kong this March, the Las Vegas edition was on a much larger scale. But I also took the chance to explore other booths and learn from the variety of styles and fields represented. Seeing the creative collisions at the event gave me so much inspiration and motivation.

dress BUERLANGMA

Your work with WaarWorld bridges visual art and animation inspired by Liu Cixin’s ‘The Supernova Era’. Liu Cixin’s narratives are rooted in complex scientific and philosophical ideas. How do you translate such abstract and layered concepts into something tangible and visually engaging?

Adapting the abstract and layered concepts from ‘The Supernova Era’ into visual art was one of the toughest parts of this collaboration. My team and I really dug into the themes and storyline, and the concept of “play” stood out. In the novel, play becomes the foundation of how society functions, so we created an IP world called The Playpower Collection. It’s a utopian world built by playful kids, and bringing it to life involved everything from designing characters to building intricate scenes.

At ComplexCon Las Vegas, we introduced six key characters, including military figure Lu Gang, Olympic IT champion Pan Yu, Zhang Xiaole who hates work, online opinion leader Jia Zheng from the “New World” community, Feng Jing from the Motherhouse, and Re Zhazha, representing the Black Sand Sea. Beyond the characters, creating the immersive settings was the most labor-intensive part, involving 3D modelling, rendering, and special effects. After six months of effort and refinement, Supernova Playworld finally came to life at the event, and seeing it all come together was surreal.

With exhibitions spanning Tokyo, Shanghai, Budapest, and beyond, how do you tailor your work to resonate with audiences from such diverse cultural backgrounds?

Even though these cities have distinct cultural backgrounds, I’ve always believed that art transcends geography and culture. For me, the core of creation lies in universal human emotions and shared memories—like love, growth, or healing. These feelings go beyond language and resonate with people on a deeper level. And I’ve been experimenting with different mediums, like sculpture and short films, to tell stories in ways that feel even more personal and relatable.

Your art is known for evolving organically without adhering to strict stylistic categories. How do you maintain this fluidity while navigating the art world’s expectations?

My inspiration comes from personal experiences, like the cultures I’ve encountered while traveling, the cities I’ve lived in, the visual impact of anime and films, my love for vintage collections, and even my dreams. These elements naturally merge into my creative language without me planning it too much—it just grows with me. Of course, the expectations of the art world can sometimes feel overwhelming, and I’ve found myself overthinking my work at times. But over the years, I’ve learned that staying true to myself is what matters most. This fluidity is not only a commitment to creative freedom but also a way of honouring my genuine feelings.

jumpsuit FALGUNI SHANE PEACOCK

From Balenciaga to Songmont, your work has intersected with high fashion. How do you approach blending the conceptual depth of art with the commerciality of fashion collaborations?

I think art and commerce can go hand in hand, both are avenues of self-expression. Collaborating with fashion brands is actually really exciting because it allows my work to reach wider audiences. In fashion collaborations, I always insist on preserving the core concept of my work. Brands choose my creations because they align with their identity, and I, in turn, add new meaning to my work through the collaboration. It’s a process of mutual selection and growth.

How was it working with photographer JK Wong for this shoot, and what role did photography play in amplifying your artistic message?

Collaborating with JK Wong was such a refreshing experience because many of the looks involved styles I’d never tried before. I was also very happy that she appreciated my artwork and wanted to incorporate it into the photography shoot. Before heading to the ComplexCon exhibition in Las Vegas, I brought two characters from the artwork to the LA shoot: Jia Zheng and Re Zhazha from Liu Cixin’s The Supernova Era. Having them photographed alongside my work was an incredibly exciting experience.

Photography often serves as a way to document me and my creations, capturing the details of my work through a unique visual language that conveys my perception and perspective of the world. I also frequently use the camera to document my own life, a process much like painting. A photographer’s lens is their form of artistic expression, and their perspective often surprises and inspires me, just as picking up a paintbrush does. Art is a way of amplifying the senses, and photography is a visual manifestation of an artist’s personality. It helps me reflect on the past while sparking new inspiration for both my art and my life.

dress BUERLANGMA
shoes VOYETTE

You’re often described as a creative trailblazer. How do you handle the pressure of living up to this title while staying true to your artistic authenticity?

The pressure comes mainly from external perceptions and definitions of me, but I try not to let it get to me. For me, being authentic just means staying connected to my feelings and not trying to fit into a mould. When I’m not bound by specific timelines or expectations, I’m in a more relaxed state, which helps me stay true to the essence of my art.

Having achieved so much at a young age, what future projects or mediums are you most excited to explore as your artistic journey unfolds?

I think I’ve been pretty lucky to have so many opportunities to showcase my work at amazing and cutting-edge exhibitions. Seeing people resonate emotionally with my creations is the most rewarding part. Right now, I’m experimenting with animation—working on various film and animation projects. Before I started sculpting, my biggest dream was to create animations, so this feels like coming full circle. I love finding inspiration through trying new things, and I’m excited to explore new mediums to share my art in even more ways.

full look ANNAKIKI
shoes VOYETTE

TEAM CREDITS:
talent YANRAN CHEN
photography JK WONG
styling ALEXIS FYALL
production YUMEI ZHANG
lighting JUSTIN CHEE
makeup MILA KWAN
hair AMBER JAHN
tailor JAMILAH NICOL
prop THORIN
editor TIMI LETONJA
interview MAREK BARTEK
cover design ARTHUR ROELOFFZEN