Today we’d like to introduce you to Chuan Jiang
Hi Chuan, can you start by introducing yourself? We’d love to learn more about how you got to where you are today?
I grew up in southern China, surrounded by the rich textures of urban life and traditional culture. As a child, I was always sketching, making up stories, and imagining worlds that didn’t exist. But life in China was fast-paced, driven by ambition and pressure. I often felt like I was sprinting without a moment to stop and think.
Moving to the UK was like stepping into another rhythm—a quieter, slower one. It gave me space to reflect on who I was and what I wanted to express. I realized that my art could be a way to reconcile the past and present, connecting my roots in East Asia with the global perspectives I’ve gained through living abroad.
Along the way, I studied Game Art at USC, where I fell in love with animation as a way to bring stories to life. Later, I explored how films and art shape culture and identity at the University of Glasgow. These experiences helped me merge my academic interests with my creative work, leading me to where I am today—an artist and researcher fascinated by the intersections of time, memory, and social change.
My journey hasn’t been linear, and it hasn’t always been easy. But looking back, I can see how every twist and turn has shaped the work I create today. My art is, in many ways, a conversation with all the versions of myself across time.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
The road has definitely not been smooth, but I think those bumps and detours have shaped both me and my work in profound ways.
Coming from southern China, I grew up in an environment full of contradictions—rich cultural history existing alongside rapid urbanization. That dynamic is fascinating, but it also comes with pressure: the relentless pace of change, societal expectations, and the feeling that there’s little room for self-expression. As a teenager, I felt stifled, like I had to follow a path already carved out for me.
When I left for the US to study at USC, I was excited but overwhelmed. It was a cultural shock—suddenly being in a place where individualism is celebrated but also isolating. As a Chinese woman, I struggled to feel seen or understood in spaces where my identity wasn’t always easy to explain. It pushed me to question who I was creating for: Was it for others’ validation, or was it for myself?
Later, moving to the UK brought a different set of challenges. I learned how to slow down and embrace uncertainty, but living as an immigrant meant navigating layers of identity. It wasn’t just about my artistic voice anymore—it was about understanding how my personal experiences connected to broader social and cultural issues. That realization helped me find my footing as an artist and researcher.
There were also moments of self-doubt, especially when working in animation, where the competition is fierce, and the process can feel isolating. But those struggles have fueled my work. They’ve made me more attuned to themes of belonging, identity, and change—questions I’m still exploring every day. It hasn’t been smooth, but maybe that’s what makes the journey worthwhile.
Appreciate you sharing that. What else should we know about what you do?
My work exists at the intersection of animation, visual arts, and research. I specialize in creating animated films and mixed-media artworks that explore themes of identity, social transformation, and urban space. My PhD research focuses on how Chinese animated films narrate urbanization and social change, bridging cultural history and contemporary issues.
My animated short [Yesterday Once More] (《昨日重现》) delves into the pervasive influence of social media in today’s interconnected world, where the line between reality and illusion is increasingly blurred. The film explores how we, as consumers, are simultaneously being consumed—our time, attention, and energy drained by the curated, often inauthentic personas presented online. Yet, it also offers a hopeful perspective, suggesting that the authenticity of everyday life can be reclaimed in simpler, quieter ways. Symbolized by the imagery of a small fan blowing back what a large fan has swept away, the film reflects on the possibility of rediscovering vibrant and genuine connections, much like the nostalgic warmth of summers past. This work has been publicly screened in China.
The [Film] series, a deeply personal body of work, was exhibited at the Venice International Art Fair and is now featured digitally at Shanghai Mental Health Center’s 600 Gallery, a unique gallery within a psychiatric hospital focusing on mental health awareness. This series examines the delicate balance between conflict and emotional connection, portraying a transition from tension to understanding and warmth. Using translucent figures inspired by vintage family photographs, the series blends digital animation with mixed-media techniques to evoke intimacy and nostalgia. Animated pieces capture the gentle rhythm of light and shadow symbolizing emotional exchanges, while physical works employ layered acrylic and transparent film to cast intricate shadows, reflecting the complexity and warmth of familial bonds. The series seeks to capture the bittersweet beauty of family dynamics, prompting viewers to reflect on the enduring power of emotions behind conflict and reconciliation.
What sets me apart is how I merge my personal experiences with broader cultural narratives. Growing up in southern China and living in the West has given me a unique perspective, allowing me to navigate and connect diverse artistic traditions. I’m proud that my work has been showcased internationally—in China, the UK, and the US—and resonates with audiences across different cultural contexts.
But perhaps what I’m most proud of is how my work sparks conversation. Whether it’s through a festival screening, an academic paper, or an art exhibition, I aim to challenge perspectives and create moments of reflection. For me, art isn’t just about aesthetics—it’s about dialogue and connection.
Where do you see things going in the next 5-10 years?
The next 5-10 years in animation and visual art will likely be shaped by technology and deeper storytelling. AI is making production faster, but I think the human touch in creating emotionally resonant stories will always stand out. Immersive media, like VR and AR, are opening up exciting new ways for audiences to interact with narratives. Personally, I’m interested in the rise of global and socially conscious stories—works that address mental health, identity, or cultural shifts resonate more than ever.
As someone who blends hand-drawing and digital techniques, I look forward to how these trends will push me to evolve while staying true to creating art that connects on a human level. It’s an exciting, transformative time for the industry, and I hope to be part of shaping its future.
Contact Info:
- Website: https://9iangcc.com/
- Instagram: https://www.instagram.com/ccin_cecilia?igsh=MTlreWFhYzlndjQzMw%3D%3D&utm_source=qr
