Check Out Yijuan Wang’s Story

Today we’d like to introduce you to Yijuan Wang.

Hi Yijuan, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
I am an illustrator from China now living in England. I first graduated in China with a degree in fashion design and did further studies in the UK at Coventry University, qualifying in fashion management. In China I worked in the fashion industry as a designer with a specialism in garment drawing and creating fabric patterns. As my career has developed, I’ve had more freedom to choose, and the emphasis of my work is now as an artist and illustrator. This gives me a creative outlet to comment on issues that I feel passionate about, and I’m especially interested in the protection of the natural environment. My recent Ark series exhibited at Gong Gallery in Newport Beach is part of that.

I’ve been painting in oils and watercolours since I was 13 years old. During my university studies in fashion design, we combined painting and dress design. In one class where we took film motifs as the theme, my two works at the time were selected for exhibitions. It was my first experience of having my artwork shared in that way, and I was encouraged by the positive comments and reviews. From that time, I’ve been fascinated with art as a means of expression, and love to follow other artists’ work. I believe that art has a big part to play in influencing and reflecting public opinion, which in turn feeds through into so many aspects of our lives.

I’m also interested in history, and historical stories are another component of my work alongside environmental themes. My artistic influences include the work of renowned English sculptor and environmentalist Andy Goldsworthy, who produces site-specific sculptures and land art. I mention him as one of his most admired works is right here in California. I’m referring to “Drawn Stone” for the entry courtyard of San Francisco’s de Young Museum. Growing up in China in a period of rapid economic growth, rapid urbanization was all around me, with huge megacities springing up everywhere. There was a huge shift in population from rural communities to factory cities, and I think this shaped my environmental outlook and informs the art I’m creating now.

My background in fashion and design gave me a solid foundation in digital, and I’m now using those technical skills to create art in that medium. Sometimes I develop ideas in digital and then produce the works in oils, for example my painting “Tree of Womanhood”, exhibited in Paris, was created this way.

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?
After graduating in China, my main focus was to make a living and live independently. So, I used my artistic flair in the design field within fashion. This was rewarding but very commercially driven. In an ideal world, I would have liked to have had more freedom to create art for its own sake rather than working to a design brief. Living in China also meant I was a long way from the European art scene, which was frustrating as a lot of my influences are Western, and I’m interested in European history and art movements.

As a young artist, it can take some time to develop a distinctive style that is recognizably your own. This was my experience, but once you have found your style, it’s quite liberating to be able to paint and draw with confidence. In my early years, I was always searching for inspiration, and it took a while for me to find the topics that I wanted to confront through my art. Now that I have more life experience and am better informed, I feel comfortable expressing opinions on issues that I am fully engaged with, and the inspiration to create art flows freely from this.

As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
I’m an artist and illustrator equally comfortable in traditional or digital media, but I tend to explore ideas and create rough drafts digitally first and then decide which medium best suits the subject. I’m known for producing work with an environmental theme, but I sometimes get my inspiration from what’s playing out in the news media. For example, war and conflict inspired a series of mine that focused on the devastation suffered by civilians caught up in cross-fire. My style is quite traditional but has recognizable influences from different periods in European art, from the Renaissance through to the 20th century. I’m looking for meaning beyond the aesthetic and often incorporate small details as cultural references. My recent works have included a series on homelessness, war, conservation, and colonial relationships.

What was your favorite childhood memory?
I remember the first time my parents took me and my sister wild camping. I could have been only 5 or 6 years old. The whole experience was one big adventure. I helped my dad load up the car with all the provisions we’d need, and off we set. As we drove out of town, the landscape changed, and eventually we were in a wilderness, with no sign of human life anywhere. I remember it was very hilly, with twisting roads and steep inclines. We reached a grassy plateau next to a small wood where we pitched our tent. It felt heavenly to smell the trees and the grass and appreciate the gentle warmth from the setting sun. Me and my sister collected dry twigs for a campfire, and after dusk, we lay out on blankets in the light of the flames, and for the first time, I felt totally at one with nature. I remember looking up at the night sky and marveling at the millions of twinkling stars. That’s something I’d never seen in my city, due to light pollution. Remembering that night brings back the feeling of oneness with nature. That experience is part of who I am, and I think it is a catalyst for my artistic focus on the natural world.

Contact Info:

• Website: yijuanwang.uk
• Instagram: we689

Image Credits
Yijuan Wang