Rising Stars: Meet Charlene Xu

Today we’d like to introduce you to Charlene Xu.

Hi Charlene, please kick things off for us with an introduction to yourself and your story.
I was born and raised in Suzhou, a peaceful city in Eastern China generally known for its beautiful classical landscaped gardens and canals. Growing up in an artistically enriched environment, I was exposed to art making at a very young age. I started learning Chinese calligraphy at eight and ink brush painting at eleven under the professional instruction of a mentor. As much as I loved art, I had been shunning the idea of actually becoming an artist because by word of mouth, I learned that artist is not a promising profession. I didn’t even bother to tell my parents anything about these internal debates. I was kind of self-censoring what I should talk about with my parents, especially with my Dad. I knew he wanted me to pursue something like business management or finance since that’s what he did.

So I decided to keep art as a hobby and study something “more practical.” I was totally fine with that decision until my parents told me we’re going to America. I immigrated to the US at sixteen and was put into a public high school in Santa Monica, a very liberal and diverse community. I was fortunate to have taken various art classes there because they did actually change my life. Initially, I took a beginning level painting class simply for fun, and since then, the center of my life started to gravitate towards art-making. I had unexpectedly gotten so much encouragement from my teacher Amy Bouse, who I feel greatly indebted to. With her support, I joined the advanced level art class, AP Art, and found myself slowly reconnecting to an almost forgotten sensation of pure enjoyment from drawing and painting. I also took a film class, where I found myself drawn to filmmaking. During my senior year, I made my very first animation film called “Stranded” with hand-drawn background paintings. When college applications opened, I told my parents I wanted to study animation filmmaking. My Dad was concerned, so I figured that if I could get accepted to the film program at NYU Tisch School of the Arts, with barely any experience in filmmaking, then I can definitely convince him.

I applied with a fully rendered storyboard and got accepted with a merit-based Tisch scholarship. I didn’t get to see my Dad’s reaction when he heard the news since we were apart, but my Mom told me that since then, whenever there was an animated film playing on TV, he would stop toggling channels to watch it. During my four years at NYU, I had been exploring the possibilities of visual experimentation as well as non-narrative storytelling in animation. I’ve finished two award-winning films and have been working on my thesis animation project. Having moved back in LA, I’m currently working as a freelance animator and illustrator while applying to graduate school to pursue MFA degree in experimental animation. This year in March, I collaborated with my mother as the illustrator for her published anthology of the stories of Suzhou. When my family celebrated the success of the book, I caught a glimpse of my Dad, who had a proud grin on his face.

Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
When I first started learning how to draw for animation, I had these self-constraints to make things look “right.” I was fixated on imitating the work of animation giants from Glen Keane to Masaaki Yuasa, and I wanted to draw as good as they are right off the bat. For a long period of time, I would revise a drawing over and over until it fits a certain kind of aesthetic but usually ended up trashing it as the lines look stiff and the colors muddy. Because I had trouble finding my own style, I was jealous of those who had developed their own visual shorthand with ease and were able to commit to it. I know that style is something that comes out naturally, but what came out of me was inconsistency —works of all sorts of theme and style. I wanted to be like everyone I admired, but I didn’t know who I was. Frustrated, I wrote an email to my animation professor expressing these thoughts.

In his reply, he attached an article about Martha Graham, the great dancer choreographer, who advised another choreographer, Agnes de Mille, about the dangers of “comparing yourself to others.” In response to de Mille’s concern, Martha Graham said, “There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.” Credit: 1. Martha: The Life and Work of Martha Graham by Agnes De Mille. pg. 264. 2. Thank you Professor John Canemaker for the reference.

Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
Filmmaking-wise, I work mostly with digital animation in experimental realms, exploring different non-narrative forms – mood pieces, non-linear storytelling, animated documentary, etc. I would most definitely love to work with traditional mediums such as charcoal or watercolor as well. For personal recreation, I love drawing illustrations based off of photographs. I think ultimately my art reflects my deepest love and respect for the world around me. When I draw someone or draw my environment, I’d always want to observe and capture that peculiarity of their existence. I believe there is unconventionality for even the most mundane minutiae in life. Recently, I’ve started to close on femininity related visuals and themes, almost as an introspective process of discovering how my sexuality has influenced my inter-personal/intimate relationships. So I’ve been drawing more female body and making films about my female family members lately.

Alright so before we go can you talk to us a bit about how people can work with you, collaborate with you or support you?
Currently, I’m close to the final stages of my thesis animation project at NYU. I’d appreciate any help on this project! I’m also open to commissions for illustration and collaboration on short-term projects. I can be reached at [email protected] for collaboration.

Contact Info:

• Email: [email protected]
• Website: charlenexu.myportfolio.com
• Instagram: @charlene_xxu
• Other: https://vimeo.com/charlenexu

Image Credits
Mai Wu Maggie Mingjun Chang