Jingyi Chen / LICC 2024 Winner

 

 

In conversation with Jingyi Chen, LICC Winner in the Professional CREATE (Art) category, she discusses what drew her to the concept of simulating nature through interactive technology, and shares her thoughts on how she sees the role of technology evolving in contemporary art.

 

 

 

What was the initial spark or idea that led you to create “Nature Simulation”? Was there a particular experience or observation that set the project in motion?

Nature Simulation is inspired by my long-term interest in the relationship between natural phenomena and algorithm. Once during a trip, I gazed at the flowing forms of the aurora. The random and rhythmic dynamics made me ask myself: Can mathematical algorithms restore the elegance of nature? This became the starting point of my creation.

Your work beautifully blends organic forms with digital systems. What drew you to the concept of simulating nature through interactive technology?

I am attracted by the order and chaos in nature, which are the dimensions that algorithms are best at expressing. Through technology, I can “reconstruct” this aesthetic and guide the audience to co-create with the natural scene in an interactive way. This experience of “humans and algorithms co-generating nature” is what I particularly want to explore.

Best in CREATE (Art) “Nature Simulation” by Jingyi Chen

“Nature Simulation” uses AI recognition to respond to viewer interaction. Can you walk us through how that functionality enhances the meaning or experience of the work?

Audiences can interact by AI and cameras, using gestures and programs to influence the generation of natural elements. In this process, people are no longer passive viewers, but collaborators who “co-create nature” with AI. This interactive mechanism not only enhances the sense of immersion, but also triggers reflection on the relationship with nature: in the world simulated by algorithms, are we controllers, participants, or beings gazed at by the camera? Outside the virtual world, how can we coexist with real nature?

Were there specific natural patterns, environments, or phenomena that directly influenced the visual or conceptual elements of this project?

Yes, I draw a lot of inspiration from nature, especially phenomena such as the aurora, ocean waves, plant growth and astronomy. These phenomena are not only visually fascinating, but also hide complex physical and mathematical laws behind them.

How do you see the role of technology evolving in contemporary art? Do you view it primarily as a tool, a medium, or a collaborator in your creative process?

For me, technology is an empowerment, a right. Now is not the era of religious worship but the era of technology worship. Therefore, as an artist in today, integrating the latest technology has become a natural pursuit. As a thinker, we should observe it, learn technology, and reflect on it. Technology changes our lives, and art comes from our lives.

What does receiving the LICC award mean to you at this stage in your career? 

I am greatly encouraged. I am very grateful to LICC. Because is an importat milestone for a young artist.  This is also a motivation for me to continue to create and explore. 

Could you describe the technical and creative process behind building “Nature Simulation”? 

The entire project is built on TouchDesigner, and nature phenomena is simulated by particles and mathematics. AI recognition is used to read the audience’s movements through the camera and convert them into factors that affect movement. I try to balance technology and beauty in the design, and express the poetry of nature with a concise and flowing visual style.

In your opinion, how does interactivity change the dynamic between the viewer and the artwork, compared to traditional static pieces?

Interactivity breaks the viewing structure of traditional art, allowing the audience to move from “watching” to “doing”. Every action of the audience becomes part of the generated content, and this co-creation experience makes each viewing unique. When the work can “respond” to the audience, a new emotional connection is born, and art returns to a fluid relationship between people and the world.

Are there particular challenges you often face when working at the intersection of art and technology—and how do you navigate them?

I often face challenges that traditional art does not have. Technology iterations are very fast and complex, requiring the ability to learn quickly and strong innovation capabilities. Because technical teaching is generally aimed at engineers, very few people can teach you how to be a technical artist. I often need to constantly balance between creativity and feasibility, which requires me to have cross-disciplinary thinking and the ability to continue learning. Technical failures are also common, and I am used to seeing them as part of the creative process. 

What themes or questions are currently exciting you in your practice, and can you share a glimpse into any upcoming projects or directions you’re exploring?

Recently, my work has focused on the unfairness in society, especially the oppression caused by overtime and unfair resource allocation. I try to arouse the public’s attention to these issues through my work and explore how the hidden malice in the system affects individuals. 

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