ArtConnect asked the winning artists to share with us a glimpse into their creative life to get a sense of their personal inspiration and artistic process.

How would you describe your artistic approach, and what themes or ideas drive your work?

I merge analog film with digital video to explore the intersection of personal experience and social narratives. Through layered visuals, I examine the modern human condition within a socio-political lens. My recent work tends to create subtle, poetic atmospheres rather than fully immersive environments.

Your practice spans moving images, sound, and performance. What draws you to these mediums, and how do they interact in your work?

I feel drawn to ephemeral mediums like sound and performance, because they capture the dynamic, ever-evolving nature of human experience. When these elements interact in my work, they create a layered dialogue: sound can heighten or fracture the emotional resonance of moving images, while performance brings a sense of presence and unpredictability that’s harder to achieve through film alone.

How do you think about storytelling in your practice, and what role does structure—whether linear or non-linear—play in shaping your work?

In my practice, storytelling is less about following a neat linear trajectory and more about creating a space where multiple layers of meaning can emerge. I often weave together archival footage, text-based imagery, personal anecdotes, and performative elements to reflect the fragmented way we remember and interpret events. Structure—whether linear or non-linear—is a key part of that process. Sometimes I embrace a looser, more open-ended form to invite the viewer’s own associations and emotional responses. Other times, I’ll hint at a linear thread just enough to ground the piece before deliberately disrupting it. By playing with these approaches, I hope to reveal the complexity of contemporary socio-political realities, allowing viewers to navigate their own paths through the audiovisual experience.

Can you share a piece or series that holds particular significance for you? What was your approach to creating it?

Calls and Candlelight is my first 16mm film shot in 2023. It was my first time working with analog film entirely on my own, and using a Bolex camera. Because you have to hold the shutter manually and the camera only runs about 25 seconds per full-wind, I had to adopt a more observational shooting style—I couldn’t continuously interact with subjects the way I did in my earlier digital videos. Working with celluloid also means there’s no immediate playback, so I had to be extremely mindful of every detail—metering light, checking focus, setting aperture, and choosing the right film stock. That meticulous process, along with the limitations of the equipment, pushed me to be more deliberate and patient. In the end, it created a sense of intimacy and unpredictability in the footage that I find really compelling. This process taught me the tactile, almost ritualistic nature of analog filmmaking, and it continues to influence the way I approach my practice, whether I’m working with film or digital media.

How do you approach the balance between control and unpredictability in your practice, especially when working with found footage or performance?

I think one of the most exciting aspects of my practice is managing that delicate interplay between precise planning and embracing the unexpected. With found footage, I start by collecting archival material or discarded fragments that already carry their own histories and narratives. Rather than forcing them into a strict framework, I allow the ‘happy accidents’ to shape the final outcome. In performance art, that same principle applies. While I have a conceptual outline—key themes, script, timing, certain visual cues—I also leave room for some improvisation. This element of unpredictability often leads to a revelatory moments I couldn’t have planned if I tried. For me, the balance lies in setting a strong conceptual foundation and then trusting the process enough to let new possibilities emerge.

What kind of emotions or experiences do you hope to evoke in viewers?

To be honest, I don’t start with a specific emotion or reaction I want to provoke. My focus is on following my own curiosity—on working through the questions, ideas, and themes that I’m personally drawn to. If I’m lucky, the final piece resonates with viewers on a deeper level, prompting them to reflect on their own experiences.

How do you stay engaged and inspired in your art practice?

I’ve always been someone with a strong drive to express myself. I keep a little notebook and also use my Notes app to capture every small idea of inspiration—whether from daily observations, visual textures, or random conversations. In fact, I have dozens of unfinished projects waiting for me to explore. For me, staying engaged in my practice is just a natural extension of my constant curiosity. The real challenge isn't staying inspired—it's finding resources to realize these visions. Still, even resource constraints often lead to unexpected creative solutions.

What are some of the challenges or unexpected moments you’ve encountered in your artistic journey?

One of the biggest challenges I’ve faced is finding the courage to step beyond my comfort zone—whether that means sharing very personal content or experimenting with unfamiliar techniques. Sometimes it’s easier to stick to what’s safe and familiar, but I’ve realized that real growth often lies in pushing past those boundaries.

How do you see the role of contemporary art in today’s world, and where do you see your own work fitting into that conversation?

I think contemporary art is just like any other field—it exists in its own sphere but doesn’t necessarily dominate mainstream culture. When you’re immersed in art scene, it can feel like a huge deal, yet there are plenty of people who never visiting a museum or theater. Some might believe art has the power to change the world, but looking at the current political and social landscape, it’s clear a misinformation account with millions of followers can often have a louder voice than a local biennial. That said, I don’t see this as a failure of art, but rather a reflection of how current society is structured. Art isn’t always about reaching the largest audience; sometimes it’s about deeper, more nuanced conversations with those who choose to engage. So, while I’m realistic about its limited reach compared to mass entertainment or social media, I still believe art can provoke thought and personal reflection.

Anything else you would like to add—perhaps something about your process, influences, or what’s next for you?

Right now, I’m interested in intertwining sound design more closely with my filmmaking process. I compose my own music and create Foley effects, which allows me to shape the emotional tone of each scene from both a visual and auditory standpoint. I’m eager to keep exploring where this synergy can lead.

See more of Juyi’s work

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