Rui Yang’s work lives in the fascinating friction between razor-sharp engineering logic and fluid artistic critique. As a New York-based multidisciplinary artist and full-time commercial CG generalist, Yang utilizes everything from high-end CGI and animation to custom AI workflows to dismantle how technology reshapes our modern world. In this text-based conversation, we trace the roots of his practice and his double life balancing corporate CG production with gallery fine art

The old castle up on the hill? I don’t know much about it, I’ve never been inside. Did I say castle? I meant house. Yeah, the old house up on the hill, that’s it. I don’t think you need to worry about that place. Nobody’s trapped inside the walls. There are no children in there trying to solve any mysteries. I don’t think anyone’s lived in that castle for a long time. House, I mean.

Jerry White Jr. is a filmmaker, musician, writer, and founder of the Vidlings & Tapeheads Film Festival. He began making films as a teenager through home movies and public access television in Metro Detroit, later studied at the USC School of Cinematic Arts, and has continued to move across film, writing, music, and collaborative creative communities. He has also described himself, quite rightly, as someone drawn to niche creative subcultures, outsider artists, and passionate

My reasons for making the jump were the usual ones: body failure and a lot of pain. To be spry and vital and strong and sharp again—a do-over. It wasn’t that I was filled with regrets. I’d learned a lot during my first go-round and was eager to apply that knowledge and wisdom to the next life.

Heehyun Chun composes original soundtracks for film, live performance, and immersive installations, integrating modular, Eurorack, and electronic instrumentation to expand the boundaries of auditory experience. In this live conversation, Chun takes us behind the complex architecture of her machinery to trace the quiet turning points of her displacement, revealing how personal memory and institutional friction slowly reshaped her creative path.

This essay reads Julia de Ruiter’s practice as a form of vernacular archive, situating her work within Digimodernism and contemporary post-internet visual culture. Through analysis of memes, viral imagery, digital folklore, and algorithmic spectatorship, it examines how internet ephemera operates as cultural memory rather than disposable content.

Yijun Yang’s work moves between domesticity and visual fiction, creating constructed scenes that examine the fragility of memory and cultural identity. Yang utilizes everyday objects manipulated at unexpected scales to present images of tangible stillness that hold deep feeling beyond mere narrative or explanation. In this conversation, she invites us to her profound collaborative philosophy on how empty spaces continue to carry emotional resonance long after a character has

As an Art Lead working across multiplatform game development and an independent artist, Malakhov pairs his rigorous classical art education with a deep reflection on how emerging digital spaces reshape our perception of presence and memory. In this text-based interview, he opens up about his belief that visual art operates as a nonverbal "bionic code" capable of conveying raw human emotion where words fail.

The same inert sandwich sat uneaten on a paper plate on the dining room table. How many hours had it been there? None of us ever actually dine in dining room, so it’s almost unnerving to see food in that space.

Modernity begins, in a real sense, when human beings become aware that they are watching themselves. Mirrors, confession, diaries, introspection, and religious judgment all existed long before the present. The contemporary problem, however, is no longer simply whether people reflect on themselves.

Đurđija’s multidisciplinary practice transforms field recordings and overheard voices into profound cultural inquiries. From wartime Yugoslavia’s radio static to New York subway arias, this conversation explores how the act of listening maps the hidden hierarchies of our world.

Yasmine Laraqui’s multidisciplinary work transforms the image into a live sociological experiment, exploring the fluid mechanics of human belonging under platform capitalism.

Jiaqi Liu’s work begins with a deceptively simple proposition: construct a condition precisely enough that something larger than the artist can begin to unfold. Across technology, imaging, performance, writing, and public-facing works, she is less interested in medium as identity than in the subtle point where structure becomes experience.

French artist and designer Benoit Béal, working as By_33, uses optical illusion, black-and-white contrast, and minimalist text to question how perception shapes prejudice. In I AM YOU, TOO, the eye becomes a site of evidence, uncertainty, and ethical recognition.

Gordon Fung works across performance, media installation, experimental video, sound, participatory theater, writing, and curatorial practice. His work moves between playful and esoteric registers, but the underlying concern is consistent: how art might help people ask better questions, become more attentive to interdependence, and remain human amid historical repetition, technological acceleration, and social fragmentation.