Amplifying Art's Visual Canvas: Insightful Discussion with Artist Seldon Yuan
Jump into the kaleidoscopic universe of Seldon Yuan, a pioneering artist with a unique blend of poetry and visuals.
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Seldon Yuan, the innovative artist we're delving into, paints a vivid picture by combining his personal experiences with art forms ranging from poetry to furniture and performance. Born in New York, Yuan has been educated in prestigious art schools across the globe, including Carnegie Mellon University, Hunter College, and Beaux-arts de Paris l'ecole nationale supérieure. His impressive portfolio serves as a beacon for aspiring multifaceted artists.
🗣️us (L)Seldon Yuan (SY)
L: Growing up, you merged your writing and visual art practices into a single entity. Can you explain the story behind this intriguing shift, where you transformed personal experiences into hybrid artwork?
SY: Initially, I found the written word on a page lacking, so I felt the urge to extend the complexity and meanings. I wanted to devise a unique way to amalgamate text and image that wasn't just an illustration, creating a distinct in-person artistic experience not reproducible by images or words on a page alone. It was also about examining the way we read and how this relates to content.
L: Inspiration and Influence, to whom did you look up as you developed your unique style?
SY: Growing up, I was surrounded by diverse influences in art, music, and literature, but most of these have lost their significance over time, serving as stepping stones instead. However, what truly resonated with me was anything that made me feel less lonely. Books such as The Catcher In The Rye by J.D. Salinger, works by Charles Bukowski, albums like Kind of Blue by Miles Davis, paintings by Francis Bacon, art by Tom Friedman, or skateboarding, to name a few, were experiences that let me know I wasn't alone in the world. I strove to replicate this feeling for myself and hoped that my artwork would have the same impact on others.
L: Your art often appears intimate and sincere. Does the poetry remain natural when placing it within your artistic synthesis, or do you adjust it to conform to the concept?
SY: Always penned first, the poetry/phrases are typically the spark that ignites a work. I engage in free writing or journaling to stimulate ideas, which I then attempt to fit into a visual context that goes beyond mere illustration.
L: We find your works to be inherently personal, yet they carry universal social implications. What social messages do you aim to convey through your artwork?
SY: With recent drawings, I explore themes such as emotions, death, existential issues, time, Buddhism, and nihilism, often sporting a dark sense of humor. Often, it's about finding a certain peace and understanding with the impermanence, challenges, and absurdity of life.
L: We noticed a piece saying "This is success" on yellow paper. Similarly, you mentioned the theme of "perfect" in the same series. How do you personally define success and perfection in art, and is it based on external validation or internal fulfillment during the creative process?
SY: My perception on success has evolved over the years. I was once more casual about it, focusing on innovation and formal aspects of my art. Now, I am satisfied by simply producing art that interests me, rendering external validation unnecessary. Nevertheless, it would be nice to find greater financial success with my work.
Regarding perfection, I have learned to embrace the imperfect, incorporating more humanity in my work. Artwork such as "everything is perfect" humorously presents the idea that this perfection can be interpreted in various ways—perhaps the more we emphasize it, the less truthful it sounds, or perhaps imperfection is what makes it perfect.
L: With pieces we admire in your visual poetry, we'd like to discuss the underlying messages they convey. Let's start with "I am the ocean" and "Not enough time."
SY: The humorous piece "I am the ocean" depicts a cup of water with a wild straw that asserts, "I am the ocean." This centers around the notion that regardless of our size, we may subjectively wish to be larger than we are, casting doubt on whether our presumptions are justified or merely delusional.
"Not enough time," a clock face with a missing chunk, symbolizes the lack of time in my life and the passage of time. It also implies the idea that missing chunks of time render them irrelevant, as there are no numbers present.
L: Other striking pieces include "There is no end to hunger" and "I need your touch." Could you lend insight into these works?
SY: Drawings such as "There is no end to hunger" and a cactus declaring "I need your touch" reflect irony, inviting viewers to consider whether the requests are genuinely heartfelt or perhaps a subconscious self-sabotage.
L: What future projects intrigue you, and what will be your primary focuses and sources of inspiration?
SY: As of now, I have several completed book projects in the works, including a novel, an illustrated children's book, a poetry book, and a map book on urbanization in NYC. Additionally, I'm compiling a collection of my drawings, developing products for my tote bag/backpack company SSCY, and working on various other projects. The common thread linking my work is my desire to bring as many ideas to life as possible.
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Interview:
Tolga Rahmalaroglunuestra plataforma Contributor
- Seldon Yuan's artistic journey extends beyond the realms of fine arts, venturing into initiating a crowdfunding campaign for launching a social enterprise focused on promoting sustainability in personal lifestyle, finance, and business, titled "Sustainable Yuan: A Lifestyle Revolution."
- As a champion of multifaceted creativity, Seldon Yuan dreams of expanding his horizons, delving into various career paths such as teaching, curating museum exhibitions, and consulting for businesses seeking to revitalize their brands using innovative art practices.
