Based in Providence, Lingyi Kong is an award-winning graphic designer, illustrator, and art director whose innovative approach bridges the realms of static art and dynamic coding. Her journey, marked by a profound shift from conventional methods to embracing creative coding, reflects a deep commitment to exploring new artistic frontiers. This interview delves into Lingyi's transformative experiences, interdisciplinary methods, and the thematic depth of her work, offering insights into her unique perspective on art in the digital age.
Lingyi Kong. Image Courtesy of Lingyi Kong.
Q: Lingyi, your journey into integrating illustration with creative coding began with an art exhibition that profoundly impacted you. Can you describe that pivotal moment and how it influenced your artistic direction?
In 2022, I attended an exhibition by Studio Dumbar that profoundly influenced my artistic direction. Before this, my work was quite traditional, relying on Adobe Creative Cloud and my drawing skills. The exhibition introduced me to motion-generative graphic design, which fascinated me. At that time, generative art referred to works created through creative coding, not AI programs like Midjourney. The interactive nature of these works intrigued me, and I was curious about how coding could be used to visualize themes.
Driven by this curiosity, I reached out to individuals who were proficient in these workflows. Fortunately, a programmer friend helped me understand the basics of computer graphics. Despite the different worlds that illustrators and coders inhabit, I trusted my learning ability to bridge the gap. While tutorials provided foundational knowledge, integrating coding into illustration was a new challenge I had to navigate on my own. Through this journey, I learned how to implement basic frameworks in computer graphics through code. This inspired me to incorporate this method into my illustration practice, opening up new creative possibilities and expanding the boundaries of traditional illustration.
Going to the sea. Motion Graphic. Image Courtesy of Lingyi Kong.
Q: How do you approach the balance between static illustration and dynamic coding elements in your work? What challenges and opportunities do these interdisciplinary methods present?
The most challenging aspect of my work is integrating motion narrative with static illustration. Computer vision offers a dynamic form that brings unique visual charm within an uncontrollable scope. To seamlessly incorporate motion into my work, I focus on the composition of the narrative. Using generative, spreading motion to visualize abstract emotions is key. Dynamic content can unify the weight, feel, and rhythm of the artwork, making abstract concepts more tangible and intuitive. I aim to apply this ability to specifically and intuitively represent abstract concepts through motion in my work.
The biggest challenge and opportunity lie in determining the right extent of the dynamic effect. Overdoing it can counteract the effective narrative. In my first attempt, I chose a comic structure because the story itself carried the narrative, allowing me to focus on transforming the visual elements through motion. The motion graphic design for "Orchestra Sinfonica di Milano" greatly inspired me, teaching me how to abstract visual elements and incorporate them into practice. It's crucial to leverage the strengths and mitigate the weaknesses in a piece. By incorporating the uncontrollable aspects of computer-generated visuals as part of the visual framework, I turned potential flaws into advantages.
Racing Horse, 2024, Motion Graphic. Video Courtesy of Lingyi Kong.
Q: Lingyi, in your work "Goodbye, Icarus," you draw parallels between the Greek mythological figure Icarus and the Chinese mythological figure Jingwei, bringing together characters from two distinct cultural traditions. What inspired you to juxtapose these two myths, and how do their stories interrelate in your exploration of existence and futility?
Icarus and Jingwei are stories I encountered as a child. These mythological tales resonate with many who revisit them not only for entertainment but also when confronting insurmountable setbacks. Seeking spiritual support from such stories is understandable. Camus wrote "The Myth of Sisyphus" for similar reasons, to validate one's existence through transcendence. Both Icarus and Jingwei embody the theme of transcending natural forces, which I find particularly inspiring in our current era.
Learning creative coding also influenced my choice of these two characters. For instance, in the story of Jingwei filling the sea, using manual methods to depict the vast quantity of stones and branches (the materials Jingwei uses to fill the sea) would be impractical. However, TouchDesigner’s "mapping" function can juxtapose numerous visual files, making it ideal for representing enormous quantities beyond human capacity. In this sense, technology has inspired my storytelling, with programming playing a crucial role in "transcending one's existence." This is why I mentioned that sometimes technology tools can reset our narrative path.
Goodbye, Icarus, 2023, Book Design. Image Courtesy of Lingyi Kong.
Q: Can you elaborate on the deeper significance and thematic connections you see between Icarus' tragic flight and Jingwei's relentless task?
I see them as individuals who have paid a heavy price for their destiny. They are embodiments of transcendence existence, however, heroes also have dejected moments. The sea can never be filled, and the sun remains out of reach. All things yelling that these tasks are impossible from the very beginning. But how do we face those moments of despair? I deeply care about human concerns as well. Experiencing tragic stories can provide a space for self-reflection, prompting us to ask, "How do I move forward when there is no hope in the future?" But weak time makes a strong man. In the long course of history, people will always create a moment that aims for the future, even in the worst conditions. These myths are on everyone’s lips from ancient times to today, it is because some elements might change but others remain constant. This view not only reflects my response to the myths of Jingwei and Icarus but also my perspective on the impact of AI and new technology on our art industry.
Q: Can you tell us more about your work, Euclase Tablet, and how it examines class disparities and marginalized communities' vulnerabilities during crises, questioning historical continuity and societal divides?
This work is inspired by the concept of future archaeology. From our current perspective, we can evaluate the successes and failures of past actions. However, before the conclusion happened, people believed their actions were right and just therefore they took action. Even the dark Middle Ages considered themselves superior. As people confidently built their history, marginalized groups were deemed unimportant and expendable. The grand narrative of history often excludes the names of these marginalized individuals.
An ideal society—orderly, well-dressed, with distinct classes and beautiful modern architecture—is built on a fragile consensus, easily erased by history. Marginalized groups and communities with weaker resistance to risks are abandoned one by one. In repeated escapes, whatever is preserved, whether barbaric or not, and later discovered, is deemed a relic of civilization.
I aim to use this almost satirical approach to reflect on the definition of civilization, positing that future archaeology is essentially the archaeology of the present.
Euclase Tablet, 2022, Integrated Design. Image Courtesy of Lingyi Kong.
Q: "The Ash" exhibition during the lockdown in China showcased your ability to innovate with limited resources. How did the constraints of isolation influence your creative process and the resulting work?
My family home is in a small city lacking support for artwork production. In 2022, our self-built house was about to be demolished, so I decided to use the garage as a shelter for a self-cultivated exhibition. The house stood for only six years before being demolished. During the lockdown, the problem was straightforward: if materials were unavailable to buy, that meant you couldn't use this method to make anything. The normal path of creation is banned, every design must use the materials you can find at home and redesign a workflow for it. However, this condition both brought challenges and opportunities. This experience was exciting as it stimulated me to think of new creative solutions that I could come up with as a designer.
Q: The transformation of automotive repair tape into pixels for "The Ash" exhibition is a fascinating example of resourcefulness. What insights did you gain about the fundamental structure of design through this process?
I realized that design is a way of placing the wrong things in the right place. Even the most inconspicuous and non-art-related items can become part of a work. In my work, I compared the ruins of Rome to the remnants of my family's garage. Both are ruins and when deconstructed into mere items, they are just piles of bricks; furthermore, they are just calcium carbonate. However, by using these elements and distilling their symbolic meanings, I was able to maximize the potential of my design. I believe that designers serve the same responsibility in other contexts as well. From this inspiration, I have worked with the Kuliang Youth Festival and designed a logo for this event. I believe that good design will help people reconsider the bond between history and information, even if it is only a piece you can find everywhere.
The Ash, 2022, Curation & Integration Design. Image Courtesy of Lingyi Kong.
Q: In an era of AI-generated art, how do you ensure that your illustrations retain their vitality and distinctiveness? What do you believe is the future of illustration in the context of advancing technology?
I believe the advent of AI gives us a chance to reflect on our creative processes. AI has greatly expanded the supply of illustrations, but whether the demand will accordingly increase is uncertain. Besides, AI represents a major breakthrough for the visual workflow of illustration. For a time, I was very fond of retro illustrations, posters, the prints. Techniques, such as dot-style printing emerged from the technological constraints of the 60s’. Even after the advent of digital art, which no longer requires a dot system for printing, artists still pursue this style as a matter of visual language. Because the workflow was shaped by a certain visual style. I think that new technologies applied to artistic creation, including AI, follow a similar trajectory. Ultimately, all tools aim to support new forms of creation.
I believe that regardless of the discipline, the practice value is found in the changing trend. We don't just provide aesthetic experiences. Just as 3D software redefined the paradigms of character action and expression, the computer graphic-shaped motion art expression, new creative methods will bring us entirely new experiences.
Q: As you continue to explore and redefine the boundaries of graphic design and illustration, are there any particular collaborations or interdisciplinary fields you are eager to engage with to further expand the scope and impact of your artistic practice?
I am obsessed with learning computer graphics; it looks like the classic "chicken or egg" dilemma: many creative ideas emerged because of the tools' existence. In March, I had an opportunity to collaborate with the New England Conservatory’s saxophone artists. This was my first time participating in a live performance, using musical rhythm to transform the illustration’s view. This experience made me realize new ways of narrative in my work. Interdisciplinary creation often brings unexpected inspiration. With AI tools like ChatGPT making it easier to learn new technologies, I hope for more collaborative opportunities with creators from various fields in the future.
Going to the sea. Motion Graphic. Image Courtesy of Lingyi Kong.
Lingyi Kong's artistic evolution from traditional graphic design to the realm of creative coding illustrates the profound impact of merging myth with modern technology. Her work not only revisits ancient stories like those of Icarus and Jingwei but also reinvents them through the lens of dynamic, generative art. By blending the timeless with the contemporary, Lingyi challenges and expands the boundaries of visual storytelling. Her journey underscores the power of interdisciplinary approaches, inspiring a new generation of artists to explore and innovate. As she continues to push the envelope, Lingyi's unique fusion of myth and code promises to leave a lasting mark on the art world.