I’m a designer, dreamer, and nature enthusiast. My love for art and design shapes the work that I do.
Yuwei Yan
Forward is a mixed-media video exploring air crashes. By analysing the cause and effect of the world’s top 30 air crashes, the project finds that air crashes are not accidental events, and analyses the interlocking causes behind air crashes, discussing the fragility of human life using infographics, book design, experimental video, and installation art, aiming to inspire viewers to think and warn about the truths behind the technological negligence, ethical effects, and the horrors and violence in society. The project aims to stimulate the viewer to think about the technical negligence behind the accident, the ethical effect, and the horror and violence under the shadow of the society.
“Odyssey” is an immersive experiential project that utilizes holographic projection technology. The project explores the prospective existence and rights of digital nomads, creating a virtual community that resonates with a vision of sustainable progress. It delves into the era of digital technology, the current status of digital nomad existence, and the application of holographic projection technology. Through envisioning a future digital community, the work aids digital nomads in strengthening their self-identity and fostering contemplation on the tapestry of their societal interactions.
“Schwarzwald” is an innovative artistic work that employs a non-linear narrative approach intricately intertwined with experimental theater, offering a fresh interpretation of the Swedish folk legend, “Bortbyting.” This folklore narrative, rooted in the mysterious abduction of infants by fairies who substitute them with uncanny look-alikes, is thoughtfully contextualized within the societal backdrop that gave rise to the emergence of the Bortbyting mythos. Melding the realms of animation and live theatrical performance, this project introduces a captivating fusion of visuals and dance, seamlessly blending virtuality with reality to accentuate the storytelling experience, thereby providing the audience with an immersive and thought-provoking encounter. It represents a pioneering exploration into the harmonious convergence of digital technology and theatrical expression, pushing the boundaries of artistic innovation.
The “Savage Garden” project represents an animated opus delving deeply into the predatory behaviors exhibited by carnivorous plants, while drawing poignant parallels with the intricate dynamics pervasive within human class hierarchies. This work crafts a virtual realm that serves as an allegorical mirror reflecting the multifaceted tapestry of human class relations. Within this meticulously engineered virtual milieu, an array of distinct entities, prominently featuring the Boboss, Antman, and Two-Heademan, coexist, each assuming intricate roles in this complex socioeconomic ecosystem. The Boboss adeptly conceals himself amidst carnivorous flora, strategically leveraging the industrious labor of the Antman. In stark contrast, the Two Heademan Beings emerge as apex predators along the riverbanks, artfully luring the Antman into meticulously devised traps. This meticulously constructed environment is replete with peril, engendering an atmosphere fraught with suspense and pervasive uncertainty at every juncture, thereby offering a profound commentary on the complexities inherent in human class relationships.