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In Conversation: Ke Ren

Joana Alarcão

In this conversation, we are excited to explore the artistic journey of Ke Ren, an innovative artist whose work encompasses 2D digital art, traditional frame-by-frame hand-drawn animation, and augmented reality. With a background in oil painting from Beijing and a master's degree in animation from Central Saint Martins in London, Ke blends traditional techniques with digital media to investigate intricate themes such as fluid cultural identity, migratory experiences, and a sense of belonging. Capturing the emotional experiences of outsiders in new cultural landscapes through metaphorical visual symbols, she evokes resonance among viewers. Join us as we delve into Ke Ren’s unique perspective on art, identity, and cultural transitions.

28 October 2024

My artistic practice encompasses various media, ranging from 2D digital to traditional frame-by-frame hand-drawn animation, and even augmented reality. Originating from my background in studying oil painting in Beijing for four years, I immersed myself in various art courses. Later, I pursued a master's degree in animation at Central Saint Martins in London, graduating in 2022. Exploring the intersection of traditional hand drawing and digital media is where my passion lies. 


The trajectory of constantly moving and relocating during my upbringing has sparked my fascination with Topophilia (love and attachment to specific places) and Déjà vu (the feeling of familiarity). My inspiration often stems from symbols, poetry, memories, romantic geography, and various cultural environments. I endeavor to seamlessly weave these ineffable emotions, memories, and visual symbols through continuous static frames.  


I have found that the curiosity and freshness brought about by new cultural environments are always strong but fleeting. Struggling between the transitions of different identity backgrounds is a common occurrence for me. I discovered that while walking on the streets, I could hear languages from all over the world. Even though I sometimes couldn't understand what they were saying, there was a strange sense of connection. This peculiar feeling accompanied me for a long time until I gradually became more familiar with my surroundings.

Can you start by giving us an overview of your practice and what steps you took to become the freelance illustrator and animation artist you are today?

My artistic practice centres on the fluidity of cultural identity and "emotional echoes," with a particular focus on migratory experiences and the reconstruction of personal identity within cross-cultural contexts. I explore these themes through time-based media, painting, and installation, as well as participatory and interactive activities, placing particular emphasis on the dynamic emotional spaces individuals continuously construct and reshape through migration. This interest in "fluidity" and cross-cultural interactions is closely linked to my personal migratory experiences—moving from a small city in China to Beijing, and later to London for study. These distinct spaces and environments have profoundly influenced my creative work.


Initially, I studied traditional painting in Beijing, majoring in oil painting, where I was also introduced to animation and illustration courses, gradually developing an interest in digital media. Compared to traditional easel painting, I found that digital media offered greater creative freedom, eliminating the constraints of physical space and canvas. I taught myself digital software and storyboarding skills, experimenting with integrating my drawing skills into digital media, which has shaped my current style. Before moving to London, I gained experience working as an illustrator and as an assistant for a gallery artist, gradually establishing connections and collaborations with artists and studios across regions. However, I do not view these roles as professionally exclusive; rather, they differ in medium and presentation: animation is a dynamic language with painterly qualities, while the practice and discipline of illustration have enhanced my ability to communicate and narrate effectively through visual language. These two areas are not isolated but intrinsically interlinked.

animation of green squares
Crossword Puzzle, 02, by Ke Ren. Image courtesy of Ke Ren
Can you share your journey from studying oil painting in Beijing to pursuing a master's in animation at Central Saint Martins? What motivated this transition?

Certainly, I believe this was an important turning point in my artistic career.

As I mentioned earlier, my experiences of constant relocation during my upbringing made me more sensitive to the identity of the “Urban Nomad” and their observations, experiences, and participation in the city. This flow is not limited to moving from a small city in China to a big city or from one country to another; it can also encompass virtual, cross-cultural, and cross-spatial movements. Thus, when I decided to further my studies in London, animation naturally became the best medium for expressing this dynamic experience of flow. 


Another significant opportunity arose in 2018 when I was fortunate enough to be selected for the Imagery Oil Painting art program initiated by the National Art Fund of China. There, I not only met many outstanding and professional artists, which greatly broadened my artistic perspective, but I also gradually became aware of the deeper connection between this “writing” art style rooted in Eastern contexts and philosophical thought and myself. The literal meaning can be understood as “writing out the essence,” originally derived from traditional Chinese ink painting, with deep ties to Daoism, Zen, and other philosophies, emphasizing the expression of emotions and spirit through concise brush strokes, abstract images, and the evocation of meaning, rather than detailed depictions. This realization inspired me greatly and influenced my perspective on animation. I attempted to create an art form characterized by traditional “hand-drawn writing” that repeated between frames, focusing on lines, negative space, spatiality, and imagery, rather than concentrating solely on specific characters or narratives.


After moving to London during the pandemic, I found myself in a relatively isolated creative environment that allowed me to reflect deeply and further integrate Eastern and Western artistic perspectives, as well as traditional and digital media. This transition not only led to breakthroughs in my artistic creation but also opened a new phase in which I could freely express fluidity and multicultural experiences within dynamic media.


drawing of various geometrical forms in black, purple and blue
Hand drawn frames, 02, by Ke Ren. Image courtesy of Ke Ren
You use various mediums to explore your concepts going from 2D digital to traditional frame-by-frame hand-drawn animation, and even augmented reality. What drove you to connect traditional and digital media?

I perceive the art mediums I use are based on a concept of "extension," which involves extending painting into time and space, and expanding "writing" and imagery onto a timeline or physical surface. This perspective has formed my unique exploration of hand-drawn animation, digital animation, and AR animation. My focus on spatial experience and fluidity drives me to consciously navigate between exploration, observation, and participation.


In the 19th century, Charles Baudelaire and Walter Benjamin explored the concept of the "Flâneur," sparking extensive discussions in cultural and urban studies. Against the backdrop of globalization, this concept continues to evolve, reflecting people's ongoing reflections on fluidity, identity, and space. At the same time, philosopher Rosi Braidotti's notion of the "nomadic subject" describes those in modern society who are constantly on the move, lacking a fixed identity. This notion resonated with me, especially after relocating to London, where I experienced this fluidity firsthand. Through this interdisciplinary exploration, I strive to rebuild a sense of belonging amidst the fluidity of identity, reflecting and actively responding to the challenges of identity crises.


You mentioned your fascination with Topophilia and Déjà vu. How do these concepts manifest in your artwork?

Living and studying in London has sparked a deep interest in the intersection of art and romantic geography, gradually shifting my practice towards visually moving images and animation. Topophilia and Déjà vu offer profound insights into the emotional connections and spatial experiences individuals develop across different cultural, urban, and spatial contexts. These concepts explore the complex emotions and psychological states that arise when people encounter familiar or unfamiliar urban environments. In particular, under the lens of globalization and the immigrant experience, I aim to convey the subtle emotional connections within my work.


I often utilize ink, paper, line work, and a limited colour palette to express these feelings. For example, my graduation animation narrates a poetic journey from China to the UK, relying on the interplay of visuals and sound rather than dialogue or explicit narrative. This approach seeks to convey the uncertainty between reality and dreams, familiarity and strangeness—reflecting the dilemmas faced by individuals, especially immigrants and nomads, in multicultural urban environments. 


Recently, I have been creating a series of moving looping images using printed paper, coloured ink, and stop-motion techniques. By extracting elements from old photographs and London streetscapes, I weave them together to present a dual emotional experience that feels both familiar and unfamiliar.


animation of various cubes with green, red and blue colours
Crossword Puzzle, 01, by Ke Ren. Image courtesy of Ke Ren.
You mentioned feeling a strange sense of connection while hearing different languages in new cultural environments, even when you didn’t understand them. How have this experience and the themes of identity and belonging come together in your work?

I believe that everyone, to some extent, experiences a journey or a new chapter in life when they arrive in a completely unfamiliar environment. The sounds of language and the surrounding noise immediately exert a direct influence, reminding us that we have left our comfort zones to embark on a new “adventure.” This creates a unique experience that is both familiar and strange, novel yet fleeting.


This sense of connection often arises when a person begins to develop a sense of belonging to a place, or it can emerge from the search for temporary belonging through constant fluidity. Emotional experiences are not fixed; they flow and evolve with changes in space and people’s engagement, especially for those who are transient or who migrate between cities for extended periods. This notion resonates with the fundamental concepts of “time” and “space” inherent in animation. By moving between time and space, continually experimenting and exploring, I find a subtle point of connection, and I think this can beautifully describe my work and creative journey.



What can you tell us about the animation “Symbols”? Can you walk us through the creative process behind this series?

This is one of my personal favourites, even though it may not be perfect or visually striking. It consists of simple black-and-white symbols that are continuously interwoven. However, it authentically reflects my emotional experiences and contemplations as a migrant, exploring the dynamics of fluidity within a larger context. As mentioned earlier, language and symbols provide me with immediate experiences, they are inherently “metaphorical” and can be visualized. I deploy this structure of meaning to create new interpretations.


The creative process took several months, with each second of animation requiring hand-drawn frames, specifically, twelve different “still images” per second. This brief segment of under a minute comprises hundreds of entirely distinct “images.” This seemingly repetitive and meaningless action ultimately leads to a remarkable visual experience, which is one of the key points I aim to convey. It also raises a series of questions, such as how do we perceive the concept of “mobility”? How do we perceive space and time?


You discuss the idea of text being deconstructed into meaningless symbols. How do you approach the visualization of these symbols to assign new meanings to your work?

The Kaomoji and emojis I use serve as typical representations of the visualization of symbols. They constitute a unique abstract visual language, formed by a combination of characters and symbols. Through the shapes of these characters and the visual reconfiguration of simple symbols, I create vivid facial expressions or anthropomorphic representations. This process of anthropomorphism offers a new perspective and meaning to these symbols, which has been a significant source of inspiration for me. I consider the “animation process” as a series of “visual deployments.”


Another technique I employ is the use of deformation in animation to create visual interactions between frames. This expressive method is widely utilized in the animations of Norman McLaren.


Hand drawn drawing of black symbols
Symbols 苻呺 drawings by Ke Ren. Image courtesy of Ke Ren
Through your exploration of language and symbols, what reactions or reflections do you seek to evoke in your audience?

I believe that audiences don’t necessarily need to provide a definitive answer or interpretation, rather, what’s more important is the series of questions that can arise, prompting a process of reflection. For example, individuals from diverse cultural backgrounds may find some familiarity with these characters or overlapping interpretations, yet they might also feel puzzled or unfamiliar. This intriguing sensation reflects the emotional experience we encounter in today’s culturally diverse landscape, whether we are experiencing it passively or consciously “fluidity.” It urges us to continually reflect on personal identity and cross-cultural communication while fostering greater empathy and the ability to consider perspectives beyond our own.


Black symbols
Symbols 苻呺 drawings by Ke Ren. Image courtesy of Ke Ren
In your opinion, how do you categorize art as a catalyst for change, be it at an individual and community level or a global scale?

I believe that art possesses a unique power as a catalyst for change. It can transcend cultural and linguistic barriers through visual language, enabling individuals to experience profound emotional resonance. On a personal level, art encourages people to reflect on their identities and emotional experiences, particularly in the context of migration and fluidity, helping them find a sense of belonging or confront identity crises.


At the community level, art fosters dialogue and communication among people from diverse cultures and backgrounds through interactive and participatory forms, helping to bridge gaps and enhance understanding and inclusivity. More broadly, art has the potential to instigate social change on a global scale, whether by highlighting pressing global issues such as climate change and immigration or by advocating for social justice and human rights. In doing so, it can inspire empathy and mobilize action, driving progress in global society.


What message or call to action would you like to leave our readers with?

I hope the audience will pay more attention to and reconsider the fluidity of personal identity in the context of globalization, as well as the complex emotional experiences involved in cross-cultural exchanges. I encourage people to adopt a more open and inclusive attitude toward understanding others’ cultures and backgrounds. I believe that this kind of reflection is, in itself, a beginning of transformation.


Find more about the artist here.


Cover image:

Symbols 苻呺 drawings by Ke Ren. Image courtesy of Ke Ren.

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