In an era where technological advancements increasingly reshape our world, artist Yalan Wen stands at the vanguard, seamlessly blending the ephemeral world of computational images and new media installations with the timeless tactility of painting. Based in New York City, the Taiwanese artist is a compelling voice in contemporary art, distinguished by her unique ability to explore the interconnectedness of nature and humanity, unearthing nuanced emotions and philosophical ideas beneath the surface. Her practice not only pushes the boundaries of traditional and digital media but also redefines how we perceive art in a rapidly evolving landscape.
Yalan Wen’s artistic journey is rooted in a compelling synthesis of art and science, a background that profoundly informs her distinctive approach. She navigates the complex interplay between simplicity and profound philosophical concepts, bringing to light subtle events often overlooked. This interdisciplinary foundation has allowed her to cultivate a versatile repertoire, encompassing computational images, media installations, and intricate paintings, each medium serving as a distinct yet interconnected avenue for her exploration.
A testament to her burgeoning influence and critical acclaim, Wen has showcased her work in prestigious venues worldwide. Her exhibitions include the CADAF Art Fair in New York, the renowned SIGGRAPH ASIA art gallery in Korea, and the esteemed Kaohsiung Museum of Fine Arts in Taiwan. Closer to home in New York City, her works have graced the National Arts Club Artist Fellows Exhibition, CULTUREHUB Re-Fest in 2024, and the LIC Arts Open, among others. International recognition extends to appearances at the Vision and Expression photography exhibition in Barcelona and the Shawna Shea Memorial Film Festival. Wen has also embraced the digital frontier, participating in online exhibitions and events such as Intersection in the GOXR metaverse, further illustrating her commitment to exploring new artistic dimensions.
Wen’s profound exploration of humanity and ecological themes has been significantly enriched by her participation in esteemed artist residencies, including the West Harlem Art Fund on Governors Island, New York (2021), and Chateau d’Orquevaux in France (2023). Currently, she holds the prestigious position of Artist Fellow at the National Arts Club, a recognition of her innovative contributions to the arts. Demonstrating her curatorial vision, she also led the exhibition “Intersection: Between Reality and Illusion,” a project supported by the Taiwanese government.
At the heart of Wen’s practice lies a fascinating dialogue between painting and video art. When questioned about her affinity for these two distinct mediums, Wen explained her boundless curiosity as an artist. “Honestly, I’m always open to exploring new mediums whenever the opportunity arises,” she stated. However, she noted that many of her ideas seed in a sketchbook, evolving from “drawings or fragments of words,” after which “painting often comes naturally.”
What draws her to video and digital media, she elaborates, is “the sense of boundless possibility: the textures, the element of time, and the freedom to construct spaces that aren’t limited by physical constraints.” Wen finds herself moving fluidly between these two realms, describing it as “almost like stretching different creative muscles. Each medium offers a unique way to explore and articulate the same idea from different angles.”
This fluidity underscores the inherent interconnectedness in her creative process. “They often lead into each other,” Wen confirmed. “Sometimes my process begins with documentation or experimenting with computer programs; other times, it starts with a simple doodle or sketch on paper. One medium opens doors to the other, allowing ideas to evolve in unexpected ways.” This organic flow highlights her unique ability to translate concepts across diverse platforms, ensuring a coherent artistic vision regardless of the final form.
A notable example of her video work is “Ephemeral Echoes,” an ongoing series that delves into the fleeting moments that define our existence. Wen revealed the project’s original interactive genesis: it “originally used interactive technology linked to a mountain dulcimer, allowing the video to react dynamically to the instrument’s sounds as the musician played, creating a dialogue between image and music.” Later, she transformed it into a standalone video work to foster a “slower pace, giving viewers the time and space to fully settle into the experience.”
In “Ephemeral Echoes,” the continuous passing of crowds serves as a powerful metaphor for the inexorable flow of time, where “beginnings and endings blur into an endless loop.” Anchored by geometric forms, the work masterfully isolates these transient moments within the unstoppable passage of time. It juxtaposes artificial elements with organic movements, such as human figures and flowing waves, to explore the tension between the constructed and the natural, inviting viewers to reflect on the nature of impermanence.
Beyond “Ephemeral Echoes,” Wen continues to experiment with video projects that explore the intricate relationship between technology and the natural world. “I’ve been experimenting with trees and urban nature within a video context,” she shared. In these works, “Pixels become brushes, and the screen becomes a canvas that unfolds over time. These works allow me to ‘paint’ landscapes that exist not in a single moment, but across durations, layering movement, light, and memory.” This approach effectively transforms digital landscapes into evolving tapestries, blurring the lines between static imagery and dynamic narratives.
A defining characteristic of Wen’s work is her innovative integration of technology, which sets her apart in a crowded artistic landscape. She began experimenting with generative art as early as 2019, long before AI tools became widely adopted. These early explorations instilled a crucial lesson: “that while innovative techniques are exciting, what truly matters in art is whether it resonates with the viewer on an emotional level.”
This philosophy underpins her entire practice. “In my practice, I aim to use technology intentionally, not as a spectacle, but as a medium that serves the concept,” Wen articulated. She meticulously combines “painting, video, sound, and media installations, always searching for ways to let each medium speak in its voice while contributing to a larger narrative.” This methodology enables her to transition seamlessly between traditional and digital realms, crafting works that feel both deeply rooted and forward-thinking.
“I guess what sets my work apart is this balance,” she concluded, “I embrace technology as a tool for expanding artistic vocabulary, while never losing sight of the emotional and human core that makes art meaningful.” This balance is not merely a stylistic choice but a fundamental principle that elevates her art beyond technical prowess.
A recurring question in the art world considers whether tech-based artwork possesses the same “soul” as traditional paintings. Yalan Wen offers a profound affirmation: “For me, yes, because all my works, regardless of medium, come from the same root.” She acknowledges the differing impacts of material on the viewer: “painting invites stillness and absorption, while tech-based work can introduce rhythm, motion, and interaction.” Yet, she emphasizes that “Each requires me to explore its emotional depth differently.” This perspective highlights that the medium is merely a vehicle for expression, with the artist’s underlying intent and emotional core remaining constant.
Furthermore, Wen views technology and painting not as opposing forces but as complementary elements. “Technology-based works often rely on tools, such as computers, cables, and circuits, and exist in a virtual, repeatable space of pixels and data,” she notes. “Painting, by contrast, is physical, still, and quietly absorbing.” Despite these differences, they “complement each other because they offer different perspectives on the same idea: one expands into the virtual, the other grounds itself in the tangible.” This symbiotic relationship allows her to explore multifaceted themes with a holistic approach, providing viewers with a richer, more diverse experience.
Yalan Wen’s innovative vision has garnered significant recognition across the art and film industries. Her film works have been celebrated at international festivals, including the Italy International Film Festival in 2024 and the Cannes Continental Film Festival in 2023, where she was a finalist. She has also received awards from the Shawna Shea Memorial Film Festival and the Bridge Video SITE/less Chicago.
Her academic journey is equally impressive, marked by numerous scholarships and awards, including the prestigious National Arts Club Artist Fellowship in 2025 and the Paula Rhodes Memorial Award. She earned scholarships at the MFA Computer Art Department at the School of Visual Arts (SVA) and accumulated various accolades from the National Taiwan Normal University, where she obtained her BA in Graphic Design before pursuing her MFA in Computer Art at SVA.
Wen’s influence extends beyond her academic achievements into teaching and public
discourse. She has spoken at the School of Visual Arts, Queens College, and the EVA
Conference in London, where she shares valuable perspectives on her practice and the
evolving role of technology in art. Her insights are also frequently featured in publications and
interviews, broadening her impact within the global art community.
Building on these contributions, Wen is committed to fostering the next generation of artists and
shaping the trajectory of contemporary art. Through lectures, curatorial projects, and public
engagement initiatives, she shares her innovative methodologies with emerging practitioners,
encouraging them to embrace cross-disciplinary experimentation. By pioneering hybrid
practices that merge analog tactility with digital interactivity, she has helped cultivate a growing
movement in contemporary art that challenges the boundaries between the physical and the
virtual. Her early adoption of generative techniques and her interdisciplinary approach not only
set her apart from her peers but also position her as a key figure in shaping how artists engage
with technology today.
In addition to her academic and community contributions, Wen has professionally contributed as
a designer for organizations such as Digiday, Volvox Lab, Dusty Studio, BumbleBear Games,
and Wix, demonstrating the practical application of her artistic and technical prowess.
Her private collection commissions include both oil paintings and digital installations, featuring notable works like “Little Cupcake” and “Fire.” An active participant in the art community, Wen maintains connections through professional organizations and volunteers at events like the RealTime Economics Summit.
Looking ahead, Yalan Wen is already preparing for her next significant undertaking. “I’m currently preparing a series of works that explore nature and the sense of belonging,” she revealed. “The project explores how we find (or lose) emotional grounding within our environments. It will likely be shown in New York City in the coming year.” This upcoming exhibition promises to further her profound exploration of humanity’s connection to its surroundings, rendered through her signature blend of technological innovation and artistic sensibility.
Through her compelling body of work, Yalan Wen continues to illuminate the profound intersections between the digital and the tangible, offering a compelling vision for the future of art where pixels and paint coalesce to tell stories of our shared human experience. To learn more about her work or to connect with her, details are available on her personal website and social media channels.
Published on September 25, 2025.
By Penny Black.
