Art is both a reflection of the world around us and a window into our internal landscapes. For me, it has always been a space where these worlds collide—where technology and nature, the physical and the virtual, coalesce in ways that challenge our perceptions of identity, existence, and ecological responsibility. My journey as an artist has been one of continuous exploration, both outward into the world of digital media and inward into the deeper layers of my own philosophical and ecological concerns.
After completing a Master’s degree in Digital Direction at the Royal College of Art, I began to explore how technology—particularly digital media—could be harnessed to explore complex themes of identity, ecology, and the post-human condition.
The intersection of art, nature, and technology has always fascinated me. I believe that we are living in an era where the boundaries between the organic world and the digital realm are increasingly blurred. We see this in the way our lives are lived through screens, the rise of virtual realities, and even in the ways we interact with our environment. This theme runs throughout my work, which aims to question the boundaries between humans and nature, and between the physical and virtual worlds. In my installations and digital works, I explore how the digital world can serve as a metaphor for ecological systems, both in their interconnectedness and their fragility.
One of my most prominent works, The Stone-cene, began as an exploration of ancient symbols and natural structures, inspired by Stonehenge, but with a digital twist. The piece, which was showcased at London’s Outernet Now Building—Europe’s largest digital exhibition space—reinterprets the stone as a connective medium that brings together collective memories and experiences across species. The project was also exhibited at the Pompidou Center in Paris, where a virtual reality version allowed viewers to immerse themselves in a reimagined digital Stonehenge. This piece reflects my belief in the need for kinship across species and a reminder that technology, when used correctly, can bridge the gaps between humanity and nature, rather than widen them.
Another important project is In the Dream, You Are?, which explores themes of ecological disruption and the blurring of boundaries between the natural and the artificial. In this work, I use the metaphor of slime mold—a living organism that defies conventional biological categories—to create a dialogue between physical and virtual spaces. The piece challenges traditional dualisms—human vs. nature, material vs. immaterial—and suggests that, in a world increasingly dominated by digital technology, the line between us and the environment is more porous than we often realize.
At the heart of these works is a fundamental question about the role of humanity in the broader ecological and technological landscape. I’m deeply influenced by Taoist philosophy, which teaches that balance and harmony are essential to life. Through my art, I seek to transcend the artificial divide between humanity and nature, to ask: how can we live in harmony with the world we have created? And, more importantly, how can we begin to heal the ecological systems that we have disrupted?
As much as my art is rooted in philosophical and ecological inquiries, it is also a response to my own personal journey. As an artist, I have faced significant challenges—particularly in balancing my creative practice with the commercial demands of the art world. Early on, I struggled to find an audience for my work. I often felt that the themes I was tackling—post-humanism, virtual realities, ecological destruction—were too abstract, too esoteric, or too difficult for people to connect with. However as I continued to exhibit and share my work, I began to realize that there was a growing community of people who were ready to engage with these themes. One of my most rewarding experiences was seeing Ritual and Healing exhibited at London Craft Week in 2022, where it sparked deep conversations about ecological destruction, resilience, and the need for healing. The conversations that followed were a turning point for me, reinforcing my belief in the power of art to provoke change and foster empathy.
More recently, I had the honor of showcasing my work at the 2024 China-UK Tech Summit, an exhibition that brought together global leaders in technology and the arts. The experience was a powerful reminder of the potential of art to engage with cutting-edge technological and ecological discourse. I was also fortunate to be interviewed by CGTN Europe, where I discussed my creative journey and how my work addresses the intersection of nature, technology, and identity. It was incredibly humbling to see how my work resonated with a broader audience and how it contributed to the ongoing dialogue about the future of technology in the art world.
Looking ahead, I am excited to deepen my practice and take my exploration of the intersection of technology and ecology to new heights. I plan to apply for a PhD program, where I can expand on my research and creative projects, particularly in the post-human context. I am particularly interested in exploring how virtual environments shape ecological systems and influence human identity. My goal is to develop a more comprehensive understanding of these intersections while pushing the boundaries of digital art as a medium for addressing environmental and social issues.
Chunyi Shen
Social media: https://www.linkedin.com/in/chunyi-shen-567512237/
Editor: Lena Snow