Di Tian is a New York-based new-media artist from Chongqing, China. He received his B.F.A degree from School of the Art Institute of Chicago and M.F.A degree from University of Pennsylvania. Di’s current artworks involve a variety of mediums, such as interactive installations, computer graphics, digital design, experimental games, and more. His art has been featured in a range of international exhibitions, publications, charity events, and so on, such as his solo exhibition “Mosquitoes Also Can Dream” at DAD in Beijing (2008), personal charity event “For Children of China” held by Amity Foundation in Shanghai (2011), his solo artworks collection published by Beijing Xiron Group (2013), “Contrasts” by Loosen Art Gallery in Rome (2021), and Chengdu Biennale (2023) in China.
Di’s educational background at the School of the Art Institute of Chicago and the University of Pennsylvania has significantly shaped his approach to new-media art. SAIC was a starting point for his shift from painting and drawing to the combination of art and technology. Classes like coding, virtual reality, and animation have stimulated Di’s experiments across various mediums. During his graduate studies at UPenn, he continues explores within the field of new-media art, but with a more specific development in interactive installations and computer graphics, combining tangible forms with digital creations.
Working with both the physical and the digital, Di effectively combines these two realms during his creative process. While constructing installations, he frequently employs 3D software such as Blender to visualize his ideas, effectively transforming abstract concepts into three-dimensional forms, which allows him to better anticipate the final outcome. After completing his digital sketches, Di progresses to the actual creation phase, involving various engineering skills, such as 3D printing, laser cutting, etc. For him, the choice of mediums is not merely for aesthetic appeal; each element is intricately tied to the underlying concept of his work.
“Mosquitoes Also Can Dream” was Di’s first solo exhibition held at DAD (798 Art District) in Beijing in 2008. This exhibition predominantly featured Di’s early paintings, which invited viewers to step into his daily life as an artist who began creating art at the age of five. The artworks were displayed in chronological order, allowing viewers to trace Di’s artistic development over the years. Remarkably, the exhibition was held when Di was just nine years old. The sophistication of the line strokes and the mature handling of composition in his works left many viewers astonished that they were the creations of a child.
Beyond exhibitions, Di has also consistently engaged in various charity events throughout his art career, including his personal charity event “For Children of China” in 2011; he believes it is the responsibility of artists to leverage their artwork to support charitable causes. Di holds a strong belief in the significant role of art in raising social awareness. He explains, “Art possesses the unique ability to communicate messages and stir emotions in ways that words alone cannot. Artists can use their work to spotlight critical issues, thereby making complex or remote problems more relatable and comprehensible to the public.” This is also one of the reasons that his art is constantly exploring complex interplay between individual identity and societal dynamics, especially within contemporary China. Through his works, he explores themes of existential angst, social expectations, and the search for meaning amidst modern challenges. Each piece serves as a mirror reflecting the inner turmoil and outer realities faced by individuals navigating the complexities of urban life and societal pressures. Through fusion of different mediums, Di encourages the audience to draw connections between their own experiences and his artworks, prompting them to contemplate the resonance and critical reflections they evoke in today’s rapidly evolving world.
Di’s artwork has drawn inspiration from many different new-media artists, impacting both the technical execution and conceptual depth of his creations. Specifically, installations by artists such as Zimoun, panGenerator, and Studio Drift have significantly shaped his approach to new-media art. These artists are known for their innovative use of space and technology, elements that Di incorporates into his own work to enhance its interactivity and sensory appeal. Furthermore, Di’s computer graphics art has been influenced by digital artists like Ian Hubert, Lu Yang, and NENGHUO. Their distinctive styles and pioneering techniques in digital imagery have provided Di with a diverse palette of methods and concepts, enriching his own digital creations. This fusion of influences helps Di to continually evolve his artistic language and push the boundaries of both form and content in his own work.
As we discover both tangible forms and digital creations in Di’s artworks, we can clearly see he is emphasizing the conceptual integration of these two distinct mediums. Di states, “I focus more on whether it makes sense in my piece or not.” His approach is not about balancing digital and physical elements; rather, it’s about choosing the medium that best fits his artistic vision. For instance, in his interactive installation “Hands Up Only,” Di merges coding and digital video with multiple robotic arms, LCD screens, and a Kinect. He maintains a roughly equal presence of both physical and digital components, believing that the digital elements enhance the work by providing interactive and multimedia experiences that complement the tactile and sensory aspects of the physical components.
Through his works, Di challenges the notion of art as a solitary experience. He invites the audience to linger in front of his works to engage deeply with his art, encouraging more than a cursory glance by fostering active participation and contemplation and transforming them from mere observers into integral components of the artwork. Each piece is crafted not just for visual appeal, but for thought and emotional connection, encouraging viewers to reflect and find personal resonance within his art. Di always considers his works as a bridge with the audience rather than a personal and privatized existence.
Di is currently working on another CG short film where he continues to navigate through the human experiences in flux. His animation, “The Sighing Me,” will be showcased at the Visual Culture 2024 exhibition at CICA Museum in Korea, scheduled for September. Having worked solo for nearly two decades, Di is also looking forward to establishing his own studio or team in the near future, aiming to collaborate with artists from diverse backgrounds and areas of expertise. He has previously expressed that he does not view art as a solitary endeavor. Collaborating with others is something Di has always aspired to do, believing that a group can produce more creative ideas than an individual artist alone. Additionally, he is eager to delve into various mediums and techniques that he has not yet explored, such as projection mapping and real-time rendering.
Finally, Di offers his advice for young artists who aspire to work with new media, saying, “Stay informed about the latest technologies or digital tools. Online courses, workshops, and tutorials can provide you enough foundational knowledge and advanced skills in areas like 3D modeling, animation, and coding. Also, new-media art is all about exploration. Try out different software and tools like Adobe Creative Suite, Blender, Unity, or Processing. Experimentation can lead to unique styles and techniques that set your work apart. When you are familiar with different tools and mediums, you will naturally know how you can integrate them. Just trust the process and be persistent. Keep practicing, learning, and pushing the boundaries of your creativity.”