Jiatong Han is a visual artist and filmmaker whose work explores the intersections of ecology, feminism, and posthumanism through moving images and digital media. Originally trained in film and image art at the China Central Academy of Fine Arts, she later pursued an MFA in Computer Arts at the School of Visual Arts in New York. Now based in the UK as a practice-based researcher at the University of Glasgow, her work examines the silent expressions of marginalized voices, challenging dominant narratives through experimental storytelling and interdisciplinary methodologies.

Can you share a bit about your background and how you began your artistic journey?

My earliest artistic enlightenment happened in kindergarten. As a child, I tried many extracurricular activities, but drawing was the only one I truly committed to. Even though I wasn’t sure if I could pursue it as a career, I knew it was something I loved and wanted to continue. Before entering university, I passively chose to study film and image arts, holding onto the vague expectation that I might become a director. However, I found myself constantly oscillating between storytelling, traditional media, art, and technology.

During my studies in the U.S., I was exposed to more digital media and realized how these technologies greatly expanded the possibilities for independent artistic creation. I also explored various fields, including commercial, creative, and film industries. However, within large companies and institutions, I often found art and design marginalized, which left me feeling conflicted and frustrated.

Now, I am in the UK, pursuing my PhD at the University of Glasgow under the guidance of Azadeh Amadi and Lizelle Bisschoff. My research continues to explore moving images while incorporating interdisciplinary perspectives. I have a strong desire to understand more about the world and uncover deeper truths. I believe in the power of art and its value in humanities research.

Looking back, my artistic journey has never been clearly mapped out from the beginning. Instead, it has been a continuous process of practice, reflection, and adjustment. Interestingly, this aligns with my current approach to practice-based research in my PhD studies.

What keeps you inspired and motivated to create new work?

As an East Asian woman, especially now in my late 20s, I began searching for a subject that I could dedicate a lifetime to researching. Eventually, I identified two core themes—women’s issues and the ongoing ecological crisis. My work seeks to explore the intersection between them through moving images.

My artistic practice focuses on ecology, interspecies co-creation, and posthumanism. I am particularly interested in amplifying the voices and expressions of marginalized communities that are often silenced by dominant or hegemonic cultures. Through research and creative practice, I aim to challenge the universal assumptions embedded in Eurocentrism and male-dominated modernist narratives.

For me, creating is not just a means of personal expression but a way to investigate the world. I hope to use moving images and experimental media to make the unseen visible and to create spaces for alternative perspectives to emerge. This belief fuels my continuous creative exploration.

How has your artistic style evolved over time?

I don’t think I have established a distinctive style yet, nor can I talk about an evolution in my artistic language. My approach is more fluid, adapting to the subject matter, available media, and technological advancements.

My practice started with painting, then shifted to working with cameras and photography, later incorporating digital art and AI. I have always moved between traditional and emerging media. Currently, I am exploring how to collaborate with non-human entities, questioning how moving images can transcend anthropocentric perspectives. Art, especially moving images, is constantly shaped by technological developments, and I seek to embrace these shifts to discover new possibilities.

 What do you find most rewarding about being creative?

For me, the most valuable aspect of creativity lies in its openness to uncertainty and the potential for discovery. Each artistic process expands my perception of the world. When researching the intersections between moving images, ecology, and feminism, I often feel that art is not merely a personal act of expression but also a way to engage with broader socio-political contexts.

The most rewarding moment is when my work resonates with an audience, prompting them to rethink certain perspectives or become aware of things they hadn’t noticed before. That sense of connection and shared reflection is what makes creativity meaningful to me.

What challenges have you faced as an artist, and how have you overcome them?

One of my recent struggles has been adapting to a new way of working. In my previous creative process, I used to define a theme, determine the format, and visualize the final outcome before starting production. However, in my PhD research, this structured approach has been disrupted. Now, I must engage in practice first, followed by critical reflection, allowing the research and artistic creation to inform one another.

This shift has challenged my understanding of how I work with moving images. To navigate this, I have begun integrating experimental creation as part of my research rather than treating it solely as a final output. I also continuously adjust my methodology and learn from scholars and practitioners in different fields, searching for a mode of practice that aligns with my research inquiries.

What advice would you give to emerging artists looking to establish themselves?

I’m not sure if I’m in a position to give advice. Every artistic journey is unique, and my experiences are just one of many possibilities. If I had to share something, I would say that my creative process has always been accompanied by uncertainty and continuous adjustments. More often than not, I don’t have a clear direction—I just start creating and let the practice lead me. I don’t believe there is a singular “right” path in art. To me, it is a constant process of exploration and questioning.

Rather than seeking definitive answers, perhaps the most important thing is to stay engaged with the questions themselves.

Text & photo courtesy of Jiatong Han

Website: jiatongny.com
Instagram: https://www.instagram.com/jiatong_haaan/