Jiawen is a multimedia artist study at New York University.
Working across 3D animation, video art, analog visuals, projection mapping, and interactive installations,
she creates dynamic works that challenge traditional boundaries of digital media.
Her practice emphasizes real-time audiovisual performance, synthesizing these diverse mediums to craft
immersive experiences.
Her current works explore themes of distorted reality and urban isolation in our digital age.
Through manipulated imagery and interactive elements,
she visualizes how our identities and perceptions fragment under constant information streams,
while examining the paradox of disconnection in an interconnected world.
Her pieces invite viewers to confront how their own experiences and sense of self transform through digital mediation.
Working across 3D animation, video art, analog visuals, projection mapping, and interactive installations,
she creates dynamic works that challenge traditional boundaries of digital media.
Her practice emphasizes real-time audiovisual performance, synthesizing these diverse mediums to craft
immersive experiences.
Her current works explore themes of distorted reality and urban isolation in our digital age.
Through manipulated imagery and interactive elements,
she visualizes how our identities and perceptions fragment under constant information streams,
while examining the paradox of disconnection in an interconnected world.
Her pieces invite viewers to confront how their own experiences and sense of self transform through digital mediation.
Installationl / Interactive Art / Real-Time Render
"In Between" is an interactive projection-mapping installation that investigates the permeable boundary between physical environments and their algorithmic reinterpretations.
@j.wang_art
Audio Visual / Interactive Art / Laser Show / Real-Time Render
No Signal (2025) is an audio-visual performance that includes real-time rendering and, analog-digital signal experiment. In this live show I use self-made midi controller to manipulate visual from analog TV to projection and laser work.
Opera / Projection Mapping / Audio-Visual
Heretic(2025) is a experiment with opera, projection mapping, and creative technology. We push the boundry by breaking the traditional opera settings, and invite the audience to immerse themselves in a projection dome.
Installation / Real-Time Rendering / Analog Video
Word (2025) captures the continuous translation between digital precision and analog messiness through layered visual feedback beneath unchanging Lorem Ipsum text, revealing how meaning emerges not from either realm alone but from their ongoing conversation.
@j.wang_art
Interactive installation / Immersive Environment / Real-Time Rendering
Reality Glitch.V0 (2024) is an interactive audiovisual installation where viewers control the manipulation of their own live image through a gamepad, creating a feedback loop of digital distortion and identity fragmentation.
AIGC / Video Art
Digital Anomalies (2024) is a video artwork that investigates the unpredictable nature of artificial intelligence through glitch art techniques. By deliberately corrupting AI-generated imagery, the work reveals the surreal and uncanny results that emerge when neural networks are pushed beyond their intended boundaries. The piece visualizes the hidden processes and unexpected behaviors of AI systems, exposing the strange beauty in their failures.
3D Animation
Get Out! (2023) is a 3D animation short film that discusses our current dilemma in the cybernetic environment. Get Out! features a transparent figure trapped in streams of data-carrying light, examining our inability to escape the cybernetic systems of surveillance that simultaneously illuminate and expose us in the digital age.
Audio-Visual / Video Art
Reborn (2024) is a real-time audiovisual performance that unfolds across a three-act journey, each named after Tarot cards—The Death, The Wheel of Fortune, and The Magician. Through abstract visual storytelling, the piece chronicles a personal journey of artistic transformation, using video collage and real-time manipulation to explore themes of endings, change, and rebirth.
Video Art
Control (2024) is a video artwork that employs glitch art and visual distortion to expose the hidden systems of algorithmic influence that imperceptibly shape our behavior in the digital age.
Film
The Time on The Watch (2024) is a narrative film based on the theme of the stone-tape theory.
AIGC
Epochs (2024) is an AI generative film experiment. It charts the epic journey of existence, visualizing key evolutionary moments from the universe's birth through Earth's formation to humanity's dawn, exploring the critical transitions that shaped our world.
Photography
Remembrance and Forgotten (2024) stages portraits of solitary encounters with vintage objects in abandoned spaces, examining how we seek comfort in obsolete distractions while surrounded by decay.
Interactive installation / Projection Mapping
City Surf (2023) is an immersive installation that follows a surreal night journey through city streets, where illuminated windows reveal hidden stories of urban life, exploring themes of isolation within collective spaces.
@j.wang_art
It challenges the notion of AI as a neutral tool. Instead, it positions generative systems as active interpreters, capable of amplifying, distorting, and re-authoring the world we know. The project is designed to provoke a sense of uncanny familiarity: participants recognize the location yet find it strangely alien, then witness their own bodies actively shaping its unstable digital form. This intuitive, gestural engagement bypasses traditional interfaces, placing the audience simultaneously inside and outside the generated environment. By transforming everyday places into unstable, hybrid environments, In Between offers a powerful reflection on how technology reshapes our presence, our perception, and ultimately, our understanding of what constitutes "real" and "place."
The performance employs a self-built MIDI controller as an extension of the body, granting tactile control over visuals that move fluidly from distorted analog television signals to immersive projection environments and the precision of laser-based light drawings. This hybridity—between obsolete broadcast technologies and contemporary rendering engines—creates a dialogue between eras of media, asking what it means to manipulate “signal” in a culture saturated by transmission, interruption, and mediated presence.
By intervening in the flow of signal—interrupting, bending, and re-routing it—the work frames “no signal” not as absence, but as a site of generative potential. Static, glitches, and feedback loops become aesthetic materials, shaping a live landscape where error is not failure but composition.
Ultimately, No Signal (2025) is less a performance than a live circuitry of perception—where human gesture, machine instability, and technological memory entwine.