A new wave of young, talented and rebellious creatives are coming through from Asia.
Harnessing respect for their tradition and unique cultural aesthetics, while at the same time still forward-looking and fearless in their execution. One such talent is that of Taiwan-born, Shanghai-based filmmaker and visual artist YUEN HSIEH; who after studying at esteemed institutions such as Central Saint Martins and The Royal College of Art, has constructed a twisted and radical vision of the future. Blending elements of Asian culture from manga and anime and splicing them with a punk and unruly, neon-drenched aesthetic; Yuen Hsieh has gardened the attention of large international brands such as Nike, DAZED and Burberry.

Through his videos, he has created a Neo-futuristic landscape, awash with cyber-influenced visuals that introduce a cast of unique and rebellious youths unashamed in their expression. Authenticity is the key for YUEN HSIEH, whether it is through his work as a director or a DJ and sound engineer.

GATA is delighted to showcase this exciting talent, spending the time to delve into the elements that have shaped his vision for the future. From experimental films to video games and defiant teenagers, Yuen Hsieh has come through an unconventional journey but has emerged from it a true creative force in the scene. Keep your eyes on this one for sure.

In 2012 you participated in London’s RCA Shorts Film Festivals you’ve been in this field for a few years now. How did you start showing interest in the audiovisual scene? Tell us about your origins and first steps.

I was very into performance art when I was in Saint Martins and bought a Canon camera to document my process with video, to support my outcome. Afterwards, I went to the Royal College of Art, I decided to focus on video art. Then, I went to Design Interaction to study critical thinking and design fiction to support my studies. It gave me a core concept, to focus on the issue in society and bring it further into the future world, just like Black Mirror and LOVE DEATH ROBOT.

I was shooting for lots of RCA students for their graduation shorts to practice my skills and was happy to collaborate with various industries. SHOWstudio came to me and asked me to assist director George Tsioutsias for fashion film IX. Most designers are my friends, and it’s was a pleasure to work with them for sure. Since then, I have had a few projects that came to me as a freelance director, and I started to shoot, edit, and do sound design by myself on a small scale. ♡⋆ʚ(╹.╹)ɞ

We appreciate some recurring elements in your work: young people interacting with each other, illuminated streets, neon palettes, vibrant colors, effects of lights and shadows, different temporary spaces... What is the link or common thread within your projects?

It depends on the story, really, and I am concept-driven rather than a visual person. Every piece or message is linked with my universe. It has to have a message that links with the theme of that video. Those kinds of psychedelic and trippy elements are the nightlife I am into. Also, it’s a vision I usually see when I am ****. ₊·*◟(˶╹̆ꇴ╹̆˵)◜‧*･

ڿڰۣڿ═─ 𝙍𝘼𝘿𝙄𝘼𝙎𝙄𝘼𝙉 ڿڰۣڿ═─

Your work concentrates on topics such as mystic creatures, alien life, youth culture or connections among human beings and the internet. How would you define the creative process that allows you to reach these final results? Tell us where you get your inspiration from and if you have any references, favourite artists, etc.

☆ﾟ.*･｡ﾟ Obviously, I am deeply influenced by Japanese manga and anime for sure when I was young. I wanted to be a manga artist, which is why I was always drawing before I went to junior high.

When I was young, I was a kind of yakuza in school, and there were a lot of gangsters around me, so dramatic things happened every day. Most of my friends were from single families or had mental problems. They had a social disability, but in the end, they acted just like normal kids. At that time, we were all very into manga and video games, and we stayed together after school for a long time until my mom started looking for me. I guess I was never a role model, but more like the edgy, rebel kid in the school.

It all changed when I went to Central Saint Martins and the Royal College of Art. I became a student who was embraced by the tutor, classmates and the society in the UK. ϵ('Θ')϶ There, I was able to be free, speak out and do whatever I wanted with my artworks. It's was a liberation for me and a form of expressing what I am really into.

My graduation project was called "BODY COPYRIGHT" back in 2013. It was a short film about people copying each other's style and becoming someone you are not through plastic surgery. A private company "SHIYA ENTERPRISE" offer a service allowing citizens to register their bodies to avoid another pirated version . After that, my project was based on this visual company, "SHIYA ENTERPRISE", to offer strange services for any demand related to technology. Such as "Adult License", "Life Auction Online"," INTERNET PHENOMENON PRODUCTION COMPANY" and so on.

I am much into an edgy group or community, and trying to expose the issues of society. I came to Shanghai in 2017, where I founded my own creative agency, "SHIYA ENTERPRISE".

Right now, I am thrilled to be able to bring my fantasies into reality. SHIYA ENTERPRISE offers creative direction and production for global fashion brand around the world. .*･｡ﾟ☆ﾟ

You are a director, editor, sound designer... that means you are also into music and work as a DJ, how is your daily routine?

♫ .・゜゜・Right now, I have been preparing my ongoing project AUDIO RIOT, (my own guerrilla party).

In the afternoon, I usually go to Muay Thai for training. I have been training for two years because I want to stay young and healthy, due to the routine of being a director and DJ and my long nights up.

At night I will watch some film or listen to some music. If I find cool music, then I add it to my playlist for the next party. If it’s during the weekend, I will go party and meet some friends and get drunk. ・゜゜・．♫

Can you tell us a little bit about your DJ project? We hear you are sometimes doing your own techno Guerrilla parties with your visuals.

I was DJ a few years back but never threw my own party before. Last year, when I was planning my birthday party with a friend, I invited many young DIY, remake artists, drag queens, and musicians to help throw my first guerrilla party in a warehouse connected to my friend's photo studio. I provided the drinks myself, and in the end, more than 300 people came that night. The police came because some neighbours complained about our party, haha. After that, many friends told me that I should do it regularly with the party label AUDIO RIOT.

After that, we are throwing parties irregularly, inviting pioneer DJs, visual artists to create the visuals, installations, etc.

AUDIO RIOT is trying to form a community that allows various young talents to work, party, and link together during COVID-19. The spirit of liberation, rebels and activists. (๑╹ڡ╹๑)

It is clear that you have a very striking, futuristic and perhaps coming-of-age style. How do you deal with both fashion and aesthetics in terms of defining your essence?

I will look for young and pioneer talents from Instagram and reach out for possible collaborations. I would love to work closely with each team member from DOP to stylists, to brainstorm and create unique concepts for each project. Apart from that, I would like the fashion to perfectly fit the culture I am shooting with, such as schoolgirl, Japanese Host, Drag Queen culture and so on. The people have to be real and authentic to me, from the inside out. Fashion is just based on their character, to add a bit of flavour to it. ^_^/

Teamwork is key in your work area, how would you determine your own experience in this context and overall?

I usually propose an idea and visual references first. After that, I will start looking for crew members according to the different stories. Each role will have its own freedom to propose and bring their input into the project along the way. As a director, I will always respect everyone’s ideas as long as it is authentic and creative for the project. People who have a skillset might not necessarily work very creatively, and those who are creative might not be very skilful. It is essential for me to have both talents in my team to make sure the ideas can be executed professionally. I will make the final decision avoid clichés in terms of styling, art direction, and storytelling, to make sure it is still me.

In GATA we always try to ask the interviewer about his or her favourite movie as it is super interesting and we assume that, in your case, you will have a bunch of movies that you like.

Neon Genesis Evangelion

Himitsu – Top Secret (秘密 ―トップ・シークレット―)

Oldboy

LOVE & POP

Goodbye South, Goodbye (南國再見，南國)

What are your future plans? Any project in mind or any brand that you would like to collaborate with currently?

If possible, I would love to make a short film this year and show it to GATA Magazine again. (ง •̀_•́)ง

3D animation collaboration with DELL and WINDOWSEN

Interview by Raquel Perez
Edited by SAMO

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RADICAL ASIA: The Cyber Hell of YUEN HSIEH