CNTRFLD.ART chats with artist Bianca Tse to delve into her creative journey, from discovering the infamous Kowloon Walled City through a PlayStation game to becoming a pioneer in AI-driven art. In this conversation, Bianca shares how her background as an art director and her fascination with Hong Kong’s chaotic yet resilient history have shaped her unique artistic vision. With AI tools enhancing her storytelling, Bianca explores themes of urban decay, community, and nostalgia, offering a fresh perspective on the intersection of technology and art.

CNTRFLD. I guess you have seen the new Louis Koo film "Twilight of the Warriors - Walled In!" When did you first discover Hong Kong's Kowloon Walled City, the most infamous and misunderstood high-rise community? And what made you start recreating stories using AI?

BT. Yes, and I think most Hong Kongers watched it as well. It’s a very thrilling action movie, and I’m glad it brought the history of my city back into the spotlight. The site of the Kowloon Walled City was demolished in 1994, so I never had the chance to visit it. I knew nothing about the place until one day after school when I played my first PlayStation 1 adventure game, “Kowloon’s Gate,” which was designed based on the Kowloon Walled City. I was drawn into its eccentric world and developed an interest in discovering more about it.

In fact, you can see its influence even without being there. The Kowloon Walled City inspired the Cyberpunk aesthetic and appears in the art direction of popular culture, anime, and movies, such as Batman and John Wick.

In real life, I’ve been working as an art director for more than 20 years. My use of AI image generation started out of FOMO because everyone was saying AI would take our jobs. So, I began learning to use the tool, starting with a topic that inspires me the most. Without too much planning, I started posting my works on Instagram and received positive feedback. Eventually, it evolved into a themed project.

CNTRFLD. Have you read *High-Rise* by J.G. Ballard? It's a story based on modern living in London, offering an abstract reflection of fears stemming from overpopulation, overcrowded spaces, and skyscrapers. Later, it was made into a dystopian sci-fi film about modern living, ending with affluent residents descending into violent chaos.  In contrast, Kowloon Walled City was the most chaotic place to live and manage, yet a decentralised system seemed to work. Why do you think that is? Maybe it has something to do with the mindset of Hong Kong people?

BT. I haven't read "High Rise" by JG Ballard, but it seems its themes and narrative contrast with those of Kowloon Walled City. Despite its reputation as one of the most chaotic places to live, Kowloon Walled City functioned through a decentralised system that seemed to work for its residents. From the words of the people I interviewed, they lived next door to crimes, drugs, and prostitution, but they didn’t feel their everyday life was dangerous. In fact, their memories were warm.

Firstly, the majority of residents were low-income working families who had nothing to do with triad activities. Additionally, Hong Kong people used to have a strong sense of community, which could have fostered cooperation and mutual support despite the lack of formal governance. An ex-resident told me there was self-regulation in the Walled City, and the “gangsters” wouldn’t harm the people inside. I believe the resilience of Hong Kong people also played a crucial role in making the community work.

CNTRFLD. Can you describe a little about yourself, your childhood, and how you came to pursue a career as a creative and now artist? What was your journey in digital art and now AI, and were there pivotal moments or influences that shaped your artistic identity?

BT. I was born and raised in Hong Kong, a Gen Y. My upbringing was challenging—I still have vivid memories of living in temporary housing (later in public housing) in Fanling. Our family of five lived in a 100-square-foot metal-sheeted “hut” with a bunk bed. The poverty and small space make me feel connected to the stories about the Walled City. That said, my childhood memories were happy. I was three years old, riding a tricycle with my two-year-old sister in the back seat, traveling between alleys without parental supervision, or catching insects and chewing wildflowers in the bushes after school. Besides the stories of the Walled City, some of my works are about my childhood memories, like the little girl waiting in the rain with her imaginary plastic bag friends. My mother ran a frozen meat shop, and I often had to wait for her to finish work and take me home.

I didn’t have much entertainment as a kid, so I spent a lot of time at the public library reading illustrated books and drawing on paper. Naturally, I decided I liked "drawing things" and wanted to become an artist. I was accepted into the School of Design at Hong Kong Polytechnic University, and my first job was as an assistant art director at McCann Erickson. Although creating for commercials isn’t the same as creating “art”—it’s more of a customer service role—after many years, I felt I needed an outlet for creativity and artistic expression. Without much planning or intention, I started my page, and luckily, it got noticed. I have to say it all happened very randomly, but in a good way.

CNTRFLD. Have you met Greg Girard? His book City of Darkness is a great source for Kowloon Walled City.

BT. I’ve contacted Greg for approval to reference his photographs since I started the page. He has been very generous, and I was fortunate to meet him in person during his trip to Hong Kong for the M+ event this April. I’m very lucky that he agreed to an interview with me, which I then made into an AI movie. It was a very experimental crossover between traditional photography and AI photography, blending historical facts with fantasy, hopefully it can change the impression of those who thinks AI arts are “soulless” or “unoriginal”. 

CNTRFLD. Can you share any specific artists, movements, or cultural influences that have played a significant role in shaping your artistic style and vision?

BT. I grew up in Hong Kong, and like many of us, I was heavily influenced by Japanese anime. I particularly admire the comic artist Hirohiko Araki and artist Hajime Sorayama, as well as the humour of Stephen Chow. You might notice that some of my works have a child-like quality, heavily inspired by popular culture, anime, and manga.

There are countless artists who inspire me, such as Chagall and Miró. I tend to be attracted to works that show childishness and innocence with a touch of playfulness. Recently, I admire James Jean.

CNTRFLD. Tell us about your experience living and working in Hong Kong. How does the city's dynamic environment differ from other places you've lived, and in what ways has it shaped your artistic vision and approach?

BT. Growing up during the UK colonial period and witnessing the transition to Chinese sovereignty in 1997 has provided me with a rich tapestry of cultural and historical contexts that deeply inform my artistic vision. Hong Kong is a city of contrasts and dynamism, where East meets West, and tradition blends seamlessly with modernity. This hybrid identity is a significant source of inspiration for my work and my theme. The city's dense urban environment, vibrant street life, and the juxtaposition of old and new architecture have all shaped my aesthetic sensibilities. The ever-changing skyline, bustling markets, and neon-lit streets create a visual and emotional intensity that I strive to capture in my art.

Being a digital nomad, I only spend half of my time based in Hong Kong, which allows me to continually refresh my creative outlook and avoid becoming insular. Compared to other places I've lived, Hong Kong might not be a heavenly place to live but its energy is unparalleled. The fast-paced lifestyle, coupled with the city's resilience and adaptability, has taught me to be versatile and innovative in my approach.

The political and social shifts I've experienced in Hong Kong have also played a crucial role in shaping my work. The sense of uncertainty and the ongoing struggle for identity and autonomy resonate in my art, often reflected through themes of transformation, resistance, and nostalgia. The city's spirit of perseverance and its vibrant cultural scene encourage me to explore and experiment, the blend of local and global influences makes my art a reflection of both my personal journey and the collective experience of living in this extraordinary city.

CNTRFLD. From your perspective, how has Asian arts influenced today's culture over the years, and what is your opinion on the importance and impact of this movement in the global artistic landscape?

BT. Traditional techniques like ink wash painting, calligraphy, and woodblock prints have inspired contemporary art, while principles of minimalism from Japanese and Chinese art influence modern design. Popular culture, including Japanese anime, Korean pop culture, and Chinese cinema, introduces unique storytelling and visual styles to global audiences, leading to a cross-pollination of ideas. The importance of Asian arts lies in their ability to challenge and expand traditional Western art boundaries. As a new artist, I am continually inspired by the depth and breadth of Asian art. It serves as a reminder of the endless possibilities in artistic expression and the power of cultural exchange. The fusion of Asian and global artistic traditions not only enhances the beauty and complexity of art but also fosters mutual respect and understanding among different cultures.

CNTRFLD. How do you navigate the balance between staying true to your artistic vision and adapting to the evolving trends and demands of the contemporary art scene or the current climate in Hong Kong?

BT. Jumping from a commercial art director to an AI artist, the big difference is that in my real-life job, I create to please people and garner a wide audience, making it functional for the market. Making art, to me, is different—it's emotional, it's self-expression and exploration, it's about honesty and authenticity.

In my opinion, art shouldn't be created solely to please the market; it should remain pure and true to the artist's vision. The best arts aren’t those who are “on trend”, the best arts are timeless in any given time and location. 

CNTRFLD. What AI tools are you using to create art? Are there any new methods you will also explore?

BT.  At the beginning only Midjourney, the technology is moving godspeed and in a year there are thousands of AI tools in the market now. Recently I also use Runway and Luma for my videos. 

CNTRFLD. What do you see as the main challenges and opportunities in the digital art space?

BT. Creating art has become more accessible than ever with new digital tools, but this accessibility has led to concerns about originality, with many works heavily influenced by social media trends.; Some may question the authenticity and value of digital art compared to traditional forms, impacting market acceptance and valuation.

On the other hand, digital art has also democratised the creative process, allowing artists to reach global audiences unlike ever before. This accessibility contrasts with traditional art appreciation and collecting, which often required physical visits to museums or galleries. I can also see a lot of new collaborations that I have never seen before, the art scene is more interesting than ever. 

CNTRFLD. Looking ahead, what are your plans for yourself and AI in the next half of this year in terms of producing more work in the art sphere? Are there specific themes or projects you're excited to explore?

BT. To be honest, I started this project without any concrete plan, much like how it began on day one. Along this artist journey, I've been fortunate to encounter many opportunities and meet wonderful people. I tend to go with the flow rather than follow a strict path. While discipline is crucial in an artist's life, I believe in continuous improvement and learning. In the future I hope to showcase my works in a more immersive setting than just on phone screens someday.

CNTRFLD. Collaboration is increasingly common in the art world. Have you collaborated, or do you plan to collaborate, with other artists or professionals from different fields? How has that impacted your creative process?

BT. I’m pretty proud of the work I collaborated with Greg Girard, it was a valuable experience with an OG photographer who documented the actual location 30 years ago. Generally, I embrace collaborations of all kinds, preferably non-digital artists, especially when they ignite meaningful and innovative outcomes.

CNTRFLD. What advice would you give to those considering a shift to follow their artistic passions?

BT. Start right now and keep going

Bio

Bianca Tse combines her expertise in visual communication with a profound passion for documentary work, she draws inspiration from the enigmatic lost gem, the Kowloon Walled City. Through a reimagined journey using AI tools, her works transport viewers into a captivating parallel universe of the City of Darkness. 

Bianca's artistic style is rooted in storytelling, where she weaves together historical references with the boundless possibilities offered by AI as a creative medium. By blending elements of reality and imagination, she invites audiences to explore the narratives of the Kowloon Walled City, where normal individuals navigate an alien environment. This creates an intriguing juxtaposition between the familiar and the extraordinary, breathing life into its forgotten past and presenting it in a unique light.

Eulan To represents CNTRFLD.ART’s Digital Arts expertise. These artist conversations are part of a series exploring the growth of the digital arts space in Asian contemporary arts, facilitated by the Bright Moments Digital Gallery dinner hosted by To and Partners at Art Basel 2024 in Hong Kong.

CREDITS:

Illustration of Bianca Tse by Maria Chen

All Artwork by © Bianca Tse