Shane Fu is a NYC based artist who explores abstract and experiential 3D design. Inspired by mathematics and real life phenomena, his artwork often delves into the realm of hyperrealism. 

Evolution of Style 

IO: Your transition from 3D animation in 'Aquamarine' to 2D in 'This Is Not Art' represents a significant shift in your artistic style. What inspired this evolution and how do you feel your new approach complements your overall creative vision?

SF: I have always been a follower of new technology. And as generative AIs mature over the past few years, I have been waiting for the right moment to create new tools. The implementation of several key modules paired with Stable Diffusion made me decide that it was the moment around last November. As for my overall creative vision, I put storytelling first, even if it means a drastic change in the art style and workflow. If a new tool can help me achieve my creative vision and aid storytelling more efficiently, it will be the better approach for me.

Exploring 2D

IO: In your newest Infinite Object piece 'This Is Not Art,' the use of a hand as the central focus introduces a more human element and intimate moment compared to the immersive 3D environments of your previous works. Can you share your thoughts on the unique expressive qualities of 2D animation and how they influenced your artistic direction for this piece? What factors influence your decision to choose one over the other for a particular project?

SF: 2D animations in general can withstand the testament of time compared to a lot of 3D work, and timelessness is what I strive for in my work. My current workflow is using AI to transform my 3D design into 2D animation, so in a sense I try to distill the overly complicated technical process into a more minimal yet impactful image, which I think will ultimately help me achieve my goal.

Collaboration with IO

IO: I love the use of AR in some of your older 3d pieces and the integration to the viewer's natural environment. On the other hand, your Infinite Objects piece showcases 'This Is Not Art' in a distinctive physical format. How did you adapt your artwork specifically for this platform, and what excites you most about seeing your 2D animation translated into a tangible, looping object?

SF: "This is Not Art" is a remaster of the original work titled "Singularity", which you can view on my social channels. The animation is now looped with a slower pace, which I think is better suited for a physical presentation compared to the fast-paced online environment. I think tangible ownership is important in the digital age and an infinitely looping physical object serves this purpose, so this is what excites me the most.

Inspiration and Concept

IO: Can you delve into the ideas or emotions that drive your artistic practice and how they manifest in your work?

SF: No, I cannot. I create from within and I want to reserve the ideas and emotions to myself, so that the work itself can be open for interpretations.

Audience

IO: How do you hope viewers will engage with and interpret your artwork, particularly when presented in a looping format like Infinite Objects? Are there specific themes or narratives you aim to evoke with this piece?

SF: The work itself, the title, and the way I create are all I can share to let people piece together their own narratives. I welcome all kinds of interpretation of my work, and any feelings people feel when they see the work is valid, whether it's excitement, anger, or melancholy. And I hope the narrative will progress and change when you view it in different phases of life. However, remember that when you purchase this piece, you are not purchasing a piece of art, you are simply purchasing an open ended idea, originated by me. 

Future 

IO: Looking ahead, what new artistic territories or mediums are you excited to explore in your upcoming projects? How do you envision your artistic practice evolving further, and are there any experimental techniques or collaborations on the horizon that you're excited about?

SF: For digital mediums, I definitely see immense potential in AIs to help how artists and designers create. I hold a more optimistic outlook instead of the common pessimism I come across online. And for physical mediums, I want to step in further and create more digital art installations that change the way people view the physical world. And I think Infinite Object is definitely a great platform to jumpstart this endeavor.

Thank you for your insights, Shane. Check out pieces available by Shane Fu on our site here: 

• This Is Not Art (now available)
• Aquamarine (featured below)