We’re excited to introduce you to the always interesting and insightful Xianghan Cheng. We hope you’ll enjoy our conversation with Xianghan below.

Alright, Xianghan thanks for taking the time to share your stories and insights with us today. Are you happy as a creative professional? Do you sometimes wonder what it would be like to work for someone else?

I am always happy to be an artist. I love spending time in my studio, where painting has become as essential to me as eating and sleeping—it’s an indispensable part of my life. I began drawing and painting at the age of five and started learning the basic foundations of art when I was thirteen. Since then, I have devoted more than half of my life to creating and enjoying art. If I ever were to change careers, I would likely become a musician or photographer. Freedom and creativity are crucial to my practice

Xianghan , love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

Since 2007, my artistic journey has evolved from traditional painting to abstract art, beginning in 2017. As my vision shifted over time, details dissolved into blocks of color and shape, inspiring a focus on capturing larger forms. This shift allowed me to explore abstract visual methods influenced by urban and natural landscapes, subtly shaping my artwork and blurring the boundaries between observer and creator. Painting has become an integral part of my artistic expression, shaping and being shaped by my perception in a symbiotic relationship.

Do you think there is something that non-creatives might struggle to understand about your journey as a creative? Maybe you can shed some light?

For me, it might be my visual language. Through years of painting, I have experimented with many traditional painting techniques and contrasts in my abstract works. For example, the contrast between thick and thin lines, covered and uncovered areas, and the clarity of objects depending on their distance. Different colors evoke different emotions and energies, while various lines create a sense of flow and texture. These contrasts and techniques are interwoven into my works, creating overlapping, chaotic layers.

When people who haven’t particularly studied these concepts see my work, they might find it difficult to understand the origin and meaning of the blocks and layers. As my vision started to blur, I found it easier to observe the relationship between blocks and lines. Sometimes, these inspirations come from the city, and sometimes from landscapes. These blocks and lines are stored in my subconscious and emerge in my future creations.

Can you share a story from your journey that illustrates your resilience?

I am very passionate about painting, but I cannot talk about it without mentioning the support of my family. I am extremely grateful to them because their support has enabled me to pursue this path continuously. Even though I have been constantly moving and changing cities, I find it very worthwhile.

I began studying art at the age of 13. I love different techniques and forms of expression, so I visited many different teachers. I honed my skills in various schools and cities. From 13 to 15, I studied basic drawing and painting techniques in Shenzhen with three different teachers. During this period, I also went to Guangzhou on weekends to learn different techniques. At 16, I went to the Guangzhou Academy of Fine Arts Affiliated School by myself for six months of advanced training. After that, I returned to Shenzhen and entered Shenzhen Art School to start my high school journey. We had academic classes in the morning and drawing and painting classes every afternoon, which continued for two and a half years.

When I was almost 18, I went to Chongqing by myself to further develop my painting and drawing skills with four different professors from the Printmaking Department of Sichuan Fine Arts Institute. I lived in Chongqing for half a year. After that, I studied at a drawing and painting studio near Guangzhou Academy of Fine Arts for another year.

At 20, I came to the United States because I wanted to learn more. I wanted to know how artists from other countries paint and draw. I applied to the Academy of Art University, but English was my biggest obstacle at that time. I couldn’t speak a single word. I remember someone asked me, “How’s it going?” and I answered, “Go to class.” But this did not hinder my pursuit of art. Six years later, I graduated, having learned more knowledge and skills. I felt it wasn’t enough, so I returned to China and went to Beijing to seek professors at the Central Academy of Fine Arts, learning their techniques and discussing my ideas with them. I spent a year in both Beijing and Zhengzhou practicing abstract art in my own studio.

After that, I returned to San Francisco and just completed my master’s degree at the California College of the Arts. I also gained a deeper understanding of myself and my art. I have never given up painting; it is the most consistent thing in my life. I am willing to learn different techniques. I want to learn everything first so that when I integrate them, I can create whatever I want. It’s like using Photoshop, where you can choose any function, and the software will operate automatically. Now, when I want to paint something, I don’t have to think too much about how to do it; my hands just start working naturally.

This story has a long timeline, but I think every year is very important. Without these foundational experiences, I wouldn’t be able to create the works I do now.

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