Helen Ting: Reshaping the Female Figure Through Illustration
This interview is with one of my dearest friends, Helen Ting, an artist and freelance illustrator living and working in Taipei. Helen discusses the illustration program at the School of Visual Arts and the profound impact it had on her work, as well as her experiences living in Taiwan, Canada, and New York City. Helen also talks about her mission to reshape the perception of the female figure in the contemporary art world.
Hi Helen! Tell me a bit about yourself and your background.
I am an illustrator and graphic designer currently based in Taiwan. I grew up in a conventional environment in Taiwan where art education wasn’t really valued in public schools in the 90s. My favorite thing after school was to hide in my room, drawing secretly and singing along with music. I started taking classes at a private art studio once a week for a decade. At the age of 17, I decided to go study abroad in Toronto. Then I went to New York to continue my college education. After that, I came back to Taiwan to work as a freelancer.
How have your experiences living in Taiwan, Canada, and New York City influenced your work?
I think the influences of various environments on my art grew in a subconscious way. I never noticed that my way of composing an image was “oriental” until my professor in SVA told me so during a class critic. To be honest, I felt pretty embarrassed at the moment because it took me by surprise. Also, I didn’t know how to interpret the subtext behind his choice of adjective. Now thinking back, I started to explore my identity and form a sense of self when I first experienced living abroad in Canada. I created a painting of myself doing my morning beauty routine of applying a double eye-lid glue. (It’s a popular habit for young girls in Asia.) And I believe this is the piece that got me into SVA. The interviewer was fascinated by the story behind this painting. During my time in NYC, I was exposed to so many different cultures, histories, and clashes of new ideas that triggered me to try all different kinds of things. It stimulated me to think differently, try different mediums, and explore ways to construct an image to illustrate my ideas.
I remember the stunning illustration work you did at the School of Visual Arts. Can you talk about how the illustration program at SVA influenced your work today?
My experience at the School of Visual Arts was really profound for me. All the instructors at SVA I encountered were very different, yet all very wise. I didn’t know I would learn more about the philosophy than the technicality of art. Or maybe that’s what attracted me more. I can never forget that at the first drawing class of the sophomore year, my professor, Joo Chung, told us “Great artists don’t need to go to art school. So no one here is a great artist.” That shattered my illusions immediately and made me understand that I needed to find my footing by working hard. Later, I found myself struggling in my thesis class which was held by a passionate yet tough artist, Thomas Woodruff. And after being commanded to see him in his office privately for extra guidance, I gradually gathered my thesis together in a way I would never expect. He noticed that I like to make decorative elements, so he suggested that I create a costume design collection. And finally, I was fortunate enough to be selected into the thesis show. I’ve learned that there’s no one way to tell an idea or a story. You will get there by failing hard first. Lastly, I want to mention Yuko Shimizu and Marcos Chin. They are just simply wonderful people with warm hearts and sharp minds. I still follow them on social media now as they share their creative processes with everyone.
You utilize a wide range of mediums; from drawing and painting, to digital art and printmaking. Can you talk about how you use these mediums in different ways, and if you have a preference?
I am not a purist in terms of my choice of mediums. In another way, I’d say I’d get bored if I dedicated myself to only one. Mediums are like the tones of dialogue. I choose them by the feeling I had during the process, and the atmosphere I want to present for the viewers. My preference changes through times. Sometimes back and forth. For example, sometimes I draw on paper first then adjust it digitally; and sometimes it’s the other way around. Also, lately I’ve considered the level of damage that medium would cause for the environment. For instance, the making of acrylic fluid painting is so liberating, yet it produces a lot of waste. Although I enjoy it very much, I try not to use it too often.
A consistent motif in your work is the human form, usually female, interacting with the natural world. Can you talk about the meaning behind your artwork, and what you hope viewers will take away from your work?
Female figures have always been a major topic appearing on my papers. When I was a kid, I loved mimicking the drawings of girls in mangas and magazines. Then I realized I was trapped in a distorted vision of how women are viewed. My latest female drawings are my attempt to restore the perception of female bodies without the interference of the male gaze. It’s not an easy process because I was raised in an environment with heavily sexualized female images, young girls especially. I want to place my female figures in the natural world because that’s where I feel is safe and free for them, or for me. I know it’s hard to reshape the history we have built upon, in terms of the girl’s image and nature, but I still wish my art can achieve something that was exploited, and perhaps lost forever in the future.
What are your future goals and aspirations as an artist?
Creating art was an escape for me in my childhood. Now it feels like a mission. I hope my work can make a positive impact on people, offer comfort and stimulation at the same time. Besides drawing and painting, I want to write more. Because stories and ideas are the backbones of visual creativities. Moreover, I want to look into more stories in my family and in Taiwan - present, and past. It’s a territory not well discovered yet and I see a lot of potential in the things that interested me here.
When did you join instagram, and how has it impacted you as an artist?
I created my account in 2011 when it was simply serving as a social platform for me. When it turned into a professional arena, I didn’t adjust well. The pressure of social media made a negative impact on my creativity, plus there were a couple of other personal issues. It felt too overwhelming, so I haven’t engaged with it religiously for my career until these past few years. After making some like-minded friends through Instagram, I see the great side of it.
What advice would you give to other artists, or those who are working to develop their art career?
I never think I’m in a place where I can give out art career advice to people, because I know I come from a background privileged enough that this option is available for me.
So reader’s discretion is advised for my following answers. First thing first, sadly there will be some clients who under-value our worth because they think artists or designers are “doing what they love”. A lesson I learned from my experience is that cheap, fast and good can’t co-exist in a project. If your client wants cheap and fast, don’t promise them unlimited revisions, unless it’s a project that you love and gives you proper credits. Another thing I learned from my creative process is an ancient Chinese saying: “A mountain seen is a mountain being, a mountain seen is no mountain being, a mountain seen remains a mountain being.” I interpret it as “Notice yourself first, then doubt yourself, and finally trust yourself.” It’s a mental practice I apply not only in art but in daily life. After all, the broad concept of art is in every aspect of our life. Everyone deserves to enjoy and be nourished by art.
Follow Helen on Instagram at: mosswater