Vewn (real name Victoria Vincent) is an artist and animator based in Los Angeles, California. As a kid, she got into creating and editing videos for the online video game RuneScape, and eventually combined her love for films and drawing through animation. She graduated from the California Institute of the Arts (Calarts) and creates short films ranging from under a minute to ten minutes long, which she posts on her Youtube channel, vewn. Though her channel only has 14 videos, they have racked up over a total of 23 million views, and her channel has over 640,000 subscribers.
Vewn is well-known for her unique art style which she employs to full use in her animations and artwork.
A notable feature of her art style is her expertise in setting the atmosphere of each scene. With her usage of bright, harsh and unnatural colours, gritty and raw pencil textures, exaggerated anatomy and perspective, her work has a vivid sense of otherworldliness and unease. Her animation also has a signature ‘jittering’ effect that amplifies the dynamism of her artwork.
Another trait particular to Vewn is her exploration of different dark themes in her animated works. For example, dead endexplores moral hypocrisy through the crossing paths of an anarchical school delinquent and the school counsellor that morally berates him, but is secretly addicted to online gambling. kittykat96 and floatland both look at themes of dissonance in self-identity and isolation, with the former through an influencer who struggles to merge her perceived online identity with her self in real life, and a shut-in who loses herself in her alternate video game world. The sense of existential dread is something that resonates deeply with my generation, and this juxtaposition with her bright and colourful characters and style is jarring and surreal.
Lastly, I adore the general absurdism and dark humour that Vewn injects into her work. For instance, mask dog is a short animation that follows a dog who puts on a mask and is arrested by the police and sentenced to death, but narrowly escapes death when the executioner pulls off his mask and says “Wait…this is a dog.”
All in all, I love Vewn’s style, originality and the way she juxtaposes her dark themes with bright colours and fun characters. Her confidence and steadfastness with her unique animations is something that I want to emulate. 🙂
The project I propose for an urban intervention in The Japanese Cemetery Park is one that aims to be conceptually simple but visually, audibly and emotionally compelling. I want to convey the idea of a library of human stories that connect to the root of the Occupation, and to promote responses to each others stories. For the size of the project, I was inspired by the large-scale interactive installations by Rafael Lozano-Hemmer that still managed to incorporate individual responses to the artwork, creating micro-to-macro experiences that I found to be incredibly exhilarating and empowering for each engager in the piece. Furthermore, I did not want it to be a static installation, video or performance piece that visitors simply had to view. I wanted the experience to be one that is shaped by every engager that interacts with the piece, in a tangible and explicit way — the idea of an artwork that shifts along with every single pixel of its circumstance is something that I find fascinating.
The self-imposition of a chilling effect is something that Singaporeans are well-acquainted with, considering how natural it is for us to shy away from more controversial topics in order to stick with the idea of the ‘status quo’. Our history is part of this effect, and no — not the glorious ‘fishing village to first world city’ story that has been espoused by Singaporean leaders, media and public education. It is the parts of our history that have been shunted to the side to only appear in the occasional blog post, forums or self-run local news outlets, which have been the stars of efforts to stifle non-mainstream news.