Prologue
My journey as an artist began with a growing interest in spirituality, which gradually shaped both my art practice and worldview. The rich history, symbolism, and visual culture inherent in spirituality have always fascinated me. However, incorporating these elements into my art has led to moments of doubt and feedback questioning the ethical implications. I view these challenges as opportunities for reflection and growth, both as an artist and a researcher.
As part of this reflective process, I interviewed with Yin-Ju Chen, a Taiwanese artist who has long explored the intersection of spirituality and art. Through her work, she interprets social power and history using cosmological systems and, more recently, investigates the material effects of shamanic and Buddhist practices to explore the nature of consciousness.
Liquidation Maps (2014) was the first work through which I came to know her. The installation was uniquely striking: in the dimly lit space of the Taipei Fine Arts Museum, five plates were displayed, featuring hand-drawn mandala-like patterns inspired by astrology and sacred geometry, alongside a constantly rotating projection of planets. Each of the five drawings corresponded to specific political purges and massacres in Asia, accompanied by relevant research documents. From my perspective, this artwork resonates with Deleuze’s concept of the ‘war machine’ by challenging dominant narratives and creating a space for resistance against established power structures. Her integration of astrology and historical events generates an alternative space-time framework within her installations, encouraging viewers to question existing narratives.
The interview is conducted in Chinese, and the conversations have been translated into English. This essay will explore several sections, combining discussions from the interview with reflections on my art practice during my journey in the MA Computational Arts programme.
The starting point and looking inwards
Each person finds their own path into the realm of spiritual practice, drawn by reasons as unique as their soul. For artists, this journey not only transforms their worldview but also becomes integral to the essence of their creative expression, shaping their art as a mirror of inner transformation. Curious about Yin-Ju’s journey, I asked her to share the pivotal experience that led her to explore astrology and its impact on her artistic practice.
She recounted a time when she was diagnosed with a serious illness. Despite the doctor explaining the medical results in detail, she found herself repeatedly asking “Why?”—not because she didn’t understand the explanation, but because her real question was, “Why me?” Seeking answers, she turned to a friend with knowledge of astrology, who interpreted her natal chart and warned her about a potential surgery in the near future. This prediction startled her, as she had not disclosed her upcoming operation. Though she didn’t fully understand the astrological analysis, the explanation resonated with her in a way the doctor’s rationale did not.
After being drawn to astrology, she recounted how the philosophical perspective resonated with her:
Yin-Ju (Y): The idea of ‘as above, so below,’ which explores why the movements of celestial bodies influence life on Earth, deeply resonated with me. I have always felt, in some inexplicable way, that unseen and incomprehensible forces have a profound impact on us. As a result, I began studying astrology, and it naturally had a significant influence on my creative work. My perception and way of seeing the world were fundamentally transformed.
While her initial research focused on celestial bodies, the act of gazing upward prompted her to ponder the possibility of life beyond Earth. This curiosity expanded into an exploration of extraterrestrial beings, UFO phenomena, conspiracy theories, and concepts such as cosmic consciousness and Christ consciousness. This research eventually culminated in her artwork series Extrastellar Evaluations (2016). She described being deeply moved during the opening of the exhibition in the U.S. when members of a UFO association attended.
After years of ‘gazing up to the sky’, Yin-Ju began to question what she was truly searching for. Were the answers she sought really out there—in foreign lands, in outer space, or somewhere beyond her reach? These questions prompted her to shift her focus inward, plus the influence of the pandemic.
Y: I started learning shamanic methods to achieve shifts in consciousness. Previously, I had practised meditation, which is a similar way of altering awareness. However, using shamanic methods—whether through drinking ayahuasca or using shamanic drumming to shift consciousness—I was able to enter different dimensions and see much more. This made me realise that people don’t necessarily need to look outward; instead, they can look inward to truly understand what their consciousness is. Of course, I still don’t fully understand it yet, but that’s okay—it’s a gradual process. It’s not something you can figure out by taking a couple of semesters of classes or paying a shaman a lot of money. That’s not how it works. What you learn are the methods, but the practice and understanding depend on the individual.
This gradual journey she embarked on, and the methods she learned from shamanic practice, are reflected in her more recent artworks, focusing on consciousness and healing.
My spiritual journey began with exploring and drawing inspiration from various external sources of knowledge. However, it was through engaging in drumming circles and embarking on shamanic journeys that sensory and embodied experiences transformed my perspective, revealing the intricate link between the material realm and the mental world. This realisation resonates with Yin-Ju’s perspective: the true value lies within, in the depths of our own minds, rather than in external knowledge. My art continues to integrate spiritual elements, weaving them into my creative practice to explore the connections between the external and internal, the visible and the unseen.
Cross-cultural practices, identity and ethics
Buddhism and Taoism are the prevalent religions in Taiwan. Growing up surrounded by incense-filled Taiwanese temples, I was immersed in ancient rituals and offerings to deities, which instilled a reverence for the unseen and nurtured an animistic connection. My engagement with Western spiritual traditions broadened my understanding of spirituality as a cross-cultural practice. In my conversation with Yin-Ju, we delved into the concept of shamans—entering altered states of consciousness at will to bring back wisdom. In the Taiwanese context, ‘Jitong’ embody a similar role, serving as intermediaries between the spiritual and material realms.
In my practice, I have explored and engaged with different knowledge systems such as shamanism, plant alchemy, and divination. However, as someone with an Asian background and not connected to Indigenous heritage, I discussed these concerns with Yin-Ju. Additionally, I reflected on why my initial engagement with spiritual traditions gravitated towards Western paradigms rather than exploring Taiwan’s rich folk religious practices.
Yin-Ju acknowledged that in the global art scene, questions about an artist’s identity and origins are inevitable. However, she believed these questions often serve more to frame discussions about individuality rather than defining boundaries based on cultural backgrounds. She noted that she has not personally felt constrained by her Taiwanese identity when incorporating elements from other cultures into her work.
Y: In today’s globalised world, where cultural exchange is commonplace, it may be more productive to frame the question in terms of individuality and personal differences rather than tying it strictly to cultural background. Of course, for artists whose work explicitly centres on their cultural heritage, that approach makes perfect sense.
In other words, cultural context might be one of many potential influences rather than a defining boundary. She chose to utilise Western astrology based on her knowledge rather than Chinese astrological systems. For her, what matters most is whether the artwork clearly conveys the artist’s central idea and whether the methods used align closely with that idea.
In her artworks Sonic Driving (2018-2024) and Notes on Psychedelics III: 2-19-20 (2021), she employs shamanic practices as a method to explore consciousness. In Liquidation Maps (2014), she adopts alchemical symbols and language to depict the concept of ‘purification.’ Incorporating these methods had a clear purpose and meaning within each piece.
Y: What I study is consciousness because shamanic methods are simply tools I use to explore consciousness. I don’t present anything bizarre or unusual in my artwork; what I express comes directly from my experiences after undergoing shifts in consciousness. If the argument is that I can’t use Indigenous shamanic methods because they belong to a specific culture, then there would be too many things I couldn’t use—even Western philosophy would be off-limits.
She emphasised that the real issue lies in how such criticisms are framed. This resonates with me and the real challenge is the need for a more open and inclusive approach to cross-cultural collaboration and research. The ethic lies in integrating rich cultural references and the artist’s own intention, and how to communicate ideas to the audience through thoughtful enactment. Furthermore, an artwork should avoid overwhelming the audience with excessive symbols or imagery that may cause confusion. Yin-Ju suggested that artists must ensure their intentions are clearly communicated and that their work does not become disjointed or lose focus.
Interlude: Reflection on my journey
This ethical consideration reminds me of my Unit 1 artwork, where I explored themes surrounding AI, ecofeminism, and the role of spirituality in media art. In that project, I integrated mushroom folklore and mythology from various sources, but the lack of in-depth exploration diluted the message I intended to convey.
As I progressed to Unit 2, I reflected on the most compelling aspect of addressing magic in art as ‘sacred media’: the potential for healing, both on a bodily and spiritual level. According to Penczak (2011), from a pagan perspective, sacred plants have been revered since antiquity, with plants considered kindred beings that emphasise the interconnectedness of all living entities. Inspired by this perspective, I began to explore the relationship between the healing properties of magical herbs and humans, adopting a posthumanist approach to position non-human beings as agents of power and agency.
To delve deeper into this concept, I participated in a plant alchemy workshop, where I learned ancient techniques for working with the magical properties of herbs. This focused exploration allowed me to investigate rituals through the lens of ‘correspondences’ and the ‘microcosm-macrocosm analogy.’ Initially, my intention was straightforward: could interactive elements in installation art become a form of ritual? Given the theme of herbal healing, I was particularly interested in how this knowledge system could be conveyed through audience participation.
As I moved into Unit 3, the interactive form of ritual persisted, but my intention evolved. I shifted my focus to constructing a hyperreal, technologically-driven healing ritual—one that simultaneously reflects and critiques the emerging trend of ‘cyber divination.’
Through our discussion, we both recognised the importance of firsthand experience as an essential part of the creative process, particularly in cross-cultural practices. Yin-Ju immersed herself in shamanic fasting and rituals under the guidance of shamans, while I explored alchemical methods of working with herbs. These embodied, non-verbal experiences hold the power to transcend cultural boundaries, offering insights that words alone cannot convey. Such sensory encounters and embodied experiences are invaluable to artists, serving as raw materials that can be transformed into works of art.
From intention to communication
As artists, it is crucial to understand the purpose behind the work. For example, while themes like healing may seem vast, they can be presented through concrete approaches and refined over time. Yin-Ju stressed that the power of art lies in its ability to communicate effectively, a process that demands long-term practice and reflection.
She shared her creative process and discussed how she approaches audience feedback even though her work engages with dense esoteric knowledge. For instance, in her work Liquidation Maps (2014), even viewers unfamiliar with astrology could still be moved by the overall atmosphere and hand-drawn elements.What’s important is focusing on expressing ideas honestly and clearly. If a piece fails to communicate effectively, it’s essential to reflect on it and make adjustments in future works. In her latest work, Somewhere Beyond Right and Wrong, There is a Garden. I Will Meet You There (2023), she took a different approach to presenting the abstract concept of Chiron:
Y: In this film, the first four minutes focused entirely on Chiron. Compared to Liquidation Maps, there’s a significant difference in the medium and presentation. I invited an astrologer to explain it in a way that people could easily understand. Since the film medium allows for narration and dialogue, it becomes more accessible to the audience.
The medium and form of presentation also play a significant role in how ideas are conveyed. She continued to describe two works that explore shamanic consciousness, each with a different intention and approach.
Y: In Sonic Driving, the work presents my lower world, upper world, and middle world—essentially, our world—through the lens of my personal experiences. It serves as my interpretation of shamanic cosmology and consciousness shifts, represented through my drawings and videos. Meanwhile, Notes on Psychedelics III: 2-19-20 invites the audience to step into my consciousness and experience it directly, rather than observing from the outside. The use of binaural beats in this piece is intended to facilitate a shift in consciousness, allowing the audience to enter my inner space. Here, the space itself becomes the protagonist.
Yin-Ju emphasised that her focus lies in exploring the vast, uncharted worlds that exist not externally, but within ourselves, revealing the boundless possibilities of human consciousness. An artist’s clarity of intention is key to navigating cultural sensitivities and thriving amidst the diverse voices and opinions of the art world.
Interlude: How do I communicate?
Throughout Units 1 to 3, my collaborators and I explored various media to enhance the presentation of our conceptual artworks. Beyond producing the film, fabricating the atmosphere with sounds and projection mapping became a key element in effectively conveying our ideas. Incorporating interactive elements also played a central role in these installations, though one of the greatest challenges was ensuring that these interactions felt purposeful and engaging.
In MycoDea (2023), alongside the projected videos, Sanji, Pocoyo, and I employed a Touchboard to forge a connection between the audience and the sounds of mushrooms. This simple act added an element of playfulness to the work.
A different approach was taken in Ethereal Herbal Invocation (2024), where the audience was invited to physically engage with the installation by dropping herbal essences into a healing pool. To foster a deeper connection between the artwork and the audience, Pocoyo and I crafted a handmade book filled with chants inspired by our research into herbal magic, offering insights into the healing properties of various herbs. Reflecting on this work, I realised that its complexity hindered audience comprehension, prompting me to consider how future projects might present the interaction between humans and non-human entities in a more refined and distilled manner.
Following the collaborative efforts between me and Pocoyo, we extend the herbal healing concept into Nova Arcane Oracle (2024) as a form of cyber divination. We adopted NFC chips in the cards to create a more accessible and interactive experience. By reducing reliance on esoteric knowledge, the work demonstrated a lower barrier to entry.
Whether through computational tools or physical actions to engage with the artwork, how the method ties to the concept and how effectively it communicates requires time and practice to refine.
AI, Technology and Spirituality
During my practice in the Computational Arts programme, the use of publicly accessible generative AI tools has been extensive across various stages of creation, aligning with the emerging field of human-machine artistic collaboration. When integrating AI with spiritual themes, the creation of hybrid entities such as ‘mushroom fairies’ and ‘cyber goddesses’ serves as a vehicle for conveying poetic and abstract concepts, exploring the intersection between the human and the non-human.
In To Be a Cyborg or a Goddess? (1997), Lykke proposes a new feminist perspective that integrates Donna Haraway’s cyborg theory—which critiques and deconstructs binary oppositions such as human and machine, and nature and culture—with Vandana Shiva’s spiritual ecofeminism, which calls for the restoration of ancient natural sanctity. Rather than being oppositional, Lykke suggests these two perspectives have complementary potential. For me, using AI to visually represent the cyborg goddess symbolises a bridge between technology and nature, embodying their intrinsic interconnectedness.
Yin-Ju collaborated with shaman Li-Chun Lin to host a ‘Shamanic Assembly Oracle Workshop’ as part of the exhibition Close Your Eyes and You Will Know at the ICA, NYU Shanghai. In this workshop, volunteers were invited to embark on a shamanic journey—entering altered states of consciousness to explore the upper and lower worlds. Participants posed questions to their spiritual guides or power animals, seeking answers to serve as ‘oracles’ for humanity’s future. One notable theme shared during the workshop was the question: How will AI change the world? The focus of this process was not on obtaining correct answers but on adopting alternative methods to reimagine the possible futures of AI and humanity.
Burrows and O’Sullivan (2019), in their discussion of Gilbert Simondon’s On the Mode of Existence of Technical Objects, highlight his concept of the ‘magical mode of existence’ as a form of resistance to a technologically dominated world and explore how this mode might coexist with technicity and potentially evolve into a new mode of existence. Jeffrey Shaw observed a paradigm shift in the art world, noting that digital technology transforms the artwork into a ‘simulation of reality,’ which he describes as “an immaterial digital structure encompassing synthetic spaces which we can literally enter.” As computing technology flourished, it provided resources for ‘artist shamans’ to channel their visions into their artwork. An example of this is Jan Kounen’s Ayahuasca – Kosmik Journey (2019), where virtual reality was employed to depict the psychedelic ritual of Ayahuasca, proposing immersive technology as a means to augment viewers’ senses and experience altered realities. The use of ancient techniques combined with technology to address contemporary or even future issues led me to ask Yin-Ju how she views this fusion.
Y: How do you define technology? For instance, when you use the sound of a shamanic drum to enter an altered state of consciousness, that is also a form of technology. Personally, I don’t feel the need to divide things into irrational versus technological or to see them as opposing forces. I think ancient methods and techniques are also forms of technology, just as much as modern ones. If advanced technological products can help me achieve altered state of consciousness more quickly, I would be willing to try them—as long as they don’t harm the body.
In the article Weaving the Shamanic Web, Roy Ascott reflects on his experiences with the virtual reality of advanced computer systems and the traditional reality of a Native American tribe, highlighting a compelling connection between these two realms. He argues that, whether aided by computer-technology or plant-technology, individuals can attain a state of “double consciousness,” seamlessly navigating infinite immaterial spaces while remaining firmly rooted in the material world (Ascott, 2003).
Spiritual Themes and Art
Suzi Gablik contends in her book The Re-enchantment of Art that reconnecting with myths and archetypal symbols that have been central to human consciousness throughout history is not a regression to pre-modern times, but rather a crucial challenge for modern society.
Recent developments in contemporary art reflect a growing interest in ancient practices and indigenous knowledge, aligning with broader efforts to decolonise knowledge systems. Exhibitions such as Wired Magic (2020), Technoshamanism (2021) and The Modern Exorcist (2021) highlight the potential of technology to reinvigorate ancient belief systems. As Inke Arns, curator of Technoshamanism, observed, in the face of the climate crisis, artists are rediscovering the relevance of ancient practices that foster ecological harmony. Similarly, Alice Bucknell, organiser of New Mystics, pointed out that artists engaging with magic, mysticism, and ritual are moving beyond mere critiques of power structures. Instead, they are envisioning alternative futures through multispecies entanglements and non-human agency (Bucknell 2021). Regarding the phenomenon of exploring spiritual themes in art, from Western to Eastern traditions, I asked Yin-Ju for her thoughts:
Y: My perspective is that deep down, everyone is constantly seeking a sense of redemption. This is because today’s society is increasingly diverse and chaotic. People turn to religion or spiritual practices to seek stability and security, as well as to explore the unknown. I see this as reflecting a broader sense of uncertainty and restlessness. At the same time, this restlessness is often packaged by technology, science, theorists, or even feminism into something that appears scientific and rational. But when you peel back those layers, I find that at its core, it’s really just a form of insecurity.
I view the exploration of ancient practices and spiritual beliefs in contemporary art as a form of ‘re-enchantment’ in our increasingly technological world. More importantly, it is a personal journey, enabling artists to delve into the depths of their own consciousness and connect with forces greater than themselves. It is a fusion of cosmologies, an act of introspection, and an effort to forge a dialogue with the audience—much like shamans who traverse spatio-temporal coordinates and return with wisdom.
As Ursula K. Le Guin stated, ‘If, however, one avoids the linear, progressive, Time’s-(killing)-arrow mode of the Techno-Heroic, and redefines technology and science as primarily cultural carrier bag rather than weapon of domination.’ In this sense, art can serve as a ‘carrier bag,’ holding and exploring the vast spectrum of human emotions, experiences, and therapeutic processes, offering an alternative way to navigate the complexities of an AI-driven, techno-hegemonic world.
References
Ascott, R. (2003). Telematic embrace: visionary theories of art, technology, and consciousness. University of California Press.
Bucknell, A. (2021) ‘New Mystics’, in J. Sutcliffe (ed.) Magic (Documents of Contemporary Art). The MIT Press.
Burrows, D. and O’Sullivan, S. (2019) Fictioning: the myth-functions of contemporary art and philosophy. Edinburgh University Press.
Le Guin, U.K. (n.d.) The Carrier Bag Theory of Fiction. Available at: https://stillmoving.org/resources/the-carrier-bag-theory-of-fiction (Accessed: 11 Nov 2024).
Lykke N. (1997) ‘To be a Cyborg or a Goddess?’, Gender, Technology and Development, 1(1), pp.5-22. Available at: https://doi.org/10.1080/09718524.1997.11909841
Penczak, C. (2011). The Plant Spirit Familiar. Copper Cauldron Publishing.
Shaw, J. (1992). ‘Interactive Digital Structures’, in Adriaansens, A., Brouwer, J., Delhaas, R., and den Uyl, E. (ed.) Book for the Unstable Media. Stichting V2.
Technoshamanism (2021–2022) [Exhibition]. Hartware MedienKunstVerein, Dortmund. October 9, 2021 – March 6, 2022.
The Modern Exorcist (2021–2022) [Exhibition]. Taipei Fine Arts Museum Modern Art, Taipei. November 27, 2021 – March 6, 2022.
Wired Magic (2021–2022) [Exhibition]. Haus der Elektronischen Künste, Basel. November 26, 2021 – January 29, 2022.
About the contributor
Artist Yin-Ju Chen interprets social power and history through cosmological systems. Utilising astrology, sacred geometries, and alchemical symbols, she considers human behaviour, nationalism, imperialism, state violence, totalitarianism, utopian formations, and collective thinking. Recently, she has been exploring the material effects of spiritual, shamanic, and Buddhism practices and the metaphysical potentialities of consciousness.
Website: https://yinjuchen.com/
About the author
Jenny Jih is an artist based in London, working in AI, experimental film, and installation. Her work examines the relationship between humans and non-humans as a means of ‘re-enchantment.’ Jenny graduated from the MA Fine Art: Computational Art at Camberwell in 2024 and is a PhD candidate at Goldsmiths, University of London. Follow her work at @jennyjihh.
Website: https://jennyart.cargo.site/