Jasmine Jiang

Year of birth: 2004
Where do you live: Currently NY
Your education: School of Visual Arts
Describe your art in three words: Whimsical; Bright; Comical
Your discipline: Illustration
Website

Your work is full of colorful and whimsical characters, particularly Cat and Fish. Could you tell us more about how you developed these characters and their relationship in your universe?

I love cats, especially chubby, fluffy, orange color cats, so I created this character. At first, I did a very traditional image of a cat eating a fish. That starts the background story.
Initially, the story was only about the cat, and its design was quite different from how it looks now – more realistic. It wasn’t until I finished the second drawing that I realized the fish would also be a permanent member of this story. I imagined an everyday relationship between two beings with a vast power difference. In the second piece of this series, you can see that no matter what the cat wants to do, the fish can only silently accept it, as it has no power to resist.
I kept following my thoughts and drawing until I created an image where Cat (from the real world) enters a world filled only with fish. In this place, their power dynamic is reversed. That’s where the real story began. I don’t deliberately add too many settings to the story—everything happens naturally. Sometimes, I wonder if this is a world reflecting itself through my hands.

You describe the dynamic between Cat and Fish as a blend of “hyper-awareness phobia” and “inverted power.” Can you explain what these concepts mean in the context of your art?

“Hyper-awareness phobia” is a sense of unease caused by excessive attention or being intensely watched, even when the attention itself is not necessarily malicious. It is similar to ‘Scopophobia’, but it also brings anxiety and intense self-doubt—”Am I being too sensitive?” In the Cat and Fish universe, Cat’s intense focus on Fish embodies this concept—whether out of curiosity, affection, or hunting instinct, Cat’s gaze is always fixed on Fish, making the fish a passive object. I believe that our gaze determines the division between subject and object.
“Inverted power” is not just a reversal of size and strength; it is also a social power shift. This inversion begins with the dynamic of aggressive watching and being watched. When Cat, as the subject, gazes at the fish, Fish’s existence is almost entirely defined by Cat’s attention. But when Cat enters the fish’s world, its identity and status are reversed—it becomes the one being observed and defined. Here, I would also like to point out that he cat and fish have different genders.

In your recent project “Encosystem,” Cat transforms into a catterfly. What inspired this transformation, and how does it relate to your personal exploration of psychological states?

The answer is actually simpler than anyone could imagine: one night, I just had a sudden idea—if B can have a Butterfly, then why can’t C have a Catterfly? And it only makes sense for it to grow from a Caterpillar into a Catterfly. The story of “Endosystem” is actually not set in the Cat and Fish universe; it is an adventure story that belongs solely to the cat.

How does your love for animals, especially cats, influence the storytelling in your artwork? Are there any personal connections or experiences behind these themes?

Cat is one of the core elements of my creations. Cat is a reflection of my emotions; what the cat feels is what I feel. The cat represents my exploration of individual identity, emotions, and growth.

Your illustrations feature bright, playful colors and surreal scenes. How do you choose your color palette, and what role do colors play in conveying emotions or themes in your work?

I prefer warm tones, with the combination of the sun and the sky being the inspiration for my color palette. I enjoy creating a cheerful and relaxed atmosphere with bright colors, while the content of the story and the visuals serve as a contrast and challenge to this mood. This contrast between color and narrative adds a dramatic element to my work.

Could you share how your artistic process typically unfolds from concept to final illustration? Are there any rituals or specific techniques you follow?

My doodle process often begins with daydreams or late-night inspirations. I let my thoughts wander to unfamiliar places to collect fresh ideas. The convenience of a tablet allows me to start creating anytime, anywhere. My school never treats drawing during class as a distraction. I make sure my work is timely. I rarely create sketches, as they interrupt my flow of ideas; each moment of inspiration is a unique opportunity that can only happen once. A good mood and beautiful weather also help me in the creative process.

As a self-described “Harry Potter expert,” do you find any elements from the Wizarding World influencing your work, even if indirectly?

Harry Potter was my magical awakening. What captivated me the most was not the characters, but the world-building. After reading Harry Potter, I could no longer fall in love with any realistic stories. I have been waiting for my owl for over ten years now, a mature me now believes that it hasn’t arrived yet, perhaps because they don’t have a U.S. visa or because of international animal protection laws such thing.
My favorite characters in Harry Potter are the Weasley twins. I deeply admire their courage to joke around even in the face of danger and war. I have always been fond of humorous things, and the circus theme in my work is inspired by them. I love Warner’s design of the Weasley series products.