Q: Hello Jimmy, for you as an illustrator, what’s the difference between commercial illustration and the work you’ve done at ARTiSTORY?

A: I think the biggest difference is the great value in our cultural art IP that has passed the test of time. It is especially meaningful for the spread of knowledge and cultural heritage.

I’m able to trace the masterpieces from classical masters, and re-create their style and stories. At the same time, my creations bring new life to the masterpieces by combining a modern or contemporary vision. This is my definition of fashion.

Q: As an illustrator in the cultural art IP licensing industry, what kinds of artworks inspire you the most when you are viewing the collections of ARTiSTORY’s museum IP partners?

A: I like William Morris’s work a lot. He was the grandfather of the Arts and Crafts Movement and the lines and colours in his work particularly appeal to me. Also the marvelous colours and skills in impressionist artworks, which are favoured by the fashion industry all the time. Moreover, I have to say, some of the classical sculptures have such a great sense of design that I can’t take my eyes away. Many of the patterns on artefacts are also inspiring.

Among all the collections from our licensing partners, I especially like Kandinsky’s paintings from MFA, Boston, and Van Gogh’s works from the National Galley. These two great artists painted with unique colours and provided infinite possibilities for re-creation.

I also value the stories and ideas behind the paintings. It doesn’t matter if the work is an abstract collage or is about the revival of religious faith, the stories and emotions in those masterpieces are fantastic.

Q: Being surrounded by works from different times and cultural backgrounds, do you feel the pressure to gain as much knowledge as a museum curator?

A: It is indeed difficult for me to have a thorough understanding of each collection, so we have an experienced research team to develop our themes and systematically review and organize all the information and then help me to have a better understanding of the classical artworks, which also gives soul to my work.

A: In my opinion, IP can empower brands. As an illustrator at ARTiSTORY, I need to know what culture and history will be conveyed by my designed assets. From the very beginning , as I explored the collections, I knew my work would be the bridge connecting the past and the present. The value in museum culture and history, the interaction between human emotions and spirits, and the delivery of information are most important.

My work is to re-create cultural artworks. Its purpose is to meet the needs of the market and global trending topics, but I also hope, eventually, that people will feel those brilliant virtues and dreams in the history through my works and thus love museum culture more, and spontaneously become part of the culture.

My biggest wish is to see a “museum culture circle” full of vigour. I’m only a cog in the fantastic machinery of cultural art IP. It has infinite power because there is infinite potential and charm in history, culture and art.

As for me? My only wish for now is to have a solo exhibition in the future and to invite people to come and listen to the voice of our time through my illustrations.