Artist in conversation: Hyunjee Clara Ryu
“ We inhabit spaces and perceive spaces according to the way we live. When we see the world, we see it from someone’s perspective”
Hyunjee Clara Ryu, a gifted concept artist, hails from the vibrant city of Seoul, South Korea. She currently enhances the magical world of Walt Disney Imagineering with her artistic prowess and innovative designs.
Clara's journey into the realm of art began at the prestigious USC School of Cinematic Arts, where she explored her passion for visual storytelling. Her aspirations to become a prominent figure in the art department propelled her further into academia. She pursued an MFA degree in Production Design at the esteemed UCLA School of Theater, Film, and Television, honing her skills as a designer and illustrator.
A testament to her dedication and indomitable spirit, Clara has cultivated her painting skills through self-teaching. She embodies a self-starter attitude, constantly pushing her creative boundaries and dedicating herself to the craft of Imagineering, Motion, and Animation (IMA).
Clara firmly believes in the integral role of the art department in creating a compelling context for characters and narratives. She fervently upholds the notion that a well-constructed setting allows the story and its characters to coexist harmoniously.
Outside of her professional life, Clara immerses herself in painting en plein air, swimming, and indulging in the Criterion Channel. Her love for these activities reflects her appreciation for the arts, nature, and cinematic masterpieces.
In essence, Hyunjee Clara Ryu is not just an artist but a storyteller, a visionary who brings narratives to life through her captivating designs and illustrations.
What initially inspired you to become an artist, and how did you develop your unique style?
Since middle school, I’ve always wanted to be a production designer. A production designer is the leading designer who is in charge of determining the look of the set. Initially, I thought, in order to become a production designer, I needed to learn how to draw. So I started dabbling in watercolour when I was a junior in college in 2017, and seriously started to pursue it when I got into grad school in 2020 during COVID-19. During my graduate program, which placed an emphasis on becoming a production designer, I realised that I had more interest in drawing and painting. That’s how I slowly gravitated towards painting and here I am now.
Personally I don’t truly think I have a style yet, but if there is a style that others can see in my paintings, it probably comes from my watercolour background. Watercolours shift in hues and saturation even within a single brushstroke, so I try to incorporate that feeling of capturing every single colour in my painting when I paint.
In terms of subject matter, what themes or motifs do you frequently explore in your work, and what draws you to these topics?
Some of my favourite films of all time (in order) The Red Shoes, Celine and Julie Go Boating, Sunset Bouelvard, and A Tale of Two Sisters. They actually all have a commonality: that they’re all narratives about women. I did not think I was interested in a certain theme or motif until I started doing my thesis project, One Thousand and One Nights, which is an anthology that revolves around a single woman who tells all the stories in the face of imminent death. That said, I think I am interested in women’s friendships or hardships, probably because I am a woman too. The only sad thing about all of my favourite films listed above is that they are all directed by male directors. In that vein, there is a varying amount of success in which women are portrayed in a realistic manner. I think I am attracted to telling women’s stories because I am a woman, and I have lived these experiences. I want to be the one that tells them, and I think that’s why I am attracted to our stories.
Can you discuss a specific piece or project that challenged you as an artist, and how you overcome those challenges?
In grad school, I tried to redesign sets for Citizen Kane by resetting it in a dystopian society where Charles Kane, the main character, monopolises the pharmaceutical industry instead of helming the world of press. I think it was so difficult because I did not understand the story that well. I did not analyse Charles Kane’s motivations enough to translate it in a different setting. My professor called the project a “trainwreck” in passing, and I agree. I don’t think I ever overcame those challenges entirely, but I constantly try to imagine how can the space represent a character’s psyche.
Your commitment to creating just 100 works is both impressive and intriguing! We’d love to learn more about the significance of this limitation for you as an artist. How does it impact your creative process and decision-making when it comes to selecting the subjects or themes for each piece?
We inhabit spaces and perceive spaces according to the way we live. When we see the world, we see it from someone’s perspective; for me, the perspective comes from the characters. I am not the greatest writer of dialogue and my imagination does not extend too much in terms of imagining interpersonal situations that I have not experienced, but I try to select themes that I believe are closest to the hearts of the characters that live in the space I aim to capture.
What do you hope to convey to viewers through your artistic journey?
Honestly I have yet to find out. I hope I leave an impression that I did a good job conveying some sort of moodiness.
How do you stay connected with other artists and keep up with new developments and trends in the art world?
Instagram and TikTok! I also visit art galleries and museums wherever I go.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
I think almost every feedback I receive is technical. And because I’m self-taught and only have been painting seriously for three years, I try to address most of them if they come my way. That’s really the only way to grow. I don’t think technical abilities go against my artistic intuition. I always find a way around it by choosing different hues and pushing saturation. I guess that’s one of my talents.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
Honestly, the best thing to do is just sit down in front of a desk doing nothing, with the phone thrown way away. Then I eventually get bored and start drawing something. I think intentionally forcing myself to sit down and pump out something that’s lighthearted really helps. For me it’s landscapes,
How do you feel about exhibiting your artworks with The Holy Art Gallery?
I am excited! It is my first physical exhibition, and the first time that any part of me has been to London. I hope this is the start of many to come!
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
My end goal is to become an illustrator -- a term that we use to call concept artists in the film industry -- for live action features and television. I am in the inception of my career, and I’d like to think I’ve come far with some gigs under my belt. I hope there are more to come, and I really do hope that I can get paid to paint. That will always be my dream, and so long as I can paint for a living I will be happy.
