Passion, Influences and Appreciation for Cultures…

An interview with “PASSION” featured artist Claire Chang

Claire Chang is the featured artist for issue 52 of bkk UNZINE, themed “Passion.” Her thoughtful entry, “The Cracks and Veins of Passion,” can be seen as part of this month’s curation here. A graduate of California State University, Fullerton, with a BFA in Entertainment Art and Animation, Claire is a background and prop designer currently residing in Bangkok, Thailand. In this short but insightful interview, we discussed with Claire her own thoughts about passion, artistic influences and being a professional visual development artist.

Claire, we really enjoyed your piece “The Cracks and Veins of Passion” that you submitted to this month’s issue. You were one of the only submissions that considered passion from multiple perspectives, not just the obvious as motivation but also as a catalyst for consequences and in a sense almost a spectre that haunts us… would you say this is a fair reading of the artwork? And can you share about some things you’re passionate about yourself?

Thank you so much, truly appreciate the compliment! I'd say this is a pretty accurate take. Though I would like to add that even though there can be consequences from following your passion or being attached to something or someone, it is possible to recover from those consequences and find passion again, whether it's rewiring your relationship with your original passion, or repeating the process from scratch with something new. I included a cracked kintsugi heart in the darkest panel to show that there's still beauty in destruction, we just need to be strong enough to put ourselves first and seek out those golden linings. That pretty much ties the whole piece together.

I'm passionate about different cultures and solid storytelling, whether they're rooted in fiction or reality. I'm actually Chinese-American, so both my native culture and the Thai culture that's slowly become more internalized in my life have absolutely influenced me. And of course, whenever I'm traveling somewhere, I'll try to learn as much as I can about their culture and history, maybe pick up bits and pieces of the languages. I think those are the parts of passion that have consistently stayed with me, and motivated me in my primary passion of art. What I've been working on to maintain that passion is to have a balance between art and just getting out of my apartment and having my own adventures, even just a short train ride away. Sometimes just exposure to a different location can give me some solid, rewarding inspiration for my art, especially when I find myself getting bored using the same references over and over.

You’d said that you grew up on Disney cartoons and that you were taken with the art and colors of that animation style. Which Disney (or even non-Disney) cartoons struck you most and in what ways did they influence your own artistic journey?

Frozen was really the movie that made me want to go into animation professionally. I had always watched Disney movies growing up, but seeing "Let It Go" and Elsa and Anna's sisterly bond got me to actually look up behind the scenes animation videos for the first time, which extended to other animated movies from that era, like How to Train Your Dragon, Wreck-It Ralph, and Tangled. During university, my art became a lot more inspired by the painterly styles and color palettes of various Studio Ghibli movies like Howl’s Moving Castle and Spirited Away, especially when I made my first trip to Japan and the Ghibli Museum. I also watched the Disney series Amphibia when living in Pattaya a few years back, and though my portfolio theme was already influenced by my cultural surroundings and experiences, I felt incredibly seen by creator Matt Braly's affectionate incorporation of his Thai culture into his story and worldbuilding. I got to meet him at a book signing a few years ago and I'm pretty sure I made his day when I told him.

Claire Chang with Amphibia creator Matt Braly at a book signing in June 2023.

Another interest you’d mentioned was an appreciation for the beauty and human qualities of what you termed were “overlooked cultures.” From your other work we’ve also seen a keen attention to detail and accuracy. What about some cultures did you find particularly moving and were there any surprises or unexpected aspects that you learned while looking into these cultures?

I definitely noticed that since countries like Thailand, China, and Japan have been around for thousands of years, compared to America only existing for 300, I feel that in Asia there's more cultural character to draw from, even in today's versions of traditional props and buildings. Even though temples for example have stronger infrastructure now, they still maintain the Thai essence of their counterparts from previous centuries, with the same lamyong roofs and golden pillar patterns. Because of America's relative newness, I don't believe California has a signature unique architectural style, so having that here is quite refreshing. I've even noticed that here the palettes on billboards and print advertisements are a lot more colorful too, with cartoony, vintage-like bubble fonts, which is a much rarer aesthetic on U.S. ads. Outside of art, I also really have come to appreciate the more community-driven and laidback culture here in Bangkok, since the States are much more individualistic and fast-paced.

You’ve also been in Thailand for a while… how do you find the art scene in Bangkok? Are there things the Thai culture is passionate about that has inspired you? Also, it’s pretty cosmopolitan in the capital, but have you had any instances of culture shock or amusing misunderstandings?

I really enjoy the art scene in Bangkok and am genuinely rooting for increased opportunities for everyone who's a part of it. BACC, the Bangkok Illustration Fair, and art markets have all been eye-opening experience, and all the artists I've met have been nothing but lovely. I've noticed that even modern paintings and comic books from here have a very Thai essence, I immediately pick up on many artists' stylistic inspiration coming from temple paintings here, and that style is definitely not something I see as much back in the States.

There've been quite a few instances of culture shock, one that comes to mind was probably the use of "ka" at the end of every sentence for politeness, including some English ones. I remember one of my friends asked me if there was an equivalent in English, since she didn’t want to come off rude if she didn't. I said there wasn't. In fact, the closest I could think of was casually referring to friends as "dude" to end a sentence, but of course that's never been a requirement. Others have included minor nuisances, like having to give my passport number just to log into public wifi.

“It's cool just to make art for the sake of making art!

“Sometimes you just need to let go of the pressure of having everything you create be portfolio-worthy, and remember to just enjoy and express yourself, which is why you chose art in the first place…”

Seeing the floating lanterns in Doi Saket, November 2024.

Can you elaborate about your experience as a “visual development artist” and how you see the profession and industry faring at present? Any anecdotes or words of advice for people considering the same career path?

Of course, the animation industry itself is in a tough transitory phase, and many over here, including myself, are justifiably threatened by the rise of AI. I've witnessed so many of my California friends, colleagues, and mentors forced into taking on backup plans, even with talent and years of experience. In fact, I'm currently in the process of acquiring my TEFL certificate to teach English abroad as part of mine, though I'll still be balancing my freelance art. Because of this, I've become a bit more cynical over the past year regarding the most prominent decision-makers at major studios. On the flip side, I've seen a rise in indie projects and smaller studios. That, along with how supportive creatives are to each other, helps me keep some faith.

I would say that even though Thailand doesn't have the absolute most opportunities in art and animation, I think things are steadily improving here, especially with the rise of more art markets, conventions, and artist collectives. As an expat though, most of the paid entry-level positions I see tend to favor locals since work visas in art aren't often given out at that level, so my remote projects have traditionally been in the States. In fact, by the time this interview comes out, I'll actually have started a new illustration gig at an animation company specializing in early childhood education.

My advice for anyone starting out is to keep practicing and studying portfolios of artists from your favorite shows and movies, then figuring out which traits, both technical and stylistic, you like the most from them. You don't have to come up with your signature art style on day one; I think with more practice and exposure you'll find it in time. Also, sometimes it's cool just to make art for the sake of making art! Sometimes you just need to let go of the pressure of having everything you create be portfolio-worthy, and remember to just enjoy and express yourself, which is why you chose art in the first place. And regarding the industry itself, it’s definitely not only about what you know, but also who you know. Networking is such an important skill. Usually producers and art directors are most likely to choose someone who they already know, since they can use firsthand experience to know that someone is good to work with. So while you continue practicing art, make sure to share it online or connect with other artists and creatives, whether it’s at in-person events, like meet-ups or art markets, or on social media. You never know which connections could go a long way sometimes!

“The Cracks and Veins of Passion” was on display during February of 2025 at Cataleya Estate as part of bkk UNZINE’s group exhibition of art from the “Passion” issue. For more information, please see here.