Qinru Zhang is a multidisciplinary artist exploring the intersections of female identity, the uncanny, and digital culture. Through 3D animation, virtual reality (VR), and augmented reality (AR), she constructs immersive environments that challenge traditional representations of femininity and examine how digital technology shapes contemporary selfhood. Her work blurs the boundaries between reality and virtuality, offering a nuanced critique of the ways in which femininity is performed, distorted, and reconstructed in digital spaces.
Impressum
UXScoops Pte Ltd Singapore
Registration No : 201601782G
Qinru Zhang is a multidisciplinary artist exploring the intersections of female identity, the uncanny, and digital culture. Through 3D animation, virtual reality (VR), and augmented reality (AR), she constructs immersive environments that challenge traditional representations of femininity and examine how digital technology shapes contemporary selfhood. Her work blurs the boundaries between reality and virtuality, offering a nuanced critique of the ways in which femininity is performed, distorted, and reconstructed in digital spaces.
Zhang’s interest in these themes stems from both personal experience and broader cultural observations. Growing up, she often felt uneasy about how femininity was portrayed in the media—either as something soft and delicate or exaggerated to the point of artificiality. These contradictions led her to question what it means to "perform" femininity and how digital tools can be used to dismantle rigid expectations. By working with 3D animation, VR, and AR, she finds ways to construct hyperreal yet subtly distorted worlds, where identity is fluid rather than fixed. The uncanny quality in her work emerges from this blending of hyperreal aesthetics with intentional glitches and surreal distortions, reflecting the tension between societal expectations of femininity and the evolving nature of identity in digital culture.
Hyperfemininity plays a central role in Zhang’s visual language. Her work frequently incorporates symbols such as pink hues, hearts, and delicate embellishments—imagery traditionally associated with innocence, beauty, and passivity. While hyperfemininity is often dismissed as superficial, Zhang sees it as a powerful aesthetic language that can be reclaimed, amplified, and even subverted. By pushing these elements to their extremes, sometimes to the point of discomfort, she forces the viewer to reconsider their meaning. Instead of presenting femininity as a fixed, pre-packaged identity, she uses these symbols as tools for critique, distorting and reconfiguring them to create a tension between nostalgia and dissonance. Are these aesthetics empowering or restrictive? Do they represent authenticity or artificiality? By making the familiar feel unfamiliar, Zhang challenges audiences to question their assumptions about femininity and its cultural significance.
Beyond critique, she also recognizes the deep emotional resonance these symbols carry. Pink, hearts, and hyperfeminine imagery evoke childhood memories, pop culture, and personal fantasies, making them both intimate and universal. By warping these elements, she highlights the contradictions between nostalgia and reality, comfort and discomfort, personal identity and societal expectation. In her work, femininity is not simply an aesthetic choice—it is a complex, evolving experience shaped by emotion, memory, and cultural forces.
As an artist working across multiple digital platforms, Zhang constantly experiments with different formats—interactive installations, glitched 3D animations, and AR experiences—while ensuring that each medium contributes to a cohesive narrative. This balance between interactivity, aesthetics, and meaning requires constant iteration. Each platform presents its own set of challenges and possibilities. VR, for instance, demands an immersive sense of presence, while 3D animation allows for highly controlled visual storytelling. She carefully considers how movement, sound, and interaction shape the audience’s emotional engagement, always questioning how digital spaces influence our perception of identity.
Interactivity plays a crucial role in her work, particularly in projects like Momomomomi, where audiences engage directly with AR technology. Unlike traditional media, where the viewer remains a passive observer, AR transforms them into an active participant, blurring the lines between self and digital representation. This participatory nature is essential to Zhang’s exploration of identity, as gendered identity is not a fixed state but a continuous performance, shaped by culture, technology, and personal experience. The interactive nature of Momomomomi reflects this idea—audiences can manipulate digital avatars, mirroring the way people construct and deconstruct their identities online. This engagement turns the artwork into a deeply personal experience, with each participant bringing their own interpretations, desires, and emotions into the digital space.
Furthermore, Zhang’s use of AR highlights the contemporary reality of self-representation. In a world where social media, AIgenerated faces, and virtual influencers constantly redefine what identity looks like, her work recreates that sensation of shaping, distorting, and reshaping the self in a hyper-connected, hyper-visualized world. By actively involving the viewer, she transforms identity into something performative rather than merely depicted, reinforcing the instability and fluidity of digital personhood.
