Chloe Gao is a New York-based mixed-reality artist who explores themes around cultural belonging using non-linear storytelling techniques. Her recent projects examine digital identity and social media through virtual places and characters – redefining notions of time and self-awareness, the artist crafts a fragmented, decentralized world.

With a background in directing and playwriting from Beijing, Chloe studied Visual Art and Film at UC Berkeley with a focus on photography and cinema. She was introduced to creating interactive art at NYU's ITP program, where she explored the fusion of spatial computing with digital content and mixed reality arts. Since then her works have been critically recognized and exhibited worldwide.

We asked Chloe about her art, creative process, and inspirations.

Can you tell us about your background as a digital artist? How did you get started in this field?

I was a film student back in college, but the film study major at my school was very focused on film theory and studies. I wanted to create artwork myself rather than just study and criticize other people’s work, so I changed my major to fine art later. That's where I started to create photography and digital video work.

I've created many photography works and find it very interesting to capture fragmented moments with a camera and then create narratives through my own lens and perspective. Photography feels natural to me; I enjoy using cameras to document my feelings at specific and random moments. Expressing myself through capturing what I see in the world makes me feel connected to it.

After moving to New York, I was introduced to interactive art at one of the exhibitions, and I wanted to explore the boundaries of storytelling through new media. So, I went to NYU ITP, where I began creating my work in Mixed Reality.

What inspires your art? Are there any particular themes or subjects that you enjoy exploring through your artwork?

I began my journey as a theater director, and storytelling has always been at the core of all my work, regardless of the medium—whether it's photography, oil painting, AR/VR, or AI. For me, these are just tools to explore the boundaries of storytelling.

When creating my work, I typically go with the flow rather than planning the topic or theme beforehand. Over the years, I've found some interesting common themes emerging in my works. One of the most obvious ones is the collection of fragmented and ephemeral moments in life.

When working with photos, I capture moments that represent how I feel at that particular time. With XR, I recreate the scene and story of those moments in the virtual world. Sometimes, I feel this is a way to revisit what happened in my life, to reflect on different moments in a non-linear way. When I work with all these moments from the past to create artwork, I feel time operates differently, almost slowed down in a way.

Can you tell us about NANA from MARFA, what makes the project special to you?

In my work, I've always been searching for the connection points between fragmented moments and a broader, unpredictable, and undefined storytelling. In the process of creating Marfa, I first connected these points and integrated them into the entire world and experience.

Every choice in our lives is like a node on a web, and each choice matters because it's a decisive factor in shaping the final form of the web of our lives. But each node, at that moment, forms connections with the people and events around it, and the ultimate direction is unpredictable. Often, it's different from what we expected or hoped for. This aligns with the Taoist concept of "action through inaction" and "the Tao that can be told is not the eternal Tao." If we simply go through life completing tasks, what significance do our present choices hold for us? That's why we are born as humans, with the ability to feel and experience emotions. Every choice made at each node is related to emotions. Emotions come and go, but actions and choices have a lasting impact on our trajectory. When we look back on our past, we often find traces of emotions. If we were to record and visualize the emotions at every node in our lives, the shape of this web might be drastically different from the shape formed by our life choices.

“Marfa is a world designed to record this web of emotions.”

For me, what I want to express in my work is that every fragmented moment matters. The feelings and choices in each moment collectively form the story of our lives and weave the shape of this web. The unpredictability of this web's shape lies in the fact that we have different feelings at every moment. Therefore, the present moment is the only true eternity.

*Chloe Gao has exhibited NANA from MARFA at We may be in this together at :iiddr gallery in New York City*

Can you talk about the collaborations or partnerships you've had while creating this universe? How did you approach working with other artists to bring a shared vision to life?

My ideal approach to creation and collaboration is inspired by Olafur Eliasson. I thrive on working with talents from various industries and disciplines, as seen in the Marfa project. For instance, I collaborated with three architectural designers for a period of time, which provided invaluable insights into designing cities and spaces, as well as integrating environment and storytelling.

Luckily, living in New York City exposes me to a wealth of artistic opportunities. When working on projects at different stages, I often seek out different artists and talents to collaborate with. Connecting with fellow artists is usually as simple as striking up a casual conversation. The vibrant creative community in NYC fosters a culture of openness to collaboration, making it an ideal environment for creative souls.

What is an event which you consider a milestone in your digital art career?

To create something that I feel really happy and proud of and exhibit in a way where the audience can experience in real time.

Can you share an example of a time when feedback has helped you grow as an artist?

When I first met my curator, Chi, for the 'We May Be in This Together' exhibition, she provided invaluable feedback that greatly benefited my work. As I mentioned earlier, I often don't define my themes or topics before creating artwork, which has its pros and cons. One drawback is that the concept of the work can sometimes be vague and blurry, making it challenging to resonate with a broader audience.

Working with Chi helped me clarify the language and themes of projects like MARFA and NANA. Naturally, this involved some iteration of the work, both in terms of experience and presentation. I'm grateful for the opportunity to view my work through a different lens, and now I have a clearer framework for the MARFA world.