If awarded the £10,000 bursary, I will use it to expand Sandwich Biscuit, the submitted project that reimagines ACG (anime, comics, games) cultural fragments as photogrammetry-based printworks. This support would enable deeper technical experimentation—testing photopolymer and Riso printing methods that have so far remained financially out of reach.
The bursary would also help me begin developing Sandwich Biscuit into a book that weaves narration, visual structures, and production design. I aim to test various bindings and paper types to reflect the conceptual layering embedded in the project.
In parallel, I plan to initiate Collective Shelter, an extension of my current work that expands the investigation of emotional refuge from personal to collective narratives. It will involve both qualitative interviews and quantitative image data analysis sourced from social media. Funding would allow me to acquire data-processing tools and consult legal experts to ensure the ethical and lawful reuse of online cultural images.
Together, these developments will bring my practice to the next phase—bridging personal memory, community storytelling, and expanded print-based and browser-based media. This award would grant me the time, freedom, and resources to execute more ambitious, multilayered work rooted in both research and emotional architecture.
My ongoing project Collective Shelter investigates how fan cultures—particularly ACG (anime, comics, games)—serve as emotional anchors in times of displacement. If Darlington has a local ACG or creative subculture community, this project would offer a platform to spotlight and archive their stories.
By conducting interviews and workshops with local residents, I hope to weave Darlington’s voices into a global visual archive of cultural fragments and emotional geographies. Whether through browser-based art, print exhibitions, or public programming, I see this project as a way to connect emerging digital art forms with lived, local experience. The work could also raise the profile of Darlington as a site where contemporary diasporic culture and innovative practices intersect.
I am a Taiwanese visual artist based in London. My practice navigates themes of belonging, emotional anchoring, and cultural displacement through hybrid processes combining photography, photogrammetry, printmaking, and browser-based presentation. Since 2019, I have been developing a method of “photogrammetric photography,” where I collect multiple street images and reconstruct them into 3D forms. This approach departs from the traditional notion of photography as a single decisive moment, instead treating it as a layered accumulation across time and space. My project Organised Chaos marked a personal and technical breakthrough. Created during a time of emotional instability, it redefined how I use photography to anchor myself within urban landscapes. The act of capturing images not to freeze a moment, but to build visual density, became the foundation for my artistic approach. Sandwich Biscuit, my most recent project, explores the emotional resonance of ACG (anime, comics, games) culture as a form of psychological shelter. I document fragments of ACG in different cities, recode them by hand, and transform them through photogrammetry into 3D structures, which are then re-photographed and printed as monochrome gravures. The project also features an evolving browser-based platform that reveals the transformation of these fragments into shelters. Currently, I am expanding this methodology through Collective Shelter, a new project that uses social media images and interviews to investigate how ACG culture functions as transitional objects for dispersed communities. By collecting both visual and narrative data, the project invites collective reflection on identity, diaspora, and shared digital memory. To me, photography is no longer about moments—it is about accumulation, causality, and consequence. I lead the process, but the process also leads me. The final forms—whether print or interactive—are not endpoints but shelters: grounded, tactile, and emotionally charged. Recent Exhibitions: Big City Bathing, Jinny Gallery, Tokyo, 2025 Photography Edition #1, The Blank Gallery, Tokyo, 2025 Xposure, Sharjah, UAE, 2024 Text-ure, CICA Museum, Korea, 2024 London Craft Week, Blackdot Gallery, UK, 2024
Yes, I hold an MA in Visual Communication from the Royal College of Art (2015–2017). My postgraduate studies were pivotal in shaping my cross-disciplinary approach, particularly in combining conceptual thinking with visual structure and printmaking.
While at RCA, I developed my graduation project involving EEG data from interviews with people experiencing depression. Each participant described their “comfort object,” which I transformed into generative 3D forms, engraved with data-driven patterns derived from their brain activity. This early work already reflected my interest in emotional artefacts and the translation of intangible experiences into physical form.
I also produced a generative project using negative language scraped from Twitter to shape embryonic digital organisms. These projects laid the groundwork for my current exploration of photogrammetry(3D+data collection), personal archives, and affective memory through data-driven methods. My studies encouraged me to blend personal narratives with systemic thinking—an ethos that continues to drive my work today.
Finalist, New Emergence Art Prize, 2023
Silver, Pispa Photography Award, 2023
Honourable Mention, Pispa Photography Award, 2023
Honourable Mention, International Photography Award, 2023
Excellent Prize, New Horizons, 2019
These awards helped bring visibility to my early investigations into photography, identity, and experimental processes. They also gave me confidence to push forward with longer-term projects such as Organised Chaos and Sandwich Biscuit, which fuse emerging digital techniques with personal and cultural narratives.
Yes, I co-run Blackdot Gallery in London with my partner. It is a galley that curates exhibitions and workshops with a focus on craft-based practices and cross-cultural dialogue. We aim to support emerging and underrepresented voices through community-focused programming.
In addition, my ongoing project Sandwich Biscuit is self-initiated and artist-led. While I received valuable mentorship through the PHmuseum Masterclass, the project was conceived, developed, and executed independently. From image collection and coding to print production and browser design, I managed each stage of its transmedia development. This hands-on approach reflects my belief in creating infrastructure around one’s own practice—a methodology I intend to carry into future projects like Collective Shelter.
Yes. My work has been featured in the following platforms:
Post Human Media Art, CICA Museum Publication, Korea, 2020
AL-TIBA9 Art Magazine, Spain, 2018
Shift Magazine, Japan, 2017
Vice China, China, 2017
These features helped position my work within the broader discourse of digital art, emotional technology, and speculative visual culture. They also enabled me to reach diverse audiences across Asia and Europe, which is especially meaningful given the transnational nature of my practice.
Email: genechenuk@gmail.com
Address: 100E Alderney Street, London, SW1V 4EZ, GB
Local Authority: City of Westminster
