From Illustration to Handcraft — An Artist’s Journey Across Mediums

This interview feature introduces Songer Yang, a visual artist working across painting, graphic design, and narrative forms. Born in Shaoxing, Zhejiang, and now finishing her MFA in 2D Design at Cranbrook after a BFA in Illustration from SVA, Songer builds image sequences and object-based installations around family, femininity, and the quiet labour of home, often through repetitive handwork tied to healing, grief, and the persistence of love.

This conversation is about how moving from Shaoxing to Michigan reshaped her attention and methods. Songer shares how long, snow-heavy winters turned her toward household objects and handicrafts; how sequencing, archives, and cross-media strategies help her carry private details into stories that reach more people.

She also shares the shift from SVA to Cranbrook, from straightforward, page-based storytelling to a slower, material-led pace that treats objects as environments and invites a tactile, in-space encounter. She talks through showing work across countries and online: why she favours in-person viewing, how shipping realities guide scale and format, and how high-quality images, close-ups, and audio stand in when screens have to do the job.

Songer is willing to enter tough conversations (see Cocks and Cunts in Amsterdam and Diaspora in New York); recognition in London and Detroit helps momentum without steering the ship; and for her upcoming Cranbrook exhibition, she plans to push slow handcraft, test new materials, and build cross-generational collaborations, aiming for work that connects through steady energy rather than complexity.

Songer Yang is a featured artist in our book, “Art and Woman 2025” You can explore her journey and the stories of other artists by purchasing the book here:

https://shop.artstoheartsproject.com/products/art-and-woman-edition-

Songer Yang is a visual artist working across painting, graphic design, and narrative forms. Rooted in personal memory, her practice explores themes of family, femininity, and the emotional weight of domestic rituals. She often uses repetitive hand labour to reflect on healing, grief, and the quiet persistence of love. Born in Shaoxing, Zhejiang, China, she holds a BFA in Illustration from the School of Visual Arts and an MFA in 2D Design from Cranbrook Academy of Art.

1.     Having grown up in Shaoxing and now studying in Michigan, how has moving between cultures shaped the way you approach imagery and narrative in your work?  

Before moving to Michigan, I hadn’t expected my work to turn so inward. The long, quiet winters there gave me ample space to settle and reflect. During those times, I often thought of family and childhood memories, which became heavy anchors but also the strength that carried me through loneliness. This cross‑cultural shift rooted my practice in intimate household objects and handicrafts, while also leading me to use sequencing, archives, and cross‑media approaches to transform private details into forms that resonate more broadly.

“Presentation shifted from page-based narrative to strategies that emphasize space and tactility—installations, curated sequences of objects or images, and a slower, more deliberate viewing rhythm.”

Songer Yang

2.   From illustration at SVA to your MFA at Cranbrook, what shifts have you noticed in the way you think about making and presenting art?  

My illustration training at SVA taught me to tell stories with clear images and sequences; Cranbrook taught me to slow down, let materials and process lead, and treat objects as environments while focusing on concrete details. The presentation shifted from a page-based narrative to strategies that emphasise space and tactility—installations, curated sequences of objects or images, and a slower, more deliberate viewing rhythm.

3.    Many of your exhibitions have been international and often online. How does showing work in different cultural contexts change the way you prepare or frame a piece?  

I actually prefer in‑person exhibitions more; many object‑based details are flattened in photos, and I want viewers to feel closer to the work through handmade textures and small gestures. Because international shipping can be complicated, I prioritise small, lightweight pieces for travel. For online shows, I select work that travels visually, such as paintings or illustrations, and provide high-quality images supplemented with close-ups and audio to convey the material’s presence.

4.   Your participation in shows like Cocks and Cunts in Amsterdam and Diaspora in New York suggests a willingness to engage with challenging themes. What draws you to these conversations?   

These exhibitions address bold themes, especially the “Cocks and Cunts” show. I also hope to explore more possibilities through engaging and relaxed presentations and interpretations, daring to bring private, intimate, and even uncomfortable experiences into the public sphere for discussion. When viewers see stories that resonate with their own, that feeling of being understood gives me great inspiration and encouragement.

“The long, quiet winters there gave me ample space to settle and reflect. During those times, I often thought of family and childhood memories, which became heavy anchors but also the strength that carried me through loneliness.”

Songer Yang

5. With recognition such as honourable mentions in both London and Detroit, how do these acknowledgements influence your momentum as an emerging artist?  

Recognition helps a lot both practically and mentally: it increases visibility, opens opportunities and gives credibility when approaching opportunities farther afield. Emotionally, it validates risky, personal work and provides energy to continue long, slow practices. But I try to balance external recognition with internal criteria, keeping process and respectful practice as the core measures of progress.

6.   Looking ahead to your graduate exhibition at Cranbrook, what questions or ideas are you most interested in pushing forward through that presentation?  

I want to keep focusing on slow handcraft and explore new materials and collaborations across generations. Themes like time, memory, and family will stay central. I aim to create impactful work with honest emotions that connect deeply, believing that true strength comes from energy, not complexity.

Songer Yang’s work carries stories of family, memory, and domestic rituals into spaces where they can be seen, felt, and shared. Through handcraft, sequencing, and a mix of materials, she turns private moments into experiences that travel across cultures and contexts.

From her early training in illustration to her evolving practice at Cranbrook, we learn how she has allowed process, place, and time to guide her. Her journey shows us the value of slowing down, of giving attention to small gestures, and of trusting that even the quietest details can carry meaning forward.

To learn more about Songer, click the following links to visit her profile.

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