Interview
Rui Wang
Rui Wang is a cross-disciplinary designer and creative artist whose work spans visual design, art direction, and photography. With a Master of Fine Arts from the Savannah College of Art and Design, Rui’s visual language is grounded in aesthetic precision and narrative depth. He specializes in building cohesive and emotionally resonant visual systems across branding campaigns, multimedia platforms, and photographic works. Rui’s creative philosophy—that every visual is a vessel for storytelling—guides both his design and photographic practice. In creative vision and design, he sees each project as a narrative to be crafted, using visual systems to translate abstract concepts into emotionally engaging experiences. From creative design to multimedia campaigns, Rui builds stories through concept development, typography, layout, and motion. In photography, he brings this same narrative sensibility to each frame, using analog film to capture atmospheres that evoke memory, stillness, and longing.
By weaving storytelling into both structured design and intuitive image-making, Rui creates experiences that resonate beyond the visual—emotionally and conceptually. Guided by this philosophy, Rui has led and contributed to campaigns for global brands such as Disney, Nike, and SCAD. His work has received recognition from leading institutions including the MUSE Awards, Red Dot Design Concept, The International Design Awards, The London Design Awards, and The International Photography Awards. Whether crafting immersive brand identities or atmospheric visual narratives, Rui’s practice bridges the space between image and idea—between storytelling and strategy.
What is your background and how did you start your journey in the art world?
“I was born and raised in Taiyuan, China, where I was first introduced to traditional Chinese painting and calligraphy as a child. That early exposure taught me to appreciate the expressive power of line, form, and negative space, and it laid the emotional foundation for my artistic path. I later pursued a degree in Public Art, where I developed a stronger conceptual understanding of visual culture and learned how to create works that engage with space, context, and audience. It was during this time that I began to see art not just as a form of personal expression, but as a tool for emotional connection. Seeking to expand my visual language and engage more deeply with contemporary creative practices, I moved to the United States and earned a Master of Fine Arts in Advertising from the Savannah College of Art and Design. There, I was introduced to the principles of strategic communication, brand storytelling, and cross-disciplinary thinking.
At the same time, I gradually fell in love with photography as a personal and poetic form of expression one that allowed me to explore light, emotion, and atmosphere in a more intuitive way. This experience shaped the foundation of my current creative philosophy, one that integrates visual design and photography as parallel modes of narrative-making. In my design work, I’m drawn to the emotional weight that visual systems can carry. I’m fascinated by how creativity through typography, color, layout, and structure can evoke memory, identity, and atmosphere. I build branding and art direction systems that prioritize emotional clarity and conceptual depth.
For me, design is not just about function, but about creating visual experiences that linger, that people can feel as much as they understand. Photography, on the other hand, offers me a more intuitive, observational process. I often work with analog films to explore light, rhythm, and stillness. It allows me to slow down and notice what exists in the margins, those in-between moments that can’t always be articulated but feel emotionally charged. Photography sharpens my sensitivity to visual nuance and influences how I design with tone, pacing, and subtle tension. Ultimately, I see design and photography not as separate practices, but as two expressions of the same intention: to tell visual stories that resonate. Both disciplines shape how I think, how I see, and how I create. I consider myself a narrative-driven visual artist committed to crafting work that blends structure with emotion, strategy with sensitivity.”
What inspires you?
“I draw inspiration from the desire to create emotional resonance through design and photography. Whether I’m developing a visual identity, shaping a narrative concept, or directing a campaign, I always begin with the audience in mind not just thinking about what they’ll see, but how they’ll feel. My creative process is guided by the belief that design is ultimately about connection. I’m most inspired when I can translate abstract ideas like longing, memory, or stillness into clear visual systems that evoke a genuine emotional response. Sometimes, that begins with a mood, a fleeting thought, or even a piece of music. From there, I build structures through typography, layout, and form that carry that emotion forward. What drives me is the challenge of using visual design not just to communicate, but to quietly move someone. That feeling of recognition or reflection in the viewer that’s where I find meaning, and where my inspiration often begins. In my photography, that pursuit of emotional connection takes on a more observational and intuitive form. I’m drawn to subtle, often overlooked moments, a shadow, a silence, a detail that feels important even if I can’t explain why. Photography gives me a way to slow down and listen to the atmosphere of a place, or the quiet presence of a moment. It becomes a way to explore the unseen, and to bring softness, ambiguity, and emotion into my broader visual language.”
What themes do you pursue? Is there an underlying message in your work?
“Much of my work explores the themes of memory, emotional distance, and the invisible threads that connect people and stories. I’m drawn to the tension between presence and absence how something can carry emotional weight even when it’s only partially seen or remembered. I often find myself gravitating toward moments that feel quiet, intimate, and unresolved, whether in a brand system, a conceptual design, or a photographic composition. These are the moments where meaning isn’t fully declared, but quietly suggested where atmosphere, tone, and detail allow space for reflection. I’m interested in how visual language through composition, rhythm, and restraint can express what words cannot. Underlying much of what I do is the belief that storytelling, especially visual storytelling, is most powerful when it invites interpretation rather than dictates meaning. I want my work to create a sense of emotional openness, where viewers can project their own experiences and memories into the image or design. I’m not interested in telling people exactly what to think or feel; instead, I want to create spaces that allow for pause, recognition, and personal resonance. That quiet, internal engagement when something unspoken clicks into place is, to me, the most honest and lasting form of communication.”
How would you describe your work?
“I would describe my work as narrative-driven, emotionally sensitive, and rooted in visual clarity. Whether through design or photography, I aim to create images and systems that are both structured and atmospheric built with intention but open to interpretation. My work often lives in the space between what is seen and what is felt, inviting viewers to pause and reflect rather than immediately consume. In design, I focus on building visual systems that carry emotional weight systems that are conceptually coherent but still allow for softness, ambiguity, and space. In photography, I use analog techniques to slow down and observe the quieter side of human experience. Across disciplines, my approach is unified by a deep attention to mood, tone, and the subtle tensions that shape how we perceive stories. I strive to make work that lingers work that doesn’t shout but stays with you. It’s not about showing everything, but about holding onto something honest, even if it’s only partially revealed. My recent series, Not Everything Was Seen, is a clear example of this approach where absence, ambiguity, and quiet emotion are used as active narrative tools.”
Which artists influence you most?
“In the creative and advertising world, I’m deeply inspired by David Droga. His ability to tell emotionally charged stories within large-scale commercial frameworks has had a significant influence on how I approach design. What stands out to me in his work is the balance between strategic thinking and emotional authenticity—how a campaign can be built on deep human insight while still being conceptually precise and culturally impactful. His work reminds me that visual communication isn’t just about aesthetics or clarity; it’s about creating resonance. That belief drives much of what I do in branding and design: using narrative not as a decorative layer, but as the core structure that shapes how people feel, engage, and remember. In photography, I’ve found lasting inspiration in the work of Vivian Maier. Her quiet, observational approach to street photography has taught me the value of noticing—of seeing without needing to explain. She captured the emotional undercurrents of ordinary life with such honesty and restraint, finding depth in fleeting gestures and unspoken moments. Her work reinforces my belief that the most powerful stories aren’t always loud or highly constructed; they often exist in silence, in shadows, in space just outside the frame. That perspective has informed not only my photography, but also my design sensibility, encouraging me to trust subtlety and leave room for interpretation. Together, Droga and Maier represent the dual foundations of my creative practice: structure and intuition, strategy and softness, narrative and nuance. Their influence reminds me that design and image-making are not separate crafts, but two ways of pursuing the same goal—to create work that moves people, not just visually, but emotionally.”
“I would describe my work as narrative-driven, emotionally sensitive, and rooted in visual clarity.”
What is your creative process like?
“My creative process often begins with a feeling—an emotional texture, a vague atmosphere, or a question I want the work to hold. I rarely start with a fully formed concept. Instead, I begin by collecting fragments: visual references, color tones, a line of text, a piece of music, or a gesture I observed on the street. These fragments help me form the emotional foundation of a project before I start thinking structurally. Once I have a mood or a narrative direction, I shift into a more strategic and design-focused mode. In branding or campaign work, that means defining the core message and how it should feel—then translating that into a cohesive visual system through typography, layout, color, and form. I approach design as a language that has both grammar and tone, and I’m constantly adjusting both to match the emotional intention behind the work. In photography, the process is more intuitive and observational. I often work with analog films, which encourages me to slow down and engage with what’s happening around me. I like to wander through busy streets and public places, not with the goal of capturing something specific, but simply to observe—how people move, how light falls, how silence forms between moments. Photography, for me, is not only creative practice but also a way to relieve pressure. When I’m feeling overwhelmed or stuck, I often turn to taking pictures as a form of release. It clears my mind and allows inspiration to surface naturally. The images I make in those moments often hold something more honesty, emotional, and quietly resonant.”
What is an artist’s role in society and how do you see that evolving?
“I believe an artist’s role in society is to notice—to see things that are often overlooked, to give form to emotion, and to hold space for reflection. Artists have the ability to slow down time, to turn attention toward the subtle textures of life that might otherwise go unseen. In a world driven by speed, clarity, and constant output, I think artists offer something deeply necessary: ambiguity, vulnerability, and emotional depth. For me, this doesn’t mean creating work that shouts or dictates meaning. Instead, it’s about making space—for silence, for interpretation, for personal resonance. Whether through design or photography, I see my role as building visual experiences that allow people to feel more and think differently. That emotional shift, however small, is a kind of social contribution. As society becomes more saturated with images and information, I think the role of the artist is evolving from maker to mediator. We’re not just creating visuals; we’re shaping how people see, what they pay attention to, and how they connect emotionally with the world around them. That responsibility is both powerful and humble. It reminds me that even the quietest work can carry weight—and that meaning doesn’t have to be loud to be lasting.”
Have you had any noteworthy exhibitions you'd like to share?
“While I’ve had the honor of having my work recognized internationally, what I’m most excited about right now is the upcoming release of my new photographic series titled Not Everything Was Seen. The project explores themes of absence, memory, and emotional presence through analog photography, and reflects my ongoing interest in quiet, unresolved visual narratives. It’s a deeply personal body of work that also connects to broader human experiences—about what we feel but cannot fully articulate. In addition to photography, my design work has also received international recognition, including honors from institutions such as the MUSE Awards, Red Dot Design Concept, The International Design Awards, The London Design Awards, and The International Photography Awards. My creative practice continues to evolve at the intersection of visual design and emotional storytelling.”
Website: monocruiwang.com
Instagram: @littlepantsss990
