Based in Las Vegas, Wenqing Gu works as a freelance illustrator and visual storyteller, with her digital art popping up in children’s books, 2D animation, and editorial projects alike. Drawing from both her Chinese roots and life in America, she infuses her illustrations with warmth, humor, and a dash of wonder—inviting readers and viewers of all ages to step into worlds of imagination.
Her work has picked up international acclaim from big names like the World Illustration Awards, Society of Illustrators, JIA Illustration Award, 3×3, Creative Quarterly, and Applied Arts—solidifying her spot as a standout voice in digital illustration. Gu lives by the mantra “Slow is faster than stuck,” which led her to leave a career in accounting to chase her passion full-time. At the heart of everything she creates is sincerity: “Before my art can move anyone else, it has to move me first. Awards come from being authentic—not the other way around.”
We sat down with Wenqing to talk about her art, her creative process, and what inspires her most.
A Message From Within
Your motto is “Slow is faster than stuck.” What does that mean for you when you’re creating?
When I first got into illustration, I built a consistent, self-driven routine that slowly turned into a full-time job. I’ve always believed in moving forward with purpose—even if it feels like I’m taking baby steps. Those small, intentional efforts add up over time, and they’re what led to honors like American Illustration 44 (Chosen Winner, 2025), Applied Arts (Selected Winner, 2023 & 2025), World Illustration Awards (Longlist, 2024 & 2025), and Society of Illustrators 66 (Selected Winner).
To me, that motto is a reminder: as long as you keep creating—thinking, tweaking, and practicing—you’ll keep pushing your work forward. A lot of the time, you’ll end up further than you ever thought you would.
A Time to Blossom
You’ve worked on children’s books, animation, and editorial illustration—how do you shift your approach to visual storytelling for each one?
With children’s books, I start by really digging into what the writer is trying to say. Since the audience is kids, I focus on making my illustrations fun and easy to follow—something that helps them keep up with the story while sparking their own imagination.
Animation is different—it’s all about personal expression. That’s where I get to tell the stories I want to tell, in the way I want to tell them. I know somewhere out there, someone will connect with the feelings behind the work, and that’s enough.
Editorial illustration is more about boiling down an idea. I usually pick one angle—a metaphor or a visual take on the text—and make it eye-catching but simple to understand. No need to overcomplicate it.
Reviving the Feminine Soul
Your work has been recognized by some of the biggest illustration awards in the world. Has that changed how you approach projects, or how you see yourself as an artist?
My approach hasn’t changed a bit: before my art can move anyone else, it has to move me first. Art needs real emotion and sincerity—if you’re only creating to win awards, you risk losing that authenticity. Awards are nice, don’t get me wrong—they’re a great validation—but they come from being true to yourself, not the other way around. I focus on staying true to my voice and what I want to create, instead of chasing trends or second-guessing what judges might like.
Thousands of Dreams
Can you give an example of a piece that grew from a personal moment?
Sure—my piece Pettopia came from little everyday moments. I see people walking their dogs all the time, and sometimes I bring my own cat along with me. I’ve always thought the love between people and their pets goes both ways—we take care of them, but they take care of us too.
One day, while I was out walking, I had this silly thought: what if my cat, and every other cat and dog, suddenly got huge, and we humans became tiny? In that world, our pets would still love us, protect us, and maybe even see us as their little sidekicks.
That playful idea turned intoPettopia—a whimsical world where size doesn’t matter, and real friendship crosses all boundaries. To my surprise, this piece—something so personal and fun—resonated with a lot of people. It got nods from the World Illustration Awards (Longlist, 2025), Applied Arts (Selected Winner, 2025), Society of Illustrators (Selected Winner, 66th), 3×3 International Illustration Annual (Merit Winner, 20th), Creative Quarterly (Selected Winner, 72nd), and even got selected for the Light Space & Time “Animals” Art Exhibition. It taught me that when you create from real feeling and curiosity, people can sense that—and they’ll connect with it in ways you never expect.
Pettopia
Are there any themes or ideas you keep coming back to in your work?
Absolutely—“facing your true self.” For example, my piece Beneath the Masks, which is currently on display at the Los Angeles Center for Digital Art’s Electron Salon, explores that. So does Reviving the Feminine Soul, a piece I made last year. Both are about taking off the masks we wear and embracing who we really are.
Beneath the Masks
What’s something you’ve learned recently that surprised you?
I’ve learned that the pieces I thought were the most personal are often the ones that connect with people the most. Art that comes from my own emotions or experiences has made viewers reach out to me, saying things like, “This is exactly how I feel,” or sharing their own stories. It’s a good reminder: even though our experiences are unique, the feelings behind them are universal. That’s where art hits the hardest—when we share those common emotions.
Human-Machine Concerto
When you’re not creating art, what do you do to fill your time?
I’m pretty active! Every week, I do CrossFit three times, Pilates three times, and Gyrotonics twice. Working out keeps me energized, helps me stay positive, and gives me the consistency I need to keep creating. It’s a nice balance to sitting at my desk all day.
The Eternal Embrace of Nature
Nacho Frades is a digital painter whose luminous, minimalist works blend the spirit of classical painting with contemporary technology. He’s been drawing since childhood, inspired by El Greco and countless museum visits, and later studied under realist master Antonio López—who taught him the discipline to forge his own path. After years working in animated films, Frades made the full switch to digital painting in 2005, crafting a body of work that feels both introspective and futuristic. His art has been shown internationally, from museums to Times Square billboards, and is part of collections around the globe.
A pioneer in the early days of cryptoart and NFTs, Frades embraced the medium not just for its innovation, but for the tight-knit creative community it built. He’s a member of MoCDA and MOCA, and his series Five Unfinished Platonic Love Encounters for MoCDA remains one of his most personal projects. Beyond painting, Frades has published a book of meditations and often explores the overlap between writing and visual art—seeing both as ways to turn life’s mysteries into tangible expression.
We sat down with Nacho to talk about his art, his creative journey, and the moments that have shaped him.
The Spark of a Lifelong Passion
You’ve been creating for over three decades—do you remember the first time you felt that spark that art would be your path?
It started really early—for as long as I can remember, I was always drawing: on paper, walls, bed sheets, doors… there wasn’t a single “moment” where I decided to be a painter. It was just natural—I always knew that’s what I wanted to do. But it was 1980, when I was 13, that I realized it was actually possible. Even though it was tough, that’s when I started taking it seriously and putting in the work.
Lessons From a Master
Studying with Antonio López must have been formative. What’s one lesson from him that has stayed with you throughout your career?
Working with Antonio López was incredible. He’s such a kind person, and he dedicated so much time to me. I learned a ton about painting techniques, and just listening to him talk was a joy.
The biggest lesson he taught me was to take painting seriously and stay true to my own path, no matter what. And he made it clear that no master can teach you how to feel the things that happen in life—and turn those feelings into art. That’s something only you can do.
Pioneering Cryptoart & NFTs
You were also an early pioneer in cryptoart and NFTs. How did you first encounter this world, and what drew you in?
I got into it because of creativity. Back in 2020, when I first started, it was fascinating to log on to Twitter and see new art every single day. The community was so strong, and I made some really good friends there. Blockchain technology opened up so many possibilities for digital art—immutability, provenance, easy trading, and more. It felt like a whole new world for creators.
Favorite Projects & Personal Pieces
Can you tell us about some of your favorite pieces or a past or upcoming project? What makes them special to you?
My most special pieces are the collection I did for the MoCDA Museum—it’s called Five Unfinished Platonic Love Encounters. There are five artworks, each with two chairs, and they capture that feeling of loving someone platonically, even when they’re not there. It’s such a personal series for me, and it means a lot to share that emotion through my art.
Art in Different Spaces
Having shown your art everywhere from museums to Times Square, does the context of display change the way you think about your work?
Not in its core, but the context definitely matters. Seeing a piece on your phone is nothing like seeing it on a huge billboard or in the quiet, sacred atmosphere of a museum. A large size gives the work a presence it just doesn’t have in a small format—it feels more alive, more impactful.
That said, I’ve never actually gotten to see my work on billboards in person. They’re up in different places around the world, so I haven’t had the chance. I hope one day I can see them live. A big thank you to Artcrush Gallery and Superchief Gallery for giving me the chance to show my work worldwide.
Writing & Art: Two Sides of the Same Coin
You’ve also authored a book of meditations—what kind of an impact do you think writing has on your art practice?
Yeah, I have a book of meditations out, and most of the time, inspiration flows from painting to writing. But I’ve been wanting to paint some of my writing too—especially the poems I write but don’t publish. To me, writing is like painting with words, but with a stronger, more direct meaning than the beautiful ambiguity of a painted mystery. They complement each other really well.
A Dream Project
What is a dream project you’d like to make one day?
I love books, and I’ve always been obsessed with the idea of illustrating Gabriel García Márquez’s One Hundred Years of Solitude. It’s a crazy idea, I know—but I really want to do it. That book is so rich and vivid, and I think translating it into art would be an incredible challenge and joy.
Childhood Memories That Shaped Art
What is a profound childhood memory?
One of my first memories is playing with colored wooden blocks, building imaginary buildings. Then suddenly, I looked at the green block and saw it differently—like I really noticed color for the first time. I still remember that green perfectly, clear as day.
Another big moment was when I was a kid, looking at a portrait by El Greco. I realized it wasn’t just a face—it was made of colored strokes. Once that clicked, I was dying to get my hands on oil paints and try it myself. That’s when I really fell in love with the process of painting.
A Fun Fact About Nacho
What is a fun fact about you?
When I was 13, I entered a drawing contest in my city. My work got rejected because the jury said there was no way a kid could create something like that. It hurt a lot back then, but looking back, I think it pushed me even harder to keep going. It made me more determined to prove them wrong.
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