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A Sanctuary of Memories
Introducing Ziora, an emerging artist based in China. Her imaginative, conceptual illustrations explore the relationship between humans and nature—light, wind, and plants. With comic-style framing and dynamic storytelling, she transforms everyday moments into reflective worlds touched by subtle fantasy.
Balancing her personal creative practice alongside graduate studies, @ziora_w continues to grow as an artist while learning to be intentional about the work she takes on and how she spends her time and energy. We’re privileged to learn more about her background, journey, and creative process—read on as we get to know her a little better through this interview.
Background & Artistic Style
Hi Ziora, nice to meet you :) Can you tell us a bit about yourself?
Hi everyone, I’m Ziora, a freelance illustrator. My work mainly focuses on illustration and visual storytelling, while I also create comics, short animations, and occasionally design playful merchandise. For me, drawing is a way of having a dialogue with myself, and also a way of connecting with the world and with the audience.
What is your background as an artist/creator? How did you first get into drawing and painting?
I’ve loved drawing for as long as I can remember. In middle school, I would often fill my notebooks with sketches. It wasn’t until university that I began to see drawing as something essential to my future. Both my undergraduate and postgraduate studies were related to fine art, though not specifically illustration. The interdisciplinary nature of my education allowed me to explore different artistic directions and visual languages.
Because I started drawing at such a young age, I honestly can’t remember why I fell in love with it in the first place. Drawing has always given me a great deal of positive feedback. There is the quiet satisfaction that comes from the act of creating, and then there is the resonance that arrives when a finished work connects with others. I’m actually quite introverted, so drawing feels like an intimate conversation with myself.
How would you describe your artistic style and influences?
My work often features bold color contrasts—such as red and green, or blue and yellow. I’m drawn to colors that create tension and visual impact. I enjoy building small, self-contained worlds within my images. When viewers look at my work, I hope they feel as if they’ve momentarily stepped away from reality and entered a quiet, imaginative sanctuary. Many of my pieces carry a subtle sense of fantasy or metaphor.
My audience often describes my style with words like “playful,” “whimsical,” and “emotional.” However, I believe that style evolves alongside the artist. I hope my work continues to shift and remain open to new possibilities.
My influences extend beyond visual artists. Film, literature, and everyday life all shape my perspective. I believe every artist is a synthesis of what they see, think, and feel.
Journey & Transformation
You mentioned that you have loved drawing for as long as you can remember. What was it like growing up as a child who loved to draw? What were some of your early inspirations and influences when you were sketching in middle school?
My upbringing wasn’t particularly unusual. During school, I was often given tasks like designing the class bulletin board because I was relatively good at drawing. As for my early sources of inspiration, part of it came from the manga magazines that were popular at the time, such as Zhiyin Manke and Huixin. As a child, I was immediately captivated by the exquisite illustrations and engaging comics in those publications. As I grew older, I gradually came to know some of the illustrators who had contributed to those magazines. In a way, it felt like successfully meeting the artists I once admired from afar.
We’re curious about the art market and creative scene in China. Could you share how the environment there has shaped you and your development as an artist?
When I was in middle school, China had a thriving scene of comic magazines and publications—it truly felt like a flourishing period. One of the happiest moments each week was going to the small shop outside school every Friday after class to check whether a new issue had arrived. Sometimes I would carefully save my pocket money just to buy those magazines and take them home.
Back then, many kids around me who loved drawing shared the same dream: to see our own work published in those magazines. It was quite common to mail handwritten illustrations to editorial offices, hoping that—if you were lucky—your work might be selected and printed. Looking back, it was such a vibrant and encouraging creative atmosphere.
Today, print media has gradually declined, but new forms of artistic presentation have emerged. The art fair scene in China has developed rapidly in recent years. I began participating more frequently in art fairs around 2024, mostly in major cities such as Beijing, Shanghai, and Guangzhou. Many internet friends I had known for years gradually became real-life connections through these events.
Being able to see the original works of artists you admire, and to meet them face-to-face, creates a very special kind of atmosphere. It’s a different but equally meaningful continuation of that creative community I experienced when I was younger.
Could you share more about your career journey and how you arrived at where you are today? Did you start out as a full-time creative, or did you balance your practice alongside a full-time job at first? What have been some of the most important lessons you’ve learned along the way?
In terms of my professional journey, I still consider myself a semi-professional artist, balancing my personal creative practice with my graduate studies.
Fortunately, my master’s advisor, Layla, has been incredibly understanding and supportive. She consistently makes space for me to pursue my own projects alongside my academic work, and that trust and flexibility have meant a great deal to me.
One of the most important lessons I’ve learned is that once you move beyond the relatively carefree student stage, you have to be more intentional about how you spend your time and energy. It’s essential to be selective about the clients and projects you take on, rather than saying yes to every opportunity. Protect your time for personal work—and just as importantly, protect your time to rest.
Process & Inspiration
Your artworks often feel imaginative and conceptual. How do you typically approach your creative work? Could you share one favourite project and share how you develop the concepts and creatives? How do you balance finding inspiration and having a fixed process in your work?
My creative process often begins with an idea, followed by a rough vision of the visual outcome I want to achieve—such as choosing a dominant color palette or defining the overall mood of the piece. From there, I gradually refine the work while continuing to think through it as I go.
One of my favorite projects was my undergraduate graduation project, Living in Symbiosis with Plants. It was a small zine exploring the similarities and possibilities of coexistence between humans and plants across different dimensions. Before starting the actual drawing, I created a mind map and outline to determine what each page would contain. This helped establish a clear direction.
Guided by the outline, I then developed sketches and a unified color palette for the series. Once the early preparation was complete, the later stages of drawing became a process of patient, steady progression. That said, it’s also common for me to completely redo individual illustrations during the process—after all, drawing is not purely rational. As long as the overall progress does not drift too far from the main direction, I allow space for those adjustments.
You mentioned that your influences extend beyond visual artists to include film, literature, and everyday life. We would love to hear more about that. Are there any specific films you watch, your all-time favourite film, or any literature genres you’re currently reading that inspire your creative journey?
Literature has given me an immense amount of inspiration. I have always loved Chinese prose, especially the works of Wang Zengqi. Books such as《人间草木》(Plants of the Human World) are ones I revisit time and again.
The distinctly cultural sense of ease and quietness in Wang Zengqi’s writing has influenced me deeply. The lives he portrays are often ordinary and unhurried, without any deliberate grand narrative, yet they are filled with warmth and delicate detail. One line from his work reads: “The most ordinary things in this world hold quiet marvels within their simplicity, and gentle richness within their plainness.” (In truth, something is inevitably lost in translation; it is difficult to fully convey the original emotional resonance of the Chinese text). His attentive observation of plants, food, and human relationships—and his tender gaze toward everyday life—made me realize that artistic creation does not have to pursue dramatic intensity. Quiet companionship can be just as powerful.
In my own work, this sensibility appears in my attention to subtle details and in my appreciation for the everyday itself. I hope to preserve a sense of looseness, naturalness, and lived-in warmth within my images, so that viewers may also feel a slow and genuine rhythm of breathing as they look at them.
Are there any other artists or creators who inspire you in your work?
I admire creators from many different fields, including filmmakers, illustrators, and writers. If I had to name one artist, it would be Gustav Klimt. I’m deeply drawn to how he seamlessly combined realism with decorative flat composition—delicate figurative detail alongside bold pattern and symbolism. That balance between structure and ornamentation continues to inspire me.
What advice do you have for aspiring artists or creators who want to make their mark in the industry?
Don’t rush to cater to the market, and don’t feel pressured to prove yourself too early. First, find the reason that makes you want to keep creating. Art is a long journey. Without an initial sense of love and an inner source of motivation, it’s easy to lose direction. Staying curious about life, yourself, and the world is more important than chasing trends.
Do you have any favourite Mossery products or designs from other artists that have caught your attention?
What stands out to me most about Mossery is the freedom of customization. I love the idea that each notebook becomes a small world belonging to its owner. The concept of inviting users to participate in shaping their own notebook feels meaningful and personal.
Achievements
Among your past works, is there one artwork that you feel especially connected to? Could you share the story behind it and why it resonates with you?
One artwork I feel especially connected to is Music, Music. I created it after the city where I was studying was struck by an unusually severe rainstorm that caused widespread flooding. In some areas, the water rose to the height of car roofs, and many people were stranded inside the high-speed railway station, unable to make their way home.
Among those trapped was a student wind ensemble. They took out their instruments and began playing uplifting songs for the other passengers waiting inside. Eventually, rescue teams arrived and everyone was evacuated safely. I was profoundly moved by what happened. To me, music is a form of strength—a tangible source of emotional support in moments of crisis.
Through this piece, I hoped to express the same belief: that music can create a small shelter within our lives, a space where light still finds its way in, even in the most difficult times.
What does being an artist mean to you?
For me, becoming an artist is not an identity label, but an ongoing way of observing the world. It means choosing to remain sensitive to subtle emotions, and staying curious and honest about light, wind, plants, human relationships, and those feelings that are difficult to put into words. Very often, we come to understand ourselves through the act of creating. The image becomes a kind of container, holding my present confusions, tenderness, fears, and hopes.
Being a creator also means taking responsibility—being accountable for my own expression, and remaining respectful of the viewer’s experience. Once a work is seen, it no longer belongs solely to me; it enters other people’s lives and forms new connections with their own stories. Above all, be sincere with your work.
Is there anything else you'd like to share with the Mossery community and those who appreciate your work?
I imagine that many people who use Mossery products are attentive observers of life, individuals who cherish recording their thoughts and experiences. I hope these covers can accompany you as part of that process. When you open your notebook, I hope you feel a small sense of stillness and gentle healing.
Mossery × Ziora
You have developed two designs for this collaboration, could you share the themes or messages you aimed to convey through each cover? We would like to understand your creative vision behind them.
In Breath of the Meadow, I wanted to convey a sense of healing and gentleness. I imagine someone holding the notebook and feeling as though a soft breeze is brushing past their ears, lifting their hair lightly—like fresh grass just beginning to sprout. I hope this atmosphere resonates with those who use the notebook to record the quiet fragments of daily life.
In Watering the Eyelashes, I merged elements of plants with the human form. I imagined eyelashes curling like the branches of hollyhocks, as if simply lifting your gaze allows you to encounter nature.
Across both designs created in collaboration with Mossery, I wanted to explore my vision of the connection between humans and nature. I hope these images are not merely decorative, but visual languages that carry a sense of comfort and quiet energy.
Are there any hidden details or symbolism in your design that you'd like to share with us?
In Watering the Eyelashes, there are many small cats hidden within the imagery. I have a big, chubby cat at home, so I’m very familiar with their amusing and sometimes puzzling habits. In the sticker series, I linked each individual illustration into a small narrative sequence: a cat walks along, a little girl meows at it, and from the cat’s perspective, the human “meow” makes absolutely no sense—completely incorrect in grammar and vocabulary. The cat simply gives her a cool, indifferent look and walks away toward a hollyhock. Cats are always curious about unfamiliar plants, sniffing and gently biting them. If viewers notice these subtle details in my work, I would be very happy.
You mentioned that in Breath of the Meadow, you wanted to convey a sense of healing and tenderness. We feel the artwork offers a beautiful interpretation of healing, expressed through its softness and sense of calm. Would you feel comfortable sharing a story or experience that you are still healing from? Or your takes on a healing journey?
Breath of the Meadow was created during a time when I felt quietly unsettled within. I gradually came to realize that what truly exhausted me was not any single event, but the long-standing habit of holding myself to relentless standards and being unconsciously self-critical.
When I think of a healing environment, my mind immediately returns to memories of my childhood in the countryside. There were expanses of wildflowers and grasses growing freely, and the air felt moist and fresh. As a child, I especially loved a small blue wildflower—Veronica persica. It was modest and easily overlooked, yet in spring it bloomed everywhere. In my memory, those tiny yet resilient blue blossoms seemed to cover the field ridges and meadows, carrying a quiet but steadfast vitality.
That is why I incorporated elements of Veronica persica into this work. For me, it is not just a plant, but a symbol of memory—of childhood, of nature, and of a state of being at ease without the need to prove oneself. The meadow, the sense of breathing space, and the soft lines in the composition are all intended to create a space for viewers: a place where one can slow down, allow imperfection, and allow vulnerability to exist.
As for Watering the Eyelashes, you mentioned that you were greatly inspired by your cat. Could you share more about the relationship between the larger and smaller figures in the illustration? Do they symbolise how you see yourself, or different aspects of your inner world?
In "Watering the Eyelashes", the relationship between the “large” and the “small” figures is not meant to be oppositional, but rather a state of mutual watchfulness and quiet companionship.
The hollyhocks growing from the eyelashes feel to me like the bits of nature we encounter after stepping outside—flowers and plants that grow quietly along street corners, beside walls, or in empty lots. They are not grand, yet they are undeniably present. Planting flowers on “eyelashes” is symbolic: when we are willing to look and to pause, small moments of healing are right before our eyes.
In the image, the little girl waters the eyelashes, while the cat walks nearby. I hope their relationship feels gentle and balanced. It could be understood as different aspects of the inner self—one nurturing, one accompanying; one closer to childhood innocence, the other more attuned to everyday observation. But I prefer not to define them too specifically, as I would like the interpretation to remain open.
For me, healing does not necessarily come from grand transformations. It may simply be the act of looking up and noticing the light, a flower blooming quietly in a corner, or the gentle presence of a small life beside us—like my little cat. These subtle existences are, in themselves, enough to carry us forward.
What's the process like when you develop this design? Do you face any challenges or obstacles while creating the design? If so, how did you overcome them?
After forming an initial concept, I usually begin with sketches and color studies to refine composition and rhythm. One of the main challenges in this collaboration was maintaining visual balance and integrity within a fixed product size and structure. After exploring several variations, I was able to find a solution that suited the product format without compromising the original composition.
What materials or techniques did you use to bring your design to life?
The covers for Mossery were created digitally. However, during the process, I incorporate interesting textures created with colored pencils, gouache, crayons, and other traditional materials into the artwork. This allowed me to combine the precision and color control of digital painting with the tactile warmth of traditional media, while also ensuring the artwork would translate well in print.
A big thank you to Ziora for sharing her artistic journey and insights. If you found her work inspiring, we encourage you to discover more of her creations with us here!
