We’re excited to introduce you to the always interesting and insightful Naomi Le. We hope you’ll enjoy our conversation with Naomi below.

Naomi, thanks for joining us, excited to have you contributing your stories and insights. Can you talk to us about how you learned to do what you do?

First, I want to establish that in my current practice, I used household commonplace materials like sponges and vacuum bags to create installation and performance. Without knowing my own life, I would think I am a self-taught artist who always stays home. But I had a very formal training, nothing out of the ordinary. I attended undergraduate and graduate schools both in art. My first love was sculpture – three-dimensional art was the reason I became an artist. Yet, I was always leaning toward printmaking which is very meticulous and technical, and requires very specific materials and tools. Because of the nature of printmaking, I focused especially on the aspect of materials and the process of something. All my prints were very abstract, repetitive and color focused. During the pandemic, when there was no access to a printmaking studio, I returned to sculpture. I created my first paper installation in my room. This work resembled one of my intaglio prints, as though I was living in it. This marked the first step toward my current practice where I learned to adapt to challenges and make the best of what I had.
Alongside the pandemic, the economic crisis reshaped my approach to art. With questions like, “why’s everything so expensive?” I realized I could no longer afford materials like a $150 copper plate. Being confined indoors and facing financial limitations led me to using whatever I had, mainly paper. For two years, I used all kinds of paper either printing paper or fine art paper, to make art.
Eventually, during my graduate school, I wanted to use sponges for my installation. I was no longer interested in expensive, specialized art materials. Commonplace materials intrigued me. You don’t often see them in art. They are usually there to help with the process of art making, like you can use a sponge in printing a lithograph. For me, they are the stars of my work.
I believe speeding up a learning process is not something an artist does in their practice, maybe in learning a technique. You can only speed up when there is a goal to reach. My journey, from making intaglio prints to cutting sponges for my installations, along the way, I learned. The most important one is to remain open to challenges, embrace the materials around you, and always stay curious. The biggest obstacle in my artistic growth has always been myself.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

I was born in Vietnam in 1995. In 2020, I received my BFA from Towson University, in Baltimore, MD and was honored with the Ro and Marius Award. I had exhibited work in the NextGen 7.0 Exhibition at VisArts, Out of Order at Maryland Art Place, and Katzen Art Center. I earned my MFA from American University in 2023. My work is an experiment in how I see and experience the surrounding environment. I use unconventional materials that are store-bought or found, including styrofoam, vacuum bags, and sponges. My investigations are rooted in the idea of exploring and transforming the use of everyday objects into something that is examined as art to study our ability to observe the real world.

I like it when I find a characteristic of something that people usually overlook. These things often are the commodities that people are familiar with and have the “instruction” ways to use them on the labels. For example, a pen, and its purpose is to write or draw on a surface with ink. The challenge is to see beyond the product’s usage instruction to capture its uniqueness.

I am merely just a helping hand for the material to show off its potential via my work. If nothing else, it is a storyteller. It is produced. It performs. It transforms. Its hidden non-hidden character is obvious without being obvious.

How can we best help foster a strong, supportive environment for artists and creatives?

Society often highlights the glamorous side of being an artist—such as showcasing work in exhibitions, building community connections, and expressing oneself creatively. However, it’s equally important to acknowledge the more challenging aspects of an artist’s journey, especially for emerging artists. As an emerging artist myself, I was shocked to discover that after art school, I would no longer have access to studio spaces or mentorship, which had been integral to my education. I also realized that I have no money to rent out studio spaces after school, making it even harder to continue creating.

The biggest challenge, however, is how to make a living. The reality is that emerging artists often struggle to make enough money from their art alone, leading many to take on retail jobs or work as waitstaff to make ends meet. Our society is structured around money-driven careers, and being a new artist feels like being a goldfish in the ocean—you don’t quite fit in.

Teaching art students about the realities of their future careers in school would better prepare them, both mentally and financially, for what lies ahead.

Is there mission driving your creative journey?

I wish to open my own artist residency—a space where I can cultivate a unique community. This residency will offer the same amenities as other artist residencies, including studio spaces for artists, art workshops, and exhibitions. However, in addition to generating profit, I also aim to provide a residency program for children from developing countries or low-income backgrounds. This will give them the opportunity to learn art, connect with other children and artists, and experience a creative environment that can help them grow and thrive.

Contact Info:

• Instagram: @NaomiLeart