We caught up with the brilliant and insightful Lau Yee Vanessa Fong a few weeks ago and have shared our conversation below.
Alright, Lau Yee Vanessa thanks for taking the time to share your stories and insights with us today. We’d love to hear about a project that you’ve worked on that’s meant a lot to you.
My 3D CGI project Sukhavati: A Digital Utopia (2022), depicts the land of the afterlife in Mahayana Buddhism. In this project, I visualize this realm in the virtual digital world. I am creating a digital utopia where the ecosystem, religion, and technology cohabitate with one another harmoniously and portray my vision of an idealistic future. According to scriptures, the Sukhāvatī world has ponds adorned with seven kinds of jewels： gold, silver, beryl, crystal, rosy pearls, emerald, and coral. Therefore, all materials in this realm are made of these seven jewels. In this world, plants merge with technology, evolving into complicated biological forms.
I came from a traditional Buddhist family, and Buddhist philosophy has always been very close to my heart. Its spirituality and mindfulness guide me to self-redemption and mental healing from past traumas. However, I can’t help but feel that Buddhism, like many other religions, is a traditionally sophisticated and dense subject considering all its historical scriptures. Therefore, I want to transform it into a more accessible, contemporary art form that fits the current social-political climate—visioning a sustainable future and rethinking the relationship between nature, religion, technology, and mental well-being.
My goal is to provide a therapeutic experience for my viewers or a healthy form of escapism from the chaotic society nowadays. Allowing my viewers to navigate in this realm, having a moment of peace, and putting the focus back on spirituality and mindfulness.
Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.
I am a visual artist and freelance curator. I explore a variety of mediums in art, such as painting, 3D modelling, printmaking, video, installation, and sculpture.
In 2021, I took a hiatus in art making after graduating from ArtCenter School of Design in Pasadena, California. Instead, I started to work as an assistant curator in different art institutions. At first, I worked in the Long Museum and participated in the planning and execution of exhibitions for world-renowned artists like George Condo and Jonas Burgert. Later on, I worked as an independent curator and worked on gallery exhibitions with different artists, both Chinese ink painting artists and 3D artists.
Through scouting and collaborating with younger artists, my passion for art-making reignites. I realized that I wasn’t satisfied only to be the curator, someone behind the scenes, especially when I met with artists who specialized in drastically different mediums, from traditional painting to innovative technology such as interactive sculptures and VR technology. The experience inspired me to delve back into art-making and start a multidisciplinary art practice.
From then on, I challenged myself to learn 3D modelling software. And I actively participated in group exhibitions and artist residency programs. I have two upcoming group exhibitions in December and January 2023, in London and Paris.
Because of my experience of being both an artist and curator, I pay more attention to the relationship between the artists, the artworks, and the audience. How to create art that resonates with its viewers, providing an immersive/therapeutic experience to the viewers, not just creating work in a void that serves only for my pleasure without any concern about others.
My art takes a spiritual approach to personal trauma and its healing. Often referencing Buddhist philosophy, I explore the themes like the struggling search for one’s identity and reinterpreting Buddhism in a modern, innovative approach. My work stumbles upon radically different areas of study (religion, feminism, mysticism, sustainable technology, etc.). While still focusing on spirituality and mindfulness, depicting my journey of self-redemption and healing.
How can we best help foster a strong, supportive environment for artists and creatives?
This might sound cliché, but I will say creating more opportunities for younger artists. The art industry does not necessarily need to be exclusive, “high art” only. Giving more exposure to talented young artists that are new to the industry and do not necessarily have a lot of experience in their CVs. And also helping them to monetize their artworks more easily. As an artist, we sometimes focus solely on the creative process and avoid thinking about the financial aspect of our work. It’s definitely hard to support yourself financially as a new fine artist without having a side gig. Therefore, I feel it’s our responsibility to create a better support system for young artists to make art without too much financial pressure.
Looking back, are there any resources you wish you knew about earlier in your creative journey?
Social media accounts/online platforms such as Artenda and Callforentry.org. Platforms that provide extensive information about opportunities for art grants, awards, residencies, and exhibitions. My advice for the younger version of me is to submit to as many open calls as possible and put yourself out there as much as possible. And don’t get discouraged if you get rejected because it’s never a “you” problem. It’s more likely that your work doesn’t match the style they’re going for this time.
Contact Info:
- Instagram: vane_fong