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Artworks
Vincent Chong
Livien, 2025Oil on linen48” x 36”A painting depicts a seated person wearing bright orange clothing with dark hair that is green at the ends. The figure sits in front of a mirror looking at their reflection giving the illusion that there are two figures in the painting. The figure is holding a pen and appears to be writing or drawing. The background is a blend of green and yellow swirling strokes.https://www.instagram.com/crystalmonkeycalligraphy Artist Statement I am a Queer gender-non-comforming mixed-race Chinese American multidisciplinary artist. In practice, I am a painter—I make paintings, and I practice and perform Chinese...https://www.instagram.com/crystalmonkeycalligraphy
Artist Statement
I am a Queer gender-non-comforming mixed-race Chinese American multidisciplinary artist.
In practice, I am a painter—I make paintings, and I practice and perform Chinese calligraphy, one of the oldest continuous lineages of painting. Still, identifying as a painter has never rolled off my tongue without hesitation.
When I look at the canon of Western painting, I see a beautiful world, but a world where neither myself nor the people I call family exist. Thinking about making paintings often brings me back to Audre Lorde’s essay The Master’s Tools Will Never Deconstruct the Master’s House. Lorde discusses how a structure of oppression, by design, omits the tools necessary for liberation. How can I participate in painting while simultaneously problematizing its authority and the white supremacy and Queer/Transphobia implicit in its history?
